Debut Album by Jerzy Maczynski My education background Classical piano Warsaw, Poland Classical Saxophone Warsaw, Poland Jazz saxophone Wroclaw, Poland Contemporary Composition Odense, Denmark Contemporary Performance Valencia, Spain My music career ,,Whatever” - P.E. Quartet Music Festivals Jerry&ThePelicanSystem 20-21 Jerzy Mączyński of alternative pop – but improvisation just would not let up. Jerry’s music has largely been influenced by Wiktoria Jakubowska, who inspired him with her ingenious grooves. Eight pieces by Mączyński eventually made their way to the album. It opens with “Big Kraśka” – which was also Jerzy’s first composition ever. The word ‘big’ refers here to the forceful groove that is also the source of the powerful sound characterizing the entire album. Kraśka is a girl’s name – the composer’s muse, one might say. Jurek is inspired not only by people, but also by art. While composing music he frequently trans- Jerry & The Pelican System forms images in his head into sounds. The second number, “GoodnessGOOFY,” with its overflowing ‘good nature’, is contrasted with the restless “Chaos” and “PeeaceOFF.” The tripartite “Chaos” refers to a review of Jerzy’s first CD recorded with P.E. Quartet, which described that collective’s music as ‘controlled chaos’. Already on Mączyński’s solo album, this tune echoed African rhythms, but it also features atonal elements and ends with powerful rock-like sound. The ballad “Cosmic Violet (Asian Kiss)” is the most song-like of all the pieces on this album. Placed halfway through the playlist, it provides a moment’s rest before another strong accent – the three-part “PeeaceOFF.” on this page left to right: Jerzy Mączyński, Marcel Baliński, Marcin Elszkowski, Franciszek Pospieszalski, Wiktowia Jakubowska (photo: A. Bodnaruś) Jerry&ThePelicanSystem PELICAN SYSTEM My music composition system: multicolored, verbal content, freedom in interpretation. My idea for the band members: great improvisers, open minded people, interesting people. Jerry&ThePelicanSystem in Warsaw Me and Piotr Kabaj Top polish musicians ! Winobranie by Zbigniew Namysłowski Winobranie He never wrote any notes for this album The most important composition is ,, Kiedy szmalu nie ma to jest Laz” Based on polish folk music Combining parts with groov and ad libitum Structure of the form of the first composition from ,,Winobranie” 1.O:00 - 3:20 - Main melody of the composition on the groove 2.3:20 - 4:00 - Free space SHORT 3.4:00 - 5:20 - Horns solo on the groove 4.5:20 - 7:50 - Free space for improvsation. LONG 5.7:50 - 9:00 - Saxophone solo on the groove 6. 