HifiPlus 12-06
„Fine feathers make fine birds – and it’s the name that makes the star ?!? I have no other explanation as to why Adam Pieronczyk (with his unpronounceable name) hasn’t been payed international tribute until today. This saxophon player from Poland has already cooperated with Archie Shepp, Bobby McFerrin and Tomasz Stanko, has found in Robert Kubiszyn (bass) and Krysztof Dziedzic (drums) excellent trio partners. „Busem Po Sao Paulo“ ( Sao Paulo by bus) is a trend-setting album, free from fusty tradition, uninspired improvisation, or jazz standards already heard umpteen times. Instead the trio captures the journey from their Polish home in their music – in combination with influances from all over the world. The result : Free, modern jazz, innovative, experimental, intelligent and simply unique. Pieronczyk’s brilliant technical skills allow him not just to master his saxophone, he creates new soundscapes. He skirls, squeals. moans or sings on his instrument, wether in quarter, semi or whole-tones; oriental influences from the zoucra (India) are mixed with Indian spirit from Brazil or the imitation of bagpipes. The three musicians play independently, free from traditional role allocation – but their music melts together into a dome of sound. Check out „Braniewo“, „My cocktail bar“, or the outstanding „Touched By Tupinamba“ with its medidative mood and you will understand what i mean. Rest assured : No elevator music here!“
By AKB / www.hifiplus.com

„...Top instrumentals like Popek are integral part of Polish jazz and Busem Po Sao Paulo features features three such artists ptoviding the framework for a power tenor trio. Tenorist Adam Pieronczyk shines, as bassist Robert Kubiszyn and drummer Krysztof Dziedzic lay down a frenetic rhythm that permeates this sound. With an exciting blend of flat out blowin’, as on the title’s thrilling tenoric tour of Sao Paulo and the warmth that permeates „Touched by Tupinamba“ and the soulful „Rynek 28“, Pieronczyk showcases his horn’s strength. Moments like the vocally percussive „U-Au-Au-Aa“, bopper „Von Freeman“, the formish „Braniewo“ and the Indian inspiered „Boubker’s“ are delightful coloration to a potent set...“
By Elliott Simon / www.allaboutjazz.com

www.kulturwoche.at
Latin Jazz aus Polen und aus Brasilien bietet das Adam Pieronczyk Trio mit Pieronczyk an den Saxofonen, Robert Kubiszyn am Bass und Krzysztof Dziedzic am Schlagzeug auf der CD "Busem po Sao Paulo" ("Sao Paulo per Bus"). Eingespielt wurde die CD des polnischen Trios in Sao Paulo mit den Gastmusikern Guello am perkussiven Instrumentarium und Anna Serafinska - ihre Stimme wurde in Warschau aufgenommen.
Es beginnt fast traditionell südamerikanisch mit "Touched by Tupinamba", aber bereits die titelgebende Komposition "Busem po Sao Paulo" erschließt einen ganz anderen, wesentlich weiteren Kosmos der Megastadt. Das Trio lässt es brodeln und kochen, das Schlagzeug arbeitet polyrhythmisch, das Saxofon regt sich herrlich mächtig auf und wer jetzt noch immer glauben sollte Sao Paulo ist eine fade Stadt, der irrt gewaltig. Hier lebt das Leben, mehr noch, es droht jederzeit überzukochen, der Ausbruch steht immer knapp bevor – ehe es aber soweit kommt endet der Take und überlässt das endgültig Eruptive der Fantasie.
"U-Au-Au-Aa", das stakkatoartige, vocale Lead-In leitet über zu einer Voodoo-Performance, stark und eindringlich und "Rynek" nimmt dann das Tempo wieder ein wenig raus und gleitet ins sphärische ab, ein helles Saxofon überlagert das Thema und macht den Geist wieder frei von den Geistern des Animismus.
Die musikalische Klammer schließt sich wenn die Musiker des Trios in "My Cocktailbar" den Tag ausklingen lassen. Entspannt und smooth, aber nicht ganz unsinnlich. Südamerikanische Lebenslust durchwirkt mit der wunderherrlichen Tragik Osteuropas, ein musikalisches Amalgan auf das wir gewartet haben – ab sofort ist es zu erwerben. (akro)

