01. Adam Baldych with Helge Lien Trio & Tore Brunborg - Prelude
02. Adam Baldych with Helge Lien Trio & Tore Brunborg - Elegy
03. Adam Baldych with Helge Lien Trio & Tore Brunborg - Faith
04. Adam Baldych with Helge Lien Trio & Tore Brunborg - Love
05. Adam Baldych with Helge Lien Trio & Tore Brunborg - One
06. Adam Baldych with Helge Lien Trio & Tore Brunborg - Brothers
07. Adam Baldych with Helge Lien Trio & Tore Brunborg - Hallelujah
08. Adam Baldych with Helge Lien Trio & Tore Brunborg - Shadows
09. Adam Baldych with Helge Lien Trio & Tore Brunborg - Coda

Adam Bałdych - violin, renaissance violin
Helge Lien - piano
Frode Berg - bass
Per Oddvar Johansen - drums
Tore Brunborg – saxophone

Adam Bałdych’s new album is called “Brothers,” and is dedicated to the memory of his brother who passed away. The violinist is able truly to portray the entire gamut of emotions through music. In the pianissimo moments it is replete with feeling and also clarity, and on the other hand Bałdych can take it to a point where it is so strong and loud it feels almost ready to burst. “I would like my music,” says Bałdych, “to ingrain itself into the present time, and also to reflect it. It should take on board the cares and the yearnings of now.

The title of Adam Bałdych’s previous album from 2015 was “Bridges”. And indeed, the Polish violinist is one of the leading builders of bridges between genres in current European jazz. Only 31 years old, he already has a whole sheaf of distinguished awards to his name, notably an ECHO Jazz Prize. His music combines Polish folk, classical music and many different kinds of jazz. He plays with an astonishing technical range, in which classical finesse is combined with swirling improvisation - and the defiant energy and power of rock music. Since 2015, Bałdych has been building these kinds of bridges in the company of the Norwegian Helge Lien Trio. “With Helge, Frode and Per Oddvar we have clocked up thousands of kilometres together; these musicians are way more than just a backing band,” says the violinist.Adam Bałdych’s new album is calle... --- actmusic.com

Kooperacja wybitnego polskiego skrzypka Adama Bałdycha z jednym z najciekawszych europejskich składów jazzowych, triem norweskiego pianisty Helge Liena, zdawała się jednorazowym przedsięwzięciem. Tymczasem wyśmienity album: "Bridges" z roku 2015 doczekał się kontynuacji pod postacią kolejnej płyty firmowanej szyldem: Adam Bałdych & Helge Lien Trio. Na albumie zatytulowanym "Brothers" skład poszerzono o jeszcze jednego muzyka, norweskiego saksofonistę Tore Brunborga, znanego z zespołu francuskiego perkusisty Manu Katche, współpracy z m.in. Patem Metheny, Billem Cobhamem i Tordem Gustavsenem, a także świetnego autorskiego albumu "Slow Snow" (2015). Zastosowanie dodatkowego instrumentu nie zmienia jednak estetyki dźwiękowej znanej z poprzedniego albumu, a jedynie poszerza wypracowane przez dotychczasowy skład brzmienie o dodatkowy głos w niektórych utworach. Dziewięć utworów wypełniających nowy album to premierowe kompozycje Adama Bałdycha oraz jazzowa transkrypcja wielkiego przeboju Leonarda Cohena: "Hallelujah". Płyta dedykowana przez skrzypka zmarłemu przed rokiem bratu Grzegorzowi, to piękny hołd i rodzaj epitafium, w którym odnajdziemy rozmaite emocje wyrażone w pięknych, kunsztownie przygotowanych kompozycjach i pełnej uczucia grze.

Mimo że muzyka robi wrażenie bardziej "surowej" i mniej "dopieszczonej" wobec zawartości poprzedniego albumu, utwory zgromadzone na "Brothers", zdają się kreować cieplejszy i bardziej nastrojowy, niemal intymny klimat. To zapewne efekt przekazu całej płyty: smutku, refleksji i zadumy, przekazanych w najpiękniejszy z możliwych sposób.

