Project marks a new direction for bassist Vlada Samard?i? in many ways. It is his debut as an author and bandleader, and also marks his parting with the band he was long associated with, The Vasil Had?imanov Band. This project has been brewing for some time, as Samard?i? as a regular member of the highly active VH band, a sought-out session player, and a bassist-for-hire by pop musicians in his native Serbia. The lineup features Samard?i? on electric bass, the exciting Kristijan Mlachak on tenor and soprano saxophones, trumpet virtuoso Marko Djordjevic, and the secret weapon, drummer Petar Radmilovic.

Within this context, the title, The Bridge, bears various meanings. On a personal level it marks a connection between Berklee College in Boston and Samard?i?'s native Novi Sad. Most of these compositions were written during his stay at Berklee. The bridges have always been a symbol of Novi Sad, but even more so when, in 1999, most of them were torn down during the unjust NATO air raids. Novi Sad in Vojvodina (or the Panonnian region) has always been regarded as a crossroad, a melting pot for different cultures living in that region, and the bridge was always seen as a symbol of coexistence. In this context it also symbolizes the variety present on this album.

As a composer and arranger, Samard?i? shows a broad taste for styles from Latino-influenced to straightforward hard bop jazz. It kicks off with the Latin-tinged cracker, "Vojvo?anska zakuska," that overflows with stunning instrumental interplay between the brass and rhythm section. While any hint of Latino rhythms are relatively unknown in Samard?i?'s previous work, experienced drummer Petar Radmilovi? is by no means a beginner in that domain as he did plenty of that with Vlada Mari?i?'s trio on Romano Cubano (Mascom Records, 2005), and Dobrovoljno kova?ko dru?tvo, a band that backed the late gypsy singer ?aban Bajramovi? on his Romano Raj (Hammer, 2007). The Latin feel continues on "Furuna," one of two tracks written and arranged by pianist Aleksandar Bahun. Throughout, the rhythm section keeps the rhythms both propulsive and highly inventive.

"Kindergarden" is a mid-tempo piece with a bit of