Jazz is freedom – Vladyslav “Adzik” Sendecki

Vladyslav (Władysław) “Adzik” Sendecki was born on 17/1/1955 in Gorlice, the second of three children to Stefan and Irena Sendecki. His parents met in Kraków, where Stefan Sendecki was studying law and journalism. After they married, his parents lived in Gorlice. There, his father was head of the personnel department of the “Forest” factory. Their large house on Garncarska street (today: Stawiska street) had already been owned by the family before the war. 

 

A liberal and musical home
 

After work, Adzik’s father, Stefan Sendecki, often played at dance evenings, which at that time were highly popular. Everyone in the family made music, from his grandparents and parents to aunts and uncles... At home, they mainly played classical music. Adzik’s younger sister, Jadwiga, completed a degree in vocal performance at the Academy of Music in Katowice (Państwowa Wyższa Szkoła Muzyczna w Katowicach), now the Karol Szymanowski Music Academy Katowice. His older brother Stefan attended the Lyceum of Fine Arts in Kraków, while at the same time studying clarinet at a secondary school for music. His family were very interested in the arts and valued them highly. As was common during the 1950s and 60s, the Sendeckis possessed hardly any records; instead, they had a large amount of sheet music, including unusual musical genres. Adzik’s open-minded father was interested in various different trends in music. When he thinks back to his childhood, Adzik also remembers his close relationship with nature, the forests and the wonderful atmosphere of the natural world.

He began learning piano aged four. His father was his first teacher. It soon emerged that he had perfect pitch. Until he was eleven, he was given private lessons by Ms. Szotelowa, a pupil of Professor Zbigniew Drzewiecki, and successfully participated in regional music competitions. At age eleven, he took part in a private audition before Professor Schejbal and Professor Helena Szkielska, the Director of the primary school of music and the music lyceum in Kraków. A few days later, he enrolled in the piano class taught by Helena Szkielska at the former Fryderyk Chopin music school in Basztowa street. Later, he attended the music lyceum. He spent the first year, aged eleven, living with his uncle in Kraków; later, he went to live with his grandmother’s sister. During his time as a pupil in Kraków, he received intensive tuition. His entire manual system was changed, and he developed his own, unique sound.

 

The beginnings of jazz
 

While he was studying at the lyceum, after eight hours of piano lessons, Adzik would spend the evenings at the “Klub pod Jaszczurami” (“Under the Lizards Club”) on the main square, where he would continue playing. It was there, during the jam sessions, that he took his first steps as a jazz musician. In 1967, he came into contact with jazz by accident. He was watching a television broadcast of the “Jazz Jamboree” festival in Warsaw with his brother – now a composer and also a pianist – when he was astonished to see Roland Kirk playing three saxophones at the same time. He was fascinated by the creativity and imagination, the boundless freedom and breaking of conventions. Sendecki may have come to jazz via classical music, but in an interview with Porta Polonica, he stressed that for him, classical music was akin to improvised music. He always strove to understand classical music on an emotional level, and not simply to learn scores and standard ways of interpretation by heart. When playing classical works, he often entered such a “jazz-like”, even almost hypnotic, state. He stresses that for him, jazz is far more than just a genre. It is freedom, and also a form of togetherness. If you stand at the front and need to act in a provocative way, then that’s the way it is. However, if you’re at the back, you’re supporting the people who are in front. Then there’s swing – to be understood not just as a musical style – and rhythm. Everything needs to dance, has its own groove and a certain expression.

He remembers a jazz concert, the “Floriance” in the assembly hall of the music school, where Zbigniew Seifert, Janusz M. Stefański and others played. It was one of their first concerts together. Adzik had bought a ticket for the afternoon concert, but once he arrived, it turned out that he was the sole member of the audience. At that time, he was 14 or 15. The musicians played as though the hall was full! When it grew dark, candles were lit. Many years later, after he had emigrated, Adzik and Janusz M. Stefański, who is ten years older, sometimes reminisced about this first meeting. 