Utwory łączące w jazzowej formule skandynawską estetykę ze słowiańskim duchem, śmiało nawiązują do muzyki klasycznej. Warto wspomnieć w tym miejscu o angażowaniu się Adama Bałdycha także w projekty wybiegające poza jazzową formułę, o czym przypomina choćby wydana w tym roku płyta "Metaforma" z muzyką współczesnego kompozytora Pawła Hendricha.

Tytuł "Brothers" traktować możemy, o czym pisze sam Adam Bałdych na okładce płyty, w dwójnasób; jako odniesienie się do osobistej tragedii, oraz jako wyjątkowe braterstwo panujące w zawiązanym kilka lat temu składzie.

Miękkie, liryczne melodie i pomysłowe rozwiązania harmoniczne, połączone z genialnym warsztatem każdego z instrumentalistów oraz niebywałą koherencją składu, sprawiają że niemożliwe jest odłożenie płyty na półkę po jednorazowym jej wysłuchaniu. Piękna, pełna głębi i szczerego uczucia muzyka. --- longplayrecenzje.blox.pl

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1.	Village Underground - 04:51 
2.	Mirrors - 05:17 
3.	The Room of Imagination - 07:08 
4.	Cubism - 04:59 
5.	K8 - 06:35 
6.	Time Traveler - 03:07 
7.	Rama hai - 05:37 
8.	For Zbiggy - 03:40 
9.	11.16 - 04:45 
10.	Zarathustra - 03:14 
11.	Inspiration - 04:04 
12.	Million Miles Away - 02:11

Line Up:
Adam Bałdych - violin
Jacob Karlzon - piano
Lars Danielsson - bass, cello
Morten Lund - drums
Verneri Pohjola - trumpet
Marius Neset - saxophone
Nils Landgren - trombone (on 05 & 08)

Despite the perceived similarities between musical groups and gangs, there are surprisingly few examples of bands with a "gang" appellation. There's American rockers the James Gang, Brit-punks the Tyla Gang and of course there's the Purple Gang (although that was just a rhythm section). Imaginary Room, the debut release from violinist Adam Baldych and The Baltic Gang, has none of this outlaw chic, but there's plenty of excitement to be found in the music.

Baldych is a member of the Polish band Damage Control and has also spent time on the New York scene, but the Baltic Gang is a new departure for him. The Baltic Gang is a suitably accurate name for the band (Baldych is Polish, the others are Scandinavian) but somewhat anachronistic. Baldych's violin sound also harks back to an earlier time. The sound of '70s rock—hints of Curved Air's Darryl Way and, more overtly, the John Dummer Famous Music Band's Nick Pickett—jazz fusion and even the blues of Papa John Creach all come across in Baldych's playing. Unlike other young violinists such as Aaron Weinstein or Ben Powell, the influence of Stephane Grappelli is notably absent and Baldych's sound has a welcome bluesy rawness.

The sleeve notes and press release make much of Baldych's technical ability and absence of "lamenting or sobbing." Certainly his fluid, precise, playing is impressive, but what is most striking about Imaginary Room is how Baldych uses a wide range of styles and influences to create some strongly melodic tunes and some harmonically fascinating interplay between the instrumentalists. It's also notable that some of Baldych's finest moments come on the slower, more melancholy tunes where lamentation is a distinctive theme, with Finnish trumpeter Verneri Pohjola a particularly effective partner.

"Mirrors" and "The Room Of Imagination" are beautiful tunes, with a spaciousness and depth that seems like a trademark of the Scandinavian scene. Tenor saxophonist Marius Neset can be a fiery, aggressive, player but his superb solo on "Room Of Imagination" showcases a more considered side to his playing. "Cubism" takes this feel and moves it up-tempo, Baldych's repetitive, upper-register riff adding drive to the rhythm in the tune's opening section.