STEREO 08/06 / 5 Sterne
Ein ungewöhnliches Album eines ungewöhnlichen Saxophonisten, der in Polen wohl zu den eigenständigesten seiner Generation gezählt werden muß. Sein neues Album spielte Adam Pieronczyk in Brasilien ein und ließ sich dazu von brasilianischer Musik inspirieren; allerdings nicht von Samba oder Bossa, Choro oder Forro, sondern von der Musik der Tupi- und Guarani-Indios. Manche Stücke scheinen direkt von archaischen Gesängen abgeleitet zu sein („U-au-au-aa“) – was durch repetitive Saxophonlinien („Touched by Tupinamba“), Percussion-Patterns und Verzicht auf ein Harmonie-Instrument noch unterstrichen wird.
Berthold Klostermann

Jazzpodium Juli 06, Adam Pieronczyk Trio, „ Busem Po Sao Paulo“
Adam Pieronczyk erzählt im Plattentext, wie er und seine Band bei einer Südamerikatournee kurz vor dem Soundcheck in Brasilia, eine seltsame Erfahrung gemacht hätten : Plötzlich sei ihnen heiß und kalt geworden, dabei sei ihnen eine Melodie erschienen, und bald spielten sie zusammen, so inspiriert wie selten zuvor. Zwei Tage später wurde ihnen eine Aufnahme mit Musik der Tupi- und Guarani-Indianer überreicht, und sie waren baff erstaunt, dass die Melodien, Tempi, der Ausdruck und die Atmosphäre dieser Musik dem entsprachen, was sie da in Brasilia am eigenen Leib erlebt hatten. Waren es vielleicht die Geister der Indianer, die die Musiker beflügelt hatten? Pieronczyk nutzte die Chance und hielt die Inspiration gleich fest. Das Album, das sie drei polnischen Musiker in Sao Paulo aufnahmen, ist in jedem Fall ein ungemein kreatives und antreibendes Zeugnis dieser Tour. Robert Kubiszyn, b, el-b, und Krzysztif Dziedzic, dr, spielen eine melodisch-orientierte Musik, antreibend und lyrisch zugleich. Im Mittelpunkt steht Pieronczyks Sound, warm und sicher, voller Emotion. Neben bezügen auf das brasilianische Gastland finden sich auch solche auf die Jazztradition – etwa in „Von Freeman (bpsp2)“ – oder in „Boubker’s“ mit Pieronczyk auf dem Zoucra, einem arabischen Dudelsackinstrument, Anklänge an orientalische Musik, oder in „Desmodus rotundus“, das irgendwie erkennen läßt, dass Pieronczyk sich auch mit der Musik von Steve Lacy auseinander gesetzt hat. Eine ungemein abwechslungsreiche CD ist das, kurzweilig und anregend. Pieronczyk zählt gewiss zu den gegenwärtig wichtigsten Musikern aus Polen, reiht sich wunderbar ein in die Reihe exzellenter Solisten, die der Welt bewusst machten, dass polnischer Jazz durchaus sehr eigene Qualitäten besitzt.
Wolfram Knauer

FonoForum : 5 Sterne
meta 033, Adam Pieronczyk Trio, „Busem po Sao Paulo“
Beschwörend
Ein ungewöhnliches Album eines ungewöhnlichen Saxophonisten, der in Polen wohl zu den eigenständigesten seiner Generation gezählt werden muß. Sein neues Album spielte Adam Pieronczyk in Brasilien ein und ließ sich dazu von brasilianischer Musik inspirieren; allerdings nicht von Samba oder Bossa, Choro oder Forro, sondern von der Musik der Tupi- und Guarani-Indios. Manche Stücke scheinen direkt von archaischen Gesängen abgeleitet zu sein („U-au-au-aa“) – was durch repetitive Saxophonlinien („Touched by Tupinamba“), Percussion-Patterns und Verzicht auf ein Harmonie-Instrument noch unterstrichen wird. Eine intensive, beschwörende Musik und entsprechend ist Pieronczyks Ton auf dem Instrument.
klm

