Lester Bowie and Milosc

[Rabshakeh]

In the 1990s, Lester Bowie recorded around three records with Milosc, a Polish band that was part of the (in my view underrated if potentially annoying) "Yass" scene. I don't think any of them are really classics, but it is surprising that he collaborated with them to such an extent. I'm not aware of any "Poland" section of the biographies of Bowie (contrast to Paris, Jamaica or Nigeria). Does anyone know what lay behind the relationship and why so many records were released?

[Dub Modal]

Not sure 100% but this link could be insightful at least a little bit:

https://culture.pl/en/work/not-two-milosc-and-lester-bowie

Totally a guess on my part after reading that anecdote is that it's possible that Lester felt some need to help/teach/reach these musicians within whom he may have sensed an earnest desire and love for the music. I'm sure there's more to the story than that and my assessment may be way off but it's definitely a great question. 

[Д.Д.]

Well, it's three records, two of which were recorded live. Please note that '90s were a very strange time in the ex-Soviet block. Newly liberated proletarian masses had great, albeit short-lived, enthusiasm for anything "new" and "unusual". Both Milosc and Bowie could gather large crowds even in provincial Polish towns, resulting in surprisingly good (relatively speaking, of course) earning opportunities. This could partially explain Bowie's repeated visits to Poland.

And they fit really well together. I think the studio album and the second live one are fantastic with some of Bowie's best playing of the decade (I have to say I don't care much for most of AEoC and Brass Fantasy output, and definitely not in the '90s).  

Edited Friday at 10:29 PM by Д.Д.

[Rabshakeh]

Thanks both for the article and insight.

I am never sure whether I really like those records. What prompted me to ask was really the strange way that Bowie is featured. The records seem to move between the Milosc sections and the Bowie sections. Each excellent but not necessarily communicating. On the Gdynia one Bowie is almost a capella most of the time. It seems like a strange mix.

On earning opportunities, I wasn’t paying attention at the time, but I’d assumed the AEC was big news at that point and could easily sell out venues.

For anyone who hasn’t heard of Milosc by the way I would recommend their non-Bowie records. Part of the wider trends in jazz in the postmodernism period, but there’s a good core of playing and songwriting there,p. Same for some of their other peers in their micro scene.

[Dub Modal]

I haven't heard them but your post made me curious. I'll have to check them out. 

[Д.Д.]

I think I remember an interview with Bowie from mid-'90s where he specifically says that AEoC is not financially viable. Maybe he was referring to the US.

I saw Bowie live in Paris with Brass Fantasy in 1999, just days before he died. It was a club date (New Morning, if I remember correctly). It was full, but it was still just a club (and not a very big one). In Easter Europe in early- to mid-nineties he would probably play concert halls. I am not implying that commercial motive was the main driver here, of course not. But it must have been a thrill to play with excellent young musicians to large enthusiastic audience.

Btw, here is another fun record from mid-ninetees with Lester as a featured guest: https://www.discogs.com/release/5168591-Lorenzo-Gasperoni-Mamud-Band-Feat-Lester-Bowie-Amore-Pirata 

     

[Rabshakeh]

That's an interesting looking one. I'll definitely check it out.