 

The first jazz combos
 

When Adzik was 17, his father died. The family’s financial situation worsened, and he worked in various jobs after school. While still attending the music lyceum, he took on the musical direction of the Student Song Festival (Festiwal Piosenki Studenckiej) in Kraków. He also accompanied various bands. During that time, he founded his own combo, “Rynek Główny 7”, which mainly played music by Frank Zappa. Before that, Adzik played drums in a band called “Artur”. With “Rynek Główny 7”, the piano was unequivocally his first choice of instrument.

After graduating from the lyceum with top-class grades, he took up studies at the Kraków Music Academy (Akademia Muzyczna w Krakowie), where Krzysztof Penderecki was rector. He studied piano with the highly respected Professor Ludwik Stefański. However, he did not remain his pupil for long. The intensive studies left no time for Adzik’s many other interests. For him, Kraków was bursting with creativity during those years. Although the buildings were of course grey at that time, the city was never monotone or one-dimensional. Sendecki still remembers today how Kraków was loved, and how powerful it was. It was during this time that he developed his roots. He became acquainted with the artists’ milieu in Kraków – the painters Andrzej Mleczko and Rafał Jabłonka, Zbyszek [Zbigniew] Rabsztyn – and the future gallery owner and jazz musician Zbigniew Seifert. He was burning to be part of it all. During those years, he had the incredible energy that is the privilege of youth.

 

“Extra Ball”
 

In 1974, during a meeting with Jarek [Jarosław] Śmietana and Benedykt Radecki in the “Klub pod Jaszczurami”, they decided to form the band “Extra Ball”. Jarek was older, and already had experience of the Jazz Federation. Soon afterwards, “Extra Ball” would be playing concerts abroad, and would be on tour for up to six months. Every year, they travelled to the Netherlands, where they had an agent. Adzik became close friends with Jarek Śmietana; the two were like brothers. He spent nearly all his free time with his older friend, who had a vast record collection. They would listen to records and talk about music for hours. “Extra Ball” quickly became popular. In 1975, the band won several awards at the “Jazz on the Oder” (Jazz nad Odrą) festival. 

Their ten-week tour of the USSR in 1975 left them with many memories. They played in Tajikistan, Kyrgyzstan, in the Caucasus, in Moscow and Kazan, on the border with Afghanistan, in Dushanbe, Baku, and elsewhere. They were extraordinarily successful, playing two concerts a day to packed concert halls. Some concerts attracted audiences of up to 12,000 people. On Saturdays and Sundays, they played four concerts a day. There were a large number of people in military uniform among the audience. It was Sendecki’s first and last trip to Russia or the Soviet Union. Today, he says that he was probably placed on the artists’ blacklist. He was annoyed by the constant surveillance, with a “dezhurnaya” (female concierge monitoring the entrance) placed on every floor. There was just one bath plug for every floor, which had to be ordered from the concierge. To make matters worse, their phones were also tapped. Once, he became so angry that he ripped the telephone cable out of the hotel wall. 

In 1978, Extra Ball went on tour to the US, to San Francisco, Nevada and California. They performed at a jazz festival. During that time, they had unforgettable adventures. While on tour, Sendecki played the organ in a church in Ponderosa – the setting for one of the scenes in the film “Bonanza” – and impressed the vicar there so much that she offered him a job. However, despite the prospect of a generous salary, he declined the offer, to the astonishment of several important members of the delegation. At that moment, Adzik was aware of the fact that just a short time earlier, in 1976, he had been awarded the main prize as a solo artist at the prestigious “Jazz on the Oder” festival in Wrocław. He could and would not choose to hide himself away for ever in a provincial US town, and to swap the piano for the organ. Not even for thousands of dollars.

