Melomani is a Polish jazz band formed in 1950 and 1951 in Łódź by Jerzy "Duduś" Matuszkiewicz.
In April 1947, Klub Miłośników Muzyki Rozrywkowej Melomani (editor's translation: The Melomani Club For Entertainment Music Enthusiasts) was created as a part of the Łódź-based YMCA (Young Men's Christian Association) affiliate branch which was established in 1945. Following the club's opening, a band of amateur musicians was formed which, in time, became one of the biggest symbols of Polish jazz. Among the most notable performers during the first era of the club's existence were: Marek Szczerbiński-Sart, Andrzej "Idon" Wojciechowski, Witold "Dentox" Sobociński and Marian and Tadeusz Suchocki.
Two years later, in 1949, Jerzy "Duduś" Matuszkiewicz appeared in the club. He came to Łódź to enrol in the newly-opened film school (established in 1948). Before, in Kraków, he had performed in the local YMCA and played with his own jazz band and Kazimierz Turewicz's renowned orchestra. It was only natural that after arriving in Łódź, Matuszkiewicz headed straight to the Melomani Club's famous jazz scene.
The gifted saxophonist-clarinettist managed to perform only in a handful of concerts with the club's band. Intensifying criticism of the YMCA, which was accused of debauching the youth and promoting imperialistic ideology using jazz music, resulted in the termination of the organisation's Polish branch at the end of 1949. However, the abolishment of Melomani Club did not mean the disbandment of the music group: losing their space for rehearsals and performances did not result in them losing their love for jazz. Duduś Matuszkiewicz became the group's leader (saxophone). Other band members at that time were Witold Sobociński (drums), Andrzej Wojciechowski (trumpet) and Kraków-based musicians who commuted for meetings and music sessions – Andrzej Trzaskowski (piano) and Witold Kujawski (double bass).
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Initially, it was difficult to call Melomani a full-fledged band – they were a group of jazz lovers and amateurs who met up once in a while to play together for fun. They found a place to do so in the welcoming space of Łódź Film School, which offered an atmosphere of artistic freedom and independence which corresponded with the jazz paradigm. More or less once a week, the band played a concert in private apartments or at dance parties, mainly at Łódź Film School and sometimes in Kraków or Warsaw. Because of the performances unofficial character, this period of Melomani's activity went down in the history of Polish jazz as the catacomb period (this term refers not only to the activity of this band but to the situation of Polish jazz overall). It is wrong, however, to view this period as an era of fighting against the Polish communist regime or conscious defiance towards the cultural politics which forbade playing jazz.
In reality, jazz musicians of the time were satisfied with playing at private parties and informal meetings. They manifested an easy-going approach to life, steered away from political issues and treated playing jazz as a sufficient declaration of their values. Living life to its fullest to the rhythm of American music infused with democratic values (playing together, everyone with their own solo, equal in the jazz conversation) were more than enough – there was no need for fiery manifestos. For this reason, the authorities were not friendly towards jazz musicians but, in the end, the constraints put on them were not as great as one could expect.
People who caused problems for jazz musicians often had no idea what jazz was actually about. During police inspections, officers were deceived by drinking songs quickly improvised by the band. During concert controls, they stopped caring whether the sounds played by the musicians were jazz or not when the first sip of alcohol was offered to them.
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Around 1950-1952, the group of friends who frequented the same Melomani Jazz Club started to accept invitations from other cities more and more often. This way, their informal, spontaneous activity started to transform into a full-fledged jazz band. They adopted a permanent name for the group and performed under it in Warsaw. The capital's audience had heard about the Melomani Club in Łódź and thought that the musicians represented it. Thus, they started to refer to them simply as Melomani.
The name was not very accurate because the club no longer existed and there was nothing to represent anymore. Besides, among its members were not only musicians from Łódź but also from Kraków. However, such nuances were not very important to the audience gathering in Warsaw's Academy of Fine Arts and the name Melomani stuck for good around 1951 (later, the band was also referred to as Hot Club Melomani).
Melomani's history essentially began in 1951 – the previous period was actually a transitional period when an amateur group transformed into an almost professional band. Almost – after all, in the next few years jazz was still going to be banned and no public or official activity would be allowed.
Andrzej Wojciechowski reminisces:
In opposition to Melomani Club, which was essentially dominated by jazz dance music, we played true jazz. Our radio-originated bebop repertoire was inspired by Andrzej Trzaskowski, who was eighteen years old at the time. Still, the new content did not stop the fans from associating us with the old brand. All of Poland knew us as Melomani. In reality, we played at dance parties, in the film school, and in bars, but also in private apartments.
