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Jarek Adamów - Fall in Mountains
Folken Music (46mins)
A total Polish hurdy – gurdy extravaganza
What's striking about this album is how different it is from any other music currently coming out of Poland. It's one man's personal exploration of the country's forgotten tradition of itinerant ballad singers. The bards accompanied themselves on hurdy – gurdy and in Jarek Adamów's minimalist approach the hurdy – gurdy accompaniment is rarely more than a drone. Adamów also plays clarinet and he opens Fall in Mountains with a slow introductory improvisation to create a sense of space and stillness. He follows it with “Return from Turkish Captivity”, a long ballad with hurdy – gurdy drone and an accompaniment on drums. It will mean more to those who understand Polish but even as pure music it has an inexorable power as the drum patterns become more insistent. After a pastoral flute interlude, the next ballad, “Beautiful Soul”, is a religious song with lyrics about the rich laughing at the poor and a full, almost organ – like hurdy gurdy melody. The album's highlight is “Our Lady of Gidle”, a beautiful melody which Adamów remembers his grandfather singing. The final two tracks here take a different direction, with klezmer melodies on hurdy – gurdy and a slow tune written by the famous late klezmerist Dave Tarras and played on clarinet.
Simon Broughton
Znakomita recenzja najnowszej płyty - Fall in Mountains autorstwa Eelco Schilder'a z magazynu Folk World została opublikowana :
Jarek Adamów - "Fall in Mountains. Folken Music 2013. I’m a fan of Adamóv his work since I got his solo album Songs of the medieval Polish bards almost ten years ago.[27] The past few years I have reviewed several albums by groups he was part of, but I’m more than happy to review his latest solo album called Fall in mountains. Helped in the first two songs by Marek Durda on Hurdy gurdy, Adamów impresses me again with probably one of his best work until today. With his mixture of traditional and original material Adamów captures the soul of each song perfectly. With his sober style he shows the nakedness of each song and by doing this he shows the essence of each composition without any unnecessary additional sounds. It’s that pureness of the music that makes him unique, Adamów is not afraid to play from his heart and soul and that can be heard in his music. Sometimes vocals, hurdy-gurdy drone and a drum only and a haunting tale is revealed like in the over eleven minutes long masterpiece Powrót z niewoli tureckiej. Which is followed by a three and a half minutes shepherd flute solo, something totally different but it fits perfectly. Ending the album with a clarinet solo, Adamów shows me exactly why he is one of my favourite (Polish) musicians of this time. Not many musicians are capable of bringing music back to the essence of a song, Adamów does that all the time.