9:00 -10:00 - Last melody on the groove My Compositions Jerzy Mączyński Jerzy Mączyński Jerry & The Pelican System 1 Big Kraśka 6:54 2 GoodnessGOOFY 4:38 3 Chaos I 7:32 4 Chaos II 2:40 5 Chaos III 3:23 6 Cosmic Violet (Asian Kiss) 5:34 7 PeeaceOFF I 4:43 8 PeeaceOFF II 3:55 9 PeeaceOFF II; 3:15 10 Prince 6:51 11 Zoża hej 6:40 12 Zoża cześć 4:42 13 Naya Rang (feat. Apoorva Krishna) 10:31 kompozycje / composed by: Jerzy Mączyński NAYA RANG - 3 parts composition - Based on raga ,,Sarasangi” - Composed during studies in Berklee College of Music Raga sarasangi - Harmonic major scale FIRST PART NAYA RANG 1.Strong main melody A Intro PLAY 3 TIMES 4 &4 Piano { ∑ ∑ ? 44 Œ ˙™ Pno. ∑ w 8 2.Harmonic tension in bass w { ™™ 44 Œ ˙™ #œ ˙ ™ 3 4 ∑ ™ ™™44 #˙˙˙ ™™™ ˙ 3 4 #˙ ™ ™™44 Œ ˙™ #œ ˙ ™ ™ ™™ 44 #˙˙˙ ™™™ ˙ 3 & 4 ##œœœ ™™™ ###œœœœ ™™™™ ? 43 #˙ ™ PLAY 3 TIMES w Pno. 3 4 œ œ 44 # œ œ œ œ#œ œ œ œ 4 #w 4 Break { ? <#>w ˙™ & { ? w w Piano tension œ #˙ ™ w œ œ 43 #œœ ™™##œœœ ™™™ # œ ™ #œ ™ 3 4 ˙™ { w w ™ 4 ˙ ™ #œ ˙ 4 4w 4 ™ 4 ˙ ™ #œ 4 ˙ œ #˙ ™ œ œ 3 ™ #œ ™™ 4 4 #œœ ™™# œœ ™™ &4 # œ #œ w 4w 3 ˙™ ? 44 #w 4 4 25 Pno. w œ œ 43 ˙ ™ #œ œ œ ˙™ & #œ œ œ œ œ œ œ œ #œ œ œ#œ œ œ œ œ œ œ œ#œ œ #œ œ 18 Pno. œ #˙ ™ #w w w w Saxophone œ #˙ ™ #w w w w 13 3.A few performance marks JERZY MĄCZYŃSKI w w œ #˙ ™ œ œ 43 #˙ ™ 4 4 w 3 ™ 4˙ 4 4 ™ 4 ˙ ™ #œ ˙ œ #˙ ™ œ œ 3 4 4 w w 4# w 3 4 4 2 SECOND PART 32 Pno. 1.Dialogue between two improvisers 2. Four different plans Pno. 4 ˙™ 4 3 & 4 ##œœœ ™™™ ###œœœœ ™™™™ ™ ? 43<#> ˙ { B 4 4 ˙™ #œ w w 4 & ™™4 # œ œ#œ œ œ#œ œ#œ œ œ#œ œ œ#œ œ œ ™™ ™™ w { ∑ & œ #˙ ™ #w #w #w ? #w #w #w #w { ∑ & { ? rit. 4 4 w w w w w #w w w w w ™™ ™™ w w w w w w w w #w #w #œ ˙ ™ #w nw Ó Ó HORNS BACKGROUND PART w œ ˙™ w w w ∑ w w ∑ ™™ 46 ∑ ON CUE HORNS 61 Pno. 4 4 PIANO OSTINATO OVER SOLO 52 Pno. w 37 43 3.Title for the inspiration œ œ 43 #œœ ™™ ##œœœ ™™™ # œ ™ #œ ™ ˙™ 3 4 BOW SOLO ,,SHOUTING IN A SPACE" ? ™™44 ∑ Pno. œ #˙ ™ 6 & 4 # œ œ#œ œ œ#œ œ œ œ œ œ œ œ#œ œ œ#œ œ œ œ œ œ# œ œ b˙™ ? 46 ∑ ∑ b˙ ™ { ˙™ ˙™ ™™ 46 SAXOPHONE STARTS GROOVE THAN SOLO THIRD PART 1.Two Solos-Two moods 3 NOISE IN TRIO C AFTER EVRYBODY PLAY GROOVE ONE TIME ™™46 œ™ bœ ™ bœ œ œ œ œ œ 64 Pno. & b˙™ ˙™ b˙™ ˙™ ? b˙ ™ ˙™ b˙ ™ ˙™ { ™™46 œ™ bœ ™ bœ œ œ œ œ œ 67 œ œ œ œ œ œ & œ™ bœ ™ bœ œ œ œ œ ™ œ™ bœ œ œ œ œ ™ œ™ bœ œ œ œ 2.Emotional Contrast Pno. { ? œ™ œ œ œ œ œ œ bœ ™ bœ œ œ œ nœ ™ nœ ™ bœ œ œ œ nœ ™ œ™ bœ œ œ œ 70 œ œ œ œ œ œ œ œ & œ™ bœ ™ bœ œ œ œ œ™ bœ ™ bœ œ œ œ ™™ bœ œ œ œ œ œ œ œ 3. Final last melody Pno. { ? œ™ œ bœ ™ bœ œ œ œ œ œ™ bœ ™ bœ œ œ œ œ œ ™™ bœ œ œ œ œ œ œ œ œ œ œ œ SOLO TANPURA 73 œœœœœœœœœœ U w œ b œ & Pno. { ? bœ œ œ œ œ œ œ œ œ œ œ œ 76 rit. 4 ˙™ ™ ™ & 4 Pno. { ? ™™44 #œ ∑ ˙™ ™™44 ∑ œ ∑ ™™44 Œ Œ Œ Œ Œ Œ ™™ 44 Œ Œ #˙ ™ œ œ 43 #œ ™ ∑ ™™ 44 ∑ 3 4 #œ ™ ∑ Conclusion First album - First evidence My music can be called PolishJazz because… 1.Website 2. Stage Presence 3.Experience