Tomasz Chyła Quintet
“Eternal Entropy” (2017)

All five musicians are superb instrumentalists and they perform the music with passion and obvious mixture of talent and professionalism. Chyla has a surprisingly original tone and stylistic approach, quite different form other violinists active on the Polish violin scene. His playing is much closer to Polish Folklore than to classical music, which is usually the starting point for violinists and he is more open to less constrained improvisation, which at time borders with Free. He is definitely the most interesting new arrival on the crowded Polish Jazz violin scene, and a most welcome one due to his divergence.

Adam Baruch
“Circlesongs” (2018)

It makes no sense to write about the individual contributions by the quintet members, as this album is a classic team effort. My praise goes to the leader, who keeps his playing on the same level, and perhaps even more modest, that his cohorts, which in this case is the most sensible decision. These players have already proved their chops on numerous other recordings, and this music is all about unison.

Adam Baruch
“Live at Polish Radio 3” (2019)

For me personally, live performances is where one can experience jazz music to its fullest. I think “Live at Polish Radio 3” is one of the best arguments to support this view. “Circlesongs” took place on a jazz podium – the new concert recording took Tomasz Chyła’s quintet above it. Towards Mount Olympus.

Krzysztof Komorek o płycie Live

“Da Vinci”  (2021)

It’s music that comes from a rich imagination and opens huge possibilities to the mind of the listener. “da Vinci” is an intricate jigsaw that functions with an extraordinary precision. Every element – and I mean here both the music as well as every performer – is made to measure and absolutely essential.

Krzysztof Komorek o “da Vinci”