KRIS GIETKOWSKI

Multi-instrumentalist Kris Gietkowski was born in Poland, but for the last twelve years or so he has lived in Horsham in Surrey (strangely enough, just down the road from where I used to live in Dorking). He started his musical career by covering other band's material, notably Egg, but since then he has been spreading his wings and this is his latest instrumental release, featuring original compositions. Perhaps unsurprisingly, given his earlier endeavours, this is music which sounds as if it could have come out of the Canterbury scene some fifty years ago, and for this release he has been joined by drummer Jake Naugle while he provides keyboards, bass and guitar.

The two longest songs bookend the album, but with only two of the five under nine minutes in length there is plenty of time to get inside the music, which is best listened to on headphones. Kris only started using guitar on his last album, and of all the instruments it is the most restrained in it usage, with the melody often being carried on the bass while the keyboards may be following or extending the themes by playing around the main structure. There is very much the feeling of a group of musicians bouncing ideas off each other in a studio and it never comes across as just two people, which is an achievement in itself. The drum sounds are sometimes a little too "artificial" for my preference, but the playing itself is very good indeed.

I first came across Kris with his excellent work on Fruits de Mer, since when I have followed his career with interest, and anyone who enjoys early prog with stacks of atmosphere which never rushes but always moves along at the right place will find plenty here to enjoy.

At the beginning there is an idea, the composition. And then ... appointments with Doctor Jam. I'm quite sure this does not indicate some sweetly marmelade further on, as the cover artwork may imply. Nice correlation anyhow. Moreover this is referring to the album's main appeal. Which then sounds more like jamming all over the place on every particular track. Two musicians are acting here, Kris Gietkowski himself of course, using keyboards, guitar, bass. And then additionally drummer Jacob Slous, who seems to come from rather jazzy meadows. Grietkowski has chosen four tracks to fill this album, which all are running at roundabout 10 minutes. Including, eh, please don't beat me black and blue, some philosophical nonsense more or less when it comes to the particular track titles.

This is atmospheric, relaxed, sounds like a cheerfully mooded band having some live sessions in the studio. Piecing Together A Holistic Puzzle makes the promising kick-off. It swings and grooves a lot. Furthermore offering nicely done bass excursions, and a rather medieval touch due to some spinet alike occurrence. Fabulous looping as well as soloing keyboard presence overall. Yep, this applies to every following excerpt too. Thus in the end here we have a proper Canterbury prog infected album, dominated by a more laid-back atmosphere. Garnered with some psychedelic and classical nuances, and occasionally reminding me of The Tangent or Alco Frisbass. A wonderful experience.

Gietkowski's fourth album saw him moving his music in a slightly different direction, as while it was still very concentrated in the Canterbury scene, here he is now also playing electric guitar. He also brought in a drummer, Jacob Slous, while he performed keyboards, guitar, and bass. Given there was no guitar on his earlier albums, it is somewhat of a surprise to hear it being given such a prominent role on this one. The same is also true of the bass, which at times is very much the focal point. The four ten-minute-long instrumental tracks feel much more like a band than a multi-instrumentalist, and if there had been a group name on the cover, no-one would have been surprised.

He is allowing himself to expand his musical repertoire, while staying within the same area, and he is again bringing in Emerson references, and there are times when it is more like The Nice than Canterbury, but the lines blend and merge. The result is something which yet again sounds as if it should have been recorded 50 years ago, with dated keyboard sounds and arrangements which feel as if they are coming straight from the mind and fingers of Dave Stewart. The use of echo at the beginning of "A Finger Bell to Dispel a Nasty Silence" is particularly effective, with the bass bouncing around in stark contrast to the clean keyboard lines, while drums and guitar are silent at this point, only coming in as the song starts to develop. I have always thought of Gietkowski as a keyboard player, but he has a strong touch on guitar and bass, using different effects and distortion when the time is right. The result is yet another very powerful album which very few seem to have discovered. As with his previous album, this is also available to download from Bandcamp for just £4, which to me massively undervalues the music on offer. If you are at all interested in the Canterbury or late Sixties progressive scene then this is strongly recommended.

Kris first came to my attention when I heard some of his music through Fruits de Mer, who in turn had come across him from some videos he had placed on YouTube where he performed songs which had originally been on the first Egg album. That band are still rightly viewed as a huge part of the Canterbury progressive scene, and all serious progheads will have at least one of their albums in their collection, although there will be many music lovers who will say they have never heard of them. However, here we had a Polish keyboard player taking an album recorded nearly 50 years earlier and interpreting songs in his own way. This led to his debut album, which was comprised just of Egg material, while 2018's 'Sympathetic Communication' found him in transition with two songs of his own sandwiching Egg's "A Visit To Newport Hospital".