"K8" drops the tempo down again; drummer Morten Lund, bassist Lars Danielsson and Baldych all give the piece a more emotionally downbeat feeling with the aid of co-producer Nils Landgren's plaintive trombone. West European folk music is at the forefront of the elegiac "Time Traveler," on which Baldych joins co-composer Jacob Karlzon for a stark yet gorgeous violin and piano duet. "Million Miles Away" is the album's shortest tune and its most affecting. A duet between co-writers Baldych—his violin at its rawest—and Danielsson, the haunting melody encapsulates a sense of longing and loss.

Imaginary Room is replete with sweeping melodies and strong musical interplay. Baldych gives his violin a voice and emotional power that have been too rarely heard in recent decades and offers a fresh take on the instrument for the contemporary scene. ---Bruce Lindsay, allaboutjazz.com

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1 	Welcome pill (A.Bałdych) 			
2 	The room of fear (A.Bałdych) 			
3 	Party place (A.Bałdych) 			
4 	Princess ballet room (A.Bałdych) 			
5 	Devil's kitchen (A. Gondek) 			
6 	Breaking Point (A.Baldych / Paweł Tomaszewski) 			
7 	The room of imagination (A.Bałdych) 			
8 	The game of destiny (A.Bałdych)

Adam Bałdych - electric violin, acoustic violin, vioara cu goarna.
Josh Lawrence - trumpet
Paweł Tomaszewski - keyboards, piano
Andrzej Gondek - guitar
Jakub Cywiński - double bass
Piotr Żaczek – bass
Michał Bryndal - drums
Adam Sak - background guitars in tracks 3 & 8

The violin holds a very special position in the history of modern Polish Jazz, and except for France, no other European country can pride itself in such splendid heritage as far as the use of violin in Jazz is concerned.

The first generation of modern Polish Jazz musicians includes three distinguished Jazz violinists: Michał Urbaniak (born 1943), Zbigniew Seifert (born 1946) and Krzesimir Dębski (born 1953). Each of these virtuosi and exceptional composers made his mark not only on Polish Jazz, but also on European Jazz and World Jazz scenes. Of course each of these three musicians offered a unique and very individual approach to violin, all being innovators and pioneers: Urbaniak contributed greatly to the development of Jazz-Fusion and Jazz-Funk, Seifert to modern and Free Jazz and Dębski to the amalgam of Jazz and contemporary Classical music.

Adam Bałdych (born 1986) is of course a member of a different generation; one might even say a child of a very different era. His predecessors lived and created under the Socialist regime, which of course was far from enabling the freedom of expression and the opportunities to study and develop musical talents, and their life was a story of constant struggle with reality. Bałdych grew up in a "new" Poland, liberated, democratic and full of opportunities. That does not mean, of curse, that his life and his path to success was an easy one.

Considered a child prodigy, Bałdych started his performing and then composing careers very early on, which explains his extremely impressive biography at the age of 25. The list of awards, notable performances, composing credits and recordings could easily satisfy a musician twice his age or more.

And yet Bałdych considers this album a pivotal point of his career and although not his recording debut, this is certainly a new begging, hopefully of an international career. Recorded with his band called Damage Control, "Magical Theatre" is certainly an album, which should expose him to the worldwide audiences.

Bałdych composed six of the eight compositions present here and co-composed one more, with the last being composed by the band's keyboardist. The band includes gifted young players, who provide him with excellent support and execute his complex compositions with grace and panache. Full of youthful spirit and energy, the album flows beautifully from one track to the next, changing moods and atmospheres, but always remaining fascinating. There are no dull moments here, no boring parts and no fillers – just one continuous flow of entrancing music, which keeps the listener captivated.

