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European Jazz Conference 2015: Hungarian Showcases

European Jazz Conference Hungarian Showcases
Budapest, Hungary
September, 24-27, 2015
The European Jazz Conference is a step forward for pan-European cooperation and collaboration. What was formerly the General Assembly of the Europe Jazz Network (EJN), became the European Jazz Conference from 2014. It is now also opened to external participants upon registration. The Conference with its lectures, panels, working sessions, musical showcases and its rich possibilities to exchange is an important annual meeting of jazz professionals in Europe, in particular of promoters, presenters and jazz support organizations. This article focuses on the ten Hungarian musical showcases and some of its background. More about the lectures, panels and working sessions of the meeting you'll find in the All About Jazz report by Ian Patterson.
Each year the European Jazz Conference is hosted in a different European city by a member organization of the Europe Jazz Network. Last year it took place in Helsinki, Finland. This year's conference in Budapest, Hungary, at the Budapest Music Center (BMC) hosted more than 200 professionals working in jazz and improvised music from 38 countries all over Europe. It was financed by the Creative Europe program of the European Union and by the Central Bank of Hungary.
The motto for the 2015 Conference 'Make it Happen' set the tone by focusing on positive instances of successful projects and original ideas that were implemented as a reply to the demanding challenges of the music industry nowadays. Next year's European Jazz Conference will be held at the National Forum of Music (NFM) in Wroc?aw, Polen. Wroc?aw will be European Capital of Culture in 2016.
In Budapest you were more direct confronted with the consequences of the massive influx of refugees from the Middle East that passed through the capital the last few weeks via neuralgic Keleti station (2 miles from BMC). EJN released an official statementon the refugee and migrant situation in Europe.
BMC
Budapest Music Center (BMC) was founded by trombonist and academy professor László G?z in 1996. It is a music information center now that collects and makes available worldwide information about Hungarian classical and jazz musicians and about contemporary compositions. The permanently updated music database currently contains information about 3000 artists and 15500 compositions. The library, open to the general public free of charge, contains approximately 90 thousand books, notes, and records.
BMC has a concert hall with own programming and a jazz venue, Opus Jazz Club with four weekly concerts and an advanced programming. It has its own label, BMC Records, and houses the Peter E?tv?s Contemporary Music Foundation named after the world-renowned composer and conductor. E?tv?s moved the E?tv?s Institute from Paris to the Budapest Music Center, connecting the institution to the international music scene. BMC has been supported also by Gy?rgy Ligeti and Gy?rgy Kurtág. The Kurtág family created a foundation called Music Forum to support the activities of the house. BMC has organized classical, contemporary and jazz events since 1997 (for example Festival Kurtág 80, the Music Forum Expo electroacoustic festival, the New Series Festival (jointly by BMC and ECM Records), the series of CD-presentations as well as the Budapest Jazz Festival).
BMC is a patron of Hungarian music: most of its activities are non-profit, funded by its more profitable event management activities. The Music Center is located at Mátyás utca 8, in the ninth district, Ferencváros, situated near and between metro stations Kalvin ter and Corvin-neyyed (also near the bazar of Mercado Central). Although a large part of the premises are open to the public, private resources financed most of the transformation of the 120 years-old former residential building. One can sense in every part of it that a musician built this house for musicians. There are more examples of private cultural foundations dedicated to music but BMC is a rare case of independently serving a national function.
BMC Records, founded in 1998 and publishing Hungarian artists of the contemporary, classical and jazz field has a catalogue of more than 220 releases now. It has built a name in Europe and the world, has fostered Hungarian musicians in an international context and initiated successful collaboration between Hungarian and musicians from all over Europe and abroad. For me it was an important source and introduction to Hungarian musicians and the Hungarian scene after the turn of the century (click here for a few radio examples.)
Hungarian jazz (musicians)
Hungary has produced a series of outstanding jazz musicians like bassist

Aladar Pege
b.1939
Ferenc Nemeth
drumsb.1976

Ferenc Snetberger
guitar
Gabor Szabo
guitar1936 - 1982

Attila Zoller
guitar1927 - 1998

Bálint Gyémánt
guitar
Charles Lloyd
saxophoneb.1938
A towering figure of the Hungarian avant-garde and free jazz was pianist
Gyorgy Szabados
b.1939
Anthony Braxton
woodwindsb.1945

