Leszek HeFi Wiśniowski flute sax composer
Parallax Error / New Album 2017
HeFi Quartet - Parallax Error
Parallax Error is the fourth album by the flutist and composer Leszek HeFi Wiśniowski and also the third cd by HeFi Quartet.
Parallax Error is a jazz concept album in which metaphorically-understood parallax error determines the dramaturgy and the selection of employed mediums of expression.
The music brings together elements of jazz and contemporary music. The leader often uses instrumental extended techniques, plays many types of flutes also the rare bass flute and Japanese flute Shakuhachi. Moreover he uses the glissando headjoint® - an innovative mouthpiece that allows to explore new forms of musical expression.
The titular parallax error can be found in the beginning of the title track where as a minimalistic motif, the flute's pulse interchanges the pulse of the piano. It can also be found in the polymorphic structure of the composition.
There are also other references for example The Mediterranean Sound Dance which relates in the piano part and the richness of the flute techniques to the Mediterranean Sundance, the composition used to performed by guitarists John McLaughlin, Paco DeLucia, Al DiMeola. The last position of the album is a musical summary of the album - the composition of John Cage 4'33 ''.
The phenomenon of parallax error that is an observation-dependent, a different perception of things or phenomena, may also be the key to interpretation of music recorded on the disc.
Leszek Hefi Wiśniowski – contrabass, bass, piccolo flutes, flute with glissando headjoint®, shakuhachi
Dominik Wania- piano
Bartek Staromiejski – drums
Tomasz Kupiec – bass
HeFi Quartet – “Parallax Error”
This is the fourth album by Polish Jazz flautist / composer Leszek HeFi Wisniowski and the second under the HeFi Quartet moniker. The quartet features this time the excellent pianist Dominik Wania and the familiar rhythm section which accompanies Wisniowski since several years: bassist Tomasz Kupiec and drummer Bartek Staromiejski. The album presents fourteen relatively short original compositions, all by Wisniowski, two of which were co-composed by Kupiec and one by Wania.
From the very onset of this album it becomes clear that this is by far the most mature, coherent and balanced recording by Wisniowski, which presents him as a gifted composer and excellent instrumentalist in a best possible setting. The music ideally combines melodic elements with modern Jazz approach, which allows the players plenty of space to express their individual statements and at the same time maintains the unity of the quartet as an organic ensemble.
Wisniowski treats his instrument with an utmost respect, flirting and even making love with it all along, always in perfect harmony and perfect balance between the emotional expressionism and the technical virtuosity. The pieces move between solos, duos and quartet performances, each of these settings emphasizing different aspects of the music, which is completely absorbing and magnetic in its depth of emotion.
The presence of Wania is a crucial element of the album's aura and its overall success to create to desired effect. Among the many Polish Jazz pianists, Wania is not only one of the very best, but also the most modest and most profound as a player, being able to find the ideal expression suitable to a diverse set of environments. He never "steals" the show and always fills the space with his stunning, delicate and perfect phrases. His performances on this album are definitely among his most beautiful and Wisniowski made a very wise decision to select him as a partner, which resulted in a brilliant piece of recorded music, definitely one of the best so far this year on the Polish Jazz scene.
It is very satisfying to see that Wisniowski finally found his true realm on this album. After many years of searching, this album is simply a pinnacle of his achievements and a well deserved glorification of his talents, which will hopefully be followed by many more such fabulous musical vistas. Well done indeed!