In the tapestry of our lives, there are moments when the hand of Fate gently guides us towards unexpected encounters, and such is the enchanting tale of the Slovenian trio, Širom, and the Polish virtuoso guitarist, Raphael Roginski. It's a narrative they eloquently weave, with the resonating echo of Roginski's recording, 'Raphael Rogiński - Plays John Coltrane And Langston Hughes' African Mystic Music,' subtly influencing the course of their musical union.

This collaboration transcends mere artistic partnership, for it pulsates with a shared heartbeat, one that beats in unison within the souls of both Roginski and Širom. There is a profound resonance in their individual spirits and artistic expressions. Anna Kravanja, Samo Kutin, and Iztok Koren each bear an intimate connection to ancient musical traditions, embracing a pure and unpretentious approach to making music. Their dwellings nestle them amidst the embrace of nature's splendor, and in our conversation with them, they emphasize the paramount significance of familial bonds and the simple joys of communal meals.

Yet, the harmonious tapestry woven by these four musicians transcends simplicity. Their profound adoration for a vast array of traditional instruments, from banjo and balafon to kalimba, viola, and harps, elevates their musicality to a transcendent realm. The result is an evocative and mystical ambiance, born of deeply personal narratives that seemingly conjure their own myths, yet remain firmly rooted in the present moment. Their collaborative creation is nothing short of a breath of fresh air, perpetually renewing itself in the ever-present 'now.' The exquisite track they perform together bears the title, 'I came alone into this world.'

Music from the episode

‘I Came Into This World Alone’ (Moondog) from Raphael Rogiński and Širom’s project “The World of Moondog”

Further reading

• Raphael Rogiński / bio on culture.pl

• Širom / bio on band’s website

• Beyond borders: Raphael Rogiński takes a spiritual trip around Eastern Europe / on wire.co.uk

• A World Beyond: An interview with Širom / on thequietus.com

Further watching

• KOOB Sessions: ŠIROM feat. RAPHAEL ROGIŃSKI in Muzika eklektika / on YouTube.com

• The World of Moondog: Raphael Rogiński, Natalia Przybysz, Širom / on YouTube.com

• Rural Underground: Širom / on YouTube.com

• ‘Electron’: Raphael Rogiński (from the album Talán) / on YouTube.com

Credits

This episode of Rebel Spirits was hosted by Debra Richards. The show is brought to you by the Adam Mickiewicz Institute.

Written, produced and scored by Magdalena Stępień

Executive production by Move Me Media

Edited and mixed by Wojciech Oleksiak

Copyrights

The publisher would like to thank all copyright owners for their kind permission to reproduce their material. Should, despite our intensive research, any person entitled to rights have been overlooked, legitimate claims shall be compensated within the usual provisions.

Within the Rebel Spirits series, a resounding truth emerges: music born from improvisation demands both formidable technical prowess and a receptive, open-hearted approach. Enter 'Voice 'n' Drums,' a collaborative venture between Polish vocalist Ania Rybacka and Danish drummer Stefan Pasborg, representing a bold exploration of one of humanity's most powerful impulses—to connect.

Ania Rybacka steadfastly eschews the constraints of musical genres and labels, forging her path through the boundless realm of music with unbridled personal freedom. Her creative odyssey spans a spectrum, encompassing experimental endeavors like her 'Voice and Movement Encounters' and the electronic trio, Blueberry.

In stark contrast, Stefan Pasborg assumes the roles of bandleader, composer, and the visionary behind the artist-driven label, ILK Music. Among the many notable albums he recorder 'The Firebirds stand out -' a daring reinterpretation of Stravinsky's 'Firebird' for a trio, followed by the remarkable 'Ritual Dances,' a homage to the Rite of Spring, which underscores Pasborg's penchant for embracing risks and shouldering artistic responsibility.

'Voice 'n' Drums' stands as a markedly distinct project in Pasborg's portfolio. Drawing upon his profound sensitivity and adept mastery of empathetic collaboration, Pasborg weaves an intricate musical tapestry in response to Ania's intuitive offerings, engendering an exquisite and intimate dialogue.

