The pianist skilfully meanders at the crossroads of classical, improvised and avant-garde music, reminding me of the Lado ABC crew – he builds a rich spectrum of sounds and keeps searching for his unique language, discovering its hitherto unknown corners.
Grzegorz Tarwid, who, together with Sebastian Zawadzki or Kuba Sokołowski is creating a new chapter of Polish piano music, is not overly sentimental and sugary. He knows that Nahorny, Makowicz and Jagodziński should be valued, but the context of his play, combined with Shostakovich’s or impressionist inspirations, suggests more the direction defined by Paul Bley, Andrew Hill and Matthew Shipp.
Tarwid plays very cleverly and with imagination, stretched somewhere between thrifty, classic sound, not shallow lyricism and cool drama, interestingly operating in contrasts and exposing a lot of sensitivity.
He is close to the originality, individuality of some kind, one can feel the work and thoughts that he puts into compositions and thanks to which he slowly grows into one of the most talented and original pianists of his generation.
Tarwid has a lot of Paul Bley in his game, he is both expressive and lyrical and is absolutely a new name everyone should note. Glorious.