LABORATORIUM

Polish Jazz band Laboratorium are back with their second foray into the world of Jazz-Rock Fusion, here succumbing to the pressures to produce listener-friendly Smooth Jazz a little earlier than they might have wanted.

1. "Przejazd" (1:35) like a Berlin School Electronic space intro. Synth, synth electronic percussion sounds, synth beat, sliding fretless bass notes. Quite awesome! (4.625/5)

2. "I'm sorry, I'm not driver" (7:07) treated jazz bass intro from Krzysztof Ścierański introduces an awesome motif with dreamy keyboards and equally-dreamy vocalese singing wordlessly over the top. The bass, however, is definitely the star of this one despite the interesting almost-tribal/village vocals and great keyboard work. Coupled with that unusual title, this makes for a very interesting, unusual, and, ultimately, quite entertaining (and even engaging) song. Great acoustic guitar soloing from Paweł Ścierański at the end of the third minute which is challenged by Paweł's own electric guitar in the right channel soon after and continuously trading solo barbs with one another over the next minute before being supplanted by a pretty impressive bass guitar solo in the fifth minute. Overall, this song really made an impression--and managed to stay with me long after I left the source. (14/15)

3. "Etiudka" (1:26) cool piano play that serves as a beautiful and original little interlude between the big songs. It gets a little bluesy in the middle (darn!) and then finishes rather meekly. (4.375/5)

4. "Śniegowa panienka" (8:16) feels like the musical score behind a 1980s television news show, the melody theme borrows a bit from WEATHER REPORT and other Eastern European bands of the 1970s. The piano, drum, and fretless bass sounds are so clear and up front that it leaves me wondering why the choice to image the saxophone so far in the back (and give it that odd effect). I hear no guitar. The bass guitar is so far forward it might be too far. The piano playing is excellent though leaning a bit toward smooth lounge jazz. (17.75/20)

5. "Lady Rolland" (1:44) a weird weave of odd synth sounds and unusual effects deployed over instruments like voices and sax (sounding like the effects Jon Hassell runs his trumpet through) with percussive wordless vocal notes and beats. I'm guessing that this is Marek Stryszowski's contributions to the Yes Fragile-like "solo" interludes. Definitely not your every day interlude! (4.375/5)

6. "Quasimodo" (10:51) almost laid back BOB JAMES-like smooth jazz that manages to stay out of those ruts--but just barely. Luckily, there are few stop and turns that allow the song to serve up some nice solos from Marek Stryszowski's sax, Paweł Ścierański's electric guitar(s), and brother Krzysztof Ścierański's fretless electric bass. (17.75/20)

7. "Kyokushinkai" (2:54) I think I've figured out that these interludes are kind of the band's attempt to offer solo "workshop" compositions from the individual band members: this one from guitarist Paweł Ścierański and drummer Mieczysław Górka. A nice little duet. (4.5/10)

8. "Ikona (In Memory of Zbigniew Zeifert)" (6:15) another tribute to much beloved (and influential) countrymate and noted jazz violinist Zbigniew Zeifert who died of cancer early in the year of this production. There is definitely a feeling of respectful homage to this song: including keyboardist Janusz Grzywacz' creative use of a synthesizer to emulate Zbigniew's instrument of expression. It does drag on a bit, however. (8.875/10)

Total time: 40:08

While the musicianship is still achingly present, the music has, unfortunately, moved into the fringes, if not the main streets, of Smooth Jazz. I like the fact that the band is offering completely accessible while still maintaining an element of exploratory experimentalism--and while somehow still finding ways to play using their high skill levels. All is not lost!

A-/4.5 stars; a minor masterpiece of transitional Smooth Jazz produced by some fine musicians who are reluctant to let go of the exciting dynamics and musicianship required of Third Wave Jazz-Rock Fusion.

Smooth yet-complex and very competent Jazz-Rock fusion from Poland. These musicians make it all seem so easy!

1. "Pięciobój nowoczesny" (20:00) using lots of experimental sound-making from electronic and acoustic instrumentation, the band opens this song with some jungle-zoo-like giving the music a feel and palette not unlike something HERBIE HANCOCK might have been doing with the help of Patrick Gleeson. The faux-Gregorian chants taking over at 6:10 provide an odd bridge to the next motif, a very NOVA Driftwood"-like atmospheric passage. In the eleventh minute there is another motif change, this time into something sounding more like somethting from the Bitches Brew or Mwandishi sessions, though the motif gradually becomes dominated by first alto sax and then a drum solo. Unfortunately, drummer Mieczysław Górka is probably the weakest member of the quintet, so this is nothing so very exciting. The next motifi something quite crazed in a Daevid Allen/GONG way--like something straight out of the psychedelic craziness that pervades the Radio Gnome Invisible trilogy of albums, only all echo-effected vocals from wind player Marek Stryszowski. The rest of the band begins to return in the 18th minute and then finishes the song out with a hard-driving guitar- (and voice)-led jazz-rock passage. Definitely a suite of totally different song themes sewn together rather arbitrarily, but it ends up being a rather fun and enjoyable journey. (36.75/40)

