Interviews

Wojciech Majewski is one of the best polish pianists. Being a professional jazz musician, Wojciech played with Jan Ptaszyn Wróblewski, Zbigniew Namysłowski, Henryk Miśkiewicz, Darek Oleszkiewicz or Joe La Barbera. Wojciech Majewski graduated from Frederic Chopin's Musical Academy, and although his greatest passion is jazz, he also likes to play classical music. He gave concerts in many countries, like Germany, France, USA, Denmark, Czech Republic or Italy. He took part in many prestigious festivals, like Jazz Jamboree in Warsaw, Jazz Open in Stuttgart, and Brahms Festival in Milan. His first serious album debut was recording „Robert Majewski plays Komeda”, along with his brother Robert, Henryk and Michal Miśkiewicz, and Zbigniew Wegehaupt. In 2001 Wojciech Majewski's first LP entitled „Grechuta” had came out. It contains jazz interpretations of Marek Grechuta's songs. The album achieved great success and gave the composer two nominations for the Fryderyk Award. Soon, thanks to Sony Music Poland, his newest album, entitled „Zamyślenie” is about to come out. The session for this album started in August, along with Tomasz Szukalski, Robert Majewski, Michał Miśkiewicz and Palle Danielsson, a Swedish contrabass player. In my opinion this is a very interesting and unique album, which, from the very first verses, tells a story to the listener.

Jazz Forum: Your music creates a unique atmosphere. The titles of the compositions Zamyślenie, Pożegnanie and Rozmowa tell us, that you are fascinated with human feelings, sensitivity, interpersonal relations, situations, in which a person takes part. Are your own experiences inspiring for you, or do you search for inspiration in art, literature or film?

Wojciech Majewski: Speaking about the album there are a few compositions, which were based on my own experiences from the past 2 years, so that my music could express me and my feelings. But it doesn't change the fact, that I am interested in other types of art, like literature or film.

The other compositions, written by other musicians as music for poems: Po coś dał nam tę głębokość wejrzeń? (Marek Grechuta music to Goethe's poem), Bema pamięci żałobny rapsod (Czeslaw Niemen music to Norwid's poem), Nie pomogły spacery (Grechuta music to Słowacki's poem). There is also your music written to Leśmian's poem "Boże pełen w niebie chwały”. This is a very romantic poem, about love, death, and life after death. It seems to me that you try to understand the meaning of life. Playing isn?t only the most important thing in your life, but you also try to explain something thanks to your compositions?

This question refers to the general meaning of art. I believe that art can express the spiritual dimension of our existence. Of course playing music is as much important to me, I am addicted from playing, you might even say. I also think that art can expose the spirit of time. The Pope once said that art is very close to religion. In my opinion such reflections are worthy of thinking over. Speaking about the compositions, that you mentioned, although they were written as a background for those poems, they drew my attention from the musical point of view. Those compositions were created by Czesław Niemen and Marek Grechuta; musicians that I like to listen to. For me Czesław Niemen and Marek Grechuta are the most prominent singers in the history of polish popular music. Creating these compositions I tried to achieve a unique musical effect, in which I didn't think if the musical background would match the lyrics. I was inspired by Leśmian's poem and in a half an hour I wrote this song, which is being sung by Grzegorz Turnau.

I must say that this album is very „polish”. It goes way back in polish cultural history and reaches the roots of our culture; those strictly jazz- apparently there is only one composition of Komeda, entitled „Niekochana”, but the atmosphere of this one song is still present in other compositions thanks to melancholic Slavic melodies, minor harmonies, and complicated forms. Is it your choice or natural fascination?

I think that it's a bit of both. From one side I am aware that I was born in Warsaw and that my music is polish and I think that it's natural. Generally I listen to a lot of polish music, not only jazz, but also classical music, Russian music, Slavic music. As for the music of Komeda, I used to be fascinated with it, and it is possible that some things in my music can associated with his style. I like his music, especially the way of organizing the music structures. The quintet with 2 wind instruments gives a very large range of creating the sound.

I remember that during your academy days, you were fascinated with classical music and it had an influence on your composing and playing. On this album there are fragments of piano solo's, that reminds me of the Philharmonic rather than with a jazz club. One of your songs is entitled „Pamięci Strawińskiego”. Is the mixture of jazz and classical music on purpose, willingness to enrich this composition with a more European feeling?

Of course, my music is filled with Slavic, so in that case European feeling. I wrote it during my college days (it is partially composed, and partially improvised). I write music, that demands some concentration.

You managed to gather a group of outstanding musicians, including two musical partners: Szukalski and Danielsson.

I am very pleased, that I can play with Tom for such a long time. We enjoy playing together I hope, that when he reads it, he wouldn't deny it. I think that this is a very fruitful partnership. I managed to gather such a group of musicians, with whom I could accomplish my aims. Thomas is known for his beautiful, delicate sound, and Michael is able to operate with the tone, not only with the rhythm. And finally Palle Danielsson, whose sound and style is recognized all around the world. He enchanted us with his music from the very beginning. Meeting him was a very exciting experience, because he played with many musicians, which I admire and respect. Of course he occurred to be a professional; he played two magnificent solos, showing his breathtaking skills, and also what a wonderful, cheerful, guy he is. Palle used to play with Tom back in the 70's; he also played with Thomas Stańko. At the Jazz Baltica Festival he met my brother, and he enjoyed his music, so Robert asked Palle if he'd be interested in taking part in a small project in Poland. Palle accepted the invitation, and added that he would love to play this material in front of people.

You must have a lot of work with the promotion of your latest album, and yet you manage to give concerts promoting the „Grechuta” album. Among all of this, do you still have time think about another music project?

Arranging the „Grechuta” album gave me some experience in the field of organizing an orchestra, and thanks to this, maybe, my next album would be created with the help of an orchestra. As for the rhythm, I still don't know, I think that there would be no drums, eventually a contrabass instead. But these are only thoughts that belong to the future and only time will tell?..