(Modern Creative, Ethnic Jazz, Avant-Garde Jazz) [WEB] Thomas Kolarczyk Ensemble (Viktor Wolf, Slawek Pezda, Otto Hirte, Kuba Gudz) - Halbträume / Halbtraume (Jazz Thing: Next Generation, Vol. 72) - 2018, FLAC (tracks), lossless

auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
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Detected average lo-cut frequency: 8.726559e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 5.391412e-001
First order smothness: 3.394614e-001
Second order smothness: 6.242879e-001
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This track looks like CDDA with probability 100%
auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
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Detected average hi-cut frequency: 2.139796e+004 Hz
Detected average lo-cut frequency: 9.847490e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 3.752858e-001
First order smothness: 3.442730e-001
Second order smothness: 6.802869e-001
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This track looks like CDDA with probability 100%
auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
------------------------------------------------------------
Processing file: [temp-74DE99F1FC8DC58EB2C86288B6DB2175.wav]
Detected average hi-boundary frequency: 2.023101e+004 Hz
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Detected average hi-cut frequency: 2.104144e+004 Hz
Detected average lo-cut frequency: 2.682282e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.259871e+000
First order smothness: 4.941785e-001
Second order smothness: 4.320828e-001
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This track looks like CDDA with probability 100%
auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
------------------------------------------------------------
Processing file: [temp-5605A5C751920D706FE115202C265029.wav]
Detected average hi-boundary frequency: 2.024958e+004 Hz
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Detected average hi-cut frequency: 2.142077e+004 Hz
Detected average lo-cut frequency: 9.926737e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 3.226109e-001
First order smothness: 3.744462e-001
Second order smothness: 6.877547e-001
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This track looks like CDDA with probability 100%
auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
------------------------------------------------------------
Processing file: [temp-5F11AD6BF76045835775EDED4FC0B14A.wav]
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Detected average hi-cut frequency: 2.148705e+004 Hz
Detected average lo-cut frequency: 9.982126e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 3.042714e-001
First order smothness: 3.964059e-001
Second order smothness: 6.025370e-001
------------------------------------------------------------
This track looks like CDDA with probability 100%
auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
------------------------------------------------------------
Processing file: [temp-0419D37B553DDD8B3733EC26ABFF6AF5.wav]
Detected average hi-boundary frequency: 2.014559e+004 Hz
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Detected average hi-cut frequency: 2.137873e+004 Hz
Detected average lo-cut frequency: 4.538698e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 1.980964e+000
First order smothness: 3.194498e-001
Second order smothness: 6.331677e-001
------------------------------------------------------------
This track looks like CDDA with probability 99%
auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
------------------------------------------------------------
Processing file: [temp-C6E043A5083690BC930969BB54C6C93D.wav]
Detected average hi-boundary frequency: 2.016325e+004 Hz
Detected average lo-boundary frequency: 1.191848e+004 Hz
Detected average hi-cut frequency: 2.145299e+004 Hz
Detected average lo-cut frequency: 8.669349e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 8.512884e-001
First order smothness: 3.373373e-001
Second order smothness: 7.307307e-001
------------------------------------------------------------
This track looks like CDDA with probability 100%
auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
------------------------------------------------------------
Processing file: [temp-24243550F2CE8B24DC9B66A0F2CD05B8.wav]
Detected average hi-boundary frequency: 2.012358e+004 Hz
Detected average lo-boundary frequency: 1.263780e+004 Hz
Detected average hi-cut frequency: 2.130536e+004 Hz
Detected average lo-cut frequency: 5.997554e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 9.994982e-001
First order smothness: 3.197531e-001
Second order smothness: 6.497942e-001
------------------------------------------------------------
This track looks like CDDA with probability 100%
auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
------------------------------------------------------------
Processing file: [temp-58BF137FF9C3003C6E29B7D97C92D825.wav]
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Detected average hi-cut frequency: 2.139742e+004 Hz
Detected average lo-cut frequency: 8.589689e+003 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 7.120419e-001
First order smothness: 3.537819e-001
Second order smothness: 5.123131e-001
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This track looks like CDDA with probability 100%

https://thomaskolarczyk.wordpress.com/bio/
In recent years Berlin-based double bass player Thomas Kolarczyk has earned a reputation as a multi-faceted, genre-spanning musician and composer. His musical career started with the classical guitar, moving to playing electric bass with metal, punk and funk bands in his youth, which finally brought him to the double bass.
Until 2015 he studied double bass with Marc Muellbauer and Greg Cohen at the Jazz Institute of the Academy of Music Hanns Eisler and the University of the Arts in Berlin. In 2012, he spent half a year in Krakow, working in the Polish art, dance and improvisation scene. As a busy sideman in jazz bands including Flying Cakes, Abisko Lights, Marc Doffey Quintet, Leleka and the Gaststätte zum Heißen Hirten, he is active in the Berlin jazz scene. Another focus of his musical work lies in his collaborations with musicians from world music. He has played with the Turkish band Roye Ma, the Kurdish singer Sakina, and was a double winner of the Creole competition for world music. He plays both with classical orchestras and in opera projects, as well as in the experimental Berlin rock band The Somnambulist.
The diversity of all these musical influences finds a balance in his compositions and arrangements, some of which appeared on the debut album of his quintet in April 2018 as a part of the prestigious Jazz thing Next Generation CD series. Through his concert career, Thomas Kolarczyk has traveled widely, including trips to Liechtenstein, USA, France, Italy, China, Ukraine, and Russia.
He is also a prizewinner in numerous competitions, including Jugend Musiziert, Jugend Jazzt, Art of Improvisation, HFM Jazz Prize, Young German Jazz Award and Young Munich Jazz Prize.

https://www.challengerecords.com/products/15163548771510
It also could have been the guitar. At any rate, it was the first instrument to which the Berlin-based bassist Thomas Kolarczyk dedicated himself. But then he discovered his love for the contrabass, studied at Jazz Institut Berlin (Universität der Künste / Hochschule für Musik Hanns Eisler) and found masters in teachers such as Marc Muellbauer and Greg Cohen who introduced him to the world of deep tones, composition and complex sound design. Curious in many directions from experimental rock to urban jazz and all the way to ethnic and folk music influences, it was not difficult for Kolarczyk to find connection to different groups of musicians. Over the years, he has already won a few prizes from "Jugend jazzt" (Young people play jazz) to the "Jungen München Jazzpreis” (Young Munich Jazz Award), at times under his own name and at times as a member of other bands such as the quintet of saxophonist Marc Doffey. His path also repeatedly takes him to Poland, for instance in the shimmering cultural metropolis of Krakow where he works with several improvisation and dance ensembles. In addition, he works with Turkish co-musicians in the Ensemble Roye MA and with the singers Sakina and Hani.
These different sound and style spheres influence his own projects. A song like "Hava" has its roots in the Oriental sound space, although significantly sublimated, and "Mifida" is like a greeting from the Balkans rhythmically and in its melodic line in places. On the whole, Kolarczyk’s quintet leaves plenty of room for the combination of sprawling improvisations and motifs that do not deny their origin from folk music. This playing mixture is also continued through richly expressive playing of his partners all the way to free realms, where the transparency of the sound can also be maintained because the band dispenses with a harmony instrument. In addition to Kolarczyk, the band includes Berlin clarinetist Viktor Wolf, Berlin-based alto saxophonist Otto Hirte and tenor saxophonist Slawek Pezda from Krakow. The Polish power-drummer Kuba Gudz keeps the sound structure free for expressiveness in places with immense power.
And that is also at the center of the quintet’s debut CD "Halbträume” (Half-dreams). Because the Thomas Kolarczyk Ensemble, which also gives itself the subtitle "Musical initiative for the internationalization of the Occident”, among other things, plays with many spheres of influence, which have developed in jazz over the past decades into unique forms of expression. The power and wildness of the “free jazz” era and the creative finesse of modern jazz cultivated in all its details meet the melodic strands of the Balkans and the Orient, which in turn have developed long since into a metropolitan hybrid as a sound language. When the whole is played with the approach of the Thomas Kolarczyk Ensemble, which joins the individual mosaic pieces equally to a whole, then this is music that actually seems a bit more international than that of the Occident.
http://polish-jazz.blogspot.com/2018/10/thomas-kolarczyk-halbtraume-2018.html
This is the debut album as a leader by Polish, resident in Berlin, Jazz bassist/composer Thomas Kolarczyk, recorded in a quintet setting with clarinetist Viktor Wolf, saxophonist/flautist Otto Hirte, saxophonist Sławomir Pezda and drummer Kuba Gudz. Kolarczyk and Gudz were members of the excellent Tone Raw quartet, which recorded a superb single album back in 2012. The album presents nine compositions, seven of which are originals by Kolarczyk, one is by Gudz and one is an arrangement by Kolarczyk of a traditional tune.