Pierończyk from Sao Paolo
After a number of various musical experiences - ranging from duets with pianist Leszek Możdżer, through fusion of electronic music with acoustic, adventures at the International Courses of New Music in Darmstadt and the Warsaw Spring festival - Adam Pierończyk is returning to his roots. One of the most innovative jazz saxophonists to hail from this country, some of Pierończyk's more recent albums are now appearing in the catalogues of well-known German and Austrian record labels. He enjoys frequent success performing on stages throughout the world. Last year, along with his trio, he completed a concert tour of Brazil and, enchanted with the sounds and rhythms of one of that counttry's greatest cities, recorded an album there. The results of this two-day studio session in Sao Paul are fantastic.
Pierończyk will most likely surprize his loyal fans with this project, though. The album contains none of the electrnic melange that characterized the well-received "Digivooco" album from 2001, there is no expanded instrumentation or poetic references (as in Victor Hugo on his most recent CD, "Amusos"). It's Pierończyk coming back to his roots - though this doesn't mean playing standards or traditional jazz on this album; it's simply a return to the most classic type of instrumental line-up in jazz - the acoustic trio. No electronics, no computers.
Tomasz J. Handzlik / Gazeta Wyborcza 04/2006

It's been a good while since Adam's last CD was released, but the wait for his next artistic achievement is over for fans of his music - which I consider myself to be one of. I should state from the start that I found this CD very satisfying.
...In my opinion, "Sao Paolo by Bus" bears comparison with the best of Pierończyk's albums. Moving on to the recording itself, it isn't difficult to notice that the influence of Brazilian music here is not that prominent, which will make some listeners happy, and others less so. This is simply the music to which the leader has accustomed us - conveying monologues (yes, that is the right word for it) of unrelenting beauty, though with the accompaniment of his colleagues, who follow and enhance his ideas. I'm unable to fully describe what Adam does with saxophones, but what I can say is that there are very few saxophonists at present that are able to captivate my attention as he does. The levity with which he reels off his saxophone tales in each successive piece is something I find remarkably exciting. This is, indeed, instrumental excellence of the highest order - and on this CD, we hear Pierończyk on tenor, alto, as well as soprano saxophones...
...Moreover, this CD provides a healthy dose of full-blooded, energy-filled jazz that will satisfy every type of fan of the music. "Sao Paolo by Bus" is an excellent CD that I recommend highly, and suggest we not forget about in this year's vote for Album of The Year.
Robert Żurawski / Diapazon 05/2006

This is the eleventh CD by 36-year-old Adam Pierończyk - a musician who, with the tenacity of a long-distance runner, is steadfastly treading a path of his own. This may sound like a cliche, but "paths of one's own" and "long-distance runners' tenacity" are increasingly rare qualities in modern jazz, due to the genre's limited audience, and sponsors are no longer interested in marathon runners...
Pierończyk is a rare bird. The wilderness of free-jazz continues to be his primary millieau, yet his playing also conveys a heartfelt respect for tradition; he finds inspiration in the noise and bustle of the big city, but neither does he spurn the sounds of Carpathian or Maghreb folk music; he is fascinated by various electronic novelties, but has never disavowed his affinity for the acoustic sound; he blows the saxophone with hurricane intensity, but can also breathe through it like a delicate breeze...
And despite these extremes, he continues to be himself - a musician of unapologetic daring, with a clear and inimitable sound, boldly confronting new musical challenges of his own creation. In some respects, he reminds me of some of the M-Base movement's most talented musicians, who, instead of succumbing to a kind of doctrinal seclusion in "modern-ness", draw from the sources of bygone cultures and knowledge of the Old Masters. Sao Paolo by Bus is a set of challenging and uncompromising music. Those with ears that listen should do so.
Łukasz Tischner / Charaktery 06/2006

