Plays John Coltrane and Langston Hughes
Raphael Rogiński
Plays John Coltrane and Langston Hughes
Boomkat Product Review:
Polish guitarist Raphael Rogínski expands 2015's intimate set of Coltrane interpretations and pieces inspired by Harlem Renaissance poet Langston Hughes with four sublime additional tracks recorded in Warsaw this year.
The original album was part of a series on Warsaw-based label Bôłt Records called Populista, where artists were invited to put their own spin on existing music. Rogínski chose to approach Coltrane's well-known and quite rightly revered canon, rethinking classics like 'Blue Train' and 'Naima' to fit his unique methodology. His approach was to slow the songs down considerably until they began to make sense for guitar, meditating on the original melodies rather than duplicating them. The former piece, that opens the album, is a great proof of concept; Coltrane's version, that opens his 1957 album of the same name, swings hard from the beginning, showcasing his self-assured tenor skills. Rogínski deviates to the point of being unrecognizable: the melodies are still there but they've been wrapped with different cloth, teased from their rhythmic anchor.
The slower, more melancholy 'Lonnie's Lament' (from 1964's 'Crescent') is more identifiable, and even without McCoy Tyner's memorable piano part still retains the original's magisterial lilt. Rogínski takes us from the smoky club to the misty forest, drying out Coltrane's humid composition but leaving enough condensation for moss to grow in the cracks. And the guitarist's version of 'Countdown', a short hard bop workout from 1960's beloved 'Giant Steps' is remarkable; Rogínski extends the track slightly, multi-tracking his guitar to subtly mimic Coltrane's singular phrasing. On 'Walkers With the Dawn' and 'Rivers' meanwhile, Rogínski brings in Polish rhythm and blues singer Natalia Przybysz, who huskily recites Hughes' innovative poems, reframing them as proper songs against Rogínski's frenetic fretwork.
For anyone who already copped the original album, it's the new tracks that'll be most important, and they're worth it - it's basically a full EP's worth of fresh music. Rogínski tackles 'Pursuance' from 1964's 'A Love Supreme', 'Spiritual', 'Love' from 1965's 'First Meditations' and 'The Promise', that was first spotted on 1964's 'Live at Birdland'. And he manages to extend the concept (and its philosophy) harmonizing with the preceding suite while showing off the kind of textural qualities that made summer's 'Žaltys' so special. 'Promise' is particularly heartwarming, blessed with the chiming, kora or zither-like guitar sound that Rogínski has refined over the last few years and casting Coltrane's original (and Tyner's expressive, percussive piano phrases) in a completely new light.
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Boomkat Product Review:
Polish guitarist Raphael Rogínski expands 2015's intimate set of Coltrane interpretations and pieces inspired by Harlem Renaissance poet Langston Hughes with four sublime additional tracks recorded in Warsaw this year.
The original album was part of a series on Warsaw-based label Bôłt Records called Populista, where artists were invited to put their own spin on existing music. Rogínski chose to approach Coltrane's well-known and quite rightly revered canon, rethinking classics like 'Blue Train' and 'Naima' to fit his unique methodology. His approach was to slow the songs down considerably until they began to make sense for guitar, meditating on the original melodies rather than duplicating them. The former piece, that opens the album, is a great proof of concept; Coltrane's version, that opens his 1957 album of the same name, swings hard from the beginning, showcasing his self-assured tenor skills. Rogínski deviates to the point of being unrecognizable: the melodies are still there but they've been wrapped with different cloth, teased from their rhythmic anchor.
The slower, more melancholy 'Lonnie's Lament' (from 1964's 'Crescent') is more identifiable, and even without McCoy Tyner's memorable piano part still retains the original's magisterial lilt. Rogínski takes us from the smoky club to the misty forest, drying out Coltrane's humid composition but leaving enough condensation for moss to grow in the cracks. And the guitarist's version of 'Countdown', a short hard bop workout from 1960's beloved 'Giant Steps' is remarkable; Rogínski extends the track slightly, multi-tracking his guitar to subtly mimic Coltrane's singular phrasing. On 'Walkers With the Dawn' and 'Rivers' meanwhile, Rogínski brings in Polish rhythm and blues singer Natalia Przybysz, who huskily recites Hughes' innovative poems, reframing them as proper songs against Rogínski's frenetic fretwork.