 

“Sunship”
 

In 1977, Vladyslav Sendecki founded the band “Sunship”, which was inspired by Coltrane. At first, the band members included Andrzej Olejniczak. However, he soon left after being hired to work on a ship. He was replaced by Zbigniew Jaremko. Henryk Miśkiewicz and Vitold Rek also joined the band. They were fascinated by the band’s open harmonic-rhythmic approach, and by the fact that the form could always be recreated in a new and open way, so that an entire record could be produced from just a single theme. Following Olejniczak’s departure, the band began to move towards a harmonic bebop sound. During this period, Sendecki also played in Zbigniew Namysłowski’s band “Air Condition”, as well as with the band “Novi Singers”. He also collaborated with Janusz Muniak and Tomasz Stańko. His style of playing was unique and was met with critical acclaim. At this time, jazz music was extraordinarily popular. “Extra Ball” sold 200,000 records, which at that time was a huge success. 

In 1978, Sendecki, his wife Dorota and their two children – Wiktor, aged 2½, and Maja, aged 1 – moved from Kraków to Warsaw. It was an intensive period, during which Sendecki was playing a great deal, while at the same time actively participating in the Solidarność movement. He found out what the consequences were of resisting a totalitarian system. At that time, he was playing in a theatre production with Piotr Szczepanik in the “Stara Prochownia” (“Old Munitions Depot”) theatre in Warsaw, which included texts by Vladimir Vysotsky and other poets. The play was performed just twice before being shut down by the censor. Overall, Sendecki became more famous, and more rebellious, following his return from the US. When he applied to travel to India for a festival, the authorities refused to issue him a passport. In 1981, he was expelled from the university. Here, it should be mentioned that in 1974, together with Jarek Śmietana, he had left the Kraków Music Academy in order to join the newly established Faculty of Popular Music at the Music Academy in Katowice. Due to his numerous travels, several semesters of his studies were not recognised; in addition, he had not taken a military exam. On these grounds, he was called to a meeting with the dean of the faculty, Zbigniew Kalemba, and was told that he would have to leave the university. 

 

Emigration 
 

During the Solidarność period, Adzik Sendecki ran into problems. His passport was taken away, and the state artists’ agency (Pagart) told him that he would no longer be permitted to play abroad. His refusal to perform military service and his anti-communist views meant that he was threatened with imprisonment. No consideration was taken of the fact that he was the only breadwinner in the family. One day, he received a letter with the address of the prison to which he was to report. Even though Sendecki was a well-known musician in Poland, no-one was prepared to openly protect him. During this time, it became clear to him just how many colleagues in his musical environment belonged to or were collaborating with the Office for State Security, (“UB” – Urząd Bezpieczeństwa). He decided to save his family by emigrating. His wife had previously been in Switzerland visiting a friend. After returning, she had immediately submitted an application for another trip abroad and had collected her passport. Two weeks later, Dorota again travelled to Switzerland, taking the two children with her. In the meantime, Adzik was able to obtain a passport via the international event management agency of the Polish State Radio (Polskie Radio) in order to play concerts in the Federal Republic of Germany, which were planned for May 1981. After the performances, he travelled from there to Zurich without a visa. He was joined by his wife and children, and the family spent the summer by Lake Constance.

Adzik immediately received a great deal of support from colleagues in the music scene. At that time, everyone was keen to help Poles fighting for their freedom. His Swiss colleagues soon organised a concert in “Bazillus”, the largest club in Zurich, where the guests included Monty Alexander. After the concert, he told Adzik: “You sound great. Fantastic! You have to go to America”. However, at that time, he didn’t have the strength to emigrate again. In time, Sendecki became a pioneer in the Swiss jazz scene. He recalls that in Switzerland, jazz still tended to be just a hobby, and there were not that many jazz pianists. However, there was a young generation that was eager to learn, and it was exciting to work with the young musicians. Finding a way of earning money to support his family wasn’t easy in Switzerland. For financial reasons, he took on every offer that came his way, and was in high demand as an accompanist. “I was cheap and good”, he explains in an interview with Porta Polonica. It was also difficult to find a place to live for his family. In an unexpected call from the mother of Sławek Kulpowicz, he was told that an apartment had become free in her building. It had a fireplace, and was in the centre of Basel, close to the music academy. Even though the rent was high, he managed to secure the tenancy. From there, they would soon move into other, larger apartments, since the Sendeckis’ third child – their daughter Ola – was born in Switzerland soon afterwards.

