01 - Hajnalok/Daybreaks
02 - Istenek a nagy Hortobágyon/Gods on the Hortobagy
03 - Mákvirágok/Iron /Homage a Stravinsky/
04 - Délibáb/Fata Morgana /Homage a Lutoslavsky/
05 - Legelő lovak/Grazing Horses /Homage a Kurosawa/
06 - Halott madár/Dead Bird
07 - Holtág/Stagnant Water /Homage a Bartók/
08 - Ég/Sky /Homage a Hamvas/
"While recording this album at the Gallery of Contemporary Paintings in Szombathely, we were visited by a party of gods whom we received in an obedient trance: "They descended on our hearts They, our beloved birds."
Our land is the Puszta, the dry seabed, the plains of sand exposed to the sky. In the holy dawn, a mysterious flock of gods suddenly emerge over fields among the poplars and plume their feathers while the glaring sun traces its heavenly course,gilding the leafy corners of silence. "Then they -fly away with a flapping or wings."
To see, call and touch this secret Eden, the soul had to be faithful and discrete, the heart naturally open, and the notes had to be freely but perfectly controlled. While entirely improvised, the music has its roots in the vast sandy expanse of eastern Hungary, blends national with European music and reflects the history of our half of the continent. It comes from a love of the Puszta and a steady heart.Sand Musk is dedicated to the spirit of the Puszta. Mingled in it are identity and play, fate and memory, a reverie close to heaven and earth. A reaching into ourselves and out for the timeless Universe. Poetry, moments of magic, Zen. Blissful music dedicated to the great Kindred Spirits.
Credit to the musicians who made it. "
September 1991 György Szabados
01 Bells /Harangok
02 Pilgrimage /Zarándokút
03 Message /Üzenet
05 The Land Of Boldogasszony /Boldogasszony földje
06 Supplication /Fohász
BMC CD 130
"The deep experience that binds me to the sound of bells is boundless. My childhood initiation. And if, as the writer Bela Hamvas said, sound is truly the "fire" of material, t~e sound of bells is the
blissful breath of this fire, of fires embracing one another; a sigh that encompasses the Earth.This is also the sigh of this wonderful central European world, where I too live.The beautiful vibration of inter-embracing sounds near and far is the wide space in which I am at home. Their chanting,complex and free rhythms are decisive for the impulse and medium of the music living in me. This world is the land of Boldogasszony (the Ancient Mother Earth of Hungarian mythology) a holy paradise. Blissful, secret, in proximity to the divine. Resplendent with poppies, reverential. The world of embraces and sublime rubato. Where today's ungainly era is spread out by the lights and shadows of towers in the changeable sky, and the inter-tolling of bells keeps tally of it over us."
feat.: Johannes Bauer, Dresch 'Dudás' Mihály, Lakatos 'Tony' Antal, Benkő Róbert, Faragó Antal
Hungaroton SLPX 37215
The message of Bartók's musical piece Cantata Profana - The Nine Miraculous Stags is important for ethno jazz musicians:
… Their slender bodies
Ne'er in clothes can wander
Only wear the wind and sun,
Their dainty legs
Can never stand the hearthstone,
Only tread the leafy mold;
Their mouths no longer
Drink from crystal glasses,
Only from pure mountain springs.
'Only from a pure source' is a wish omnipresent in the work of the father and unofficial king of free jazz based on Hungarian folk music - GYÖRGY SZABADOS. To appraise Szabados's work is no easy task. It is not so much the conjuring up of the phases in the career of this great artist that presents the interpreter with a degree of difficulty; it is the fact that Szabados is also a theoretician in his own right. He is simultaneously the subject, creator, theoretician and philosopher of his musical work and its related world of thought - organic life and free music.
Szabados is a huge admirer of Béla Bartók, who pioneered the reinterpretation of folk traditions. He recreated the Romanian legend that had served as the basis of Bartók's Cantata Profana for Iván Markó and his Gyor Ballet Ensemble in a production entitled A szarvassá vált fiak ( Sons Turned into Stags), released on LP in 1989. 'Apart from the occasional moments, it is difficult to find traces of Bartók's music in our music. Hungarian music has such characteristic features that, when they appear, they are immediately linked to Bartók, whereas the real kinship is not with Bartók but, on a much deeper level, with Hungarian music, a world view, and a special taste,' he said in the interview.
In Szabados's music the composer is equal to the performer. His own pieces are either performed in his own idiosyncratic piano style at solo nights, sometimes accompanied by his shaman-like mumblings, or in ad hoc formations with musicians drawn by his aura.
Besides his duo, quartet and quintet ensembles, he is best known for creating MAKUZ, or the Royal Hungarian Court Orchestra. This ensemble, which never included less than nine musicians, was a workshop for improvisation from which such contemporary greats of Hungarian jazz have emerged as Mihály Dresch, István Grencsó, Ferenc Kovács, Félix Lajkó, Attila Lorinszky, István Baló, Róbert Benko, Miklós Mákó and others, all of whom have since established separate careers.
So if it was jazz that would introduce Szabados to improvisational practice, once the step had been taken there was another wellspring, geographically immediate, to draw on. The rhythms that drive his music, the characteristic intervals and scales, are in the musics of Eastern Europe, and his piano playing owes more to Bartok (with a nod to Thelonious Monk) than to the free jazz streams of either Cecil Taylor (who shares some of the same pianistic roots) or Paul Bley.