Roscoe Mitchell
saxophoneb.1940

Joëlle Léandre
bassb.1951
Through the foundation Bartók created for modern Hungarian music in connection to folk traditions Hungarian jazz musicians were "free(d)" to experiment with their own folk traditions and find new ways of expressing their identity. Szabados emphasized that this was more than superficial marks or tinges of folk sonorities. It is in fact something on a deeper level: "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." (quote from Zoltán Szerdahelyn, "Only From Pure Mountain Springs"Folk Traditions in Hungarian Jazz).
Showcases
As part of the conference ten showcases were presented during three nights at the BMC concert hall and the BMC's Opus Jazz Club. The ten showcases involved mostly groups of musicians of the older and middle generation. Of the older generation there were pianist " data-original-title="" title="">Béla Szakcsi Lakatos (1943), guitarist Gábor Gadó (1957) and the saxophonists Mihály Borbély (1956),
Mihály Dresch
saxophoneIstván Grencsó
saxophone
Tony Lakatos
saxophone, tenorKornél Fekete-Kovács
trumpetJorg Brinkmann
cello
Rudi Mahall
clarinet, bass
Christophe Monniot
saxophone
Luca Kézdy
violinFirst Night
The first night had four groups: Dresch Quartet, Béla Szakcsi Lakatos Trio featuring French saxophonist Christoph Monniot, Platypus and Kristóf Bacsó's Triad featuring young guitarist Márton Fenyvesi, a truly saxophone-focused program.
Mihály "Dudás" Dresch is an outstanding figure of the Hungarian jazz scene. His albums are considered cornerstones of Hungarian jazz merging Hungarian folk music with the universal language of jazz. In this concert Dresch started muscular on saxophone but soon switched to his customized folk-flute. Besides Balázs Horváth on double bass and István Baló on drums he had the great Miklós Lukács on cimbalom, the most Hungarian instrument. Miklós Lukács is a kind of joker that can be used in a lot of musical contexts. It became a powerful and folk-inflected start of a strong working band. Dresch's quartet is a classic that performed according to its high standards reputation.
Next to laidback Lakatos on the piano a busy agitating Monniot could be seen. Monniot has plenty of strong chops and is playing a game with the game of performing. He is one of those players that can spin out enormously but also can get pretty self-concerned by it. Among others the group paid tribute to Austrian-American master

Joe Zawinul
keyboards1932 - 2007
The next two groups, both younger ones, performed at the smaller jazz club of BMC. The Platypus trio of Michael Schiefel premiered at Moers Festival in 2013then with cellist

Paolo Damiani
celloOf quite different caliber was saxophonist Kristóf Bacsó's unit with ?rpád Oláh Tzumo on Fender Rhodes,

Marton Juhasz
drumsIt became apparent that concerning exchange Hungary (as well as other Eastern European countries) make lot of efforts to invite and exchange with musicians from Western European countries. Nonetheless it has not enough developed into a symmetrical situation yet. In the past Eastern European musicians had to migrate into western and or northern direction. Examples like Gabor Szabo, Gabor Gado, Tony Lakatos and Zoltan Lantos testify it.
Second Night
The second night opened with a performance of first-rate guitarist Gábor Gadó and his new quintet comprising Otto Rácz on hobo (and bassoon), saxophonist Kristóf Bacsó this time on alto, " data-original-title="" title="">József Barcza Horváth on double bass and young drummer László Czizi subbing for one of the most well known Hungarian drummers,
Elemer Balazs
drumsLike more Hungarian jazz musicians, reed player Mihály Borbély is very much dedicated to Hungary's indigenous music. As co-founder of the longstanding ethno group Vujicsic he took the interweaving of jazz and folk music to new heights. His last album featured two of Hungarian guitarist Attilla Zoller's famous pieces, "Hungarian Rhapsody" and "Gloomy Sunday." Pianist
Áron Tálas
pianoBalázs Horváth
bass, acousticIstván Baló
drumsPresently István Grencsó's Open Collective is the cynosure of Hungary's free improvisation scene. The collective is a combination of seasoned musicians, as Grencsó himself and double bassist Róbert Benk?, and young musicians, as pianist Máté Pozsár, double bassist " data-original-title="" title="">Ern? Hock and drummer Szilveszter Miklós. In its present installation the Collective operates with a double double bass line and double reed line consisting of Grencsó himself and unmistakable illustrious German bass clarinetist Rudi Mahall (

Aki Takase
pianob.1948

Alexander von Schlippenbach
pianob.1938
The association of Hungarian music with cimbaloms, guitars and especially violins is a quite familiar one and not especially surprising. The way Luca Kézdy used her electrified violin in the next performance however was. She strummed it like a rhythm guitar or, aided by electronics and pedals, produced a screaming solo like on the electric guitar. However the core of her trio's playing were not these kind of effects. Rather, it was the fundament violinists as

Jean-Luc Ponty
violinb.1942

Michal Urbaniak
violinThere are a lot of good violinists around nowadays. The performance of the trio was testimony that Kézdy has found and established her and her trio's very own place and profile. To make and keep it interesting and captivating an interlocking of simple pattern and elaborations has to be figured out and set into motion. It was captivating and exhilarating what she did with her trio of bass guitarist " data-original-title="" title="">Dávid Szesztay and drummer Dávid Szeg?. The trio toured neighboring countries and New York recently, joined by leading figure of free improvisation István Grencsóa combination that would and could make a lot of sense.
Third Night
The last showcase night started with the Modern Art Orchestra (MAO) featuring Germany based expatriate saxophonist Tony Lakatos in its second set. MAO can be regarded the leading contemporary Hungarian big band. It has been founded exactly ten years ago by trumpet player Kornél Fekete-Kovács and has built up a substantial body of originals from which they played in its two sets. The MOA collaborated with

