Adam Baldych
(violin & renaissance violin; Krzysztof Dys (piano, prepared upright piano & toy piano);
Michal Barański (double bass); Dawid Fortuna (drums, crotales & gran cassa).
(Review by Chris)
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
Release date: 29/03/2019 ACT 9881-2
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