In this illuminating interview, the artists candidly unveil the vulnerability they experienced while crafting music entirely through improvisation, a venture undertaken as a duo. Their insights offer a captivating glimpse into their creative process and infuse a vibrant vitality into the mesmerizing composition, 'Aurora,' which, in turn, invigorates our experience as listeners.

Music by Ania Rybacka and Stefan Pasborg. Copyright - Hevhetia

Track: Aurora

Further Reading

• Ania Rybacka's web site

• Stefan Pasborg's website

• Stefan Pasborg / ILK

Further Watching

• Aurora

• Ania Rybacka's TEDx

• Ania Rybacka and Stefan Pasborg / live

• Dr. Big Band and Stefan Pasborg / live

Credits

This episode of Rebel Spirits was hosted by Derba Richards. The show is brought to you by the Adam Mickiewicz Institute.

Written, produced and scored by Monika Proba

Executive production by Move Me Media

Edited and mixed by Wojciech Oleksiak

Copyrights

The publisher would like to thank all copyright owners for their kind permission to reproduce their material. Should, despite our intensive research, any person entitled to rights have been overlooked, legitimate claims shall be compensated within the usual provisions.

The Bastarda’s and Holland Baroque’s joint project marks the inception of one of two captivating collaborations born from a shared reverence for music of eras long past. To pinpoint an exact period would be unwise, but this exceptional fusion of the Bastarda Trio and the Dutch ensemble, Holland Baroque, converges on the concepts, gestures, and dynamics of early music, spanning from the medieval ages to the Baroque era. Yet, as articulated by violinist Judith Steenbrink of Holland Baroque, the music they craft resonates with the contemporary spirit, a fact acutely evident when immersing oneself in the following track, 'Gaude.'

What also crystallizes is their unwavering belief in the auditory landscape they conjure—the aesthetics, the heartfelt dedication with which they perform, and the profound impact it can have on both listeners and themselves as musicians. Their creative journey embarked with a nod to the 13th-century mystic Hadewijch from Brabant, Netherlands, who penned a form of love poetry encompassing love in its broadest and most imaginative sense. In fact, the project's title, 'Minne,' is rooted in 'beminnen,' Dutch for 'to love.'

They eloquently discuss the catalysts fueling their creativity, yet it is the music they compose, improvise, and arrange that emerges as the most eloquent storyteller. In 'Gaude,' their creation speaks resoundingly, immediately and with remarkable lucidity, conveying the fervor each musician harbors for a genre that masterfully and elegantly interlaces the echoes of yesteryears with the vibrant tapestry of the present.

Music from the episode: ‘Gaude’ from Bastarda Trio and Holland Baroque’s from the album ‘Minne’. Copyright - Pentatone Music B.V.

Further reading

• Paweł Szamburski / bio on culture.pl

• Bastarda Trio / bio on ensemble's website

• Holland Baroque / bio on ensemble’s website

• About ‘Minne’ project / on Holland Baroque’s website

• ‘Minne’ reviewed on The Free Jazz Collective

Further watching

• ‘Minne’: Bastarda Trio and Holland Baroque in Poznań / on YouTube.com

• Mystical Jewish songs. ’Nigunim’: Bastarda Trio / on YouTube.com

• ‘Di Kunst der Fuge’ (J.S. Bach): Holland Baroque / on YouTube.com

Credits

This episode of Rebel Spirits was hosted by Debra Richards. The show is brought to you by the Adam Mickiewicz Institute.

Written, produced and scored by Magdalena Stępień

Executive production by Move Me Media

Edited and mixed by Wojciech Oleksiak

Copyrights

The publisher would like to thank all copyright owners for their kind permission to reproduce their material. Should, despite our intensive research, any person entitled to rights have been overlooked, legitimate claims shall be compensated within the usual provisions.

Tomasz Dąbrowski received a prestigious commission to craft a composition for the grand finale of the Lodz Summer Jazz Festival, a tribute concert honoring the legendary trumpeter, Tomasz Stanko. Stanko, an internationally renowned figure in the jazz world, served as an extraordinary muse for Dąbrowski, who eloquently captures the enchanting elements that elevated Stanko to his revered status as a musical hero within the jazz realm.

