Patrick Shiroishi & Piotr Kurek
Greyhound Days
Patrick Shiroishi & Piotr Kurek
Greyhound Days
Boomkat Product Review:
Polish original Piotr Kurek’s debut collab with prolific saxophonist Patrick Shiroishi is as breezy and uplifting as it is quietly complex, weaving piano, keyboards and bass guitar around Shiroishi's smooth jazz lullabies.
'Greyhound Days' emerged following an invitation from Jennifer Lucy Allan to remotely collaboration for a Late Junction session . Once Kurek and Shiroishi realised how effortless it was to work together, they continued shuttling ideas back and forth, resulting in a call and response that evolved into this proper full-length. If you've heard any of Kurek's last few albums for Unsound, Mondoj and Hands in the Dark, among others, you’ll have a good sense of his richly textured production style, but ‘Greyhound Days' is more overtly jazz than any of those records, highlighting Kurek's inimitable soft-focus glow. He's a gentle collaborator, never taking too much space while contributing enough to slant the material.
On 'Ceilings', Shiroishi is on top form, breathing familiar modern jazz curves from his tenor, and Kurek replies with a simmering electric piano. Sketching outlines rather than grandstanding, Kurek's approach is to transport us into a daydream, something that becomes clearer as the album progresses. His playing is more angled on 'Days', fluttering and pitch bending around Shiroishi's quivering murmurs, and on the charming 'Now I'm Broken Into', Kurek sounds like he's pulling the guts from a long lost music box.
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Boomkat Product Review:
Polish original Piotr Kurek’s debut collab with prolific saxophonist Patrick Shiroishi is as breezy and uplifting as it is quietly complex, weaving piano, keyboards and bass guitar around Shiroishi's smooth jazz lullabies.
'Greyhound Days' emerged following an invitation from Jennifer Lucy Allan to remotely collaboration for a Late Junction session . Once Kurek and Shiroishi realised how effortless it was to work together, they continued shuttling ideas back and forth, resulting in a call and response that evolved into this proper full-length. If you've heard any of Kurek's last few albums for Unsound, Mondoj and Hands in the Dark, among others, you’ll have a good sense of his richly textured production style, but ‘Greyhound Days' is more overtly jazz than any of those records, highlighting Kurek's inimitable soft-focus glow. He's a gentle collaborator, never taking too much space while contributing enough to slant the material.
On 'Ceilings', Shiroishi is on top form, breathing familiar modern jazz curves from his tenor, and Kurek replies with a simmering electric piano. Sketching outlines rather than grandstanding, Kurek's approach is to transport us into a daydream, something that becomes clearer as the album progresses. His playing is more angled on 'Days', fluttering and pitch bending around Shiroishi's quivering murmurs, and on the charming 'Now I'm Broken Into', Kurek sounds like he's pulling the guts from a long lost music box.
Boomkat Product Review:
Polish original Piotr Kurek’s debut collab with prolific saxophonist Patrick Shiroishi is as breezy and uplifting as it is quietly complex, weaving piano, keyboards and bass guitar around Shiroishi's smooth jazz lullabies.
'Greyhound Days' emerged following an invitation from Jennifer Lucy Allan to remotely collaboration for a Late Junction session . Once Kurek and Shiroishi realised how effortless it was to work together, they continued shuttling ideas back and forth, resulting in a call and response that evolved into this proper full-length. If you've heard any of Kurek's last few albums for Unsound, Mondoj and Hands in the Dark, among others, you’ll have a good sense of his richly textured production style, but ‘Greyhound Days' is more overtly jazz than any of those records, highlighting Kurek's inimitable soft-focus glow. He's a gentle collaborator, never taking too much space while contributing enough to slant the material.
On 'Ceilings', Shiroishi is on top form, breathing familiar modern jazz curves from his tenor, and Kurek replies with a simmering electric piano. Sketching outlines rather than grandstanding, Kurek's approach is to transport us into a daydream, something that becomes clearer as the album progresses. His playing is more angled on 'Days', fluttering and pitch bending around Shiroishi's quivering murmurs, and on the charming 'Now I'm Broken Into', Kurek sounds like he's pulling the guts from a long lost music box.
Boomkat Product Review:
Polish original Piotr Kurek’s debut collab with prolific saxophonist Patrick Shiroishi is as breezy and uplifting as it is quietly complex, weaving piano, keyboards and bass guitar around Shiroishi's smooth jazz lullabies.
'Greyhound Days' emerged following an invitation from Jennifer Lucy Allan to remotely collaboration for a Late Junction session . Once Kurek and Shiroishi realised how effortless it was to work together, they continued shuttling ideas back and forth, resulting in a call and response that evolved into this proper full-length. If you've heard any of Kurek's last few albums for Unsound, Mondoj and Hands in the Dark, among others, you’ll have a good sense of his richly textured production style, but ‘Greyhound Days' is more overtly jazz than any of those records, highlighting Kurek's inimitable soft-focus glow. He's a gentle collaborator, never taking too much space while contributing enough to slant the material.
On 'Ceilings', Shiroishi is on top form, breathing familiar modern jazz curves from his tenor, and Kurek replies with a simmering electric piano. Sketching outlines rather than grandstanding, Kurek's approach is to transport us into a daydream, something that becomes clearer as the album progresses. His playing is more angled on 'Days', fluttering and pitch bending around Shiroishi's quivering murmurs, and on the charming 'Now I'm Broken Into', Kurek sounds like he's pulling the guts from a long lost music box.
Clear orange vinyl.
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Boomkat Product Review:
Polish original Piotr Kurek’s debut collab with prolific saxophonist Patrick Shiroishi is as breezy and uplifting as it is quietly complex, weaving piano, keyboards and bass guitar around Shiroishi's smooth jazz lullabies.
'Greyhound Days' emerged following an invitation from Jennifer Lucy Allan to remotely collaboration for a Late Junction session . Once Kurek and Shiroishi realised how effortless it was to work together, they continued shuttling ideas back and forth, resulting in a call and response that evolved into this proper full-length. If you've heard any of Kurek's last few albums for Unsound, Mondoj and Hands in the Dark, among others, you’ll have a good sense of his richly textured production style, but ‘Greyhound Days' is more overtly jazz than any of those records, highlighting Kurek's inimitable soft-focus glow. He's a gentle collaborator, never taking too much space while contributing enough to slant the material.
On 'Ceilings', Shiroishi is on top form, breathing familiar modern jazz curves from his tenor, and Kurek replies with a simmering electric piano. Sketching outlines rather than grandstanding, Kurek's approach is to transport us into a daydream, something that becomes clearer as the album progresses. His playing is more angled on 'Days', fluttering and pitch bending around Shiroishi's quivering murmurs, and on the charming 'Now I'm Broken Into', Kurek sounds like he's pulling the guts from a long lost music box.
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