Hello Crazy Rhythm, "Krzysztof Wolinski Trio"
I very much enjoyed your concert at Sale Conservative Club last night. In fact I enjoyed it so much, I purchased two CD's from you.
Just thought I'd drop you a line or two to say we saw you at Wimpole last night and discovered some amazing music. I saw the list for Wimpole and 'guitar' and 'jazz' caught my eye - anything to do with guitar (well
almost!) I go for.
Now you have joined my ever growing list of 'must hear more of this'. The speed and fluidity with which you played your guitars was something else, it only goes to reinforce what I now know to be true - that the real talent is more out there, less with the famous names, bar a few of course.
Now I've visited your excellent website and its like reading a book, so I've bookmarked that, will recommend it to friends and go back and savour it some more.
Paul, your writing is really interesting, will you publish it? Or have you published any. 'Journeys by Guitar' - well someone should. And you have good attitude.
I fell in love with the guitar when I was 16, listened to the Beatles (that long ago!), Dylan (the old whiner) Pete Seeger, Howlin Wolf, Django Reinhardt, Segovia and others but I believed in such a positive way that the guitar was far too difficult for me to learn. About 2 years ago (inspired by Mark Knopfler!) I decided that if I wanted to learn then I could, so I've been taking lessons since then with a guitar player and teacher/friend and I now have a very nice acoustic guitar - but oh boy its like having 10 wooden thumbs. Richard (teacher) told me he'd been playing for 40 years (classical turned folk), after which I said 'oh well I'll be 90 then'. He was sensible enough to give up being a solicitor to teach guitar full time - he's poor but happy. My old man is still a solicitor but dreams of soon being full-time in the garage working on a couple of Austin Sevens, which he then busts rallying.
If you read the back of Gordon Haskell's new cd 'Shadows on the Wall' - he makes some comments similar to yours - about so-called music buffs, what is this purist stuff? - they surely must have egos that block their ears and are missing so much beautiful music - and for us sensible down-to-earth souls - 'pure' enjoyment.
Thanks to you all and Mike Piggot for a great evening and we will certainly be seeing you again. Might take a trip further from home.
Out of interest do you ever come across Steve Phillips or Brendan Croker in
your geographical neck of the woods. I'm just busy exploring all this,
there's so much to look forward to.
Music isn't a job - its your life I think.
All the best
Thank you - am most impressed- Regards - Mike Mould
"New jazz trio from POLAND.
Original compositions from K.Wolinski.
Mix of latin &acid jazz..........."
he estado en tu web escuchando algunas de las A jazz portrait
piezas que tienes y la verdad me parecen muy interesantes, muy bien
interpretadas, mucha marcha, mucho ritmo, buen sonido y mucho gusto
en los temas seleccionados.
Your new sits is so much more aesthetic than
the other ! well done !!
should be bach & paul go inevitably madi! i suspect...
Thank you for the transcription.
Paul, your transcriptions are excellent.
Mechanics and Artistry: Very well accomplished...
Overall, the group is out of balance between treble and bass tones. There is little and/or poor deportment on: Expression, Emphasis, Accents, Definition, Voicing, Phrasing, Pulse, Tempo, and Rhythm! Overall, these factors are called "Orchestration"... an appealing presentation is definitely and blatantly missing.
Lead and Rhythm are definitely in competition; not in the competitive sense, but in cancelling each other out.
These are classic and most common errors where the musicians are only focused, or only adept, at
their individual artistry and do not employ the services of a profession arranger/architect... it is classical inability to see the whole forest from their inside position.
Please accept this input as a positive observation from a professional. Your return comments are also most welcome.
Enjoyed your new website
Some years ago I was wandering past the harbour side in the town of Whitby as the sun had surrendered to the shadows, thinking about nothing in particular. I noticed a strange thing: without realising it, rather as you are falling asleep at night, I became aware that something had crept up behind me. I was walking past a public house - The Tap and Spile - a house of good , if eccentric, repute. Personally my taste is Mozart, Beethoven - that sort of thing, and I have never been one to concede to popular demand. In fact popular demand is something I have spent half a century steering well clear of. What was creeping up behind me, as I passed, was tantamount to a musical war zone: how could I resist? Of course I couldn't. So in I turned. And what did I find? I found a noise that without doubt would have made Mozart turn in his grave. (Of course it wouldn't have made Shostakovich turn in his grave - nothing would have, or ever will do.) Beirut on a bad day.
I had inadvertently stumbled upon a trio who were to become valued friends of mine, and who moreover stimulated me to build a guitar to the style of their playing. The style was that of the Italian luthier, Mario Maccaferri who, along with his apprentices, built most of the instruments for the great gypsy guitarist, Django Reinhardt - guitars and mandolins.
The trio's name is C r A z Y r H yT H m or, translated, Crazy Rhythm - Paul Hares (lead guitar), Tony Wright (rhythm guitar) and Nigel Thomson (double base.) Although deeply rooted in the traditions of Eastern European gypsy music, they also manage to embrace a wide range of interpretations of musical styles from Eastern Europe, classical, to Scott Joplin. Actually they pretty much are gypsies: they travel in a rusty white transit van, two sleeping in the back while the third drives. And listening all the time to moronic Australian (or even worse, New Zealand) soaps on the car radio. You might wonder how I know all this. Well I know it because I have had the misfortune to travel with them.
The trio have a collective age of about four hundred and ninety two. Well, of course I'm making that up, but only because it certainly seems like that when you've sat for two hours listening (or pretending to listen) to the pretentious academic music gossip of the day.
Crazy Rhythm are nomadic. They could, for example, be as at home in the Gobi desert, sitting in a tent eating lamb roasted on slim ash sticks upon a fire of the same wood, along with lots of spices, perhaps as guests of some exotic King, as equally guests of some equally exotic, if not so hospitable, nobility in the vast wastes of northern Siberia. Playing, in both cases, pieces of obscure guitar music with which neither would be familiar, yet in either case would probably be fascinated. Partly because, it has to be said, that Mario Macafferri is hardly a household name in the Gulag Archipelago, and partly because Crazy Rhythm are hardly a household word anywhere…
At least they weren't…
These days, of course, they are definitely a household word in the Elsinore on Tuesday and Wednesday afternoons. They don't play their weird mix of gypsy music there (thank God!) but there is much speaking in tongues and consuming of strong ale, which is precisely why I am there.
(Dr. Richard Wood)