Today we have a real treat for you — a rare interview with Andrzej Trzaskowski, originally published in Polish “Jazz” magazine in the summer of 1965.The conversation was conducted by Jerzy Radliński, and reading it offers a unique opportunity to peer into the mind of the “brain of Polish jazz,” as Trzaskowski was once called.The interview spans a wide range of topics and, more than six decades later, remains captivating — especially when contrasted with the current state of jazz, particularly on the Polish scene.At the beginning of the conversation, Trzaskowski describes the early development of jazz in Poland between 1951 and 1956 — a period he helped shape as a member of the Melomani — as a kind of “primary school,” where style was just being discovered and technique refined solely through radio and records. He believes that during this time, Polish jazz underwent a remarkable transformation: from clumsy imitation of American artists to reaching the forefront of the European scene, evolving from exotic folklore into significant artistic music.Throughout the interview, Trzaskowski repeatedly emphasizes his fervent support for progress and modern jazz, viewing the jazz musician primarily as a creator and composer. He rejects traditional jazz as lacking creativity and advocates for subordinating emotional to formal discipline. Although he is skeptical of the notion of a “Polish school of jazz” defined by national folklore, he acknowledges that Polish jazz has a distinct identity abroad — with ensembles playing with American expressiveness but offering their own interpretation, avoiding direct imitation.He explains that the earlier reliance on American standards stemmed from the genre’s focus on improvisation and the excellence of available compositions. His drive for innovation leads him to experiment with the avant-garde and the “third stream” — an effort to renew jazz by incorporating techniques from European classical music, while ensuring that jazz’s core expressive and rhythmic identity remains paramount.Trzaskowski admits to a personal creative crisis that culminated in his debut of the free jazz concept in 1964 — designed as a way to liberate improvisation from harmonic constraints. Although many overlooked this innovation, he firmly declares that he will never simplify his complex ideas for a broader audience. He creates for an ideal listener with whom he identifies, prioritizing artistic fulfillment over popularity.

Here is an expanded, more vivid, and more polished version of your text—keeping the factual core while enriching the narrative, musical context, and emotional resonance:

Astigmatic (1966) by Krzysztof Komeda stands as one of the most groundbreaking achievements in the history of European jazz and is widely regarded as the composer’s defining masterpiece. Recorded in December 1965 at the Polish Radio studios in Warsaw, the album consists of three expansive, deeply atmospheric compositions—Astigmatic, Kattorna, and Svantetic. Each piece weaves together elements of modal jazz, free improvisation, and avant‑garde experimentation, all infused with Komeda’s unmistakable lyricism and cinematic sense of space.

With Astigmatic, Komeda made a decisive break from American jazz idioms, forging a new musical language rooted in the cultural and emotional landscape of Eastern Europe. His approach emphasized mood, texture, and narrative over virtuosic display, resulting in a sound that felt both intimate and otherworldly. The compositions unfold slowly and deliberately, balancing structural sophistication with a haunting romanticism that evokes twilight streets, shifting shadows, and the quiet tension of the unknown.

The album’s distinctive harmonic palette, unconventional forms, and emphasis on collective improvisation marked a turning point not only for Komeda but for the entire European jazz scene. Astigmatic opened the door to a uniquely European modernism—poetic, introspective, and boldly innovative. Decades later, its mysterious, nocturnal aura continues to captivate listeners and inspire musicians around the world, securing its place as one of the most influential jazz recordings ever made outside the United States.

If you’d like, I can also craft a shorter version for a playlist, a more academic version for an article, or a more poetic one for a documentary script.

Andrzej Trzaskowski was a visionary jazz pianist, bold composer, and influential musicologist who helped hape the direction of jazz behind the Iron Curtain. Known as the “brain of Polish jazz,” he fused American bebop with European avant‑garde ideas, forging a distinctly Polish jazz language despite the cultural and political constraints of communist rule.

More than a performer, Trzaskowski was the intellectual architect of the Polish jazz renaissance. He navigated three radically different musical worlds—underground jazz clubs, academic contemporary music, and the international avant‑garde—using each as a platform for subtle cultural resistance. His career unfolded across four turbulent decades: from the repressive 1950s, through the creative explosion of the 1960s and 1970s, to the martial law era of the 1980s, when his work gained new layers of symbolic meaning.

As a pianist, he blended modern jazz harmony with Slavic lyricism. As a composer, he fearlessly incorporated serialism, aleatoricism, and folk elements into jazz structures. As a critic and educator, he shaped generations of musicians and listeners, demonstrating how jazz could be both an art form and an act of intellectual defiance.

Though Trzaskowski lived only 65 years, his legacy remains a powerful testament to the enduring force of jazz. His music transcended artistic boundaries and political limitations, becoming a quiet manifesto of freedom during one of the most restrictive periods in Poland’s history.

This episode explores the life, ideas, and lasting influence of a true innovator—one whose work helped Polish jazz not only survive, but flourish.