http://fyh.com.pl/recenzje/mark-lotz-trio-the-wroclaw-sessions

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Mark Lotz Trio The Wroclaw Session Audio Cave 2019 Review Piotr Strzemieczny FYH
REVIEW: MARK LOTZ TRIO – THE WROCLAW SESSIONS

ARTIST: Mark Lotz Trio
TITLE: The Wroclaw Sessions
PRODUCER: Audio Cave
ISSUED: April 26, 2019

Flute, double bass, drums. In Wroclaw. All in one very intense day, in the history of work on The Wroclaw Sessions there is also a fever motive and shortened recordings. In a sense, dramatically, in the end everything was worth it. And Mark Lotz with certainty, because his discography was joined by an interesting, diverse and, most importantly, good record.

Mark Lotz is an interesting character from the world of jazz. A flutist, composer, born in the Netherlands, brought up and educated in Thailand, Uganda and Germany, he returned to his native country to study in various schools and conservatories, including the Hilversum Conservatory and the Amsterdam School of the Arts from the age of seventeen. Beautiful in Amsterdam) and in the Rotterdam Codarts. Experience and cultural influences shaped the Dutchman musically. In his game, you can hear interests in traditional jazz, improvisation, finally hear the world music accretions.

In Poland, Lotz stayed in March 2018, being a speaker at music conferences, also participating in thematic workshops. Twice he played solo, he also performed at several concerts. In Krakow, where Lotz spent time together with Grzegorz Piasecki, the double-bassist proposed a joint trip to Wrocław for a short recording session.

There had never been any plans before. And it was in the Polish capital of krasnals that the Dutchman met drummer Wojciech Buliński. After a tiring journey (caused by the hardships of the earlier night), Lotz and Piasecki arrived at the Wrocław studio of Damnrich Łukasz …. Damrycha and they started work on the material. It was unfortunate that Bulinski caught the forty-degree fever that day and after a few cruises he had to return home. In this way, Mark and Grzegorz stayed in the studio alone, playing, playing and … improvising. The result is their common tracks: “Lullaby for Tymon” and “Slap, Kick & Stop”. Plus two other Lotz tracks and jazz standards, including Charlie Parker’s “Segment” or Sam Rivers’ Euterpe.

But not to be stiff, the trio (and duo) also reached for other musical areas. Miriam Makeba’s music world performs well and joyfully in their version of “Pata Pata”, and the film “Song of Deliah” on The Wroclaw Sessions turns into minimal improvisation. Musicians seem to understand without words, as if they played with each other from time to time, and the Wrocław meeting was only one part of frequent sessions. The flute, which is natural, is a leading role in the trio concept. It’s his sound that drives The Wroclaw Session. Sometimes rough and short, sometimes with an Oriental, Middle Eastern color. The rhythm section, mainly the double bass, is the fill and background of Marek Lotz’s instrumental performances, but when the Dutch flutist and Grzegorz Piasecki are left alone, their common musical dialogue sparkles with many interesting colors.