 

A sought-after freelancer 
 

During this time, Billy Cobham came to Switzerland. He was looking for someone to play his set. Sendecki played for Cobham, who was impressed, and told him: “We have plenty of work ahead of us!” They worked intensively together for three years. Sendecki was playing a lot, and was kept very busy. Usually, he accompanied various big names. He succeeded in earning enough money to support himself and his family. As a freelancer, he was given no help from the state. After receiving identity documents for stateless persons in Switzerland, he was allowed to travel, and gave concerts all over the world – in France, Germany, Italy, Sweden, Austria, and the US. He collaborated with outstanding musicians, spent ten months on tour, and took part in festivals and various projects. However, all this work took a negative toll on his family life and he and his wife separated.

He also spent one day a week teaching in a jazz school. His main focus, however, was on expanding his jazz horizon. In 1982, he met Michał Urbaniak and Urszula Dudziak, with whom he performed at the Montreux Jazz Festival. They worked intensively together, playing concerts in Europe and the US. During this time, they also recorded the wonderful album “Recital” in Stockholm in 1983. The next year, Sendecki, Urbaniak and Dudziak released the album “Urbaniax – Burning Circuits” in the UK. In 1989, he recorded another album with Michał Urbaniak, “Songs for Poland”.

 

“Polski Jazz Ensemble”
 

For Sendecki, an important milestone from his early years in Switzerland was the founding of the “Polski Jazz Ensemble” formation in Germany in 1983 – shortly after the imposition of martial law in Poland. Since his time in Kraków, he had kept in contact with Janusz Maria Stefański, one of the co-founders of the group, who at that time lived in Germany near Frankfurt/Main. On the day that martial law was imposed, on 13 December 1981, Stefański had given a concert in Frankfurt, and remained there. Like Sendecki, he was in contact with Bronek [Bronisław] Suchanek, who at that time was living in Switzerland, and to Leszek Żądło from Munich. When the four musicians met in Königstein im Taunus, their chemistry was immediately apparent; they were all on the same wavelength. The political situation in Poland brought them even closer together. They had all recently emigrated. They felt a great sense of community and a need to take action, were invited to play everywhere and performed to full concert halls. They donated a portion of their income from the concerts to the Independent Self-Governing Trade Union “Solidarity” (Niezależny Samorządny Związek Zawodowy “Solidarność”, or NSZZ Solidarność). Many Poles came to their concerts who were Solidarność supporters and who had just emigrated. Sendecki recalls that these gatherings were very emotional. During this time, around 1986, an album appeared with their own compositions (i.e. by Stefański, Sendecki, Suchanek and Żądło) and “Rosemary’s Baby” by Krzysztof Komeda. 

 

Music producer and manager
 

After several years in Switzerland, Sendecki began working as a pop and film music producer. He was always full of new ideas, and therefore had no problem “selling” them. After a while, he built an entire recording studio in his apartment. One day, he received a request from the German-Swiss company MAS (Music Alliance Services) to build up a new regional office in Berlin from scratch and to set up a recording studio. He grabbed the opportunity with both hands. In November 1989, at a time of political upheaval in Europe, right after the fall of the Berlin Wall, he moved to Berlin. His passport contains one of the last visa stamps for the German Democratic Republic, since his company produced sound recordings in Babelsberg. During that time, MAS organised a concert in the Palace of the Republic (Palast der Republik) with the newly-founded Berlin International Orchestra. For several years, Sendecki managed large projects, worked on image development and composed his own music. Through his work, he learned about the music industry from the inside. The original plan was that he would relocate to London, but in the end, he moved to Hamburg, where the recording company Universal had a regional office.