Dąbrowski meticulously curated a remarkable ensemble for this project, aptly named "Tomasz Dąbrowski and the Individual Beings." Notably, the ensemble features Norwegian drummer Knut Finsrud, and beneath the surface, one can discern the hidden gem of their genuine friendship, forged while both residing in the tranquil Swedish town of Malmo.

Knut's deep appreciation for Tomasz's composing prowess harmonizes seamlessly with Tomasz's admiration for Knut's childlike and insatiable curiosity when it comes to music—an organic connection that envisions them effortlessly riffing alongside one another.

In their conversations, a subtle spirituality permeates their words, resonating with the very essence of the music we hear in "JR." This poignant composition emerged after the birth of Dąbrowski's son in 2020, serving as a heartfelt dedication to this newfound joy in his life. This profoundly human motivation adds a unique depth to the album, complemented by the use of one of Stanko's own trumpets, generously loaned to Dąbrowski by Stanko's daughter—an emblematic connection to the ever-evolving legacy of Polish jazz musicians.

Music by: Tomasz Dabrowski and the Individual Beings. Copyright - April Records.

Track: 'JR'

Further Reading

• Tomasz Dąbrowski / bio on culture.pl

• Tomasz Dąbrowski & The Individual Beings album review / on Downbeat.com

• Tomasz Dąbrowski seeks new contexts / on Downbeat.com

• Tomasz Dąbrowski's website

Further Watching

• JR

• Tomasz Dąbrowski & the Individual Beings full album

• 30th Birthday/30 concerts/30 cities

Credits

This episode of Rebel Spirits was hosted by Derba Richards. The show is brought to you by the Adam Mickiewicz Institute.

Written and produced and scored by Monika Proba

Executive production by Move Me Media

Edited and mixed by Wojciech Oleksiak

Copyrights

The publisher would like to thank all copyright owners for their kind permission to reproduce their material. Should, despite our intensive research, any person entitled to rights have been overlooked, legitimate claims shall be compensated within the usual provisions.

At the heart of a 'Rebel Spirit' is an open mind, and it’s this openness that puts an artist like Wacław Zimpel in a vulnerable place that encourages the development of a musical intelligence that is not only intellectual but also spiritual. Wacław Zimpel has really dived into 'music of the world' as he puts it, to deepen his experience of sound and rhythm and to use his compositions to express something that is primal; at the core of what it is to be human.

Wacław may have started his music practice playing classical violin as a child but he moved on to clarinet and saxophone, taught himself to improvise, and at some point in his studies knew that he wanted to move toward free jazz. He is a constantly evolving soul and his visits to India to embrace Konnakol and Carnatic music, that evolved from ancient Hindu texts and traditions, impacted not only his understanding of rhythm but led him toward recognising how trance can affect the listener physically and emotionally. Trance is key to his work.

He has built an extensive collection of instruments that have informed his music; the Harmonium from North India, a Tibetan horn, and the fujara flute from Slovakia to name a few. In this interview, you will hear about his relationship with the beloved Arp 2500, a modular synthesizer that began its life in the 1970s, that he was able to meet if I can put it like that, during a residency at the William Twee Studios in Den Bosch in the Netherlands.

Projects such as his Undivided trio and the bands Emergency, The Light, and Hera have given Wacław the space to explore the emotional power of jazz and improvisation, whilst his work with the Chicago-based saxophonist Ken Vandermark's band Resonance and an invitation to perform at the city's innovative Umbrella Music Festival have played a part in extending his audience reach, an important factor for European musicians.

More recently he has composed music for the Polish film Silent Night, and as he states in the interview his view of himself now is as a music producer - who moves forward at every opportunity. Zimpel is a thrilling presence within the most potent music of today.

