Bill Milkowski’s Review of “Cradle of Light” for Jazz Times
"This enchanting duet project features Polish-born guitarist-composer (and Berklee grad) Marek Dykta engaging in some intimate guitar dialogues with his friend and mentor John Abercrombie. Between four delicate waltzes, including Dykta's affecting "2642", the playfully dissonant " How They Dance" and the lovely "Ten Nights" along with Dykta's gorgeous " The Day that wouldn't End" and Abercrombie's introspective "Foolish Door", this is a brilliant collection of luminous, warm-toned improvisations".
This recording is the high point of the most fulfilling collaboration I have ever been a part of. We have played this music on and off for some two years before it was ready to be recorded. Now, it’s ready to shine with the new light.
There is nothing that shows interaction in a musical duo more perfectly than a dance and that’s why you will find four waltzes on this record. The songs written for this project were inspired by people and events that had an impact on my life, but the four waltzes we have recorded are all about women.
“Foolish Door” is John's composition that has never before appeared on a CD.
“Waltz for Agnes” is dedicated to a friend who I thought was protecting me when on my way to the recording session with John I miraculously avoided a car accident. Sadly she wasn’t as lucky when she herself was in a car accident about two years ago.
“2642” has been written some time ago for a person close to my heart and is still one of my favorite songs.
“How They Dance” is for my goddaughter Karolina and her sister Klaudyna, who took after their mother and used to make believe that their house was a Hollywood movie set. Some of the wide interval leaps I used writing the melody of this song might help you imagine how they danced. Believe me, it didn’t look like a waltz.
“Ten Nights” is a song simply inspired by about ten nights. Note the rising motif in the second section of the head.
I have written “The Day That Wouldn't End” around June 22, years ago while waiting for that important phone call. The benign melody paired with a non-harmonic chord at the beginning of this song is my take on expressing the eternal conflict between the sexes.
“Freeway Ballet” is about my dance for a cop who stopped me for speeding. I did manage to walk straight in line and stand still on one foot while counting to thirty (some of you might be familiar with the procedure) but that dance on the freeway made me think twice about running away from my problems after a couple of cold ones.
“The Song for My Father” is a tune that I am sure all of us wrote at some point in one way or another. As for me, I remember how much my father loved to play music even though his scrappy style was hard to stomach. I played a gig with my band the day after he passed away. It was a gig for my friends in my hometown, and I was not sure whether it was appropriate, but while we played, I thought I saw him on the balcony listening.
Since I wrote most of the songs we recorded, I thought I’d tell you what inspired me. What inspired me most while recording this music however, was John’s incomparable musicality. For me he is the light that makes these stories possible to be read.