Paweł Postaremczak – tenor saxophone
Wojciech Traczyk – double bass
Paweł Szpura – drums
Purusha – universal soul of all beings and of the existence itself, the opposite of an individual
soul. When playing together, each of us keeps their own perspective. Each of us plays our own
feelings and emotions, not the feelings and emotions of other colleagues. Consequently, the
only level at which we are in agreement is the level of the essence. The core. Purusha.
Recorded March 28 & 29, 2014 at the Genetix studio in Warsaw (Poland).
Released August 19, 2015
Recording engineer: Michał Kupicz
Mix: Wojciech Traczyk
Master: Michał Kupicz
Design: For Tune®
Cover & other photos: Justyna Jaworska
From left: P. Postaremczak, P. Szpura, W. Traczyk
All tunes composed by Wojciech Traczyk, excecpt for tracks 02 and 05 (P. Postaremczak, P. Szpura, W. Traczyk)
By Adam Baruch
This is the debut album by Polish Jazz trio Purusha, which comprises of saxophonist Paweł Postaremczak, bassist Wojciech Traczyk and drummer Paweł Szpura, all three known to Polish Jazz followers as members of the large ensembles led by Wacław Zimpel (Hera and others). The album presents six original pieces, four of which were composed by Traczyk and two are co-credited to all three members of the trio.
The music of Purusha is a „classic” Free Jazz venture, which is its biggest drawback. Free Jazz exploded in the mid 1960s and this music sounds almost exactly as if recorded at that time, i.e. about 50 years ago. With all due respect to the cradle of Free Jazz, Albert Ayler and everything else, the clock keeps ticking. This of course might bring on reflections as to the possible path of Free Jazz in general, which may lead to a conclusion that Free Jazz only truly existed for a brief moment in the 1960s and everything done in that idiom since is simply ripples of that Big Bang?
But aside from the basic problem of being sort of „outdated”, the music of Purusha is quite excellent within the boundaries of the Free Jazz idiom. Dominated by the saxophone, as usual in saxophone trios, it explores the various stages of expression between fury and tranquility, exemplifies the group interplay and allows for personal displays of instrumental ability, which are all top notch.
Postaremczak is obviously a highly talented soloist and his approach to the tenor saxophone is very personal and unique. In his hands the saxophone turns into many different instruments, often sounding exotic, weird and wonderful, which of course is very unusual. The rhythm section stands shoulder to shoulder with Postaremczak, both expanding and complimenting his journeys with obvious empathy and spirit of shared goal. Overall this is a very good Free Jazz album for diehard fans of the genre, which although does not innovate, keeps the tradition and legacy alive and kicking. Definitely worth investigation!