1) Review of Ecstasy Project`s album "Reminiscence Europae"
"All About Jazz" - USA (23.03.2009)

The jacket photography of Reminiscence Europae shows what looks like a bridge by architect Santiago Calatrava, which is appropriate. His global works divide opinion and are impossible to ignore. His architecture is largely devoid of local cultural reference; he is the architect without borders. In a way, these photos are a suitable metaphor for the music of Polish group Ecstasy Project - seemingly simple yet technically impressive and austere. According to taste, it is perhaps beautiful, and with few obvious points of departure.

The Italian song titles and chamber ensemble sobriety that dominate these live recordings allude to a classical approach, but the violin of Lukasz Gorewicz (the main voice of the group) comes from somewhere between the melancholia of eastern European folk and the animated style of violinists Jean Luc Ponty and Jerry Goodman. The vibe playing of Pawel Nowicki is utterly minimalist, atmospheric in a Zawinul-esque way, and evokes a Twilight Zone eeriness. Underpinning this esoteric face is the compelling drumming of nominal leader and main composer Rafal Gorzycki, which carries an energy and force in contrast to the edgy minimalism around him.

The pieces have a modern, avant-garde feel to them - soundtracks to European art-house cinema. The manipulation of space and silences, which lend such force to the infrequent eruptions of drums, violin and flute, are shaped by the minimal utterances of Pawel Nowicki's vibes, quietly rumbling drums, Pawel Urowski's alternately sparse and lively double-bass, and tense violin notes which are more percussive than melodic. But there is momentum to this music; the innate tension in the short staccato phrasing and the abstractness and dissonance, rises imperceptibly to crescendos that are surprising in their intensity.

On "Presto Cinque," violin and flute trace the initial lyrical melody before Gorewicz takes solo flight. Drums and bass propel the violinist into some inspired playing on a heady segment that evokes the Mahavishnu Orchestra. A brief, silent interlude follows, broken by a circular vibes motif, before Tomasz Pawlicki's flute takes center stage, the notes unfurling progressively and becoming bolder as crashing cymbals fill the air. Pawlicki's playing becomes gradually freer and breathier as the piece reaches a climax, and the guttural cry that escapes his throat reveals the influence of Rahsaan Roland Kirk, or perhaps Ian Anderson - comparisons that do not flatter him at all.

The combination of vibes and drums creates dense soundscapes on "Maestoso non troppo." "Adibitum" glides from bowed bass and violin in harmonious tandem to blistering drums to near silence impregnated by softly chattering vibes. This is music in a constant state of ebb and flow.

An accompanying DVD shows this lineup in concert, but the absence of its more animated tracks, featuring exhilarating violin and flute improvisations, provides only half the picture. The dark and edgy minimalist approach of Reminisence Europae holds a certain fascination precisely because of that juxtaposition of rationed and unrestrained improvisation. Nevertheless, admirers of modern, progressive music will not be indifferent to this challenging, original project.
Ian Patterson



2) Review of Ecstasy`s Project album "EUROPAE"
"All About Jazz" - USA (23.03.2008)

Ecstasy Project was formed in 1998 by Rafal Gorzycki, its drummer. Gorzycki absorbs a range of influences which he transforms into illuming nuggets with his compositions. His interest is currently churned by contemperary European and chamber music. He brings the two together, washes them in jazz and comes up with music that will linger for a long time in mind and heart. The line-up of the band has changed over the course of their three albums. The quintet featured here fits the mood perfectly; they play classical music with feeling and then jump into jazz, to open up whole new vistas.

"Maestoso non troppo" sifts European classical music, with Lukas Gorewicz (violin) and Pawel Urowski (double bass) casing the melody in an incendiary groove. Pawel Nowicki (vibes) cools the tempest but the atmosphere storms its way back when the strings return. Gorzycki changes the complexion with his drumming. He brings in constant change alternating a spaced out tap with the heavy pummel of the bass and snare drums. The tune smolders and cools by turns, filling it with a heady juxtaposition of sounds.