 

The NDR Bigband
 

Out of the blue, in 1996, Sendecki was invited to join the NDR – the North German Broadcasting Corporation (Norddeutscher Rundfunk) – Bigband. For him, the call came at just the right moment. He recalls that at that time, he had almost stopped playing altogether. He was working at his desk, writing songs and “producing” pop musicians. In the NDR Bigband, Sendecki flourished again. For 25 intensive years, he played with the prestigious ensemble. He was a mainstay of the orchestra, and was popular and highly valued by everyone. However, working as an employed musician didn’t prevent Sendecki from working on his own projects. NDR is itself keen for its musicians to develop further and to pursue their own creative work. There are some projects that Sendecki recalls with particular fondness. He made a beautiful record with Christof Lauer, as well as a CD with Vitold Rek and Charlie Mariano. He also has fond memories of his collaboration with Daniel Schnyder, a Swiss composer from the US. Together with Andrzej Olejniczak, who lives in Spain, they founded the European Blue Note Quartet. They played more than ten concerts – in Spain, Poland and Germany. Over the course of his long career, Vladyslav Sendecki has worked with music icons such as Klaus Doldinger’s Passport, Billy Cobham, Michael and Randy Brecker, Maria Schneider, Ray Anderson, Peter Herbolzheimer, Larry Coryell, Janusz Muniak, Didier Lockwood, Tomasz Stańko, Victor Bailey, Buster Williams, Lenny White, Joe Henderson, Lew Soloff, Biréli Lagrène and Jaco Pastorius, Mel Lewis, Charlie Mariano, Arild Anderson, Markus Stockhausen, Al Jarreau, Bobby McFerrin, Till Brönner, Simon Phillips, Marcus Miller, Trilok Gurtu, Nils Petter Molvær, Nils Landgren, Quincy Jones, and many, many others.

 

Composer and solo pianist
 

As a composer, Sendecki wanted to write music that was related to his life. The rock opera “Haunted”, which he composed in 1994, had strong biographical influences. The opera also referenced work by Richard Wagner and others. The libretto was written by Jorgen Larsen, also known as James Vincent Lundstrom, who was head of Universal at that time, and who was a friend of Adzik’s. They worked on the project for two years, and the record was released in 1996.

Sendecki also enjoyed writing film music. His work accompanying the 30-minute ARD film in 2015 documenting everyday life at the Auschwitz memorial site was met with broad acclaim: “7 Tage... Auschwitz – ein musikalisches Experiment”. The music, which he arranged, replaces the commentary text in the film and expresses the emotional experience of the protagonists. 

Of Vladyslav Sendecki’s enormous output, which includes over 200 records, the solo albums “Listen to my Story” (1986) for UBM records, “Men from Wilnau” (1988) for Island Records, “Piano” (2007) for Provocateur Records and “Solo Piano at Schloss Elmau” (2010) for ACT have been received with particular critical acclaim. In these recordings, he performs not only his own compositions but also works by other artists. In 2010, the “Süddeutsche Zeitung” newspaper described Sendecki as one of “the most powerful, imaginative solo pianists of our time”. In a review of “Solo Piano at Schloss Elmau”, the “Süddeutsche Zeitung” wrote: “Here we have the long-awaited successor to Schumann, Debussy and Grieg, today’s master of the small form who has also subsumed the music history of the ‘second classical music’ (namely jazz). With more opulent pieces, such as the 20-minute introduction, Sendecki is also a master of sentiment, who arouses the emotions with virtuoso changes in melody, timbre and rhythm. The same is true of his adaptation of a traditional Polish lullaby, a song that already inspired Chopin – that other Polish émigré and pianist with whom Sendecki can now be compared without hesitation”. [1]

 

The Hamburg period – jazz formations
 

Vladyslav Sendecki has developed a very close relationship with Hamburg. Since the beginning – in other words, since the mid-1990s – he has lived in the centre of the city on the banks of the Alster river. He has become a firm fixture of the Hamburg music scene. 