The Music at Hand
"Trioton," Szabados, long, suite-like piece, is this trio's essential statement, a shifting tapestry that shows so much of the character of this interaction, the trio's expressive breadth marking the haunting opening theme with the piano's bell-like tones and ghostly tremolos and the understated percussion touches. Then there's the way it accumulates tension, in part through its mix of elements - its almost programmatic mystery, the gathering lightness of the runs, hints of a Monkish discourse on the blues. It is in that levitation that the trio asserts itself - the way Szabados' runs unhinge from the gravity of his opening, Braxton's fluttering vibrato, the light touch of Tarasov's snare and cymbal work (at times reminding that he was the percussionist with the Lithuanian State Symphony Orchestra), all of it lifting upward from the weight of the theme. There is a sense here of multiple times - of a grave mediation and a high-speed flight and the upswelling of time between the two, all three maintained as constant states.The long trio-logue improvisation that is its middle is a delight of inventive exchange. The final dance-like theme - very like Stravinsky - sets up a repeating figure
that's in contrast to the expansive free play that Szabados uses to elaborate it.The extreme rapidity and pinched sound of Braxton's sopranino is a perfect complement - a seizing of freedom where it seems unlikeliest.The comparatively short "Black Toots," another Szabados composition, seems to touch simultaneously on the worlds of Bartok and Monk. The first two of the three short improvisations that end the concert are very different in their materials from Szabados' compositions - the principle of interplay is sonic rather than immediately melodic or harmonic, with Braxton assuming a natural leadership role in the play of timbre and breath. "Improvisation 2" is an ethereal gem, a glimpse into another sonic order. "Improvisation 3," with the power of its rolling piano and the folk-dance of its tambourine, returns us to the world of "Trioton."This music belongs to more than one great tradition, and it's worthy of them all.
01 - Las Vegas Blues
02 - Harlem Nocturne
03 - Can't We Be Friends
04 - Achtung
05 - Have You Met Miss Jones
06 - Lullaby Of The Leaves
- Illinois Jacquet (tenor saxophone)
- Ray Brown (bass)
- Roy Eldridge (trumpet)
- Herb Ellis (guitar)
- Jimmy Jones (piano)
- Jo Jones (drums)
This classic 1956 Verve session features the great tenor Illinois Jacquet accompanied by Roy Eldridge, Jimmy Jones, Herb Ellis, Ray Brown and Jo Jones.
"These are all truly classic Verve titles that you simply don't want to miss, most importantly, the sound of these reissues is nothing short of astounding! - Danny Kaey/Positive Feedback Online
"Don’t let the October 16th 1956 mono recording date fool you: this Jean-Baptiste “Illinois” Jacquet session was recorded in Los Angeles, probably at legendary Radio Recorders, and the sound will knock you down. If the opener 'Las Vegas Blues' doesn’t get you, the second tune, the familiar 'Harlem Nocturne' will! The sonic mood is strictly fish net stockings film noir. When Jacquet reaches down to the lower limits of his tenor on 'Nocturne' you’ll feel as if the walls of your listening room just might crumble." - Michael Fremer, Music Angle (Music 9/10, Sound 10/10)
Title: Live In Shizuoka 2011 (2CDR)
02. Beyond The Seventh Galaxy
03. Senor Mouse
04. Shadow Of Lo intro / Sorceress / Shadow Of Lo
05. band introduction
01. After The Socmic Rain
02. La Fiesta
03. 500 Miles High
05. School Days
Chick Corea (key)
Stanley Clarke (b)
Lenny White (d)
Jean-Luc Ponty (vln)
Frank Gambale (g)
Retuns To Japan Tour 2011:
2011-09-27 Aichi Arts Center, Nagoya, Aichi http://www.dimeadozen.org/torrents-details.php?id=502484
2011-09-29 Tokyo International Forum, Tokyo http://www.dimeadozen.org/torrents-details.php?id=502780
2011-10-02 Kobelco Grand Hall, Nishinomiya, Hyogo
2011-10-06 Fukuoka Sun Palace Hotel & Hall, Fukuoka, Fukuoka
2011-10-08 Hibiya Open Air Music Theater, Tokyo http://www.dimeadozen.org/torrents-details.php?id=503011
2011-10-10 Granship Shizuoka, Shizuoka *This Torrent
Art & Checksum Included.
*Please Support Artist!
"The new jazz subversives are paying tribute to the original jazz subversives." Besser als S. Victor Aaron
kann man es nicht auf den Punkt bringen. Schon bei ihrem ersten Auftritt auf europäischem Boden
beim 2009er moers festival wurde offensichtlich, dass Mostly Other People Do The Killing noch viel vor haben.
Jetzt haben sie sich an einer Position umbesetzt, um drei Mitspieler erweitert und nennen sich Red Hot.
Geblieben ist der Spaß, die Geschichte des Jazz auf eine sehr sympathische Weise und mit einer unbändigen
Spielfreude durch den Kakao zu ziehen. Nach Jazz-Klassikern wie Ornette Colemans "We are the Music",
muss diesmal, zum Abschluss des Festivals, die Musik der frühen Jahre, der "Hot Jazz" oder was auch immer
sich die Sieben darunter vorstellen, dran glauben.