For anyone who already copped the original album, it's the new tracks that'll be most important, and they're worth it - it's basically a full EP's worth of fresh music. Rogínski tackles 'Pursuance' from 1964's 'A Love Supreme', 'Spiritual', 'Love' from 1965's 'First Meditations' and 'The Promise', that was first spotted on 1964's 'Live at Birdland'. And he manages to extend the concept (and its philosophy) harmonizing with the preceding suite while showing off the kind of textural qualities that made summer's 'Žaltys' so special. 'Promise' is particularly heartwarming, blessed with the chiming, kora or zither-like guitar sound that Rogínski has refined over the last few years and casting Coltrane's original (and Tyner's expressive, percussive piano phrases) in a completely new light.
Boomkat Product Review:
Polish guitarist Raphael Rogínski expands 2015's intimate set of Coltrane interpretations and pieces inspired by Harlem Renaissance poet Langston Hughes with four sublime additional tracks recorded in Warsaw this year.
The original album was part of a series on Warsaw-based label Bôłt Records called Populista, where artists were invited to put their own spin on existing music. Rogínski chose to approach Coltrane's well-known and quite rightly revered canon, rethinking classics like 'Blue Train' and 'Naima' to fit his unique methodology. His approach was to slow the songs down considerably until they began to make sense for guitar, meditating on the original melodies rather than duplicating them. The former piece, that opens the album, is a great proof of concept; Coltrane's version, that opens his 1957 album of the same name, swings hard from the beginning, showcasing his self-assured tenor skills. Rogínski deviates to the point of being unrecognizable: the melodies are still there but they've been wrapped with different cloth, teased from their rhythmic anchor.
The slower, more melancholy 'Lonnie's Lament' (from 1964's 'Crescent') is more identifiable, and even without McCoy Tyner's memorable piano part still retains the original's magisterial lilt. Rogínski takes us from the smoky club to the misty forest, drying out Coltrane's humid composition but leaving enough condensation for moss to grow in the cracks. And the guitarist's version of 'Countdown', a short hard bop workout from 1960's beloved 'Giant Steps' is remarkable; Rogínski extends the track slightly, multi-tracking his guitar to subtly mimic Coltrane's singular phrasing. On 'Walkers With the Dawn' and 'Rivers' meanwhile, Rogínski brings in Polish rhythm and blues singer Natalia Przybysz, who huskily recites Hughes' innovative poems, reframing them as proper songs against Rogínski's frenetic fretwork.
For anyone who already copped the original album, it's the new tracks that'll be most important, and they're worth it - it's basically a full EP's worth of fresh music. Rogínski tackles 'Pursuance' from 1964's 'A Love Supreme', 'Spiritual', 'Love' from 1965's 'First Meditations' and 'The Promise', that was first spotted on 1964's 'Live at Birdland'. And he manages to extend the concept (and its philosophy) harmonizing with the preceding suite while showing off the kind of textural qualities that made summer's 'Žaltys' so special. 'Promise' is particularly heartwarming, blessed with the chiming, kora or zither-like guitar sound that Rogínski has refined over the last few years and casting Coltrane's original (and Tyner's expressive, percussive piano phrases) in a completely new light.
Boomkat Product Review:
Polish guitarist Raphael Rogínski expands 2015's intimate set of Coltrane interpretations and pieces inspired by Harlem Renaissance poet Langston Hughes with four sublime additional tracks recorded in Warsaw this year.
The original album was part of a series on Warsaw-based label Bôłt Records called Populista, where artists were invited to put their own spin on existing music. Rogínski chose to approach Coltrane's well-known and quite rightly revered canon, rethinking classics like 'Blue Train' and 'Naima' to fit his unique methodology. His approach was to slow the songs down considerably until they began to make sense for guitar, meditating on the original melodies rather than duplicating them. The former piece, that opens the album, is a great proof of concept; Coltrane's version, that opens his 1957 album of the same name, swings hard from the beginning, showcasing his self-assured tenor skills. Rogínski deviates to the point of being unrecognizable: the melodies are still there but they've been wrapped with different cloth, teased from their rhythmic anchor.
