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Lambinet / Palosz / Sokolowski / Szuszkiewicz / Ziporyn: Musiquette. Improvisations on Gorecki (Bolt)

Recording in the Polish Radio studio, the quintet of Evan Ziporyn on clarinets, Adrien Lambinet on trombone, Mikolaj Palosz on cello, Kuba Sokolowski on piano and Kamil Szuszkiewica on trumpet improvise on the compositions "Musiquette IV op. 28" and "Lerchenmusick op. 53" by H. M. Gorecki using conceptual approaches to his scores.

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product information:

Label: Bolt
Catalog ID: BR 1045
Squidco Product Code: 25324

Format: CD
Condition: New
Released: 2017
Country: Poland
Packaging: Cardboard Gatefold
Recorded at the Polish Radio Studios, in Warsaw, Poland, on September 22nd, 23rd and 24th, 2017, by Ewa Guziolek-Tubelewicz.


Evan Ziporyn-clarinet, bass clarinet, artistic director

Adrien Lambinet-trombone

Mikolaj Palosz-cello

Kuba Sokolowski-piano

Kamil Szuszkiewicz-trumpet

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Artist Biographies:

"Evan Ziporyn (b. 1959, Chicago) makes music at the crossroads between genres and cultures, east and west. He studied at Eastman, Yale & UC Berkeley with Joseph Schwantner, Martin Bresnick, & Gerard Grisey. He first traveled to Bali in 1981, studying with Madé Lebah, Colin McPhee's 1930s musical informant. He returned on a Fulbright in 1987.

Earlier that year, he performed a clarinet solo at the First Bang on a Can Marathon in New York. His involvement with BOAC continued for 25 years: in 1992 he co-founded the Bang on a Can All-stars (Musical America's 2005 Ensemble of the Year), with whom he toured the globe and premiered over 100 commissioned works, collaborating with Nik Bartsch, Iva Bittova, Don Byron, Ornette Coleman, Brian Eno, Philip Glass, Meredith Monk, Thurston Moore, Terry Riley and Tan Dun. He co-produced their seminal 1996 recording of Brian Eno's Music for Airports, as well as their most recent CD, Big Beautiful Dark & Scary (2012).

Ziporyn joined the MIT faculty in 1990, founding Gamelan Galak Tika there in 1993, and beginning a series of groundbreaking compositions for gamelan & western instruments. These include three evening-length works, 2001's ShadowBang, 2004's Oedipus Rex (Robert Woodruff, director), and 2009's A House in Bali, an opera which joins western singers with Balinese traditional performers, and the All-stars with a full gamelan. It received its world premiere in Bali that summer and its New York premiere at BAM Next Wave in October 2010.

As a clarinetist, Ziporyn recorded the definitive version of Steve Reich's multi-clarinet NY Counterpoint in 1996, sharing in that ensemble's Grammy in 1998. In 2001 his solo clarinet CD, This is Not A Clarinet, made Top Ten lists across the country. His compositions have been commissioned by Yo-Yo Ma's Silk Road, Kronos Quartet, American Composers Orchestra, Maya Beiser, So Percussion, Wu Man, and the Boston Modern Orchestra Project, with whom he recorded his most recent CD, Big Grenadilla/Mumbai (2012). His honors include awards from the Massachusetts Cultural Council (2011), The Herb Alpert Foundation (2011), USA Artists Walker Fellowship (2007), MIT's Kepes Prize (2006), the American Academy of Arts and Letters Goddard Lieberson Fellowship (2004), as well as commissions from Meet the Composer/Commissioning Music USA and the Rockefeller MAP Fund. Recordings of his works have been been released on Cantaloupe, Sony Classical, New Albion, New World, Koch, Naxos, Innova, and CRI.

He is Kenan Sahin Distinguished Professor of Music at MIT. He also serves as Head of Music and Theater Arts, and this year was appointed Inaugural Director of MIT's new Center for Art Science and Technology. He lives in Lexington, Massachusetts with Christine Southworth, and has two children, Leonardo (19) and Ava (12)."

-Evan Ziporyn Website (

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"Adrien Lambinet was born on April 20, 1979. After a classical course in Academy of Music, he is the winner of the Axion Classics contest. He pursued higher musical studies at the Royal Conservatories of Mons, then of Liège and obtained his advanced degrees of chamber music, trombone in the class of Alain Pire and methodology of the trombone.

Following encounters with strong personalities of the music such as Jean-Pierre Peuvion, Garrett List, Michel Massot..., it shows a strong interest for the music of the 20th and 21st centuries. He participates in many projects of Chamber Music in the class of J- P Peuvion , including Correspondances of V. Globokar , works of Scelsi , Rzewsky , Pousseur ,... He also practices improvised music, and has followed the teaching of Garrett List at the Royal Conservatory of Liège.

His affinities for the current music are exploited during collaborations with Musiques Nouvelles , Ictus , the Garrett List Ensemble.

Alongside this passion for contemporary music, he plays in several productions of Belgian orchestras (Liège Philharmonic Orchestra, the Royal Opera of Wallonia).

He participated in several shows mixing music and theater, including The jump of the angel, children's show created in 2006 by the Theater Mâât (tours in Belgium, France, Portugal, Wales, Poland, Canada), The Master of the World ( Coy the Dream Runners ), Armageddon ( Art Zoyd-New Music ), Kasimir and Karoline ( National Theater ), The Opera-Firefighter ( Cultural Center of Walloon Brabant ), Crac Boum Street , mini street fanfare for which he composes.