Massive Oscillations from Wacław Zimpel’s album ‘Massive Oscillations’

• https://culture.pl/en/artist/waclaw-zimpel / bio on Culture.pl
• interview with Wacław Zimpel / on nytimes.com

• Wacław Zimpel / Boiler Room / on YouTube.com
• Wacław Zimpel - Lines / on YouTube
• New Polish Jazz: Ones To Watch - Wacław Zimpel / on YouTube

This episode of Rebel Spirits was hosted by Debra Richards. The show is brought to you by the Adam Mickiewicz Institute.

Written and produced by Monika Proba

Executive production by Move Me Media

Edited by Monika Proba

Design by Dawid Ryski

Scoring & sound design by Wojciech Oleksiak

The publisher would like to thank all copyright owners for their kind permission to reproduce their material. Should, despite our intensive research, any person entitled to rights have been overlooked, legitimate claims shall be compensated within the usual provisions.

Like the other artists portrayed in Rebel Spirits II, Piotr Orzechowski aka Pianohooligan showed talent and a fiercely original mind at an early age. By his twenties, he'd won competitions and awards and had a clarity about his intention for music-making. There is one comment he made that particularly stood out to me. He said, “I want to revive the spirit of jazz. Step away from academic music. I am awaiting a confrontation.”

This is crucial, Piotr knows that at the same time as honoring the history of jazz, standing on the shoulders of these jazz originators, it is vital that jazz is a living, breathing music. It is not a museum piece. It requires artists to have something they need to say and to deliver it in a way that is genuine. Genuine to that artist. Real for that artist. And he has applied that to whatever genre he has touched on.

It's easy to see through his discography that Piotr has allowed his natural curiosity to lead the way. He has released albums such as Bach Rewrite, in collaboration with Marcin Masecki, and Experiment: Penderecki, a tribute intended to renew the accomplished work of Krzysztof Penderecki. He has collaborated with musicians from Ecuador, Mexico, and Spain and has played with significant artists such as the American composer, Philip Glass, as well as establishing his own High Definition Quartet.

It is another beacon of the Polish arts, Adam Mickiewicz whose play, Dziady or the Forefather's Eve, that lit a fuse for Piotr and it's his album entitled, Dziady that he speaks about in this interview. You'll hear why he felt drawn to Part II of this eminent work published in 1823 which follows characters in the Lithuanian countryside preparing to conjure spirits from the dead. Piotr's description is so lucid that you can feel the frisson of fear and expectation.

Piotr outlines how he decided to differentiate between the earthly world and the supernatural in his music, and as well as the whole piece, 'Preparations', we hear an excerpt of the supernatural 'Little Angels' (with electronics by the renowned William Basinski). The interview is a great opportunity to peep into Piotr's creative mindset and how he instinctively uses his own life experiences to deeply connect with the story.

Just a word about Dziady - this poetic drama written in four parts is a symbol of European Romanticism, particularly in Poland, where it was not only a statement about the Romantic belief in individualism, the importance of emotion, and folklore, but due to periods of time when it was banned, it also represents freedom, a freedom to feel, and be able to question. In some ways, it's a thoughtful metaphor for the work of Piotr Orzechowski and the other artists in the Rebel Spirits series.

Preparations (Przygotowania) from High Definition Quartet’s album ‘The Forefathers’ Eve - Dziady’

• Piotr Orzechowski / bio on Culture.pl

• Piotr Orzechowski: the piano is my favourite toy / on Culture.pl
• Piotr Orzechowski and Avishai Cohen in concert / on YouTube.com
• Piotr Orzechowski and Kuba Więcek in concert / on YouTube.com

This episode of Rebel Spirits was hosted by Debra Richards. The show is brought to you by the Adam Mickiewicz Institute.

Written and produced by Monika Proba

Executive production by Move Me Media

Edited by Monika Proba

Design by Dawid Ryski

Scoring & sound design by Monika Proba & Wojciech Oleksiak

The publisher would like to thank all copyright owners for their kind permission to reproduce their material. Should, despite our intensive research, any person entitled to rights have been overlooked, legitimate claims shall be compensated within the usual provisions.