Pierończyk's astounding new album and concert
Intimate, but intense, modern and charged with emotion - such is the music of Adam Pierończyk
The 12th International "Old and Young - Jazz in Krakow" Festival saw the artist promoting his latest CD release.
The saxophonist's latest album - released only a couple of weeks ago - is the result of his Trio's Brazilian tour of last year. However, the CD is not a recording of those concerts, but that of a two-day session in a Sao Paulo studio. Fascinated by the city's enormity and exotic qualities, Pierończyk named the CD "Sao Paolo by Bus".
The unaccompanied interactions between sax and drums were brilliant, with drummer Krzysztof Dziedzic showing his mastery of pervasive drum 'n' bass / jungle sound textures, while also corresponding with and closely following the soloist's train of thought. Pierończyk, in turn, didn't let up for a moment, maintaining the emotional fire he started out with throughout the concert, continually soaring toward peaks of seemingly endless height in his improvisations. There was no culminative attainment of these peaks, though, as his path was one great battle with the elements, fluidly changing course into a successive, energized theme or equally exciting solo.
The live unveiling of Pierończyk's newest music sounded so good that it would be difficult to say which is the better production - the album, with its studio-engineered sound and several added details (vocals, percussion), or the concert, with its direct and contagious, lively energy?
Tomasz J. Handzlik / Gazeta Wyborcza 04/2006

Where are you from?
Premier Polish saxophonist Adam Pierończyk doesn't avoid supplying an answer to the above question. He acknowledges that, among others, Krzysztof Komeda, Albert Ayler and Branford Marsalis came before him. But first and foremost, one hears clearly that this is a musician from the country of the Vistula river. This recording has an interesting history to it - the musicians claim that, during a rehearsal prior to a concert in Brazil, they had an experience of psychic contact with the spirits of that region's ancient, native Tupi tribe. Upon hearing the music of the Tupi later on, they realized that they had been subconsciously playing their rhythms, harmonies and melodies during that experience. The group promptly recorded the material inspired by this metaphysical incident, and the result is an intriguing musical mosaic of Brazilian, as well as Polish folk-tinged melodies and jazz.
Filip Lobodzinski / Newsweek
(highest rating: + super!)

Afficionados of free improvisation will also have reason to rejoice. Adam Pierończyk is someone who is following his own path, and his newest CD, "Sao Paolo by Bus" brings us an entrancing mixture of free-jazz with elements of ethnic music, spread over a lattice-work of complex rhythms (the din of the big city).
Łukasz Tischner / Tygodnik Powszechny 05/2006

Into the world with the saxophone
Complexes and borders are something that saxophonist Adam Pierończyk simply doesn't recognize. He is one of Europes most on-the-move jazzmen, and Polish record stores are now seeing the arrival of his newest CD, which was recorded in Brazil and released in Germany.
Unlike times past, Polish musicians are able nowadays to put out CDs and perform wherever they want; but in practice, very few of them poke their head out beyond the homeland borders. Other than Tomasz Stańko and his quartet, associated with the ECM label and known throughout the world, one of the few Polish jazzmen who realize international projects from time to time is pianist Leszek Możdżer.
Talented saxophonist and composer Adam Pierończyk, on the other hand, engages in such endeavors on a systematic basis. When not performing with Stańko or Możdżer, this 36-year-old artist from Krakow works with the likes of Bobby McFerrin and Joey Calderazzo.
Indian Spirits
"We have no doubt that on that evening, we were touched by one the spirits of the Indians", says Pierończyk. On the CD, the climatic composition "Touched by Tupinamba" - recorded with the Brazilian rhythm master, Guello - is a reflection of this statement; the spirits of that region provided the Polish musicians with incredible drive in the remaining nine pieces as well. The strongest impressions are provided by the effective sound-play of "u-au-au-aa" and the carnaval-like "Desmondus Rotundus", with vocals by Anna Serafinska. As we listen to Pierończyk's colorful, surprize-filled Brazilian album, we can only wonder where he might realize his next project. Equatorial Africa? Greenland? Mount Ararat? Why not - jazz can be found everywhere.
ADAM CIESIELSKI / ZYCIE WARSZAWY 04/2006

... a spiritual and emotionally deep instrumental seance in an almost hipnotic setting;
... it was in was in Brazil that the 36-year-old artist entered the studio to record impressions of his tour of that country. The results are persuasive in every respect, and this album is decidedly his most exciting to date. For many, Adam Pierończyk sets off a sort of alarm bell - "How could one have overlooked something like this!?" - while many an occasion has existed to check out this enormously talented artist, whose style could be characterized, perhaps, as "blazing cool", and who is at the forefront of those taking Poland's great jazz tradition of Krzysztof Komeda, Zbigniew Namyslowski, Jan "Ptaszyn" Wroblewski Michal Urbaniak - and most of all, Tomasz Stańko - into the 21st Century;
... the subtle beauty of his exceptional and original, personal sound has a continuous, spine-tingling effect on the listener, the kind of material that any promoter or agent would find ideal;
Reinhard Koechl / jazzthing 06-08/ 2006

