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Tracklist:
CD1: Witkacy Peyotl
01. My W.S. Friend [6:01]
02. Witkacy - Wizje cz. I [12:57]
03. Witkacy - Wizje cz. II [15:48]
04. Hej! [4:52]
CD2: Freelectronic
01. Too Pee [3:17]
02. Kwa, Kwa [2:09]
03. Sunia [5:28]
04. Ha, Ha, Ha [4:36]
05. Gama [3:19]
06. Euforila [5:59]
07. Freelectronic [3:35]
08. Dwaj [1:34]
09. Shaky Chicka [4:02]
10. Asmodeus [5:36]
CD1 recorded April 1984 - November 1986
Recording engineer: Andrzej Lupa, Wojciech Przybylski, Andrzej Sasin and Tadeusz Sudnik
CD2 recorded April and June 1986 at Remont Jazz Club
Recording engineer: Rafal Paczkowski
Personnel:
Tomasz Stanko - trumpet
Janusz Skowron - synthesizer Yamaha DX7
Apostolis Anthimos - guitars, drums and percussion
Witold Szczurek - electric and acoustic bass
Zbigniew Brysiak - percussion
Tadeusz Sudnik - synthi..... aks
Andrzej 'Major' Przybielski - trumpet
Marek Walczewski - voice
And everything began with a small golden statue of a faun-like Beelzebub, a small sculpture of the purest gold, so finely engraved, so chased, so done up to perfection that it seemed to be the work of some truly beelzebubic Donatello from out of this world or of some Occidentalized Chinaman who spent his whole life forging that one unique thing. And the miracle happened. The Beelzebub came to life...
from "Peyotl" by Witkacy (A Report on Stanislaw Ignacy Witkiewicz's Reaction to Peyote, June 20.1928)
Tomasz Stanko (born 11 July 1942 in Rzeszów) is a renowned Polish jazz trumpet player, composer, and pioneer of the jazz avant-garde. In the 1960s he was the leader of the quartet Jazz Darings, and later played in Trzaskowski’s and Krzysztof Komeda’s bands. In the period 1967-1973 he had his own quartet, one of the most renowned Polish modern jazz bands. Later he played with various musicians, and increasingly solo. In the 1990s he recorded on the prestigious Munich label ECM. Music composed for films and theatre holds an important place in Stańko’s work. He currently tours with the Simple Acoustic Trio, featuring Marcin Wasilewski. "Peyotl" was recorded in his the best jazz-rock project called Freelectronic band.
Stanislaw Ignacy Witkiewicz (Witkacy). Polish painter, illustrator, and photographer, playwright and novelist, philosopher, art theoretician, and critic; member of the first-ever Polish group of avant-garde artists known as the Formists; author of the aesthetic theory of Pure Form; creator of the Firma Portretowa (Portrait Company). Born in 1885 in Warsaw, died in 1939.
The son of a Polish painter and a painter in his own right, Witkiewicz wrote over 30 plays between 1918 and his suicide in 1939. About a third of these are still unpublished, yet Witkiewicz, who was practically ignored in his time and left no direct disciples, now bestrides the avant-garde like a colossus, mysteriously arousing more excitement in young playwrights than practically any other 20th century writer, even O'Neill. His influence is perhaps magnified by the enthusiasm of European scholars, but his standing as progenitor of the avant-garde is unquestioned.
Witkiewicz is known for his outrageously extravagant scenes influenced by all kinds of cults and philosophical speculations. In "Tumor Brainiowicz," the overriding spirit is mathematics. The play was largely inspired by the life of German mathematician Georg Kantor, who proved infinity to be an actual value (as opposed to a more vague notion of the inestimable, or a philosophical notion of "nothing beyond") and died in a mental institution in 1918. With this play, Witkiewicz compares mathematical genius to the artistic kind. Brainiowicz' growing understanding of infinity is compared to a tumor which proliferates while the genius is subjected to a barrage of plots, subterfuges and attempts to steal "the power of math."