Of course regardless of how good the performers might be, the primary strength of this album lies in the music contained herein. Bałdych's compositions are simply spot on and his unique ability to amalgamate the Jazz tradition, the Polish romanticism and the contemporary sound techniques works perfectly. An experienced listener will be able to discover many delicate musical hints and references in this music, especially in Bałdych's solos, but surely anybody able of enjoying good music will find here starlight qualities. I'm sure that Michał, Zbigniew and Krzesimir would be proud of the continuator of their splendid heritage.

What remains is to hope that as many music connoisseurs as possible will eventually discover this gem and hold it dear to their hearts. I certainly hope it does happen, big time, as it is well deserved! --- Adam Baruch, polish-jazz.blogspot.com

Nowa płyta Adama Bałdycha "Magical Theatre" to owoc współpracy najbardziej utytułowanych muzyków, poruszających się w klimatach Indie Jazz, Fusion. Album ukazał się najpierw w wersji elektronicznej w USA, gdzie zdobył znakomite recenzje czołowych magazynów muzycznych, jak Jazz Times, All About Jazz, Jazz Corner. Adam Bałdych znany jest ze współpracy z czołowymi muzykami jazzowymi jak Jim Beard, Leszek Możdżer, Gary Husband, Urszula Dudziak czy Lars Danielsson. Już w wieku 16 lat okrzyknięty został "cudownym dzieckiem", a obecnie uznawany za jednego z najciekawszych skrzypków jazowych w Europie. Najnowsza płyta jest połączeniem klimatów jego dotychczasowych płyt elektrycznych z niezwykle wysublimowanym akustycznym brzmieniem. Utwory układają się w niezwykłą muzyczną opowieść a wirtuozeria każdego z występujących artystów nie pozwala oderwać się od płyty nawet na chwilę. --- wsm.serpent.pl

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1 	Platany 	
2 	Pandoukht 
3 	Spacer 	
4 	General Italia 
5 	Hunvar 	
6 	Melquiades 	
7 	Virgohi 21 	
8 	Jagmur

Adam Baldych - electric violin
David Yengibarjan – accordion
Nikola Kaladziejczyk – piano
Maciej Szczycinski - bass 
Michal Bryndal – drums

Adam Baldych - violinist, composer and music producer. Was born in Gorzow Wlkp. (Poland), 18.05.1986. New York City - based.

His nickname “Evil” is probably the best word defining his emotioning kind of playing and improvising. In the age of 16 started performing internationally ( Germany, Poland, Serbia, Hungary, Indonesia, Spain, France). First called “infant prodigy” evolved to being named a one of the most interesting jazz violinist in Europe. Adam Baldych music is a extremely expressive combination of modern musical flows. The virtuosity, which is the trademark of the artist make Adam's concerts a unique sight full of energy, youthful zing, but also a mature sound, that recieves popularity and respect both from the audience as critics. Author of music for Theatres and Film Scoring.

He got scholarship at Berklee College of Music. Graduated with honours Music Academy / jazz departament in Katowice (Poland). In 2007 he did a tour with grammy-award winer - Jim Beard, presenting his own music combined with Jim's great compositions.

Year after, he makes music with Leszek Mozdzer and Lars Daniellson for movie “Arne Treasure”. In 2009 he is recording album called “Tribute to Seifert” with most influating violinist nowadays such as: Didier Lockwood, Pierre Blanchard, Jerry Goodman, Krzesimir Dębski or Christian Howes and the leader - Jarosław Śmietana on guitar.

As a instrumentalist he cooperated and played with many great artists as: Jim Beard, John Benitez, Luluk Purwanto, Taylor Eigsti, Rene Van Helsdingen, Urszula Dudziak, Didier Labbe Quartet, Billy Cobham, Cezary Konrad, Nigel Kennedy, Grazyna Auguscik, Paulinho Garcia, Monty Waters. ---musicians.allaboutjazz.com

