KRZESIMIR DĘBSKI

Jazz Related Soundtracks / Third Stream / World Fusion / Jazz Related Electronica/Hip-Hop / Fusion • Poland
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KRZESIMIR DĘBSKI picture
Composer, jazz violinist, pianist, conductor, song writer, arranger born on the 26th of October 1953 in Wałbrzych

Very well known in Poland for his numerous and highly popular film scores and musical compositions for theatre plays and in great demand as a conductor and performer, Krzesimir Dębski is the father of young composer and producer Jimek (Radzimir Dębski). He studied composition and conducting at the Poznań Academy of Music. As a violinist, in the 1980s he toured Europe and North America with the celebrated "String Connection" ensemble. He is the winner of the First Prize in the International Jazz Competition in Belgium, awarded the Best Violinist and Best Arranger prizes by Jazz Forum Magazine and listed in 1985 in Down Beat Magazine as one of the ten best jazz violinists.

He has composed music for over seventy feature films and numerous TV series, including many masterpieces of Polish literature: Ogniem i Mieczem
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KRZESIMIR DĘBSKI Discography

KRZESIMIR DĘBSKI albums / top albums

KRZESIMIR DĘBSKI Debski's String Connection : Bizzaramente album cover 0.00 | 0 ratings
Debski's String Connection : Bizzaramente
Fusion 1989
KRZESIMIR DĘBSKI Debski-Vasvári Group : Back In Nang album cover 0.00 | 0 ratings
Debski-Vasvári Group : Back In Nang
World Fusion 1989
KRZESIMIR DĘBSKI Debski-Vasvári Group : Montreal Ballad album cover 0.00 | 0 ratings
Debski-Vasvári Group : Montreal Ballad
World Fusion 1991
KRZESIMIR DĘBSKI Blow Up album cover 0.00 | 0 ratings
Blow Up
World Fusion 1996
KRZESIMIR DĘBSKI Ogniem I Mieczem album cover 0.00 | 0 ratings
Ogniem I Mieczem
Jazz Related Soundtracks 1999
KRZESIMIR DĘBSKI Ogniem I Mieczem 2 album cover 0.00 | 0 ratings
Ogniem I Mieczem 2
Jazz Related Soundtracks 2000
KRZESIMIR DĘBSKI W Pustyni I W Puszczy album cover 0.00 | 0 ratings
W Pustyni I W Puszczy
Jazz Related Soundtracks 2001
KRZESIMIR DĘBSKI Golec uOrkiestra, Krzesimir Dębski : Pieniądze To Nie Wszystko (Ścieżka Dźwiękowa Z Filmu Juliusza Machulskiego) album cover 0.00 | 0 ratings
Golec uOrkiestra, Krzesimir Dębski : Pieniądze To Nie Wszystko (Ścieżka Dźwiękowa Z Filmu Juliusza Machulskiego)
Jazz Related Soundtracks 2001
KRZESIMIR DĘBSKI Stara Baśń (Kiedy Słońce Było Bogiem) album cover 0.00 | 0 ratings
Stara Baśń (Kiedy Słońce Było Bogiem)
Jazz Related Soundtracks 2003
KRZESIMIR DĘBSKI Concerto For Piano & Orchestra Plus Organismi For Piano Solo album cover 0.00 | 0 ratings
Concerto For Piano & Orchestra Plus Organismi For Piano Solo
Third Stream 2004
KRZESIMIR DĘBSKI Concerto For Flute & Orchestra plus Double Concerto For Violin, Viola & Orchestra album cover 0.00 | 0 ratings
Concerto For Flute & Orchestra plus Double Concerto For Violin, Viola & Orchestra
Third Stream 2004
KRZESIMIR DĘBSKI Krzesimir Dębski, Radzimir Dębski : Ranczo (Muzyka Z Serialu) album cover 0.00 | 0 ratings
Krzesimir Dębski, Radzimir Dębski : Ranczo (Muzyka Z Serialu)
Jazz Related Soundtracks 2011
KRZESIMIR DĘBSKI 1920 Bitwa Warszawska album cover 0.00 | 0 ratings
1920 Bitwa Warszawska
Jazz Related Soundtracks 2011
KRZESIMIR DĘBSKI Syberiada Polska album cover 0.00 | 0 ratings
Syberiada Polska
Jazz Related Soundtracks 2013
KRZESIMIR DĘBSKI Krzesimir Dębski, Łukasz Błaszczyk, Adam Bogacki, Polska Orkiestra Radiowa : Krzesimir Dębski album cover 0.00 | 0 ratings
Krzesimir Dębski, Łukasz Błaszczyk, Adam Bogacki, Polska Orkiestra Radiowa : Krzesimir Dębski
Third Stream 2015