The daring, formative plays of Witkiewicz, including "The Metaphysics of a Two-Headed Calf" and "The Water Hen," have cast a long shadow over modernism and the avant-garde, but it's nearly impossible to find anything written on "Tumor Brainiowicz." Never before translated, it is virtually unknown in the English-speaking countries. But its style and viewpoint are Witkiewicz to a "W": it is filled with disturbing reflections on Man's existence, often delivered in dialogue whose madcap effervescence defies rational interpretation. In Witkiewicz' crazy, menacing world, scientists (like priests) are strange madmen, horrifying violence alternates with portentous scenes of inaction, and the universe is generally collapsing into ruins. All is imbued with the doctrine of "pure form," a concept that was passionately publicized by the Futurists, Cubists and rebellious artists of Krakow. (ankh, savagesaints.blogspot.com)
Extractor: Exact Audio Copy v0.99pb3
Codec: Monkey's Audio 3.97
Compression: High Lossless
Total Time: 39:42, 39:41
Ripper: SurowyTato
CD1: Witkacy Peyotl
01. My W.S. Friend [6:01]
02. Witkacy - Wizje cz. I [12:57]
03. Witkacy - Wizje cz. II [15:48]
04. Hej! [4:52]
CD2: Freelectronic
01. Too Pee [3:17]
02. Kwa, Kwa [2:09]
03. Sunia [5:28]
04. Ha, Ha, Ha [4:36]
05. Gama [3:19]
06. Euforila [5:59]
07. Freelectronic [3:35]
08. Dwaj [1:34]
09. Shaky Chicka [4:02]
10. Asmodeus [5:36]
CD1 recorded April 1984 - November 1986
Recording engineer: Andrzej Lupa, Wojciech Przybylski, Andrzej Sasin and Tadeusz Sudnik
CD2 recorded April and June 1986 at Remont Jazz Club
Recording engineer: Rafal Paczkowski
Personnel:
Tomasz Stanko - trumpet
Janusz Skowron - synthesizer Yamaha DX7
Apostolis Anthimos - guitars, drums and percussion
Witold Szczurek - electric and acoustic bass
Zbigniew Brysiak - percussion
Tadeusz Sudnik - synthi..... aks
Andrzej 'Major' Przybielski - trumpet
Marek Walczewski - voice
| CODE |
| Exact Audio Copy V0.99 prebeta 3 from 28. July 2007 EAC extraction logfile from 17. May 2008, 12:01 Tomasz Stanko / Witkacy Peyotl Used drive : PLEXTOR DVDR PX-810SA Adapter: 1 ID: 0 Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No Read offset correction : 48 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Installed external ASPI interface Used output format : Internal WAV Routines Sample format : 44.100 Hz; 16 Bit; Stereo TOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:01.00 | 6:01.66 | 75 | 27215 2 | 6:02.66 | 12:57.73 | 27216 | 85563 3 | 19:00.64 | 15:48.64 | 85564 | 156727 4 | 34:49.53 | 4:52.47 | 156728 | 178674 Range status and errors Selected range Filename E:\INCOMING\EAC\Tomasz Stanko - Witkacy Peyotl.wav Peak level 100.0 % Range quality 100.0 % Test CRC 17B650AD Copy CRC 17B650AD Copy OK No errors occurred End of status report ------------------- Exact Audio Copy V0.99 prebeta 3 from 28. July 2007 EAC extraction logfile from 17. May 2008, 12:16 Tomasz Stanko / Freelectronic Used drive : PLEXTOR DVDR PX-810SA Adapter: 1 ID: 0 Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No Read offset correction : 48 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Installed external ASPI interface Used output format : Internal WAV Routines Sample format : 44.100 Hz; 16 Bit; Stereo TOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:00.00 | 3:17.70 | 0 | 14844 2 | 3:17.70 | 2:09.66 | 14845 | 24585 3 | 5:27.61 | 5:28.58 | 24586 | 49243 4 | 10:56.44 | 4:36.01 | 49244 | 69944 5 | 15:32.45 | 3:19.04 | 69945 | 84873 6 | 18:51.49 | 5:59.74 | 84874 | 111872 7 | 24:51.48 | 3:35.33 | 111873 | 128030 8 | 28:27.06 | 1:34.64 | 128031 | 135144 9 | 30:01.70 | 4:02.41 | 135145 | 153335 10 | 34:04.36 | 5:36.60 | 153336 | 178595 Range status and errors Selected range Filename E:\INCOMING\EAC\Tomasz Stanko - Freelectronic.wav Peak level 98.0 % Range quality 99.9 % Test CRC 633A4741 Copy CRC 633A4741 Copy OK No errors occurred End of status report |
And everything began with a small golden statue of a faun-like Beelzebub, a small sculpture of the purest gold, so finely engraved, so chased, so done up to perfection that it seemed to be the work of some truly beelzebubic Donatello from out of this world or of some Occidentalized Chinaman who spent his whole life forging that one unique thing. And the miracle happened. The Beelzebub came to life...