The year 1952 was especially important for Melomani: a second pianist, Krzysztof Komeda, joined their ranks and the band gained more and more popularity. They performed in Zakopane and in Ustroń Morski, where Komeda managed to secure a two-month contract with the Ustronianka dance club.
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At that time, two artistic concepts started to surface in the band's repertoire which resulted in the appearance of two sub-groups of Melomani – one played traditional jazz and the other one played modern jazz. A 1999 album with archive recordings published by Jazz Forum shows us that in this era, the band coped exceptionally well. The oldest works are from 1952 and they prove that Melomani not only circumvented and played jazz music but even managed to record it in Polish Radio's Kraków studio.
In the mid-1950s, the band played at all the important music events. They took part in the meetings animated by the tireless Leopold Tyrmand which were popular all over Poland: Jam Session no. 1, Turniej Jazzowy (The Jazz Tournament), Studio 55, Seans z Powidłami ('Jam Séance', editor's note: 'powidła' translates to 'jam', meaning 'confiture', in English) and Zimno i Gorąco (Cold & Hot). They performed at the first jazz festivals in Sopot (1956-1967) and were always warmly received (however, one has to recognise that in the mid-1950s, Melomani already had quite a lot of competition which often played better and in a more modern style).
The crowning moment of this breakthrough time in Polish jazz's history was Melomani's concert in the National Philharmonic in Warsaw on 1st January 1958. They were the first Polish jazz band to perform in the prestigious venue. Melomani achieved something which, just a few years ago, was unimaginable: they brought jazz into the sanctuary of classical music and sealed jazz's triumphal return from the cultural catacombs.
Having achieved so much, the band decided to cease their activity, particularly since the musicians already had new concepts in their heads and their realisation collided with Melomani's operation. At the beginning of 1958, Melomani disbanded.
Jerzy '"Duduś" Matuszkiewicz reminisces:
It happened spontaneously. The mission was accomplished, our purposes fulfilled. We moved jazz out of the catacombs and introduced it to the Philharmonic which was a proof that it has been recognised as an art form.
It coincided with the appearance of young musicians on the jazz scene – ones for which Melomani were a point of reference. Their fresh approach had shown how much Polish jazz still had to offer and allowed the band to go into well-deserved retirement.
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It coincided with the appearance of young musicians on the jazz scene – ones for which Melomani were a point of reference. Their fresh approach had shown how much Polish jazz still had to offer and allowed the band to go into well-deserved retirement.
After the disbandment, former members of Melomani created their own groups, joined others or retired from music completely. Witold Sobociński, in accordance with his education, became a cinematographer. Andrzej Wojciechowski became a journalist and a television producer. Jerzy Matuszkiewicz started composing music for film and television. Andrzej Trzaskowski and Krzysztof Komeda continued their journey with Polish jazz music and became one of its most prominent figures.
The band's history inspired the script for Feliks Falk's 1981 film titled And All That Jazz which premiered in 1984. It is a tribute to the first underground bands playing 'black' American music in Poland under Stalin's regime. Witold Sobociński was the project's cinematographer.
Today, Melomani are legendary. Perhaps the band's recordings do not always bear the test of time but the undeniable joy from playing jazz music, emotions and spontaneity still impress listeners. Moreover, one cannot forget that during the band's short lifespan, it featured numerous musicians who are today true giants of Polish jazz: Jerzy Matuszkiewicz, Witold Sobociński, Krzysztof Komeda-Trzciński, Roman Dyląg, Andrzej Kurylewicz, Zbigniew Namysłowski, Andrzej Wojciechowski and many others. They were true Music Lovers – a supergroup impossible to forget.
Sources:
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Jakub Raczyński, Zespół jazzowy Melomani w Łodzi. Próba analizy powstania jazzu w łodzi oraz roli kulturotwórczej zespołu w okresie 1948 – 1956. Thesis, Karol Szymanowski Academy of Music in Katowice, Composition, Interpretation, Education and Jazz Department, Jazz Institute. Fragments available online: www.art.intv.pl
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Jerzy 'Duduś'Matuszkiewicz, Melomani [in:] "Jazz Forum" 7-8/99.
Originally written in Polish by Mariusz Gradowski, Dec 2011, translated by Patryk Grabowski, Sep 2018
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