Top Polish pianist's escape to the home of jazz
BY MAUREEN HURLEY
At the Russian River Jazz '82 music festival, world-renowned Polish pianist Adam Makowicz made his Sonoma County debut to an enthusiastic audience of nearly 1000 Sept. 12. Billed for the past five years as Europe's number one jazz pianist, and chosen by America's jazz bible Downbeat international critics poll in 1979, Makowicz is making huge inroads on American audiences coast to coast and the Jazz '82 audience was no exception.
A recent emigreé to the United States, Czechoslovakian-born Makowicz lives with his wife in New York. He describes himself as a country boy used to open spaces and villages living in the middle of Manhattan. He emigrated to the US from Poland nearly five years ago because, the wholesome-looking, blond haired pianist said with a twinkle in his blue eyes, "America is the home of Jazz!"
"Jazz is now very popular in the eastern block countries, but the government does not want to keep jazz alive. They don't condemn it anymore, but they're like parents who say, don't go and listen to jazz. It's bad for you.' And of course, you will go and listen-because they tell you not to...In this way the government is actually doing well for jazz.
Makowicz studied classical piano from the age of nine until he was 17. While listening to the underground radio, he heard American jazz, on Voice of America, a part of the Music USA program broadcasting the music of Art Tatum, Herbie Hancock, Chick Corea and others. What he heard profoundly changed his life and he was diverted from classical piano to jazz.
At the Russian River Jazz '82 music festival, world-renowned Polish pianist Adam Makowicz made his Sonoma County debut to an enthusiastic audience of nearly 1000 Sept. 12. Billed for the past five years as Europe's number one jazz pianist, and chosen by America's jazz bible Downbeat international critics poll in 1979, Makowicz is making huge inroads on American audiences coast to coast and the Jazz '82 audience was no exception.
A recent emigreé to the United States, Czechoslovakian-born Makowicz lives with his wife in New York. He describes himself as a country boy used to open spaces and villages living in the middle of Manhattan. He emigrated to the US from Poland nearly five years ago because, the wholesome-looking, blond haired pianist said with a twinkle in his blue eyes, "America is the home of Jazz!"
"Jazz is now very popular in the eastern block countries, but the government does not want to keep jazz alive. They don't condemn it anymore, but they're like parents who say, don't go and listen to jazz. It's bad for you.' And of course, you will go and listen-because they tell you not to...In this way the government is actually doing well for jazz.
Makowicz studied classical piano from the age of nine until he was 17. While listening to the underground radio, he heard American jazz, on Voice of America, a part of the Music USA program broadcasting the music of Art Tatum, Herbie Hancock, Chick Corea and others. What he heard profoundly changed his life and he was diverted from classical piano to jazz.
Since jazz isn't encouraged or taught in eastern block countries, Makowicz said, "1 learned by listening. I studied by myself by listening to the radio and records. Jazz taught me how to improvise. First, you have to know music. I understood from my classical training chords, harmonics, and techniques, and I applied what I knew to what I learned."
What he was doing on the piano wasn't in tune with state-approved traditional music. In Soviet countries only state-approved arts are encouraged and what is accepted is nationalized art based upon traditionally set standards.
Makowicz continued, "During Stalin's time, jazz, all art that wasn't considered traditional, was repressed. In 1956, after Stalin died, there was much more freedom. Music— jazz was even played in schools but the emphasis was on traditional jazz, not free jazz.
"Jazz is now very popular in the eastern block countries, bur the government doesn't want to keep jazz alive." Ruefully smiling, Makowicz added, "They don't condemn it anymore, but they're like parents who say don't go and listen to jazz. It's bad for you." And of course, you will go and listen because they tell you not to. Isn't that always the way with children, to rebel? In this way the government is actually doing well for jazz."
"I want to have the freedom to play the music I want where I can live, stay, and play. I want to play music for myself."
Makowicz left Poland after 15 years after residing in Switzerland and West Germany for a short time. He said there was no problem in leaving Poland. No one tried to stop him from emigrating, but it was much easier on an artist then than now:
"I can't go back to Poland now with martial law in effect. In Poland, there would be strikes all 'the time without the repression of martial law and the government wouldn't work. The government wants power and is running the country, which is fine for running a country but it's no place for an artist to be," Makowicz stated.
Many Polish artists have immigrated to Europe and America, such as the 1980 Nobel Prize poet, Czesław Miłosz. Today's Polish leaders are supportive of the USSR and consequently it is much more difficult to leave or visit. Makowicz has a 17-year-old daughter by his first wife whom he doesn't even know.