Bob Mintzer
saxophoneb.1953

Dave Liebman
saxophoneb.1946

Kurt Elling
vocalsb.1967

Wallace Roney
trumpet1960 - 2020

Rhoda Scott
organ, Hammond B3b.1938

Julian Joseph
pianob.1966

Mike Garson
piano
New York Voices
vocalsb.1989
The orchestra revealed as an ensemble of high competence with a rich, shining sound. It rendered highly dynamic performances of well-arranged compositions of high quality. Tony Lakatos is an old warhorse of jazz, accompanying work and especially Big Band jazz. For more than 10 years until 1996 he was a member of Jasper van 't Hof's Pili-Pili group. Here he gave the music still more shining during the second set. It was rock solid and functional all over but not especially daring. It fully applied however to the young duo of vocalist Veronika Harcsa and guitarist Bálint Gyémánt. The duo has already made a name and has been signed by the German Traumton label and the Artribute agency. It had a showcase at this year's European Jazz Meeting at the JazzAhead conference in Bremen.
Harcsa is an amazingly versatile musician, a brilliant vocalist and gifted entertainer in the best sense. Her facial, vocal, gestural and musical expressions were mutually reinforcing. With her clear and supple voice she not only can get almost everywhere. She captures 'it' in an open smile and inviting gesture. It all happens in an almost effortless flow and a mildly stylized way. She has found her very own thing and performed it on a high level with great impact. What she was doing defies categorization and makes comparisons superfluous. Her performance not only had great variation but also unfolding, focusing, draught and pointedness, ending up in a great Indian flavored piece. Sometimes less vocal fireworks would make the soul of song even more present. Guitarist Bálint Gyémánt entered fully into the interior of the music interlocking intensely with Harcsa. What the duo is doing has its pop-sensitivities but these emerge from precious substance.
The finishing performance came from the brand-new three-generations Organic Trio of saxophonist Viktor Tóth comprising Tóth on alto, Mátyás Premecz on Hammond-B3 organ and 18 years old wonder-boy

David Hodek
drums
Hamid Drake
drumsb.1955

Bart Maris
trumpetb.1965
The set was played very competent and perfectly well with an impressing tone and versatility of all three musicians. It was quite entertaining especially at the end when Tóth entered into reggae regions. It was however all standard repertoire and so the farewell became a farewell light. It was nice and reason enough to take a trip along Tóth's BMC-albums, to check out the organ-player Premecz and have an eye/ear on young drummer Dávid Hodek.
Conclusion/Befejezés
Spending three full days at the BMC with its small-scale clarity, togetherness, friendliness and great facilities from library to gastronomy has been quite an experience and conducive for productive exchange. The showcases presented solid musicians and groups of high quality with an open fringe and lookout to (re)new(ed) perspectives and territories, especially Harcsa/Gyémánt, Santa Diver and Grencso's rejuvenated Open Collective. Drummer Dávid Hodek and reedist Kristóf Bacsó are musicians to keep an ear/eye on. Miklós Lukács, the joker, for sure will continue to enjoy audiences in new combinations. The performance of the ten constellations showed something about the dynamics and potentials Hungarian scene, a glimpse, a gate to enter through. Through the international collaborations not only BMC but in the first place the Hungarian musicians relate to and are connected with other interesting scenes in Europe or abroad. Hopefully the pulling will not only be unilateral as in the past but bilateral such that young musicians from the west and north find their way into the Budapest-scene as a new normality. The music called jazz anyhow is itself closely connected to migration and urbanization from its origin.
Tags
Mihaly Dresch
Live Reviews
Henning Bolte
Hungary
Budapest
BMC Records
Aladar Pege
Zoltan Lantos
Miklós Lukács
Ferenc Nemeth
Gabor Gado
Ferenc Snetberger
Gabor Szabo
Attila Zoller
Márton Fenyvesi
Bálint Gyémánt
charles lloyd
Gyorgy Szabados
anthony braxton
Roscoe Mitchell
Joelle Leandre
Béla Szakcsi Lakatos
Mihaly Borbely
István Grencsó
Tony Lakatos
Kornél Fekete-Kovács
Kristóf Bacsó
Viktor Tóth
Jorg Brinkmann
Rudi Mahall
Christophe Monniot
Luca Kézdy
Veronika Harcsa
Joe Zawinul
Paolo Damiani
Marton Juhasz
József Barcza Horváth
Elemér Balázs
606 club
?ron Tálas
Balázs Horváth
István Baló
Ern? Hock
Aki Takase
A. v. Schlippenbach
Jean-Luc Ponty
Michal Urbaniak
Dávid Szesztay
bob mintzer
Dave Liebman
Kurt Elling
Wallace Roney
Rhoda Scott
Julian Joseph
Mike Garson
The New York Voices
jazzahead
Dávid Hodek
Hamid Drake
Bart Maris
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Erkel TheaterBudapest, Hungary
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Oct
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