from "Peyotl" by Witkacy (A Report on Stanislaw Ignacy Witkiewicz's Reaction to Peyote, June 20.1928)
Tomasz Stanko (born 11 July 1942 in Rzeszów) is a renowned Polish jazz trumpet player, composer, and pioneer of the jazz avant-garde. In the 1960s he was the leader of the quartet Jazz Darings, and later played in Trzaskowski’s and Krzysztof Komeda’s bands. In the period 1967-1973 he had his own quartet, one of the most renowned Polish modern jazz bands. Later he played with various musicians, and increasingly solo. In the 1990s he recorded on the prestigious Munich label ECM. Music composed for films and theatre holds an important place in Stańko’s work. He currently tours with the Simple Acoustic Trio, featuring Marcin Wasilewski. "Peyotl" was recorded in his the best jazz-rock project called Freelectronic band.
Stanislaw Ignacy Witkiewicz (Witkacy). Polish painter, illustrator, and photographer, playwright and novelist, philosopher, art theoretician, and critic; member of the first-ever Polish group of avant-garde artists known as the Formists; author of the aesthetic theory of Pure Form; creator of the Firma Portretowa (Portrait Company). Born in 1885 in Warsaw, died in 1939.
The son of a Polish painter and a painter in his own right, Witkiewicz wrote over 30 plays between 1918 and his suicide in 1939. About a third of these are still unpublished, yet Witkiewicz, who was practically ignored in his time and left no direct disciples, now bestrides the avant-garde like a colossus, mysteriously arousing more excitement in young playwrights than practically any other 20th century writer, even O'Neill. His influence is perhaps magnified by the enthusiasm of European scholars, but his standing as progenitor of the avant-garde is unquestioned.
Witkiewicz is known for his outrageously extravagant scenes influenced by all kinds of cults and philosophical speculations. In "Tumor Brainiowicz," the overriding spirit is mathematics. The play was largely inspired by the life of German mathematician Georg Kantor, who proved infinity to be an actual value (as opposed to a more vague notion of the inestimable, or a philosophical notion of "nothing beyond") and died in a mental institution in 1918. With this play, Witkiewicz compares mathematical genius to the artistic kind. Brainiowicz' growing understanding of infinity is compared to a tumor which proliferates while the genius is subjected to a barrage of plots, subterfuges and attempts to steal "the power of math."
The daring, formative plays of Witkiewicz, including "The Metaphysics of a Two-Headed Calf" and "The Water Hen," have cast a long shadow over modernism and the avant-garde, but it's nearly impossible to find anything written on "Tumor Brainiowicz." Never before translated, it is virtually unknown in the English-speaking countries. But its style and viewpoint are Witkiewicz to a "W": it is filled with disturbing reflections on Man's existence, often delivered in dialogue whose madcap effervescence defies rational interpretation. In Witkiewicz' crazy, menacing world, scientists (like priests) are strange madmen, horrifying violence alternates with portentous scenes of inaction, and the universe is generally collapsing into ruins. All is imbued with the doctrine of "pure form," a concept that was passionately publicized by the Futurists, Cubists and rebellious artists of Krakow. (ankh, savagesaints.blogspot.com)
Extractor: Exact Audio Copy v0.99pb3
Codec: Monkey's Audio 3.97
Compression: High Lossless
Total Time: 39:42, 39:41
Ripper: SurowyTato