"Now, all our letters are censored. We get no information about what's happening there," he concluded. Poland is not supportive of the contemporary jazz scene of which Makowicz is an integral part, and he feels that Europe is much more accepting of contemporary jazz than America. Most Americans want to hear traditional jazz but that seems to be slowly changing.
Contemporary jazz is starting to appeal to larger audiences due to its fusion with rock music and ultimately, that will be good for jazz. The problem of not having a name, no matter how good a musician is, is a real detriment in America, Makowicz feels.
"Many artists, not nationally known, need to seek out an audience." Makowicz suggested that musicians should go to another country if need be.
"I like American audiences. But in Europe, it is easier for them to recognize talent, especially from outsider. Because I come from Europe, it is easier for me to be recognized."
Makowicz found the setting of the Russian River beautiful, but a distracting place to perform in. For the Jazz '82 concert he used other musician's arrangements, such as Charlie Parker's melodies, because those are the kinds of pieces the crowds want—and expect to hear.
Makowicz prefers to play indoors and perform his own compositions. He thinks his own work would not come off as well in an outdoor setting. He likes playing at colleges because he feels students are more receptive to new music. Even so, he is very supportive of jazz on the River. He said he had heard about it through several other musicians and it was highly recommended.
Makowiez currently has three albums out, Jazz Adam, from Columbia, From My Window, Choice, and Classic Duo with George Mras, Stash. Two more records are soon to be released.
"I miss Poland, but I'm not homesick. I want to be able to go back and be free to stay or leave anytime 1 want. I want to have the freedom to play the music I want where I can live, stay, and play. I want to play music for myself."
As the poet laureate Czesław Miłosz penned it, "We so firmly believe it had come true: Our vocation, our very first calling" has indeed come true for Adam Makowicz.
SIDEBARS
MAVIS & MATT
This is Mavis Rivers' third time at the Russian River Jazz concerts. The Polynesian vocalist said, "It's like coming home. The audience is very receptive towards me." She was born in West Samoa, and her father had a band so she was exposed to jazz at an early age. When they moved to New Zealand, she had her own jazz program.
What influenced Rivers most was the horn. "I wanted to sing like a horn. I listened to the changes it made and copied the sounds."
Mavis Rivers' son Matt of the Catingub Quartet, considered one of the up and coming saxophone players internationally, said, "The Russian River is one of the happiest atmospheres to play music in. It's a neat setting. I really enjoy the quaint little town. I hope the festival keeps going. I plan to be back next year."
DON HASS
Pianist Don Hass, currently with the Mundell Lowell Quartet, said the crowds were more reserved this year, and didn't loosen up until Sunday afternoon. The pianist, who has played for the likes of Benny Goodman and Sammy Davis Jr., said, "More people are interested in jazz these days. Its return to popularity is due largely to rock music. Stevie Wonder, Herbie Hancock, Santana, all helped the music fit larger audiences. Jazz-fits easier into synthesis."
He concluded, "People are scared by terminology. It’s called jazz, they think they won't understand or like it." Matt Catingub added, "For a while, jazz faded. Music became arty. It got away from listeners' ears and became esoteric. I think fusion music has helped to bring it back."
What he was doing on the piano wasn't in tune with state-approved traditional music. In Soviet countries only state-approved arts are encouraged and what is accepted is nationalized art based upon traditionally set standards.
Makowicz continued, "During Stalin's time, jazz, all art that wasn't considered traditional, was repressed. In 1956, after Stalin died, there was much more freedom. Music— jazz was even played in schools but the emphasis was on traditional jazz, not free jazz.
"Jazz is now very popular in the eastern block countries, bur the government doesn't want to keep jazz alive." Ruefully smiling, Makowicz added, "They don't condemn it anymore, but they're like parents who say don't go and listen to jazz. It's bad for you." And of course, you will go and listen because they tell you not to. Isn't that always the way with children, to rebel? In this way the government is actually doing well for jazz."
"I want to have the freedom to play the music I want where I can live, stay, and play. I want to play music for myself."
Makowicz left Poland after 15 years after residing in Switzerland and West Germany for a short time. He said there was no problem in leaving Poland. No one tried to stop him from emigrating, but it was much easier on an artist then than now:
"I can't go back to Poland now with martial law in effect. In Poland, there would be strikes all 'the time without the repression of martial law and the government wouldn't work. The government wants power and is running the country, which is fine for running a country but it's no place for an artist to be," Makowicz stated.
Many Polish artists have immigrated to Europe and America, such as the 1980 Nobel Prize poet, Czesław Miłosz. Today's Polish leaders are supportive of the USSR and consequently it is much more difficult to leave or visit. Makowicz has a 17-year-old daughter by his first wife whom he doesn't even know.