Together with Gerry Brown, Detlev Beier and Ingolf Burkhardt, he founded the Hamburg Jazz Quartet, which also collaborated with Wolfgang Schlüter. Their first album, “Jazz Christmas”, contains jazz arrangements of German Christmas songs. The band gave several concerts.

The virtuoso jazz duo with Jürgen Spiegel (drums) and Vladyslav Sendecki (piano) was founded in 2018. They generated a great deal of international interest right from the start. The duo has released two albums to date: “two in the mirror” and “solace”. The latter, consisting of seven compositions by Sendecki and six by Spiegel, was recorded in Hamburg during the lockdown of 2021. NDR was positive about the outcome of this collaboration: “Sendecki and Spiegel play their way to freedom, they can rely on each other. Sendecki, one of the most virtuoso pianists of the jazz world, uses every opportunity to incorporate breathtaking runs or unanticipated harmonies into the smooth melodies, which suddenly bend what at first is an easygoing piece into a corner, into a new direction. Chopin and Debussy are an inspiration here, no less than Coltrane”.[2] The critics also praised Jürgen Spiegel for his empathic rhythm. In 2022, “solace” was named “CD of the month” by the Polish monthly magazine “Jazz Forum”.[3]

Since 2011, Vladyslav Sendecki has been performing concerts with the Atom String Quartet (Dawid Lubowicz, Marcin Hałat – violin, Michał Zaborski – viola, Krzysztof Lenczowski – cello). The Atom String Quartet is one of the most original chamber ensembles worldwide, going far beyond the possibilities of a classical string quartet due to its open-minded approach to improvisation. With Vladyslav Sendecki as a soloist, who is a generation older than the other players, the ensemble’s repertoire ranges from jazz to contemporary music and brilliantly crosses the boundaries between musical genres.

One particular area of interest for Sendecki is projects that connect poetry and jazz. With his second wife, Angélique Duvier (www.angeliqueduvier.com), a German actress and writer, he founded the “Lyrik & Jazz Ensemble” in 2009. Together, they developed poetry-jazz programmes such as “Ein polnischer Traum” (“A Polish Dream”), “Joseph Freiherr von Eichendorff” and “Chopin”. During their performances, they include poems by Czesław Miłosz and Wisława Szymborska in the translation by Karl Dedecius, as well as other works. They present poetry and jazz in Germany and Poland, but have also been invited to perform in China and Sweden.

 

Return to Poland after many years
 

Sendecki says that he has his wife Angélique to thank for the fact that he finally returned to Poland in 2005, after spending 25 years far away from home. One evening, after they had played a concert together in Jena, his wife said to him in the car: “Now let’s drive to Poland”. Sendecki missed the connection with his homeland, despite the fact that Poland had constantly been in his thoughts during all the years that he had been away. He took advantage of opportunities to play with musicians from Poland, and accepted invitations from Polish-German organisations whenever he could. He also encouraged his German colleagues to collaborate with Polish musicians, and was delighted whenever the NDR Bigband undertook projects that brought together Polish and German musicians. Returning to Poland after 25 years was a very emotional experience. He felt how familiar everything was – the culture, the landscape, and above all the people who had given him so much.

After that, everything happened of its own accord. In 2005, Witold Wnuk, a former school colleague from Kraków, got in touch. He was organising the Summer Jazz Festival and invited Adzik to join in. Shortly afterwards, Adzik fulfilled his dream: together with Wnuk, he set up the “My Polish Heart” foundation, which was designed to support artists. In Sendecki’s view, it is older artists more than anyone else who need support, since the younger ones are already helped by various programmes. As he explains in conversation with Porta Polonica: “Hardly anyone thinks about the older artists who laid the foundation for what we as artists are today”. 

