Under One Sky

Under One Sky is an exploration of both place and self. A musical accompaniment to Lewandowski’s period of transition in his relocation from London to New York City in 2017.  “My aim for this record is to express my feelings, experiences and growth as I float between two major cities and scenes. Both have mighty rivers, both are bustling metropolises, both have imposing skylines and indeed both have strong musical heartbeats, which although moving to a different rhythm, foster creativity through both tradition and individualism. My music is made up of a combination of these two great cities and the sounds that live within them. In this sense, whether I’m in New York or London, I truly feel that I am under one sky’.

Following the success of his critically acclaimed 2017 debut album, ‘Waller’ (released shortly before his departure to the US), ‘Under One Sky’ sees Lewandowski revisit the piano trio, which he considers his “favourite vehicle for improvising”, in a markedly different  setting than his reimagining of the music of one of the early innovators of the genre – Thomas ‘Fats’ Waller.  Consisting of 11 original compositions, this is Lewandowski’s first recorded statement of his own music. In this album, he proves to be a composer of great skill, conjuring architecturally intricate, crystalline compositions reminiscent of both the Manhattan and City of London skylines. “My aim as a composer is, through the use of form, melody and harmony, to provide an expansive jumping off point from fairly limited information.”  He continues “I try to consolidate all of my ideas into one page of manuscript” a lesson he learned from a semester studying composition with Dave Douglas at the Juilliard School. “For me, clarity of line and melodic narrative are very important. The trio allows the intimacy for all three instruments to weave in and out of each other. To capture this I often have figures and motifs that pervade my compositions.  It’s truly a three way commentary”.

This aspect of Lewandowski’s music becomes clear upon listening to the cyclical ‘Licks’, in which his skill as a gifted and melodious soloist also shines through. The snake-like ‘Provavus’ twists and turns as the instruments rise and fall in counterpoint, demonstrating the virtuosity of his two collaborators, Pianist Addison Frei and drummer Kush Abadey.

Frei, a classmate of Mark’s from their time as members of the prestigious Artist Diploma ensemble at Juilliard demonstrates masterful pacing, touch and colour. Himself a gifted composer, he illuminates Lewandowski’s compositions from behind the keyboard. Washington DC born Kush Abadey has fast established himself as one of the first call drummers on the international jazz scene, performing with a diverse range of musicians such as Melissa Aldana, Ravi Coltrane and Dee Dee Bridgewater.  Here, he and Lewandowski weave a tapestry of textures both complex and sparse, always maintaining and exhibiting their broad knowledge of the jazz tradition.  Lewandowski’s reverence for this tradition and the history of the music has been a point of admiration from musicians, critics and listeners alike. Indeed the last time he performed on British soil was as a member of the trumpeter, composer and cultural ambassador Wynton Marsalis’ quartet.  This relationship with Wynton as well as other master musicians (recently including drummer, composer and Blue Note Records staple, Joe Chambers) and also his period of extended study with the great bassist Henry Grimes have all helped develop Lewandowski’s multifarious approach to both bass playing and composition.  As have his stints in the trios of celebrated pianists on both sides of the pond. In the UK, as a member of eclectic and imaginative MOBO award winning pianist Zoe Rahman’s trio and in NYC as a member of the beloved New York City institution Johnny O’Neals trio. These vastly different experiences have shaped Mark’s approach in a myriad of ways. As he puts it “with Zoe I learned about exploring identity, place and finding my voice in the music. Mixing and matching smells, sounds tastes and colours from everywhere and every experience in one’s life. About being musically honest and personally authentic. With Johnny I learned about discipline, the roles of the instruments. A love for the art of song. Of being an accompanist. His beautiful phrasing and voicings taught me a lot too.  And of course it taught me to swing. To swing really really hard. No matter the style of the music, the groove of the music or the setting, being able to swing is invaluable. You can always tell when someone doesn’t know how to do that.” This respect for his elders is obvious by the two dedications on the album – tributes to two trail blazing pianists. “Andrew Hill and Paul Bley embody the spirit of jazz. A watertight knowledge of the music’s tradition twinned with a searching for one’s individual voice through the process of composition, both written and spontaneous. This is why I wanted to honor them on this album”.

Although the music on this album evokes urban experiences in bustling world cities, the record opens exuding stillness and space. The opening track ‘3459 Miles’ (the distance between London and New York) is an almost pastoral overture to the album. Of this Lewandowski comments “Of course London and New York are separated by great space, both physically and also culturally.  Different time zones, cultural norms, accents and attitudes. The album’s opening is my way of capturing the feeling that that space gives me. Excitement mixed with a feeling of nostalgia. When I was in London I used to look at the map of the world imagining how I’d feel across the other side of the Atlantic. Well now I know”.

An album full of poise, sophisticated writing, playful interplay and subtlety Mark Lewandowski makes a poignant  impression as both composer and bassist. It is a beautiful document of his blossoming style as he weighs up the influence of both his chosen new home and his native homeland.