The music is a wonderful modern European Jazz, mostly based on melodic themes, but very open to improvised passages and folkloristic, mostly Middle Eastern and Balkan influences. The quintet's lineup, which features three woodwind instruments and a rhythm section and no harmonic instrument, creates w beautifully transparent sound with each and every note perfectly audible. The music reflects perfectly the European Jazz esthetics, which has grown infinitely beyond the American Jazz tradition over time, preserving the basic convention of improvisation, but expanding the barriers of the musical possibilities and amalgamating European values and World traditions, revitalizing and constantly pushing the idiom further into the unknown.
The individual performances are all stellar and the album is a constant source of amazement and discovery. The unique and daring music making presented herein is way beyond what one can find on "standard" Jazz recordings, and reflects the specifics of the new, Berlin based Jazz school, which managed in the last decade or so to build a Jazz sub-culture, which is reflected by numerous recordings made by Berlin based musicians, producing definitely some of the most interesting contemporary European Jazz.
The sublime balance between melody and Free Form, straight time and no time, soloing and group improvisation are all present on this album, and add up to an irresistible sonic and intellectual experience, which has but a few equals. As such it is a must have for all modern European Jazz connoisseurs, who are open-minded and embracing enough to face and enjoy the challenge. Overall this is a tremendous debut album, which marks a giant step in the leaders career and hopefully will be followed by many more recordings, as music of such beauty and sophistication is always a revelation. Stunning stuff!
https://www.allaboutjazz.com/halbtraume-thomas-kolarczyk-ensemble-double-moon-rec...enn-astarita.php
Germany-based Double Moon Records' long-running series, "JazzThing: The Next Generation" places a spotlight on young European talent attempting to break into the modern jazz rank and file. Indeed, there have been some gems in this series of albums. Here, bassist Thomas Kolarczyk's Ensemble, comprised of German and Polish jazz artists, marks the 72nd volume, and is undeniably one of the top outings culled from this ongoing series. With a four-woodwind attack, sans the chordal component, Kolarczyk looms as a nascent visionary due to his broad jazz vernacular, while touching upon Asian and Balkan influences via his strong compositional pen and cunning arrangements.
The bassist steers traffic with profound lines and a cyclical melody on the opener, "Berlin is Full of Lonely People." However, he opens up the floor for the soloists' airy and concise phrasings amid dashes of European folk and sublime unison choruses. The band skirts nouveau chamber on occasion, but nothing too pronounced as various sub-genres impeccably morph into the progressive jazz format throughout.
The frontline dials it up a few notches, complete with briskly populated detours and peppy unison lines. Hence, Kolarczyk conveys maturity and insight as the director of operations with drummer Kuba Gudz. Moreover, the ensemble intermittently dives into the outside realm, often tinted with harmonically appealing notes, popping cadences and vivid imagery of multiple conversations transpiring at once.
"MIFIDA" is built on the hornists' whirling dervish-like statements with taut off-centered thematic expansions and hyper-mode outbreaks, as they deconstruct, rebuild and generate frisky episodes with playful overtones. "Serane" is a melancholic ballad, and the final track, "Odense" is a serene tone poem led by the bassist's sawing arco movements, and Otto Hirte's extended flute lines. Indeed, Kolarczyk and his ensemble burst out of the gate with an enduring program, intimating that a bright future is in the cards for this persuasive unit.

Viktor Wolf: clarinet, bass сlarinet
Otto Hirte: alto saxophone, flute, alto clarinet
Slawek Pezda: tenor saxophone
Thomas Kolarczyk: double bass
Kuba Gudz: drums