Aga Derlak remembers her fascination with music as a young child. And once she began learning piano, she would lose hours in flowing through improvised journeys at the keyboard. This passion led her to gaining a place on the year-long Berklee Global Jazz Institute program. And in this interview, she discusses the impact that has had on many levels of her life. The founder of the project, pianist Danilo Perez, who is part of the incredible Wayne Shorter quartet was a particular influence and led Aga to work at Danilo's foundation in his homeland of Panama. You get the sense that her own beliefs about the healing power of music, and the role of musicians and music education in our society really blossomed during this time, through conversations with her tutors and peers at Berklee, and also her pupils, some of whom were part of a social program in Panama City.

Aga has led her own trio and quintet and like the other rebel spirits has been invited to play at numerous jazz festivals. As she explains in her interview, travel takes on a real meaning in her life, and has directed her development as an artist. The piece she talks about, Tempo, is from her forthcoming album Parallel and includes her own vocals and those of her sister Basia Derlak. With lyrics from a poem that Aga wrote, we can hear about her attention to detail, theme and flavor, and her thoughts about the possibilities of time. Tempo. A project that is a good indicator of Aga’s personality is Your Solo, exploring Polish jazz. This was her proactive reaction to the restriction of lockdown during the pandemic. She wanted to highlight the work of Polish jazz musicians such as herself, who could no longer tour or perform. Aga set about playing their compositions and interviewing these musicians. Putting everything online. The positive focus is typical of how she's able to acknowledge the darkness that descends on life but uses her determination to be constructive. Interestingly, she refers to the different sides of her character and how that comes through her music in this interview.

In Marek Pędziwiatr there is a connection between the past and the present. The history of jazz and the African American musicians, who created it, and Polish innovators from Chopin through Krzysztof Komeda and Niemen. Marek is a hub, a central force pulling his golden threads of jazz, hip-hop, classical music, avant-garde, and Slavic folk. But his interest in weaving these genres together is driven by the human experience.

Marek is an award-winning musician and composer now based in Wrocław. His background in the 90s scene of sampling, rapping, and beat music has blossomed into a sophisticated and authentic jazz that crosses boundaries. He is co-founder of the trio Night Marks, the avant-garde improvised music collective Błoto, and EABS (Electro-Acoustic Beat Sessions). He has played with an incredible array of international musicians and his production work includes producing with Michał Urbaniak, a major figure in jazz fusion, on albums such as “Beats and Pieces” by Urbanator Days.

Like Michał, emotion is a vital aspect in every piece that Marek composes. The identification of this almost mystical quality of melancholy in Slavic culture, explored by generations of Polish artists, also fascinates Marek. And in the interview, he speaks about the importance of feeling in the music he is drawn to. And how he developed the opening of the composition he discusses from his album Slavic Spirits from 2019.

Stories of his own ancestry, poetic symbols, philosophies, and the expression of the complex emotion of being human run parallel to other incentives in his music. There is a deep learning he has gained through the tributes EABS has made such as the “Memorial to Miles” at the Jazz Festival in Kielce in 2015 and the unique Sun Ra with EABS’ album “Discipline of Sun Ra” in 2020. There is a clear celebration of these influences and their ability to simply communicate the human spirit in Marek’s music and in his eloquent way of speaking about it.

Przywitanie Słońca from the EABS album ‘Slavic Spirits’’

• EABS / bio on Culture.pl
• Marek Pędziwiatr debuts as Latarnik in a piano solo story of remembrance and passing / on Twistedsouldmusic.org

• EABS meets JAUBI / on YouTube.com
• Jazz.pl: EABS / on Culture.pl
• New Polish Jazz: Ones To Watch - Marek Pędziwiatr / on Facebook.com

This episode of Rebel Spirits was hosted by Debra Richards. The show is brought to you by the Adam Mickiewicz Institute.

Written and produced by Magdalena Stępień & Wojciech Oleksiak

Executive production by Move Me Media

Edited by Wojciech Oleksiak

Design by Dawid Ryski

Scoring & sound design by Wojciech Oleksiak

The publisher would like to thank all copyright owners for their kind permission to reproduce their material. Should, despite our intensive research, any person entitled to rights have been overlooked, legitimate claims shall be compensated within the usual provisions.