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1 	Spem In Alium 	4:56
2 	O Virga Ac Diadema 	6:12
3 	Profundis 	4:49
4 	Concerto For Viola And Orchestra 	5:11
5 	Bogurodzica 	5:47
6 	Miserere 	4:54
7 	Repetition 	5:30
8 	Longing 	4:32
9 	Miracle Of ‘87 	6:37
10 	Jardin 	2:48

Double Bass – Michał Barański
Drums, Crotales, Bass Drum [Gran Cassa] – Dawid Fortuna
Piano, Upright Piano [Prepared], Toy Piano – Krzysztof Dys
Violin, Violin [Renaissance Violin], Arranger, Producer – Adam Bałdych 

A landmark album from one of jazz’s first rank of new masters – the 33-year-old Polish violin virtuoso’s fifth release as leader on ACT records. His virtuosity has not been in question since he burst on the scene: “Without doubt the greatest living master of violin in jazz. His potential knows no bounds” said the FAZ after the 2011 Jazzfest Berlin. I’d say his potential is realized here with authority, confidence and genius to spare.

Virtuosity is, of course, no guarantor of musicality, and his pyrotechnic style and firebrand attitude draw mixed reactions. Defining his genre is futile, as he freely uses and extends classical and (Polish) folk idioms, while if you were expecting jazz violin à la Stephane Grappelli (or the more contemporary style of Jean-Luc Ponty) think again! His music is technically astonishing, but also deeply lyrical and rhythmically complex. Classical listeners may find his tone reedy and “skaty”, while many find his work overpowering and over-emotional. I was stopped in my tracks on first hearing the staggeringly beautiful “Letter for E” from The New Tradition (2014). The first albums indulged Baldych’s passion, with no concessions to the listener. This release is notably more disciplined, with shorter (from 1:14 to 6:28), well-crafted and varied tracks, resulting in a more accessible and effective package, while retaining the power, emotion and jazz chops of previous outings.

This album matches Baldych with well-established, self-confident players from native Poland. Although previous piano partner, the Norwegian Helge Lien, was a complementary and responsive foil, I sense this quartet is a more balanced and powerful vehicle, with all the players allowed space to contribute and shine. The main departure here, though, is the material, with five originals paired with five “classics”, ranging across nine centuries! The selection strongly reflects the title, with medieval sacred works to the fore.

The opener is a short version of Tallis’ Spem in alium (1570), more usually performed by eight choirs of five voices. While the polyphonic complexity is inevitably absent, here (and in other tracks) the spacious and lingering feel, and purity of voices of the originals, is retained and amplified, framed with rich contributions from the band, including the sonorous thunder of the gran cassa. The second is Virga ac diadema, by Hildegard of Bingen (c 1200 believe it or not). This brings the piano of Dys to the fore, with a first full-on workout for the whole band.

The third is an original despite the title, Profundis, and takes off in syncopated, loping folk style. Concerto for Viola and Orchestra is then a complete contrast, starting with dark percussion, and more free form throughout. This is based on the complex and challenging piece by the little known (to me at any rate!) Tartar composer Sofia Gubaidulina, from 1996.

Track 5 is a return to smoother waters, based on Bogurodzica, a Polish hymn from the 13th century, with a catchy and familiar theme, closing with a high energy work out propelled by some excellent drumming. Next is a suitably languid, elevated version of the well-known Allegri Miserere, with piano and violin both perfectly capturing the rarefied vibe. Repetition fast forwards 600 years, with an up to the minute jazz-rock style of arpeggiated violin underpinned by meaty, shuffling percussion (the family drummer tells me this is because the underlying sub-division is odd, 5/16 …). The album closes more contemplatively with Jardin, with contrasting pizzicato violin.