KRZESIMIR DĘBSKI EPs & splits

KRZESIMIR DĘBSKI live albums

KRZESIMIR DĘBSKI Nihil Homine Mirabilius Symphony album cover 0.00 | 0 ratings
Nihil Homine Mirabilius Symphony
Third Stream 2004
KRZESIMIR DĘBSKI Krzesimir Dębski & Tadeusz Sudnik : Borello album cover 3.50 | 1 ratings
Krzesimir Dębski & Tadeusz Sudnik : Borello
Jazz Related Electronica/Hip-Hop 2023

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KRZESIMIR DĘBSKI Krzesimir Dębski & Tadeusz Sudnik : Borello

Live album · 2023 · Jazz Related Electronica/Hip-Hop
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snobb
My interest to music comes from my early teens, and Polish music was a huge influence during my formative period. Two years of accordion private lessons didn't impress me a lot, later I tried to become a drummer in a school band, without a significant success. My hometown, Vilnius, in Russia's occupied Lithuania wasn't a very inspiring place, with a lot of people in gray military uniforms, dark blue militiamen and civilians, wearing same gray clothes, usually silent. There was quite a lot of music on state TV and radio stations (private stations didn't exist at all at that time), but it was predominantly kitsch versions of (mostly Russian) folklore and hyper-enthusiastic Soviet propaganda-pop. Plus some classics – classics sounded especially boring for my ears.

And there was Polish Radio – one of two foreign radio stations I could listen to regularly. The other was a BBC Russian services, banned in the Soviet Union. Its signal was usually weak, but time to time it was possible to listen to their excellent Friday night radio shows, dedicated to rock music.

Differently, Polish Radio had a strong and high quality radio signal. There was lot of short talks in a language I didn't really understand, and a lot of music between the talks too. I learned my basic Polish trying to understand what the voices on the radio were talking about, and my musical aesthetics were formed under the heavy influence of music I listened to regularly on Polish Radio.

That music was similar to what I already knew, but different at the same time. Doesn't matter, what genre it was – pop, rock or even r'n'b and reggae, it sounded richer, more full-bodied, brighter, much more colorful. As a teenager, I had no idea, where this difference came from. Only later I find out, that this difference in sound (and in general aesthetics too) was the result of different arrangements. It was quite often JAZZY ARRANGEMENTS, making almost any music sound fabulous.

Some years and decades later I found the genius of Tomasz Stanko trumpet, jazz, Polish fusion and many more. But even now, from almost half-a-century time distance, Poland for me is a land where all music sounds jazzy. Crossing the country by car, every time I impatiently wait for the moment when my car's radio is able to catch the first possible Polish radio station – almost always I get that very specific soulful, sometimes slightly melancholic jazzy sound of Poland, doesn't matter who plays.

It's a shame on me. I didn't know before who Krzesimir Dębski and Tadeusz Sudnik are. True, I knew Polish fusion stars from the 80s, The String Connection, and I knew Stanko's Freelectronic project, but I never knew the names of both band's members. As a foreigner, I knew even less about Krzesimir Dębski's films soundtracks and classical works. Then, two Polish jazz seasoned artists' new work comes for me as a discovery of sort.

Listening to a lot of jazz (hundreds of albums annually) for a few decades, it's not a regular situation when you start listening to a new album of seasoned artists without expectations, you are not familiar with their music and simply don't know what to expect. It's quite a good thing, history teaches us that expectations often lead to disappointments.

So, Krzesimir Dębski and Tadeusz Sudnik Borello, present a comeback album after long pause. Four longish (between 9+ and almost 15 minutes long) free form compositions, recorded by a duo of violinist/keyboardist and a live electronics wizard. The music which could be formally tagged as “jazz-electronica” has nothing in common with New Millennium jazz related electronica, like played by Squarepusher or Flying Lotus. With an absolute dominance of analog sound, this album's electronics are much closer to American composer and early Moog player Richard Teitelbaum's music.

Album's opener, “Borro”, dedicated to Tomasz Stanko, sounds very much as a variation of early Miles abstract fusion, with Dębski's violin soloing instead of trumpet. Warm and tuneful, this song sounds very much as if had been composed, not fully improvised. “Rebo”, the album's longest piece, is of a more amorphous nature, centered around vintage electronic rhythms. Quite relaxed though.

“Lerro” is a mid-tempo song with violin soloing over the (warm) synth loops and bubbles, in moments quite unpolished and almost nervous. “Rero”, the closer, same way as a previous piece, sounds more improvised, freer than the first two album's songs. Still, there are lot of tuneful snippets and emotively colored violin.

Not really a revolutionary album, still it's a very impressive standing alone work of two masters. Maturity, knowledge of the past world without even traces of sentimental melancholy, and that soulful jazzy feel so important for Polish jazz. Bravo!

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