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Marek Bliziński (22 March 1947 – 17 March 1989) was a Polish jazz guitarist and composer. He played with Michał Urbaniak, Wojciech Karolak and Zbigniew Namysłowski. Bliziński was the first Polish world-class jazz guitarist. Stylistically, he belonged to the jazz mainstream, continuing the tradition of electric jazz guitar started by Charlie Christian and represented later by musicians such as Kenny Burrell, Barney Kessel, Wes Montgomery, Jim Hall, Joe Pass, Pat Metheny and John Scofield. ==Career== Bliziński grew up in a family with strong cultural traditions. He got hit first guitar on Christmas 1962 and taught himself how to play. He founded the band Czterech (The Four) in 1966, where he played the music of J.S. Bach transcribed for three guitars and drums. The band won the Igrce Gliwickie competition in 1967; Bliziński won the first prize in the instrumental category. He wrote in one of his letters:
In 1971 he was already collaborating with Krzysztof Sadowski and Wanda Warska. He founded the quartet Generacja ("Generation"), which won a prize in the Jazz nad Odrą festival; Bliziński himself won the 3rd prize in the instrumental category. In the years that followed, he played with Zbigniew Namysłowski, Michał Urbaniak, Tomasz Stańko, Jan Jarczyk, Włodzimierz Nahorny, Adam Makowicz, Novi, Bemibek, the Polish Radio's Jazz Studio conducted by Jan "Ptaszyn" Wróblewski, the Polish Radio and Television orchestra conducted by A. Trzaskowski, Wojciech Karolak and Janusz Muniak. Bliziński's technique was dazzling. He worked very hard, practising constantly, aiming at maximal precision. He started his own trio in the late 70s, with which he played in jazz clubs and recorded his first album, ''The Wave'' (Poljazz). When the Jazz Forum magazine held a contest in 1982, Bliziński attracted the highest number of votes in the jazz guitar category. In the following years, Marek Bliziński and Jarosław Śmietana became the two most popular jazz guitar players in Poland. Bliziński was recruited by Zbigniew Namysłowski in 1983. He played with Air Condition on jazz festivals in Europe and Canada. Johnny Olson wrote in the Swedish paper ''Nya Wermlands-Tidningen'' on April 26, 1983:
Despite releasing popular records with other musicians, Bliziński's solo records had little success. Disappointed with imperfect recordings, he used all his savings for instruments and his own recording studio. He started working with his fellow musicians for the Royal Viking lines. Between cruises, he worked on his next solo album. He was a universal guitarist and a good bass guitar player. His playing was characterized by perfect technique, moderation and good taste. As a soloist, he represented gentle virtuosity, free from cheap tricks, preferring full sound and a natural use of the instrument. Kazimierz Czyż wrote:
He was an appraised theoretician. Taciturn and not particularly communicative in person, he was vastly knowledgeable. He published the book ''Jazz Guitar'' in 1983, written in surprisingly comprehensible language. This compendium of knowledge about guitar playing was complemented by his teaching experience, gained during jazz workshops in Chodzież and Mąchocice. He occasionally collaborated with the ''Jazz Forum'' and ''Jazz'' magazines, writing reviews of records and books related to jazz guitar. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Marek Bliziński」の詳細全文を読む スポンサード リンク
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