It exploits gender diversity within the Klezmic Zirkus quintet , mixing traditional klezmer music with jazz, rock, reggae. This group is supported by RTBF's show Le monde est un village and in 2007 released the album Vitamine K at A second album is planned for the end of 2009.

Adrien Lambinet continues his exploration of sound with the D uo Abysses for which he composes together with clarinetist Aurélie Charneux."

-Musique Nouvelles (

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"MIKOŁAJ PAŁOSZ, freelance cellist, improviser and composer, specializing in contemporary and avant-garde music performance. Mikołaj studied at the Chopin Academy of Music in Warsaw. He won prizes at international music competitions including the Penderecki International Contemporary Chamber Music Competition in Cracow and the Lutosławski International Cello Competition in Warsaw. He appears regularly at the Warsaw Autumn, the Wrocław Musica Polonica Nova festivals, and the Composer's Portraits series in Warsaw. As a member of Netherlands-based Cello Octet Conjunto Iberico he has toured throughout Europe, USA, Mexico and South America. Mikołaj Pałosz is permanent member of the Warsaw Cellonet Group directed by Andrzej Bauer. His solo album Cellovator sponsored by the Polish Minister of Culture Young Poland scholarship program featuring contemporary compositions and improvisation was released in 2008 by DUX label. A recording of Mikołaj is included on a CD featuring the most inspiring music recorded recently in Poland described in the 7/2010 issue of the WIRE magazine. Together with saxophonist Ray Dickaty and drummer Paweł Szpura he forms the improvising trio Osaka Vacuum."

-Mikolaj Palosz Website (

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Kuba Sokołowski is a Polish jazz pianist and keyboardist, known for the group Magnolia Acoustic Quartet.

-Squidco 7/8/2019

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"Kamil Szuszkiewicz: Composer and trumpeter associated with jazz and improvisation. A member of Zebra's ensembles Mit, Professionalism and Trifonidis and WIO orchestras; often plays with other Warsaw musicians (Wojtek Traczyk, Hubert Zemler). He has two original albums ("Istina" and "Robot Czarek") and many group albums.

Kamil Szukiewicz was born in 1982 in Olsztyn, where he began learning to play the trumpet. Then in Warsaw he graduated from the Jazz Department of the State Music School. Fryderyk Chopin. He developed his skills at master classes as part of the School of Improvisational Music in Rome, Warsaw and Katowice (Ralph Alessi class). Szuszkiewicz was a scholarship holder of the Ministry of Culture and National Heritage and the laureate of the first Creations / Clashes prize at the Art of Improvisation festival in Wrocław (2013). As a soloist and leader of the team record in factories Lado ABC ( 16'25 " ) Bolt Records ( " Robot Czarek " ) , Wounded Knife ( " Istina " , " Bugle Call and Response ") and Slowdown Records ( "Prolegomena" ), composed of solo to nonet, with the participation of electronics, synthesizers, percussion, singing, saxophones and piano. In 2007, Szuszkiewicz founded the Kapacitron link group opens in a new window , and in 2015 Zebra a Mit, and plays with Works & Days Ensemble, the Warsaw Improvisers Orchestra, Mitch & Mitch and the Warsaw Orchestra of Entertainment.

Kamil Szuszkiewicz most often cooperates with musicians such as Arturas Bumšteinas, Piotr Dąbrowski, the link opens in a new window by Ray Dickaty , Wojciech Kwapisiński, Marcin Masecki , Wojtek Traczyk, Piotr Zabrodzki and Hubert Zemler , but also has joint performances with . Piotr Bejner, Jakub Cichocki, Olgierd Dokalski, Tomasz Duda, Fred Frith, Marcin Gańko, Jan Jelinek, the link opens in a new window by Hillary Jefferym , Adam Kamissoko, Iza Kowalewska, Piotr Kurek, Zivem Ravitz, Rafał Sarnecki, Wojciech Sobura, Tadeusz Sudnik , Marcin Ułanowski and Wolfram. Szuszkiewicz in various compositions played at numerous festivals in Poland (Open'er in Gdynia, Unsound in Krakow, Codes in Lublin, WRO and Art of Improvisation in Wrocław, Malta in Poznań, Warsaw Autumn and Lado in the City, Peninsula of New Music in Wigry) and abroad (Virtual Memories and Jauna Muzika in Vilnius, Berlin Biennale). In the capital, it was most often heard in Tygmont, Eufemia, Pardon To Tu, Clouds, Magnification and Sklot, as well as in POLIN, NInA or Teatrów: Powszechny and Studio. [...]" (

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track listing:

1. Musiquete 12:57

2. Old Gold 21:17

3. Lark 8:46

4. Parliament 9:10

sample the album:

descriptions, reviews, &c.

"We began with performing the original work, then we played a certain conceptual game. We imagined landing on a strange planet and trying to recreate "Lerchenmusik" without access to any notes and recordings. We attempted to answer the question about what was truly important for us in the piece. On the third day, we didn't think about the original score trying to recreate what we had performed 24h earlier. It became a sort of Chinese whispers.

Since the beginning, I detected great improvisational potential in Gorecki's pieces, even though they are perfect and complete entities and I see no contradiction here. Modern societies put great stock in defining roles and putting up clear borders. Throughout history, however, creative musicians all over the world have built on the work that came before them. They did this in a direct or veiled manner, with or without the knowledge or approval of the original creator. Standard classical interpretation itself can be seen as a manifestation or at least a remnant of prior practice. Let's look at the tropes of Perotinus, all the way through Liszt's elaborations, Stravinsky's "Pulcinella" or Berio's "Sinfonia".-Evan Ziporyn

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