Trumpeter and composer, Tomasz Stanko, considered by many to be the leader of the Polish Jazz scene in the 1960s and beyond, allows us into his mind through this fascinating conversation-based autobiography. 

Music journalist, author and one time editor in chief of Playboy, Rafał Księżyk presents us with an unconventional, yet captivating autobiography through a range of conversations he had with Tomasz Stanko between 2008 and 2009. No subject is off the table, and Stanko and Księżyk discuss everything from the musicians he worked with to his years of extensive drug taking with Stanko, at times, being brutally honest and open. We are given fascinating insights into his different compositional methods including how his visits to galleries and museums became a source of inspiration ‘Museums have their own particular atmosphere…you can linger awhile and stand there and focus’, discussions on the impact drugs and alcohol had on his personal and professional relationships, his compositions and performances, and how he lost of all his teeth and had to develop a whole new way of playing with false teeth.

Księżyk clearly has an extensive knowledge of Stanko’s work and life and at times points out things that Stanko himself was unaware of. Stanko is very honest and reflective on some of his past behaviour; sometimes not even remembering what happened and often going into great depth. When asked about what he defines as his ‘difficult period’ and carrying knives around with him, he simply says ’I’d take the nice-looking ones. I didn't carry them with a view to using them. I wouldn’t know how to, would I?’. At times, they disagree, with Księżyk making a scathing comment about Smooth Jazz, stating it is a ‘crime against jazz’ while Stanko firmly states ‘I object to puritans who want every genre to tick to its pure form. I don’t like them’.

The book moves around in no particular chronological order, but this gives the feeling of a more genuine conversation, almost like you have moved in with Stanko for a month or so. At times, the discussions are more practical, covering techniques, recording sessions, labels and then perhaps after a glass of wine ( or two), late in the evening, the pair delve into the creative mind and try to understand the meaning of it all and where Księżyk and Stanko’s mutual admiration of William S Burrows is fascinatingly explored.

This book will appeal to many, the hard core Stanko fans but also for those interested in not only the Polish Jazz scene but the mind of one of its key innovators.

Highly recommended.

You can buy the book here: