Baydog — ‘Dry Land’

Gone are the days when stereotypically Jazz would only appear as a love for those who are past the age of fifty or Howard Moon, who should now be somewhere in his late forties. As this magazine and its future issues should prove, this is not just limited to Mathew Halsall’s Gondwana Records, nor should it be limited to Giles Peterson’s Brownswood, despite them both being mentioned frequently throughout these thirty-six pages. Instead, the limit should be endless. That is why this article, in all of its 350-word glory, is dedicated to Bartosz Bajda’s, otherwise known as Baydog, third album, ‘Dry Land’, which was released on the 4th February.

Bajda, along with the producer Astrid Engberg (who can be heard on ‘Particles’, ‘Rise Up’ and ‘Noise Above My Head’), bassist Jacek Niziol and guitarist Kamil Klama are noted to have worked together on the project, conjoining loves for smooth, cinematic and expressive jazz that has resulted in an intriguing blend of warm Badalamenti styled contemporary music and soft soul. At times, ‘Dry Land’ reaches peaks with erratic bass positions, piano-led simplified melodies and rising brass lines that primarily establish themselves throughout the LP.

But a deeper look into the track, ‘Perhaps’, when considering these elements, only goes on to display Baydog and his makeshift ensemble at their best. In comparison to earlier works of the artist though, Bajda has advanced on from experimentalism and acid jazz onto contemporary jazz, although it is indefinitely unclear whether he may return to the world of acid-jazz in the next few years. What is apparent though, is that whilst each LP has contained different styles — ‘Buy Yourself a Dog’ being experimentalist and ‘Quagmire’ being a mix of acid and nu-jazz, it is a possibility and wonders to consider what the next move will be for Bajda.

Will he continue to lurk into the corners and go dark, experimentalist and take an extreme stance on analogue electronic fused jazz, like that found briefly in ‘Quagmire’, or will he move to the side of the chiller, removing the need for vocals and samples, keeping it all tight and easy?

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