2. "Funky dla Franki" (4:46) funky-lite that just doesn't go deep enough into the bottom end but the synths, keys, and electric guitar do a great job of supporting the bass. Acoustic guitar is the first soloist, with Mieczyshaw's sax coming in at the end of the third minute and then taking over the lead during the fourth. A very decent if rather lite song. (9/10)

3. "Szalony baca" (6:00) opens with jungle bird noises accompanied by some solo voce African chanting. At the 0:30 mark the band slides smoothly into a hypnotic groove in which sax, Fender Rhodes, and chorused electric guitar present a very pleasant almost Caribbean melody while the drums and bass also carry forward a solid if loose and syncopated Carib rhythm track. Sax gets the first solo followed by electric bass before the chants rejoin far in the background, eventually mirrored by the electric guitar. The recording and play here is so chill, relaxed, and smooth. A wonderful song that definitely puts on display the cross-cultural bleeding that Jazz-Rock Fusion has become such a melting pot for. (9.5/10)

4. "ABZ" (4:58) part yacht rock, part Weather Report cool, part high energy Mahavishnu Orchestra, part celebration of jazz's recent history, mixed with a lot of funky joy and fearlessness. So fun! (9/10)

5. "Grzymaszka" (2:24) opens with some serious, melancholy, though very jazzy McCoy Tyner- or CHick Corea-like piano play that becomes more dramatic and Gershwin-dominated as it goes along. Excellent adaptive lounge piano play that one might find being played by a live musician in the foyer of a very exclusive club. (4.5/5)

Total time: 38:08

A wonderful album that definitely celebrates the fusion of international sounds and styles with one very-well produced album.

A-/five stars; a masterpiece of Jazz-Rock Fusion and most excellent addition to any jazz-rock fusion-loving prog lover's music collection.

LABORATORIUM were an important part of the Jazz scene in Poland in the early seventies playing a lot of live shows. They didn't release anything until those two singles in 1972, and their debut wasn't released until 1976, so by the time this the third studio album was released in 1979 these guys were a highly respected band. Not as fiery as say SBB who were more into Blues/Jazz but different like WEATHER REPORT or MANFRED MANN CHAPTER THREE.

One thing I've noticed is that if a band is described as sounding like WEATHER REPORT I have a hard time with them. Maybe because I have a hard time with WEATHER REPORT(haha) only liking that three album run after the debut. And other than say PERIGEO I just need to stay away from these type of bands. This was a difficult rating for me but 3.5 stars seems right, better than their next record "Nogero" which is "Oregon" backwards as a nod to that band but that record isn't as good as this one in my opinion.

Some strange sounding synths on the two LABORATORIUM records I own and they can sound awesome it's just surprising some of the sounds the keyboardist gets out them. And when they are "off" it just sounds lame to my ears. This is an album that isn't for the faint of heart and personally I'm not into the cover art or album title while the actual music is hit and miss.

"I'm Sorry, I'm Not Driver" is the only english title thankfully and this is a top three for me. Vocal melodies on this one and synths are hit and miss. Acoustic guitar I believe too. Another is "Sniegowa Panienka" for the sax and overall sound while like most of you that closer "Ikona" really stands out, and it's a tribute to legendary Polish Jazz musician Zbigniew Seifert who passed the year this album came out.

I honestly have trouble with SBB as well except for those two fiery live Fusion albums "Hofors" and "Karlstadt". I'm on the fence with this one but most rate this high.

LABORATORIUM were or are a Jazz band out of Poland. They released 6 studio albums over about a 10 year period ending in 1986 before releasing a new studio album in 2018. A five piece band with some unique sounding synths. He plays a Micro Moog and a Roland Jupiter 4 both of which I never heard of before. He also plays piano and electric piano. We also get sax, guitar, bass and drums. And there are some vocals often sounding processed except for the song "Blues For The Lady Graduate" where they are quite upfront. "The Celler Suite" has a lot of vocal expressions and atmosphere early and late. Some experimental bits and piano too.

The opener, the title track is OREGON spelled backwards and a nod to that American band which is pretty cool. I'm not into the festive mood here with whistles and percussions. Catchy with sax and some guitar. Nice depth to the sound to start "Duck's Furcoat" as synths join in. Piano over top around 1 1/2 minutes in. Synths are back then vocal expressions and percussion 3 minutes in. "Bee- Flight" ends it and it's the jazziest piece with some walking bass and it's the longest at 11 minutes. Light synths to start then it builds. Kind of funky here. Sax, synths and thankfully some electric guitar but not a lot.