This was his third album, released in 2019, and this time all the material is his own, and he played all the parts. Given his previous albums, it is no surprise to find yet another Canterbury release, as one would not expect to hear him suddenly move into the current day, so instead we are back to the late Sixties/early Seventies, with different keyboard sounds bringing back the Mellotron and Hammond so beloved by musicians of the time. The lengthy "Gates of Xor" opens the album, and at nearly 16 minutes is double in length of closer "Providers of Enlightenment Networks", and these two sandwich three shorter songs. Fully instrumental of course, the bass is rich and vibrant, the drums driving the material, and then over the top we have multiple layers of dated keyboards. This does not sound as if it is a modern release at all, as in musical approach, sound, and composition we are in a time machine which takes us back 50 years.

For some strange reason, there has bene little fanfare over Gietkowski's albums, which I must admit to not understanding whatsoever, as this is a delight from start to end, as the listener is taken on a journey which not only is heavily inspired by Egg but also has some very Emerson-like touches at times. It is classic prog, from a time when anything was possible. It is currently available on his Bandcamp page to download for just £4 which is absolute bargain, and any lover of the genre should definitely check this out.

4.5 stars. Well this is simply wonderful and a real surprise. I have been always fascinated with Dave Stewart's compositions, and what we have here can be considered a lost Egg album that every Canterbury fan should hear. In fact, there is a bonus track called I'm afraid I can't do that Dave. Well, anyone can check that this is not true in the YouTube channel of Kris Gietkowski (named Kris G). Let's review track by track:

1. F(X) (8.5/10) - It starts with piano and soon transforms into a symphonic Canterbury piece, loaded with changes, rhythms, experimentation and melodies. Full Egg here. 2. A Visit To Newport Hospital (9/10) - A very accomplished instrumental cover of this classic. I admit I am biased here as this song is probably my favourite of the whole Canterbury scene. 3. Divided By Zero (9/10) - jazz-driven melodies everywhere that makes you wonder if this was composed back in 71-72. My absolute favourite here. 4. I'm afraid I can't do that Dave (9/10) - If there had to be a B-side to A visit to Newport hospital, should be this.

Highly recommended to all Canterbury and especially Dave Stewart fans (Egg Hatfield, National Health).

Polish musician Kris GIETKOWSKI is a composer and musician that had been doing his own thing for some time when main man of Fruits de Mer Records Keith Jones stumbled upon his work and had a desire to release it on his label. This has lead to three releases on the sub-label Strange Fish so far, and the album "Songs From the First Album by Egg" from early 2017 is the first of those.

Like most releases from Fruits de Mer Records, this vinyl album release was just about sold out on pre-orders alone. Taking the shop and used market hunt will be needed for those who desire to track down this album, and I'd suggest fans of Egg as well as dedicated fans of vintage era progressive rock driven and dominated by the organ to be the ones to contemplate doing that. Especially those with a particular interest for bands with bass, drums and organ as the sole instruments used in such a context.

Strange Fish is a sub-label of Fruits de Mer Records, who release classic and obscure tracks, reinterpreted by artists who love them, along with new songs by bands that have their roots in the 60's/70's. Starnge Fish was launched to cater for releases that went beyond that remit, and here we have the second album from Kris Gietkowski on the label. Initially discovered through YouTube, Gietkowski had recorded instgrumental versions of most of Egg's debut album, and found it strange that anyone would want to release them! But, that's exactly what happened and the limited edition vinyl release sold out. As did the re-press.

Now he is back with his second album, with two of his own songs sandwiching Egg's "A Visit To Newport Hospital", and the result is forty minutes of music which makes one think that the last forty-fifty years just didn't happen. While the drumming is back at best, at least it is a real kit, but the highlight is the very dated and grunty organ sound being deployed. When I paid a visit to his YouTube channel I wasn't surprised at all to see some Atomic Rooster numbers up there. But, as well as driving through forcefully, there is also a delicacy in his arrangements with layered organ working well with some well-constructed basslines. This is Canterbury style music of the highest order, something that honestly does come across as a long-lost album as opposed to one being released in 2018. As well as the vinyl which is what expected from the label, this is also being made available in a limited edition CD which contains a bonus song not available on the album. The complete album can be heard through Kris's YouTube channel so why not search him out and give this a try, then order the album from FdM as if you are a fan of this style of music there really is no other choice.