"Allegro vivace animato" opens up a new pulse. As the title implies, the song is animated. This is established at the head with a brisk beat that propels the tune as it surges down its chosen road. Tomasz Pawlicki (flute) floats down his happy way, letting the melody sway breezily, while Gorzycki adds the color, with light daubs from Nowicki. The quintet locks in on the melody and then lets it explode in a resounding climax.

Gorzycki is a remarkable drummer in the way he works time and space, accent and beat and gets the rhythm to pulse and fill progression. He can change the direction and impetus to give each tune a nuanced grain. His drumming on "Adlibitum—Allegreto rallentando" is a perfect example of his range and style. He opens with lithe tapping on the cymbals and then lights little sparks as he flits across and adds translucent colors to the arco playing of Urowski. Having cast a different light on chamber music, he holds back and lets the music bathe in its own bright gentility.

The band is Polish; the song titles Latin, but the music, quite simply, is universal.
Jerry D'Souza



3) The Best Jazz Album of 2007 - "EUROPAE" - Ecstasy Project
(05.01.2008) Jazz Radio

In Polish Jazz Radio competition for theThe Best Jazz Album of 2007, album "EUROPAE" - Ecstasy Project - has been classified in first 10 ( on 8th place).
The listenners put the album between great stars, such as : Wynton Marsalis, Leszek Możdżer. Album EUROPAE was higher in the ranking than Herbie Hancock`s, or Anna Maria Jopek`s cds.



4) Press 2006 Summary
(01.2007) Gazeta Wyborcza, Playboy, Onet

Playboy: (01.2007) In Rafal Ksiezyk`s opinion new Rafal Gorzycki`s "Sing Sing Penelope" album, next to Marcin Masecki`s and Contemporary Noise Quintet`s, are the most important premieres of polish jazz in 2006

Onet: (28.12.2006) In the Ranking for the best polish album of 2006, Sing Sing Penelope album "Music for Umbrellas" was nominated to the best album, next to Tomasz Stanko`s "Lontano"

Gazeta Wyborcza: (Bydgoszcz; 5.01.2007) Among the biggest artistic successes of 2006 "GW" classified Rafal Gorzycki`s work with his "Ecstasy Project" and "Sing Sing Penelope" , next to Rafal Blechacz ( winner of Chopin`s Competition in 2005), or Maciej Cuske with Marcinem Sauterem (documentary films) as the most spectacular in recent year

5) Review of Ecstasy Project Trio album "Realium"
"Jazziz" - USA (07.2006)

Although its name conjures a trippy techno soundtrack, Ecstasy Project Trio crafts lilting melodic music that has more to do with the arty ECM label than rolling on ecstacy at an all-night rave. “It is a retreat from the avant-garde,” drummer-composer Rafal Gorzycki says of the Polish band’s engaging blend of modern jazz, chamber music and rock aesthetics.
 
On Realium, Ecstasy Project Trio’s second recording, electronics are used subtly, providing an aural bed for Lukasz Gorewicz’s gorgeous violin, which weaves through Gorzycki’s compositions — all titled “Realium” and numbered 1 through 8. While a leaden organ sound reminiscent of Deep Purple or Iron Butterfly is a bit cheesy and dated on the opening track, Gorewicz’s melancholy bowing and chiming piano leaven the proceedings about midway through the relatively short piece. From there on, however, the music becomes increasingly rewarding.
 
Despite his earlier protestations, Gorzycki doesn’t exactly run away from avant-garde leanings. While most of the music here is thoroughly melodic and composed, some interesting things happen when the band slips the tether, as it does on the rather abstract “Realium 4.” Gorzycki, who opens the piece with a rumbling solo intro, is fully engaged with his bandmates as he drives the action from behind his kit, never slipping into the monotonous timekeeping that usually powers pop or dance music.
 
