One spring Sunday in 1942, I was lying in the green, lush marshes of the river port of Mainz on the Rhine, enjoying the only luxuries of a Polish worker in Nazi Germany: solitude and sun. [...] Suddenly, something so unexpected happened that for a moment I doubted the correct functioning of my consciousness, the reality of the seconds I lived: right next to me I heard the first sounds of a clarinet attack, and in a moment Benny Goodman was developing his brilliant oration in "Ain't Misbehavin", Assisted by the most intelligent jazz pianist of the 1930s Teddy Wilson and exuberant drummer Gene Krupa. I jumped to my feet and, stumbling over the scattered sills, lunged in the direction where the music was coming from: opening the coastal thickets, I saw a canoe flowing slowly along the canal, in which sat a young man in a vacationing Wehrmacht uniform; in the front seat there was a small phonograph, spreading these jazz treasures.
Man! exclaimed listen to what kind of music it is... How do they play... It's something!" He threw me the line, I tied the kayak, then he gave me a phonograph, a box with records, and he jumped onto the shore. In the cassette, I found a pair of Ellingtons and the wonderful Chick Webb with Ella Fitzgerald singing "A tisket a tasket"... We shuffled out on the grassy wharf, the record followed the plate, the first spring heat ripened in the air, a green military sweatshirt was thrown one way, a dark cotton shirt in the second. We sat side by side in the bright, good sun amidst jazz improvisations spinning around, pulsating with real life.
Leopold Tyrmand believed that jazz could create a sense of community so strong that it would break divisions and boundaries, be more potent than resentment and destruction, overcome the barriers of hatred and free the thought of freedom written in this music. Therefore, in the image of our peers a forced labourer in Germany and a young soldier of the Wehrmacht we build a parallel to another terrible moment in our recent history the introduction of martial law in 1981.
Inspired by the third trend, Paweł Tomaszewski reached for a motif from Wojciech Kilar's music to the 1981 film "Blind Chance", directed by Krzysztof Kieślowski. In the movie, a young student from Poznań tries to catch a train to Warsaw. Three variants of the plot unfold his fate in different directions, depending on the title "chance": will he manage to jump on the train? In the first one, he joins the Polish United Workers' Party, in the second the"Solidarity". In the third, he does not support any of the parties. Thus, Kilar's lyrical leitmotif has become not only a symbol of the passing of time but also a canvas for reflection on the complicated fate of a generation.
Paweł Tomaszewski is a graduate and currently dean of the Jazz and Popular Music Department of the Karol Szymanowski Academy of Music in Katowice. In 2009, he participated as a pianist in the recording of the Grzegorz Nagórski Quartet, which received the prestigious 2009 Fryderyk award for the Jazz Phonographic Debut of the Year. In addition, the following albums with his participation were nominated to the Fryderyks: Grzegorz Nagórski Quartet "Over and Over" Jazz Album of the Year, Marta Król "The First Look'' Jazz Phonographic Debut of the Year, Przemysław Florczak Quartet "Image Of My Personality" Jazz Phonographic Debut of the Year.
Paweł Tomaszewski Quintet
symphony hallFilharmonia im. Mieczysława Karłowicza w Szczecinie
ul. Małopolska 48