I'm not big on the synths and the sax is hit and miss. I wish the guitar was leading instead of the sax or synths. I have the previous album by them called "Quasimodo" which I do prefer.

The recording productions of Laboratorium did not finish with the ''Aquarium live No.1'' in 1977.In November of the same year the expanded line-up ended up with another release, recorded in just three days at the Rotunda Jazz club in Krakow.Originally the album was supposed to carry the title ''Nurek'' and the band members attempted to launch it via the Polskie Nagrania Muza label.Apparently this did never happen, so they were eventually supported by the Jazz-oriented company Helicon and their work was released in 1978 with the English title ''Diver'', while also all contained titles were written in English.

The style is pretty similar to the stylistical turn presented in ''Aquarium live No.1'', the Polish group played an exotic and airy Jazz Fusion, which will never win a prize in terms of originality, but it's well-played with some instant melodic parts and very good instrumental handling, balancing between smooth solos and decent semi-improvisations.''Soft flamenco'' is just a different version of ''Flamenco na miekko'', one of the best cuts ever written by the group, featuring some nice virtuosic executions and a tropical, Latin touch.At this point of their career they sound as close as it gets to RETURN TO FOREVER and WEATHER REPORT, their sincere Electric Fusion contained very atmospheric synth parts and lots of electric piano next to the omnipresent sax of Marek Stryszkowski.But, despite their undisputed jazzy attitude, they also seem to give emphasis on well-constructed themes and dramatic instrumental explorations, which are not very close to Prog Rock, but there are definitely shades of structured music here, far from the excessive technical nonsense often met in acts of the style.You should add the 10-min. ''Late-coming'' to the list of very good pieces performed by Laboratorium, a passionate mixture of funky aesthetics, Avant-Garde vocals, Latin Jazz and dramatic, guitar-based Fusion.

For fans of Latin-spiced, tropical Jazz Fusion, containing ethereal tunes, great solos and a heavy dose of jazzy freedom.Warmly recommended.CD reissue out with a couple of bonus tracks.

Janusz Grzywacz admitted on his own words that with ''Modern Pentathlon'' Laboratorium tried to reach a wider audience through the second side tracks, while only the self-ttled jazz suite was actually representitive of the group's sound.Anyway, the goal was reached, as the album eventually sold over 100,000 copies.In 1977 Laboratorium released a second album on the Poljazz label under the title ''Aquarium Live No.1'', this time recorded live in the ''Akwarium" club in Warsaw.For this performance Pawel Valde-Nowak was recruited on congas.

With this release any commercial tendencies are completely gone and the group shows strong similarities with WEATHER REPORT and RETURN TO FOREVER, playing an exotic Jazz/Fusion with lots of improvised parts and great instrumental diversity.However it won't start so well as ''Modern Pentathlon''.The 16-min. long ''Struktura Przestrzeni'' is rather too loose and experimental with little structure and changes between individual performances, resulting an incohesive long and trippy jamming.The remaining four tracks though are absolutely satisfying, presenting a smooth but very rich Jazz/Fusion with nice melodic saxes, virtuosic electric piano and some fiery jazzy guitars.Of course the WEATHER REPORT and RETURN TO FOREVER influences are more than evident, showing a band with little personal imagination but technically very competent and effective.Of all the remaining pieces, the 10-min. ''Flamenco Na Miekko'' seems to be the best and more original composition, being a lovely amalgam of energetic Fusion and Ethnic-based Jazz Rock with incredible piano lines and solos, furious breaks and Latin-inspired tunes coming from Marek Stryszowski's sax.For a great closing, the short ''Dziewiecil'' contains a sound closer to Italians AREA with excellent sax work and very Eastern-based tunes on guitars.

The Metal Mind reissue contains three more extra tracks, recorded live earlier in 1977 at Poliskie Radio Warszawa, featuring the familiar Laboratorium style, full of dreamy electric piano, hypnotic saxes and jazzy exercises.A recommended album for all fans of 70's Jazz/Fusion and lovers of intense jazzy instrumentals.

Janusz Grzywacz was the mastermind behind Polish Jazz-Rockers Laboratorium, a band from Krakow formed in 1970 with an original line-up of Mieczyslaw Gorka on drums, Marek Stryszowski on vocals/sax/clarinet, Waclaw Lozinski on flutes and Edmund Maciwoda on bass.Their name appeared for the first time on the 1973 jazz album ''"Klub Plytowy" with two tracks.The following years the band received awards and achieved several important collaborations despite the line-up changes.In 1976 Grzywacz, Gorka and Srryzowski were joined by brothers Krzysztof and Pawel Scieranski on bass and guitars respectively and recorded their debut ''Modern pentathlon'' for Polskie Nagrania Muza, of course at the studios of Polskie Nagrania in Warsaw.

