(…) This very sublimed form of jazz incredibly takes control of emotions, and inspires the listener, sometimes towards reverie and nostalgia, and sometimes perfect coolness. (…) The eighth song was Nie zapominaj mnie [Don’t forget me] with Andrzej Poniedzielski’s lyrics, and Kuba Badach on the microphone. One might say that at this moment the idea of syntonics is fulfilled on this album. The consonance has been fully achieved, the melody is pouring through speakers like crazy, even making flames in the fireplace brighter. The lyrics are eloquent, as penned by an undisputed master wordsmith. (…) The recent CD release of Mariusz Bogdanowicz’s project fills the genuine jazzfan’s every craving, and makes a novice fall in love with this genre. (Adrian Witkowski, 15 October 2013)




“With his compositions on  Syntonia album, bassist Mariusz Bogdanowicz shows that melody is the best starting point for interesting improvisations. (…) This album is a pleasure to listen from the first to the last note. (…) Whoever attended the quartet’s live gig must have certainly noticed that the bassist Mariusz Bogdanowicz, saxophonist Adam Wendt, pianist Milosz Wośko, and drummer Sebastian Frankiewicz easily establish musical communication. (…) We’re certainly listening to a jazz quartet, who employ the language of harmony and phrasing appropriate for this style. And since Bogdanowicz’s compositions are more melodic than other jazz themes, they bring to mind the evergreen standards. American, of course, but also Polish songs from the past. (…) An example of the ideal consonance are the bass chords of Mariusz Bogdanowich and Martin Olak’s guitar in ballad Par Excellence, and the accordion solo is nothing but tender and playful. The Syntonia  implemented by our jazzmen means perfect consonance.” (Marek Dusza, Rzeczpospolita, 12 October 2013)

(…) Perhaps it is a mistake to write about a good album that it does not force the listener into thinking (…), but that’s how it is with Syntonia. It’s one of those albums that you can play in the background of doing nothing, on a worse day, or at the time of evening chill out. (…) Bogdanowicz, Wendt, Wośko, and Frankiewicz, thanks to their experience and talent (well, let’s call a spade a spade), were able to combine in their music the two things, which, as one can see, do not exclude each other: artistic and entertaining qualities. Of one and the same music. (…) (Mateusz „Axun” Kołodziej,  3 October 2013)




“It is nice to listen to artists who do not have to prove anything to anyone.(…) Bogdanowicz with every note, restrained, is drawing his soundscapes for us (…). Only those are capable of such a scenario, who keep a distance from music, and respect the centuries of its evolution. (…) The album’s title, Syntonia, denotes the phenomenon of emotional interpersonal communication. (…) Because it’s an album that with every note teaches us of humility, and shows the road, which is worth to hit sometimes. Towards pure and unspeculative beauty. “Syntonia” speaks with beauty, without outshouting, it is a dialogue of musicians who can listen to each other. (…)” (Piotr Iwicki, Jazz Forum 9/2013)

Syntonia is a project, which is not special, jubilee, multimedia, to the max, or otherwise colossal. This is a product of a genre close to extinction – an album of music. Let’s add to it again the password that comes back like a boomerang – an album of excellent music. (…) plenty of space and positive energy. „Syntonia” means exquisite music for the people, well composed and played. (…) it contains music of the highest order” (Rafał Garszczyński, JazzPRESS, 8 September 2013)

„Mariusz Bogdanowicz. A bassist, composer, arranger. A poet. A poet?… After all, he’s not the author of the poetry which is the canvas for the music that made up the concert’s program. But a listener to the music coming from the stage had the irresistible impression that Bogdanowicz had identified himself with the word, rhythm, and depth of this poetry. That it had become part of him before it turned into the language of sounds. So he became a poet. This simply amazing unity of arts had the truth in its expression. And it was just – beautiful. (…). Natalia Wilk is a phenomenon that deserves a multifaceted description. Firstly – her vocal technique. It was the technique, which – in the service of shaping her artistic vision – evidenced the vocalist’s awareness and maturity. (…) Owing to the subtlety, toned dynamics, and expressive diction, every “flicker of air” was taking on shapes, and every listener had to “touch it and remember.” Secondly – the qualities of her voice, of its pure, almost crystalline color. Thirdly – her sensitivity. Tuning in to every sound of the word and the poetry of the music. (…) it was a spectacle of poetry, music, and light alike, and the genius loci additionally mesmerized the audience gathered on 21 November 2012.” (Mariusz Bogdanowicz „… It’s my time of delights…”, Zofia Bernatowicz, Meakultura, 30 December 2012)

„The double bass sound that resonates in the background brilliantly fits the performance’s climate. It brings on mind the remote times of the Polish – Jewish past. The actors and Rampa Theatre deserve thunderous applause. Rarely art entertains to tears and at the same time bitterly touches the heart”. (Magdalena Celińska, Interia 360, 17 May 2012)




„We are guided through the performance by the double bass sound. The constant presence of the bass player (MB), as if an eternal witness who accompanies the events, is a specific binder for individual clashes that make up The Emigrants. This confrontation of seemingly incompatible elements, but ultimately determining each other and forming a comprehensive picture of the issue at hand, takes place on several levels. ” (The Glass Emigrants, Marta Zgierska,, 28 January 2009)

„Włodzimierz Nahorny Trio delivered a portion of mainstream acoustic jazz, (the leader with his regular rhythm section, i.e. Mariusz Bogdanowicz on bass and Piotr Biskupski on drums) at the highest level, and yet an exemplary lesson of modesty and respect for the music and the audience…” (Andrzej Dorobek, Jazz Forum 4-5/2006)

„…Mariusz Bogdanowicz’s project (…) is solid jazz with Coltranesque reminiscences, with a lot of space, and trancelike, sometimes even reminding of Gato Barbieri’s expression…” (Tomasz Szachowski, Jazz Forum, 12/2000)

„An excerpt from Stanisław Przybyszewski’s Young Poland manifesto: Art is a reproduction of what is eternal (…), it is the absolute… is the motto of M. Bogdanowicz’s new album Confiteor Song. Its producer, a jazz musician and composer, refers to literature from a hundred years ago defining the purpose of the existence of art, its obligation and destiny. The music he’s created is very personal, emotional, and expressive…” (Kaleidoscope, 1/2002)




„Quotes and themes are a springboard for improvisation. The outstanding leader – pianist has found worthy companions. Maciej Strzelczyk plays electric violin with a flair, and bassists Mariusz Bogdanowicz competes with him in brilliance and lyricism.” (Adam Sławiński, Around the Myths, Jazz Forum 9/1997)