Trio BASTARDA - muzycy siedzą ze swoimi instrumentami. Od lewej: Tomasz Pokrzywiński (wiolonczela), Michał Górczyński (klarnet kontrabasowy), Paweł Szomburski (klarnet)
fot. Muzeum Historii Żydów Polskich

Paweł Szamburski, Tomasz Pokrzywiński and Michał Górczyński are Warsaw based musicians with close ties to Lado ABC record label and LADO Cultural Association (

Bastarda Trio is also an associate partner of HERA's international project "Sound Memories. The Musical Past in Late-Medieval and Early Modern Europe" ( The group recorded two albums with new and original interpretations of medieval and renaissance music: Promitat eterno (Lado ABC 2017) - new interpretation of medieval music by Petrus Wilhelmi de Grudencz (b. 1392) and  Ars moriendi (Lado ABC and Time Released Sound, 2019) - musical transfiguration of  medieval and early modern death rituals with compositions by C. Festa, J. Desprez, G. du Fay, C. de Morales.

Paweł Szamburski, Tomasz Pokrzywiński, and Michał Górczyński - stemming from different backgrounds (jazz, classical, contemporary, film music) using clarinet, cello and bass clarinet created unique musical texture and beautifully reinterpreted centuries-old music.

Fragmenting the chants, using "viola bastarda" technique and disrupting the counterpoint of early polyphony BASTARDA implodes into minimalism and gives us a modern meditation on early music. Bastarda is interested in demonstrating how early music can sound today, filtered through personal and contemporary musical experiences. The group share their knowledge with audiences from all around the world and also with scholars, taking part in project meetings and debates, as well as playing live improvised music inspired by the ongoing research on early music. Thanks to their collaboration with Bastarda, musicologists are able to experience what makes late-medieval and early-modern music attractive for modern jazz musicians and their audiences today.

In 2020, musicians released their third album inspired by Hasidic Nigunim. These mystical Jewish melodies dating back to the 18th-century Hasidic movement often drew from local music patterns and traditions. Ecstatic dancing and singing of nigunim was a way for the Hasidim to enter “the chamber of God”. Drawing mainly from the legacy of the Modzhitz dynasty, as well as from the collection of Hasidic songs discovered by the musicologist Moshe Bieregowski, Bastarda brings out the beauty of Jewish melodies, filtering them through its unique and mature artistic language. // //