While this album is as far from straight ahead jazz as you can imagine, I would strongly recommend it to any music listener, as an excellent and varied introduction to the remarkable music of Adam Baldych. I can only hope he is on Sage’s shopping list before he gets too big! ---Chris Kilsby, anyjazz.com

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01 Riverendings 5:21
02 Legenda 7:50
03 Sleep Safe And Warm (K. Komeda) 4:10
04 Letter For E 6:01
05 June 4:39
06 Quo Vadis (Z. Seifert) 5:29
07 Lamentation Of Jeremiah (Th. Tallis, arr. by Bałdych) 5:13
08 Relativities 2:10
09 Canticles Of Ecstasy (H. von Bingen, arr. by the artists) 5:08

Adam Bałdych - violin
Yaron Herman - Piano – Yaron Herman

This is a truly unique recording. One of a kind you seldomly hear. But I hope that the title provides the direction and that it actually initiates a New Tradition. Although sonatas for piano and violin used to be one of the most popular musical forms, they were almost completely forgotten during the last 100 years. During their time they allowed the two musicians much more freedom and many more opportunities to express themselves than other compositional forms.

And now Adam Bałdych on the violin and Yaron Herman on the piano try to establish a new tradition for this again. And it fits our time that it wasn’t composers of "serious music" that hark back, but that two jazz musicians try to accomplish this task. In recent years one could find especially in the Polish Jazz an increase of recordings in duets, but no one dared to attempt the classic duo of piano and violin. Certainly one of the main reasons is that there are only very few violinists in jazz nowadays, and in this special case we have to admit that there are even less violinists with the exploratory urge like Adam Bałdych, who recognises an opportunity when he sees it and is than able to seize it.

For this album it was once again Siggi Loch of the label ACT who had a hunch (or maybe a vision) and presented these two musicians together on the stage at the Jazz at the Philharmonic Berlin. That was in March 2013 – and according to Adam Bałdych it was: “an extraordinary, magical moment for me. I felt as if I have taken a deep breath and have found new impulses. A very classic duo of violin and piano turned out to be astonishingly fresh and opened up new creative possibilities for me.” Knowing this it was almost imperative that in the same year Siggi Loch brought the two together into one studio (actually into two: RecPublica Studios, Lubrza, Polen and Emil Berliner Studios, Berlin, Germany).

The result offers a rare “otherness.” This record stands out in many ways. In a majority of the tracks you hear strong allusions to folk harmonies even though only two of the pieces ("Lamentation Of Jeremiah" and "Canticles Of Ecstasy") are actually traditionals. Adam Bałdych, who is responsible for all original compositions seems to be very strongly committed to his own traditions, which is also supported by the choice of pieces that are not original compositions - they stem from Krzysztof Komeda ("Sleep Safe And Warm") and, of course, one wants to say, from Zbigniew Seifert ("Quo Vadis"). So he’s working here on his Polish roots in folk music as well as in Jazz and uses the duet form known to him from the classical violinist education. We listeners can be glad that he found with Yaron Herman a congenial partner, who gives him space and supports him in a very unselfish way during all his maneuvers. Especially his left hand creates a wonderful background for both on which Bałdych’s violin and Herman’s right hand can walk like on fresh moss.

If there’s actually someone who doesn’t know Yaron Herman, I highly recommend beginning with another duet, as he recorded his own debut album in 2003 together with Sylvain Ghio on the drums: "Takes 2 To Know 1". Also on the ACT label he published the album "Follow The White Rabbit" (in 2010) that probably everybody has on his or her shelf as it hit very high waves - quite rightly.

This album too is likely to cause some resonance despite its sometimes elegiac, but always very melodious moods, as it walks on old paths in very new shoes. And as I said, I really hope it will indeed establish a New Tradition! ---Dirk Blasejezak, polish-jazz.blogspot.com

