(Post-Bop, Third Stream, Ethnic Jazz, Vibraphone) [CD] Jerzy Milian Trio - Bazaar (Bazaar) (Polish Jazz Vol.17) - 1969 (2017), FLAC (tracks+.cue), lossless

https://en.wikipedia.org/wiki/Jerzy_Milian
Jerzy Stanisław Milian (April 10, 1935 – March 7, 2018) was a jazz musician, painter, composer and vibraphonist. At sixteen he graduated from the Secondary School of Music in Poznan. His teachers were Wolfram Heicking and Bogusław Schaeffer.
In the years 1953-1955 formed a quintet with Stanisław Chwiłkowski, Ryszard Czaplicki, Jerzy Piątek and Stanisław Lisek. In the years 1956-1958 he played vibraphone in the sextet Krzysztof Komeda, and at the turn of 1959 and 1960 in the Jan Ptaszyn Wróblewski's Quintet. He was the director and artistic director of the Orchestra of Polish Radio and Television Services Entertainment in Katowice and lecturer at the Poznan Academy of Music. He participated in many jazz festivals (including Jazz Jamboree).
He was a jury member at the Soviet Song Festival in Zielona Gora, The XII Soviet Song Festival, in 1976.
https://culture.pl/en/artist/jerzy-milian
A composer, vibraphonist, pianist, arranger and one of the most original figures of the Polish jazz scene from the 60’s.
Born in 1935 in Poznań, he graduated from the piano class at a 2nd grade music school to continue his musical education at Hochschule fur Musik in Berlin and at private classes with Bogusław Schaeffer or Wolfram Heicking.
In 1954 Milian met Krzysztof Komeda and two years later he gave up the piano to join his sextet as a vibraphonist. The two musicians had a great success at the International Jazz Festival in Sopot in 1956.
When the band fell apart, Milian stayed in Poznań, where initially he performed with radio bands. As a composer and arranger he took part in numerous recordings and concerts, and in 1965 he started his collaboration with the radio orchestra of the Belgian BRT radio. The experience inspired him to set up the Orkiestra Rozrywkowa (Light Orchestra) of the Polish Radio and TV in Katowice along with choreographer Konrad Drzewiecki.
Remaining aside from the main jazz scene, Milian would had almost been forgotten, if it were not for the discovery of his recordings from the late 60’s and late 70’s by the young generation of musicians bound with modern dance music. The original editions of his older albums became more and more expensive and samples from his pieces appeared on many contemporary electronic music.
Milan’s latest albums: Ashkhabad Girl and Milianalia were recorded in the renowned studio of Obuh Records and released also on vinyl, bringing the artist excellent reviews and the renaissance of his work.
Jerzy Milian passed away on 7th March 2018.

Jerzy Milian came to the fore as a jazz musician with the Krzysztof Komeda Sextet (Sekstet Komedy) and appeared with Komeda at the 1956 Sopot Jazz Festival and on a 10” LP issued by Muza, Festiwal Jazzowy – Sopot 1956 Kronika Dźwiękowa. (The full performance can be heard on Jazz 56: I Ogólnopolski Festiwal Muzyki Jazzowej, Sopot 1956, a 3CD set released in 2017. Also worth checking out is Jazz 57: II Festiwal Muzyki Jazzowej, Sopot, Gdansk 1957 (2007) which includes seven cuts from the following year’s festival and Komeda Gra Standardy (2009), featuring other performances from 1956 and ’57.) Following the sextet’s break-up, Milian co-led a quintet with Jan ‘Ptaszyn’ Wróblewski and appeared on three Jazz Jamboree discs (1960, ’64, ’65), but it was some years before he got a chance to make his first solo album. Milian, who’d been encouraged by Komeda to switch from piano to vibraphone, had wide-ranging musical interests and his output includes scores for ballet, film and conventional big bands. Although he was attracted to serialism, Third Stream and free jazz, more accessible forms of music are not hard to find and his work has been sampled by younger musicians and anthologised in the Fonoteka series, on Polish Funk Vol. 1 and Cosmic Sounds’ Rare Jazz/Fusion Gems from Polish Vaults Vol. 1. Since 2012, GAD Records has released a number of collections under the Jerzy Milian Tapes heading. He died in March 2018, a fortnight before this entry was written.