Adam Pierończyk is, without a doubt, one of this country's most modern saxophonists. His career has been progressing for a good many years now, but he continues to move forward, with each new recording more interesting than foregoing projects - of which there are quite a few in this artist's catalogue. The CD "Sao Paulo by Bus" is precisely this kind of "freshest material" to be released by Adam Pierończyk.
The album's main segment was recorded in the city of Sao Paulo itself, which, according to Adam, had a considerable influence on his music. And indeed, so it is, as one can clearly hear. One need only listen to the first several pieces, in which Pierończyk's saxophone melds beautifully with a backdrop of Brazilian native tribal rhythms. The composition "Touched by Tupinamba" is a good example of this.
It seems to me that the quality that most distinguishes Adam is the integrality of his sound on the saxophone. This is evinced not only in his playing, but also in the way he composes. For this reason - as far as I'm concerned - this CD is completely unique. The album encompasses the Brazilian culture from which the artist drew his ideas and inspiration; but we can also hear (most importantly) that, while influenced by these various experiences, he doesn't at all strive to play differently. To the contrary, he remains consistently himself, and continues to have something to say to us in that language of his.
But I wouldn't want to praise only Adam here, because there are other excellent Polish musicians playing on this CD as well: Robert Kubiszyn (double bass, bass, voice), Krzysztof Dziedzic (percussion, voice), and Anna Serafińska (vocal). I must say that this young lady made quite an impression on me. Her contribution to the piece "Desmodus Rotundus" adds considerable tone and luster to this CD, creating a beautiful convergence of sounds - the human voice and the saxophone, with excellent phrasing in unison with Adam Pierończyk, followed by expressive dialogue...
This CD is by all means an important one - for us, as well as the Artist. I would even call it a milestone in Polish jazz. I was not disappointed, in any event, and will surely be looking out for Adam's future projects.
Michał Palkaj / Diapazon 06/2006

DAGBLAD VAN HET NOORDEN / The Netherlands
Jazz
On tour through Brazil, the trio led by saxophonist Adam Pieronczyk suddenly was struck by a kind of trance during the sound check. Afterwards, the polish threesome appeared to play music spontaneously, that was situated very close to the original music by the Tupi indians. On 'Busem po Sao Paulo' ('Sao Paulo by bus') the trio tries to live up to this spiritual experience. Assisted by brazilian guest percussionist Guello, Pieronczyk sometimes seems to call on ghosts. There are some thoughtful and intense moments, but often the mix of jazz and exciting afro-american rhythms grazes along Steve Coleman's M-Base style in a very pleasant way. Regularly, Pieronczyk approximates Coleman's edgy and striking saxophone sound. But he alternates this by a more investigating and more airy style à la Joe Lovano, including little hoarse comma's in the highest register, ascending to heaven.
(****) Adam Pieronczyk Trio / Busem Po Sao Paulo (Meta/Challenge)

Slagwerkkrant 134, juli-augustus 2006’ / The Netherlands
JAZZ SHORT
"Osobna droga krazy Adam Pieronczyk, którego najnowsza plyta Busem Po Sao Paulo przynosi transowa mieszanke free-jazzu z dyskretnymi elementami muzyki."
Nice, you can work with this, when you go and look for words for one of the most fascinating cd’s that passed by lately. Google doesn’t show much more than this – so the best is simply to stick to the original thought: Busem Po Sao Paulo is one of the most fascinating CD’s that passed by lately. This afore mentioned Adam Pieronczyk is saxophonist and leader of the Polish, on this album in Brazil operating, trio with an unheard-before basic grooving bass player Robert Kubiszyn and the disarmingly authentic drummer Krzysztof Dziedzic. Finally someone whose set-up I would prefer to examine thoroughly, with a snare drum that sounds like a tin-clad and cutlery-filled wooden box. Disarming just as much are the liner notes. And the music. Lazy, funky impro-jazz, coloured by dead Brazilian Indians. Listen!
Hugo Pinksterboer