The album is dominated by the 20-min. title track, a really innovative composition somewhat split between improvisation and tightly structured musicianship with the band presenting a unique and attractive sound, where Psychedelic Rock meets Fusion meets Space Jazz and containing all the right elements of a good jazz-oriented composition: Obscure trippy vocals, fast piano paces, hypnotic saxes, spacey atmospheres, district guitars and fiery interplays.This is actually the main reason to buy the album.The second side of the LP is definitely weaker, containg well-performed material but being close to commercial Jazz/Fusion music.Lots of funky vibes on the keyboard, electric piano and bass parts, even some Soul-influenced saxes are present, the guitar work is more prominant but always in a safely-presented style.Some nice and proffesional interplays though are more than decent and holds the listener's interest till the very end.

The 20-min. sidelong opus alone belongs among the finest Jazz/Fusion compositions you can listen to, however the rather accesible approach of the flipside prevents ''Modern pentathlon'' of being a trully essential release.Still it comes recommended for fans of experimental and intricate Jazz-Rock.

One of Polish jazz fusion cornerstone, this album was released in 1976 only. Laboratorium was formed in Krakow, intellectual capital of Poland, in 1970, and even had some recordings, made in 1972 (they were released as fan-club release, and re-released later on CD). If neibourhood Czechoslovakia dominated on Eastern European jazz-rock market in early 70-s, Poland with its excellent jazz traditions seriously came on this market a bit later.

Modern Pentathlon is really modern fusion (in sense of mid 70-s) album, keyboards -led and heavily influenced by Chick Corea/RTF. Very relaxed, even funky in moments, but with European traditions (and even Eastern European melodic influences) this album's music is excellent example of high quality Polish fusion of that time. If such musicians, as Michal Urbaniak, who lived and played for years in W.Europe and USA, bring Western fusion traditions on Polish land, Laboratorium grew up on domestic land, and their sound is more "Polish".

Most interesting on this album is its opener - twenty-minutes long composition "Pięciobój nowoczesny". Being of complex structure and some rhythm changes, it is excellent example of progressive jazz fusion. Others songs are good as well, but doesn't add much to album's music.

Good jazz fusion album, one of the most representative from Polish fusion of that time.

My rating is 3,5, rounded to 4.

Quasimodo is the second studio album released by polish jazz-rock band LABORATORIUM. The album was released in 1979 by Polskie Nagrania in the Polish Jazz series as vol. 58. Since their debut album (released in 1976), they released two live albums Aquarium Live and Diver (both in 1977). These few years of playing made this band quite experienced.

The album is rather melodic and balanced. As for a jazz rock release, electric guitar isn't the leading instrument (except a short track Kyokushinkai which is actually a long guitar solo), the album is based mostly on the sound of piano (acoustic and electric) and saxophone. Between longer tracks there are some shorter interludes like Etiudka, Śniegowa Panienka and the intro - Przejazd. Vocal experiments, such characteristic for this band, appear for example in the miniature Lady Rolland. As mentioned, music on this album is rather balanced and tranquil. The example could be the title track with its repetetive but beautiful melody or the ending track An Icon (in memory of Zbigniew Seifert). Title track in my opinion is the highlight of this album but there are also many other memorable melodies.

Overall, it's a good jazz-rock album which could be recommended for all fans of this genre. 4 stars.

Laboratorium is a polish jazz band formed in 1970 in Krakow. Modern Pentathlon is their official debut LP, released in 1976 by Polskie Nagrania in the Polish Jazz series as Vol. 49.

This album is quite an original experience because the band uses an instrument rarely used by jazz-rock bands. This instrument is... voice. I said instrument because Marek Strzyczkowski doesn't sing in a traditional way, but he rather improvises with his voice (which may be compared to Urszula Dudziak's vocalisations). I must say that sometimes it sounds comical.

Apart from vocal experiments, album belongs to the jazz rock genre (with some funky influences). The album's opening track is a long, 20-minutes Pięciobój Nowoczesny which consists of five distinctive parts. This track is the most free on the album, it contains many improvisations and solo parts. The other four, shorter tracks are more regular and melodic. There are some similarities to bands like Weather Report, Return To Forever, or Mahavishnu Orchestra but as I said, this album is quite an original experience. Experiments and originality are sort of written in the band's name.

Overall, Modern Pentathlon is an interesting, original jazz-rock album. 4 stars.