Baazaar features his trio, formed in 1966, with guest appearances from two members of the Novi Singers, Ewa Wanat and Janusz Mych (here playing flute). There are the occasional outish spots – most notably ‘Serial Rag’, which is self-explanatory, and ‘Bazar W Aszchabadzie (Ashkabad Bazaar)’, where Jacek Bednarek takes to the gidjak, a long-necked fiddle from central Asia – but listeners accustomed to modern jazz from bop to post-bop should have no trouble accommodating the rest. The opening number, ‘Memory of Bach’, written by Komeda, sounds like something John Lewis might have knocked together in one of his Baroque moods, while Milian’s solo scans a few pages from the Milt Jackson rulebook. ‘My Favourite Band’ has a fast intro and outro but its long central portion is the dreamiest of dreamy lounge jazz with Wanat’s vocal just striking the right insubstantial notes. Milian switches to marimba for the percussive ‘Rewelacyjny Luciano (Sensational Luciano)’ which has Grzegorz Gierłowski laying down a loose rock beat. But, again, the middle portion is different and rather thrilling post-bop. Milian’s openness to music beyond jazz is shown on ‘Szkice Ludowe (Folk Sketches)’, though folk is only one of its components. Wanat sounds much like the great Norma Winstone here and does well to cope with the music’s fragmentary structure, if structure’s the right word. She’s given a steadier time of it on ‘Tempus Jazz 67’, the album’s most famous track and another bout of glorious lounge jazz, with a stunning main melody. Unsurprisingly, it’s been anthologised on both Fonoteka 1 and Rare/Jazz Fusion Gems. The record heads out with the, by now, predictably changeable ‘Valse Ex Cathedra’, where Bednarek’s bowed intro recalls the great David Izenzon. But once the trio and Wanat kick in we have some pleasant toying with blues-bop before Milian dashes off a few abstract flurries to bring it to a halt.
Though clearly a jazz record, Baazaar covers a broad range of musical strategies, sometimes within the course of a single piece. But I don’t get any sense of Milian hedging his bets. Rather, the music’s irregular because it matches the leader’s irregular outlook. Baazaar needs a bit of patience – the listener can come unstuck if they take it all to be like the opening piece: a kind of quasi-MJQ thing. But it is worth it and, at the very least, may spark interest in Milian’s other records. After this one, I’d move on to 1975’s Orkiestra Rozrywkowa PRiTV W Katowicach. If you can find it (it was limited to 500 copies) Milian 80 (2015) samples the years 1956-2004 and provides a useful and entertaining cross-section of his work.
http://polish-jazz.blogspot.com/2014/12/jerzy-milian-trio-bazaar-polish-jazz.html
This is a newly remastered reissue of the debut album by Polish Jazz vibraphonist/composer Jerzy Milian, which was originally released in 1969 as part of the legendary Polish Jazz Series by the state owned Polskie Nagrania/Muza label. The album was recorded in a trio format, with Milian playing vibraphone and marimba, bassist Jacek Bednarek (who also plays the oriental gidjak on one tune) and drummer Grzegorz Gierłowski. Two members of the legendary Polish vocal quartet NOVI: Ewa Wanat (who adds vocals on five tracks) and Janusz Mych (who adds flute on one track) also participate in the recording. The original album presents eight original compositions, seven of which are composed by Milian and one is co-composed by him and Krzysztof Komeda. This expanded edition adds four tracks, recorded couple of years earlier for the Polish Radio, two of which are his original compositions, one is his arrangement of a Kurt Weil song and another is his arrangement of a Frederic Chopin nocturne.
Milian, who started his career on the Polish Jazz scene about fifteen years before this album was recorded, first came into prominence as a member of several ensembles led by Krzysztof Komeda. It was Komeda who persuaded Milian to drop the piano as his main instrument and switch to the vibraphone, thus enabling him to become a member of his ensembles. Later on Milian developed a prolific international career as a vibraphonist and as a composer, being one of the best known Polish Jazz musicians outside of Poland. Many of his achievements are documented by the ongoing archival "Jerzy Milian Tapes" series released by GAD Records, which also released this reissue.
In retrospect this is definitely one of the most idiosyncratic albums in the Polish Jazz Series, presenting one of the first occurrences of the Polish/European Chamber Jazz, which was an amalgam of modern Classical and Cool Jazz elements with many different less audible influences, like early World Music, Free Jazz, Ambient (before it was even called that) and others. The vocal parts by Wanat are completely spine-chilling, typical of her brilliant and unique style, which was the crucial ingredients of the NOVI magnetism. It is definitely a must to all Polish Jazz enthusiasts, wherever they might be on this globe (and beyond).
This album was already reissued a decade earlier, without the bonus tracks, but the entire run of CD reissues (incomplete by the way) of the original Polish Jazz Series LPs disappeared immediately after being released. The fact that these recordings are unavailable is shameful, and a sad testimony to the fact that State owned Cultural treasures are simply being disgracefully completely wasted!