After visiting Poland in 2005, Sendecki accepted invitations to play concerts there, such as at the “Jazz na Starówce” (“Jazz in the Old Town”) summer festival in Warsaw. There, he played with the Polish Blue Note Quartet: Vladyslav Sendecki (Piano), Andrzej Olejniczak (saxophone, tenor saxophone), Paweł Dobrowolski (drums), Michał Barański (bass, bass guitar). In the words of the music press: “What Adzik Sendecki offered goes beyond the human imagination. He is not a pianist, but a true magician, while at the same time, he is an artist with more than the usual charisma, a lively intelligence and an unusual talent for making contact with the audience.”[4]

In 2021, Vladyslav Sendecki left the NDR Bigband and retired. However, this new phase of his life in no way meant that he slowed down. Quite the opposite. He now plays in the Sendecki, Nils Petter Molvær and Mino Cinelu trio, and in the duos Sendecki/Spiegel and Sendecki/Ballard. Currently, he is working on a new Sendecki & Spiegel CD together with the EuropaChorAkademie, and on the music for a new film, “Fluss” (“River”).

 

Awards and prizes
 

In 1975, with Extra Ball, Sendecki won the main prize for bands at the Jazz on the Oder (Jazz nad Odrą) festival. He also won an individual prize along with Jarosław Śmietana.

In 1980, the readers of “Jazz Forum” (Warsaw) voted him the best jazz pianist of the year.

The Free and Hanseatic City of Hamburg – Sendecki’s chosen home in Germany – presented him with the highest jazz award, the “Hamburg Jazzpreis”, in 2011. 

In 2015, he received the highest Polish award for achievements in the arts, the “Gloria Artis”. 

Also in 2015, the mayor of Sendecki’s birthplace, Gorlice, presented him with the “Nagroda Dersława Karwacjana” (“Dersław Karwacjan Prize”) for outstanding achievements in the arts.

In 2017, he was awarded an honorary citizenship by his hometown of Gorlice. 

In 2021, he was awarded the “Most Starosty” (“Starost Bridge”) prize for his outstanding achievements in jazz, and as a memory of his homeland by the regional governor of Gorlice. 

At the end of October 2023, Sendecki was presented with the prestigious “Goldene Eule” (“Golden Owl”) award in Vienna.

 

Joanna de Vincenz, October 2023

 

The author wishes to thank Vladyslav Sendecki for the long interview over many hours, as well as the editor-in-chief of “Jazz Forum”, Paweł Brodowski, and the editorial team for providing the archive material. 

 

Selected discography of Vladyslav Sendecki

• Recital (1983) / Michał Urbaniak, Vladyslav Sendecki
• Men from Wilnau (1988)
• Wagnerama feat. Mike Kilian – Haunted (1994)
• Seelenlandschaften (1999) / Joachim Berendt, Krzysztof Zgraja, Philip Catherine, Vladyslav Sendecki
• Like a Bird (2000)
• A Tribute to Raymond Scott (2005)
• Piano (2007)
• Electric Treasures (2008) / Markus Stockhausen, Arild Andersen, Patrice Héral, Vladyslav Sendecki
• Solo Piano at Schloss Elmau (2010)
• Le Jardin oublié / My Polish Heart (2018) / Vladyslav Sendecki & Atom String Quartet
• two in the mirror (2019) / Sendecki & Spiegel
• solace (2022) / Sendecki & Spiegel

 

Video portrait by Veronika Emily Pohl about Vladyslav Sendecki in the series NDR Bigband “Going Solo” (2019)

https://www.ndr.de/orchester_chor/bigband/audio_video/NDR-Bigband-Going-Solo-Vladyslav-Sendecki,sendecki122.html