Trumpeter Olgierd Dokalski leads Daktari, a young and modern jazz quintet with electric guitar and electric bass, an accesible and interesting band with rock and klezmer overtones.
Label: Multikulti Project
Catalog ID: MPT003
Squidco Product Code: 15227
Packaging: Cardstock 3 page foldover
Recorded live in June 2010 at Mistic Studio.
Mateusz Franczak-tenor saxophone
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1. Hiszpan 3:05
2. Zanussi 5:50
3. Afraid Of Numbers Vintage 0:47
4. Pollux 3:28
5. Belpism 3:04
6. Giborin 4:22
7. Afraid of Numbers 4:48
8. Greetings From Ashdod 0:59
9. Tesknie 5:11
10. Leaving Ashdod 6:46
Related Categories of Interest:
European Improv, Free Jazz & Related
sample the album:
"Daktari is a group of improvising musicians: Olgierd Dokalski-trumpet, Mateusz Franczak-sax, Miron Grzegorkiewicz-guitar, Maciej Szczepański-bass, Robert Alabrudziński -drums. They strive to organically combine noise-rock energy, jazz improvisation and folk songs, and get inspiration from Sonic Youth, Gastr Del Sol, Andrew Hill, Julius Hemphill or Don Cherry. Their participation in the New Jewish Music Festival in Warsaw this year was received enthusiastically. In May 2011 the group will perform in the finals of the New Tradition Festival organized by the Polish Radio Broadcasting. The songs to be presented on the Tzadik Festival 2011 are group's own compositions from their debut record 'This is the last song I wrote about Jews Vol.1.'"-Multikulti Project
"This is a debut album of band named Daktari led by young trumpeter Olgierd Dokalski accompanied by Mateusz Franczak on tenor saxophone, Miron Grzegorkiewicz on guitar, Maciej Szczepański on bass and Robert Alabrudziński on drums. One must admit that they are talented instrumentalists and bright future probably lays ahead of them. On this record they showed courage, free spirit and dedication to avantgarde music. I very much appreciate it!
However as far as music is concerned it has all typical advantages and disadvantages of debut recordings. It definitely sounds attractive, it's energetic and spontaneous. Moreover it is coherent showing that Dokalski has had clear artistic vision for Daktari: it's music is comfortably meandering between modern klezmer, noise, rock and indie pop aesthetics. It therefore may sound very attractive especially for less experienced ears of popular music lovers. I believe this may be one of the reasons why this CD got almost unanimously (for rare exception check this one by Bartek Adamczak) positive reviews all over Polish musical blogosphere. But although I share many authors sympathy for this recording I want to stress that from jazz point of view, jazz understood as improvised and free music, this recording is promising yet far from being mature, advanced or complete.
It shares all sins of recent disc ("Ghostwriter's Joke") by famous Contemporary Noise Sextet to which it is very, very similar. All that separates Daktari from CNS is its Tzadik-like Jewish-like component which is unfortunately rather duplicate and so often used all around Poland that it may be called anything but fresh and creative. In fact if I assessed Dakatari so high at the beginning of this text it's for those moments which are probably the least appreciated by artists themselves since those moments are well too rare and first of all too short. These are unhurried, unconstrained, unbound dialouges between instruments, especially between Dokalski trumpet and Grzegorkiewicz guitar, aptly counterpointed by infra-red Szczepański bass (check "Greetings From Ashood" the best track on this album). Were it not for these splendid moments I would call Daktari CNS-clone and advise to skip it..."-Polish Jazz Blogspot
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