Tribute To The Police by Marta Król & Paweł Tomaszewski Group – A Soul-Jazz Love Letter to a Legend
Alright, let’s talk about Tribute To The Police. Released in 2017 and hailing straight outta Poland, this jazz tribute album is like getting a warm hug from an old friend while they whisper your favorite secrets in your ear. It’s not just some half-hearted covers collection—this thing bleeds soul. Led by vocalist Marta Król and pianist/arranger/producer extraordinaire Paweł Tomaszewski, the group takes iconic songs by The Police and gives them a sultry, smoky makeover that feels both nostalgic and refreshingly new.
Now, I gotta say, there are tracks here that’ll stick with you long after the last note fades. Two stood out for me personally: “Every Breath You Take” and “Walking On The Moon.” And yeah, I know what you’re thinking—how do you mess around with classics like these without ruining them? Well, buckle up, because they didn’t just pull it off; they made magic happen.
“Every Breath You Take” – Like Listening to Heartbreak Through a Kaleidoscope
First off, Marta Król’s voice on this track? Unreal. She doesn’t try to mimic Sting (thank god), but instead brings her own raw emotion into the mix. Her delivery feels less like stalking and more like someone quietly unraveling at the seams. The arrangement itself is lush—Przemysław Florczak’s saxophone sneaks in like a shadowy figure lurking behind every corner, while Paweł Tomaszewski’s piano chords shimmer softly under it all. It’s haunting yet beautiful, like watching raindrops race down a windowpane late at night when you can’t sleep. Honestly? This version might even hit harder than the original.
“Walking On The Moon” – Groovy AF Space Jazz Adventure
Okay, so if “Every Breath You Take” was introspective heartache, then “Walking On The Moon” is pure joy bottled up and shaken until it bursts. The basslines courtesy of Andrzej Święs give the whole thing this bouncy, funky groove that makes you wanna move—even if it’s just tapping your foot awkwardly at your desk. Meanwhile, Ewelina Sandecka’s French horn adds this unexpected brass sparkle that feels kinda cosmic, y’know? Like floating weightlessly through space but still somehow grounded. By the time Przemysław Florczak’s flute solo kicks in, you’re basically levitating. It’s playful, unpredictable, and absolutely infectious.
---
What really struck me about this album isn’t just how well-executed it is—it’s how much love and respect oozes out of every single track. These musicians aren’t just playing songs; they’re having a conversation with The Police’s legacy. Sure, some purists might raise an eyebrow at hearing “Roxanne” reimagined as a sultry slow burn or “King of Pain” turned into a jazzy lament, but honestly? That’s part of the charm. They took risks, and most of the time, those risks paid off big time.
Here’s the kicker though: listening to this album felt like finding a forgotten box of Polaroids tucked away in an attic. Each song brought back memories I didn’t even realize I had—first loves, road trips, nights spent staring at the ceiling wondering about life. Weird, right? Maybe music really does have its own kind of time travel.
So yeah, Tribute To The Police isn’t perfect, but maybe that’s why I love it so much. It’s messy in the best possible way, full of heart and humanity. If you’re a fan of The Police, jazz, or just good music in general, give this one a spin. Just don’t blame me if you find yourself humming “Don’t Stand So Close To Me” for days afterward…