The slower, more melancholy 'Lonnie's Lament' (from 1964's 'Crescent') is more identifiable, and even without McCoy Tyner's memorable piano part still retains the original's magisterial lilt. Rogínski takes us from the smoky club to the misty forest, drying out Coltrane's humid composition but leaving enough condensation for moss to grow in the cracks. And the guitarist's version of 'Countdown', a short hard bop workout from 1960's beloved 'Giant Steps' is remarkable; Rogínski extends the track slightly, multi-tracking his guitar to subtly mimic Coltrane's singular phrasing. On 'Walkers With the Dawn' and 'Rivers' meanwhile, Rogínski brings in Polish rhythm and blues singer Natalia Przybysz, who huskily recites Hughes' innovative poems, reframing them as proper songs against Rogínski's frenetic fretwork.
For anyone who already copped the original album, it's the new tracks that'll be most important, and they're worth it - it's basically a full EP's worth of fresh music. Rogínski tackles 'Pursuance' from 1964's 'A Love Supreme', 'Spiritual', 'Love' from 1965's 'First Meditations' and 'The Promise', that was first spotted on 1964's 'Live at Birdland'. And he manages to extend the concept (and its philosophy) harmonizing with the preceding suite while showing off the kind of textural qualities that made summer's 'Žaltys' so special. 'Promise' is particularly heartwarming, blessed with the chiming, kora or zither-like guitar sound that Rogínski has refined over the last few years and casting Coltrane's original (and Tyner's expressive, percussive piano phrases) in a completely new light.
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Boomkat Product Review:
Polish guitarist Raphael Rogínski expands 2015's intimate set of Coltrane interpretations and pieces inspired by Harlem Renaissance poet Langston Hughes with four sublime additional tracks recorded in Warsaw this year.
The original album was part of a series on Warsaw-based label Bôłt Records called Populista, where artists were invited to put their own spin on existing music. Rogínski chose to approach Coltrane's well-known and quite rightly revered canon, rethinking classics like 'Blue Train' and 'Naima' to fit his unique methodology. His approach was to slow the songs down considerably until they began to make sense for guitar, meditating on the original melodies rather than duplicating them. The former piece, that opens the album, is a great proof of concept; Coltrane's version, that opens his 1957 album of the same name, swings hard from the beginning, showcasing his self-assured tenor skills. Rogínski deviates to the point of being unrecognizable: the melodies are still there but they've been wrapped with different cloth, teased from their rhythmic anchor.
The slower, more melancholy 'Lonnie's Lament' (from 1964's 'Crescent') is more identifiable, and even without McCoy Tyner's memorable piano part still retains the original's magisterial lilt. Rogínski takes us from the smoky club to the misty forest, drying out Coltrane's humid composition but leaving enough condensation for moss to grow in the cracks. And the guitarist's version of 'Countdown', a short hard bop workout from 1960's beloved 'Giant Steps' is remarkable; Rogínski extends the track slightly, multi-tracking his guitar to subtly mimic Coltrane's singular phrasing. On 'Walkers With the Dawn' and 'Rivers' meanwhile, Rogínski brings in Polish rhythm and blues singer Natalia Przybysz, who huskily recites Hughes' innovative poems, reframing them as proper songs against Rogínski's frenetic fretwork.
For anyone who already copped the original album, it's the new tracks that'll be most important, and they're worth it - it's basically a full EP's worth of fresh music. Rogínski tackles 'Pursuance' from 1964's 'A Love Supreme', 'Spiritual', 'Love' from 1965's 'First Meditations' and 'The Promise', that was first spotted on 1964's 'Live at Birdland'. And he manages to extend the concept (and its philosophy) harmonizing with the preceding suite while showing off the kind of textural qualities that made summer's 'Žaltys' so special. 'Promise' is particularly heartwarming, blessed with the chiming, kora or zither-like guitar sound that Rogínski has refined over the last few years and casting Coltrane's original (and Tyner's expressive, percussive piano phrases) in a completely new light.
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