Bałem się o tę płytę. Poprzedni autorski projekt Adama Bałdycha – „Imaginary Room” był eksplozją jego talentu, moje obawy wynikały z faktu, że przez chwilę zdawało się, że kariera Adama popłynie w stronę orkiestrowych wystawnych produkcji, które z pomocą wytwórni ACT! dają się zrealizować, a także w stronę muzyki współczesnej, oddalając się od klasycznego jazzowe idiomu muzyki improwizowanej. Z napisaniem tego tekstu musiałem czekać dobrych 10 tygodni, bowiem album „The New Tradition” dotarł do mnie właśnie dobre 10 tygodni temu. Dlaczego wtedy o tej płycie nie napisałem? Natychmiast spędziłem z nią zachwycające trzy wieczory, jednak postanowiłem zwyczajnie Was nie denerwować. Płyty ciągle nie ma w sklepach, szczęśliwcy mogli kupić ją na kilku koncertach, a oficjalna premiera przewidziana jest na koniec maja. Do końca maja nie dałem rady. Już teraz muszę niemal wykrzyczeć to co mam do powiedzenia. „The New Tradition” to z pewnością najciekawsza, najlepsza płyta, jaką dotąd nagrał Adam Bałdych. Wiem, że napisałem tak już o kilku jego albumach, ale to zwyczajnie oznacza progres niespotykany wręcz i zdumiewający.

Adam jest dziś gwiazdą światowego formatu. Jedyne, czego mu brakuje, to tego, żeby świat się o tym dowiedział. To jeszcze trochę potrwa, bo droga na skróty, z tego co wiem Adama nie interesuje. A z pewnością mógłby pójść nią bardzo szybko wysyłając trochę nagrań demo do największych światowych sław z propozycją wspólnego grania. To byłaby droga na jazzowe salony, ale z pewnością raczej do sławy, niż muzycznej doskonałości, bowiem większość tak zwanych dużych nazwisk raczej odcina kupony niż nagrywa coś kreatywnego. Na taką działalność w sumie szkoda czasu. Wyobrażam sobie oczywiście wspólne muzykowanie Adama Bałdycha z Johnen Scofieldem, albo z Herbie Hancockiem, czy cofając się w czasie jeszcze odrobinę dalej – z Sonny Rollinsem, tylko po co? Oczywiście powstałyby wyśmienite albumy. Jestem jednak przekonany, w sumie od dawna, ale każda płyta Adama utwierdza mnie w tym przekonaniu jeszcze bardziej, że dużo więcej i ciekawiej zagra idąc swoją własną drogą.

Wspomniałem już, że nieco obawiałem się tego albumu. Tym bardziej cieszy mnie, że jest właśnie taki – intymny skupiony na melodii, brzmieniu skrzypiec, będąc wybitnym, światowej klasy duetem dwu niezwykłych talentów. Akustyczny duet nie musi oczywiście oznaczać braku muzycznej energii. Tej najlepszemu obecnie skrzypkowi na świecie na pewno nie brakuje. Nie mam tu na myśli próby grania szybciej i więcej niż inni, Adam to potrafi, ale nie to jest istotą jego muzyki. W pełnej przestrzeni na dźwięki, oszczędnej grze Yarona Hermana jest dość miejsca na skrzypcowe pasaże. Nie zawsze szybciej i głośniej oznacza lepiej, a raczej prawie nigdy tak nie jest. To właśnie różnica między wirtuozerią a muzyką. Posłuchajcie choćby jednej z najwolniej zagranej wersji „Sleep Safe And Warm” Krzysztofa Komedy.

Zastanawiam się, gdzie i u kogo słyszałem podobnie ważną w całej muzycznej akcji ciszę. Przychodzą mi jedynie na myśl dwa albumy Milesa Davisa. No i może jeszcze ze dwie inne płyty. Album „The New Tradition” to dzieło wybitne, totalne, wykorzystujące wszelkie dostępne dźwięki, czerpiące z wielu różnych muzycznych światów, na równi słowiańskie, co amerykańskie, klasyczne i bluesowe, kameralne., dwuosobowe, choć Yaron Herman gra momentami tak, że obecność kontrabasisty wydaje się niemal oczywista.

Adam Bałdych to muzyczny czarodziej, jakiego dawno świat nie widział. Był taki jeden, nie umiał za bardzo grać na trąbce… ---Rafał Garszczyński, jazzpress.pl

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