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Polish Jazz PodcastsAuthor: Cezary Lerski and PolishJazz.com
The PolishJazz.com podcast celebrates legendary artists like Komeda and Stako, exploring their legacies and key moments in Polands jazz history. From its roots to its role as a symbol of freedom, we examine how jazz reflected Polands struggles and triumphs. Through archives and stories, we bring this vibrant tradition to life. Join us to discover the magic of Polish jazza captivating blend of rhythm, history, and culture. Language: en Genres: Music, Music History Contact email: Get it Feed URL: Get it iTunes ID: Get it |
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Episode 6. Andrzej Trzaskowski explores the boundaries of jazz. The interview with Jerzy Radliński (1965).
Episode 6
Wednesday, 17 September, 2025
Today we have a real treat for you — a rare interview with Andrzej Trzaskowski, originally published in Polish “Jazz” magazine in the summer of 1965.The conversation was conducted by Jerzy Radliński, and reading it offers a unique opportunity to peer into the mind of the “brain of Polish jazz,” as Trzaskowski was once called.The interview spans a wide range of topics and, more than six decades later, remains captivating — especially when contrasted with the current state of jazz, particularly on the Polish scene.At the beginning of the conversation, Trzaskowski describes the early development of jazz in Poland between 1951 and 1956 — a period he helped shape as a member of the Melomani — as a kind of “primary school,” where style was just being discovered and technique refined solely through radio and records. He believes that during this time, Polish jazz underwent a remarkable transformation: from clumsy imitation of American artists to reaching the forefront of the European scene, evolving from exotic folklore into significant artistic music.Throughout the interview, Trzaskowski repeatedly emphasizes his fervent support for progress and modern jazz, viewing the jazz musician primarily as a creator and composer. He rejects traditional jazz as lacking creativity and advocates for subordinating emotional to formal discipline. Although he is skeptical of the notion of a “Polish school of jazz” defined by national folklore, he acknowledges that Polish jazz has a distinct identity abroad — with ensembles playing with American expressiveness but offering their own interpretation, avoiding direct imitation.He explains that the earlier reliance on American standards stemmed from the genre’s focus on improvisation and the excellence of available compositions. His drive for innovation leads him to experiment with the avant-garde and the “third stream” — an effort to renew jazz by incorporating techniques from European classical music, while ensuring that jazz’s core expressive and rhythmic identity remains paramount.Trzaskowski admits to a personal creative crisis that culminated in his debut of the free jazz concept in 1964 — designed as a way to liberate improvisation from harmonic constraints. Although many overlooked this innovation, he firmly declares that he will never simplify his complex ideas for a broader audience. He creates for an ideal listener with whom he identifies, prioritizing artistic fulfillment over popularity.