"Around Sao Paulo by Bus.
Adam Pieronczyk is one of the most innovative and acclaimed jazz saxophonists in Poland. Last year he and his trio played concerts in Brazil. The charm and rhythm of Sao Paulo bewitched the artist so much that he decided to record his new album there. Following early experiments with electronics, as heard on 'Digivooco', Pieronczyk has gone back to his original classic jazz lineup. Pieronczyk plays light and enchanting saxophone monologues against the wonderful background of the accompanying band. The succulent, energetic jazz is blended with techno, drum'n'bass and ambient sounds."
Piotr Domanski, The Warsaw Voice 08/2006"

"Adam Pieronczyk 'Busem Po Sao Paulo' is filled with interesting music.
This is a Polish Power trio, and Pieronczyk plays a solid tenor inspired by Rollins."

Phillip McNally, Cadence NY 01/2007

Progressive jazz, Music (****), Production (****):
"With the exception of an extended bass solo in the piece “Braniewo”, Pierończyk's saxophones are the dominant presence, something that makes this a very cohesive album, thanks to the leader's rich palette of timbral ornamentations – an absolutely mesmerizing CD that, at the same time, isn't at all wearisome.”
Audio 8/2006

"Sao Paulo by Bus” differs decidedly from other recent productions by the saxophonist. There's more economy of expression here, the music is concentrated, while maintaining a strong basis in the improvisational and sound idiom of the soloist, inherent to his first recordings.

Pierończyk's saxophone sound is raw, primal, its tone colour at times approaching that of a zoucra – an arabic wind instrument on which he's happy to play as well. This kind of sound corresponds excellently with the character of the melodies he composes – often simple ones, consisting of but a few notes, persistently repeated, almost mantra-like...

With this recorded-in-Brazil album, Pierończyk has once again shown himself to be an original artist whose focus is clearly defined; despite drawing from a wide world of musical cultures, he continues to be himself.
Daniel Cichy, Tygodnik Powszechny 06/2006

“Probably Polish musician yet has travelled to this distant a corner of the world to record an album – and what's more, done so in a truly impressive manner.

... what's important is that it's still 'that' Pierończyk. He travels his own path, combining unconventional elements with those that are proven, while always maintaining logical, consistent and disciplined...

I solemnly believe in the power of the spirits of the native Brazilian indians, by which the musicians of the trio were touched, as the leader describes in the liner notes to the CD – yet it seems there would have to be reasons beyond that for recording an album that's this good.”
Bogdan Chmura, Jazz Forum (****1/2)

"Die paar tausend Kilometer zwischen seinem Heimatland Polen und Brasilien bewaeltigt Adam Pieronczyk mit seinem neuen Trio spielend. Impressionen des riesigen Landes gehen nahtlos ein, wenn er zum Beispiel im Bus durch Sao Paulo sitzt, Hard Core Punk Jazz getragen von einem mitreissendem Saxophonsound, der eine europaeisch-brasilianische Vereinigung zelebriert..."
Hans-Juergen von Osterhausen, Jazz Zeitung 09/2006 (*****)

“Pierończyk's playing is fresh and virtuosic.”
Frank Huser, Jazzflits NL 06/2006

"Der Saxophonist und Komponist Adam Pieronczyk wurde 1970 in Elblag, Polen geboren. Frueher galt Pieronczyk als neue Hoffnung der polnischen Jazzmusik. Diese Zeiten sind jedoch vorueber. Nachdem er mehrmals Polens Jazzmusiker des Jahres wurde, ist er in der Liga von den Komedas und Stankos angelangt.

Auf 'Busem Po Sao Paulo' hat Pieronczyk den Spirit einer alten Kultur, die der Tupi und Guarani-Indianer, geradzu verinnerlicht und in seiner Art der Improvisation umgesetzt. Den Stuecken ist anzuhoeren, dass die Musiker des Trios dieselben Empfindungen waehrend des Musizierens haben, eine Art Seelenverwandschaft. Aber auch der besondere Ton Pieronczyk's, der Waerme und Durchsetzungskraft vereint, laesst auf- und hinhoeren."
Sonic, 09/2006