“Realium 3” displays a lilting, sprightly quality akin to the playful melodicism of some of Chick Corea’s Return to Forever compositions. While you’d never guess it from his light touch and marvelous tone, bassist Patryk Weclawek also plays bass in a heavy metal band. Like the Swedish-based E.S.T., the trio puts its own spin on centuries-old native traditions of folk and classical music, infused by the pop, rock and electronic influences upon which they no doubt were raised.
Bob Weinberg

6) Review of Ecstasy Project Trio album "Realium"
"Cadence Magazine" - USA (05.2006)

While many of the CDs in this batch fall into the worlds of ambient and electronic new music, let’s start off with the more Jazz related items first...

From Poland the ECSTASY PROJECT TRIO makes the most of an unusual ensemble too. On REALIUM (Polish Jazz 89) this trio uses violin and electronics to get an impressive range of sounds out of so few performers (Rafal Gorzycki, d, elec.; Lukasz Gorewicz, g, p, vln; Patryk Weclawek, b. January 2003, Bydgoszcz, Poland).

With tasteful overdubbing, and clever composing, the trio often sounds like a much bigger ensemble, though Gorewicz’s violin is generally the solo voice.

Often draping the violin in organ-like sounds, evoking Bach at one moment and Larry Young the next, Gorewicz fills the recording with a flow of melody hinting at some gypsy heritage, but never with empty pyrotechnics. This one deserves a careful listen.
Hodgepodge & Shorties

7) Review of Ecstasy Project Trio album "Realium"
"All About Jazz" - USA (04.2006)

If the Ecstasy Project Trio recorded for a label along the lines of Thirsty Ear rather than Polish Jazz, the group would surely garner some worthwhile press attention in the US. Nonetheless, with releases like Realium this may be a mute point before too long.

Featuring instrumentation that varies from moment to moment but centering around violin, bass, and drums, Lukasz Gorewicz, Patryk Weclawek, and Rafal Gorzycki create music that may not be as stylistically “out” as many Thirsty Ear projects are--however, they do achieve a similar musical amalgamation that bridges modern musical aesthetics with an established medium.

Gorzycki describes the project as “the way to peace and harmony. A retreat from the avant-garde” and the music achieves this aesthetic but does not rest there. These players are well aware of where different genres of music have been and what they have accomplished. They are also well aware of where they are interested in taking their style of music and how to utilize these various elements to achieve it.

Although Gorzycki provides all the compositions, classically trained violinist/guitarist/pianist Gorewicz provides a lot of the calculated aural impetus. His keyboard playing can easily be identified as a relative of electronic chill music or drum 'n' bass--as can many of the bass parts--and his violin playing usually provides a lyrical arc that exemplifies the moods of Gorcycki’s compositions, from heartfelt elongated tones to dissonant passages.

The key to success here, though, is the way the recording is layered and the way it uses space between instruments and passages in a fashion similar to the so-called ”ECM sound.” And in the end, the compositions entitled “Realium 1-8,” carry the weight of all these references beautifully.

The album is a journey, opening with a dirge-like organ sound that builds like an electronic piece of music to “Realium 5,” which opens with strummed guitar backed by snare rolls that provide a light propulsive groove. As the music moves forward, the violin enters to state a theme, followed by a wah-wah guitar solo that never betrays the time or feel of the song but seemingly lifts the track and lunges it forward. Gorewicz is leading here once again, featured on both guitar and violin, and he does so with grace and vigor.

Throughout, the band bridges silence, avant leanings, and unabashed lyricism, pacing and molding a consistently engaging and thoughtful album. Gorzycki took over a year to craft this recording, and the results reflect a shifting landscape of sound that can be identified as part of numerous musical contexts.

Even within the same song, instruments flow to and from the foreground with a sense of pacing and spatial design. And while the settings are varied, Gorzycki's violin provides the real arc, sometimes plaintive, other times dissonant, but always reflective of his surroundings.

Ultimately this is a unique album which ought to be particularly rewarding for listeners interested in discovering what jazz and its many variants have to offer outside of the US.
Michael McCaw