"Now, all our letters are censored. We get no information about what's happening there," he concluded. Poland is not supportive of the contemporary jazz scene of which Makowicz is an integral part, and he feels that Europe is much more accepting of contemporary jazz than America. Most Americans want to hear traditional jazz but that seems to be slowly changing.
Contemporary jazz is starting to appeal to larger audiences due to its fusion with rock music and ultimately, that will be good for jazz. The problem of not having a name, no matter how good a musician is, is a real detriment in America, Makowicz feels.
"Many artists, not nationally known, need to seek out an audience." Makowicz suggested that musicians should go to another country if need be.
"I like American audiences. But in Europe, it is easier for them to recognize talent, especially from outsider. Because I come from Europe, it is easier for me to be recognized."
Makowicz found the setting of the Russian River beautiful, but a distracting place to perform in. For the Jazz '82 concert he used other musician's arrangements, such as Charlie Parker's melodies, because those are the kinds of pieces the crowds want—and expect to hear.
Makowicz prefers to play indoors and perform his own compositions. He thinks his own work would not come off as well in an outdoor setting. He likes playing at colleges because he feels students are more receptive to new music. Even so, he is very supportive of jazz on the River. He said he had heard about it through several other musicians and it was highly recommended.
Makowiez currently has three albums out, Jazz Adam, from Columbia, From My Window, Choice, and Classic Duo with George Mras, Stash. Two more records are soon to be released.
"I miss Poland, but I'm not homesick. I want to be able to go back and be free to stay or leave anytime 1 want. I want to have the freedom to play the music I want where I can live, stay, and play. I want to play music for myself."
As the poet laureate Czesław Miłosz penned it, "We so firmly believe it had come true: Our vocation, our very first calling" has indeed come true for Adam Makowicz.
SIDEBARS
MAVIS & MATT
This is Mavis Rivers' third time at the Russian River Jazz concerts. The Polynesian vocalist said, "It's like coming home. The audience is very receptive towards me." She was born in West Samoa, and her father had a band so she was exposed to jazz at an early age. When they moved to New Zealand, she had her own jazz program.
What influenced Rivers most was the horn. "I wanted to sing like a horn. I listened to the changes it made and copied the sounds."
Mavis Rivers' son Matt of the Catingub Quartet, considered one of the up and coming saxophone players internationally, said, "The Russian River is one of the happiest atmospheres to play music in. It's a neat setting. I really enjoy the quaint little town. I hope the festival keeps going. I plan to be back next year."
DON HASS
Pianist Don Hass, currently with the Mundell Lowell Quartet, said the crowds were more reserved this year, and didn't loosen up until Sunday afternoon. The pianist, who has played for the likes of Benny Goodman and Sammy Davis Jr., said, "More people are interested in jazz these days. Its return to popularity is due largely to rock music. Stevie Wonder, Herbie Hancock, Santana, all helped the music fit larger audiences. Jazz-fits easier into synthesis."
He concluded, "People are scared by terminology. It’s called jazz, they think they won't understand or like it." Matt Catingub added, "For a while, jazz faded. Music became arty. It got away from listeners' ears and became esoteric. I think fusion music has helped to bring it back."
Hass also attributes the resurgence of jazz to music programs in colleges and universities. "They're encouraging people to play jazz and getting them interested in improvisation. That's what jazz is about, improvising."
WOODY HERMAN
Woody Herman at 78 is still way ahead of the Thundering Herd. He and his band just came down from Oregon and are off to the Monterey Jazz Festival next weekend. Like migrant birds, most of the musicians at Jazz '82 travel nonstop from one festival to another. Born in Milwaukee, of Polish emigreé parents, Herman became a reed player when he moved to San Francisco's North Beach in 1931. He said the Russian River was familiar ground.
"I've been coming up to the River to jam with other musicians since the thirties." Herman has his own nightclub in New Orleans and plays there eight months of the year.
He said New Orleans is more into traditional jazz, but at least contemporary jazz is accepted there. "After all, it's the home of jazz!" Herman's parting words were, "As Stravinsky and Duke Ellington said it, 'There's two kinds of music. Good music and bad music."
HOP-A-LONG ALBY
Alby Cass and wife Wally weren't about to risk burned noses after two days of exposure to jazz.
Note bene: Added 2024, add photos? If they weren’t also stolen by S. Gross, that is… hard to believe that I wrote this, and that I wrote it before the Internet. I knew squat about jazz. So I’ve included links for further reading.
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