Htjngary Jazz from Hungary

Home , Kenny Ball, Tommy Vig

from HTJNGARY JAZZ FROM HUNGARY

(History, musicians, contacts)

by GÁaoR TUR|

Editor: János Gonda

Publtsbed by: lnterkoncert and thc Assoclatlon ol Hungarlan Muslcians

BUDAPEST, T9t7. ASSOCIATION 9 OF HUNGARIAN MUSIC IANS CONTENTS

A historical survey ...... s Musicians g Groups ...... 25 lnstitutions ...... 40

Education ,...... 4l Summer courses .....41 Festivals ....42

Clubs ...... 42 A HISTORICAL SURVEY

The Beginnings nos Fóthy, Filu (Fülöp Schenkelbach) and Lajos Martiny. The Dance Band The art of jazz in Hungary can not of The Hungarian Radio collected well look back at a long history. The years trained musicians, occasionally making between the two World Wars were jazz records. This also holds true for merely a period of getting acquainted íts descendant, the still existing Stui with this musical language. Hardly dio 11. any original jazz bands or soloists appeared ín East-Central-Europe at that time. But jazz exerted a strong The Ominous FiÍtles impact on the excellent Hungarian instrumentalists playing dance music Unfortunately, by the end of the 40's abroad' Under this ínfluence the this short period of flourishing was phrasing of these bands became more over. The government at the time can swinging, giving place for hot impro- be blamed for opposing all styles and visation. This kind of dance musíc art forms of any abstraction and West- was played by the big bands of Jenő ern origin. It also tried to sift out orlay(Chappy), Sándor Heinemann, jazz from the music life and even Ede Buttola and some outstanding attempted to sweep out the iazz ele- musicians like Imre Szamosi (reeds), ments from dance music. Luckily Árpád Weisz (dt), Jenő Beamter (dr_ enough, there remained a few groups vib) and György vig (reeds) whose playing modern, jazzy compositions, son, Tommy Vig was a child prodigy like the duo of József Szabó (p) and and is now a well known vibraphonist Jenő Beamter (dr-vib), Menyhért Tóth and big band leader in the United (p) and Lajos Horváth (c)' and espec- States. ially the Martiny Quintet whose up- The Second World War was followed to-date bop style proved to be an oasis by a short period of prosperity. The in this musical desert. The members influence oÍ jazz on light music could of this historical ensemble were Lajos be felt stronger, the Radio began Martiny (p), Andor Kovács (g)' Gyula broadcasting jazz and the record mar- Kovács (dr), Jenó Kratochwill (b) and ket also started blooming. There György Váradi (reeds). emerged a number of talented and It is clear today that these obscure technically, stylistically educated muj years played a special role in the his- sicians who deseive a special chapter tory of Hungarian jazz. This was an in Hungary's jazz history albeit they age of accumulation and concentration worked in bars and restaurants with of energies, with a new, talented gen- dance bands. Such musicians were eration maturing under the surface Zoltán Piroska who was pioneering directed by pure musical interest and bop saxophone playing, guitarist Elek devotion rather than by professional Bacsik who later emigrated to the concern. This gave birth to circles States, and pianist Lajos Solymossy. representing the new generation of others like Kornél Kertész (p), Iván musicians as the later world-famous zágon (p), Gábor Radics (p_vib) played expatriate Gábor Szabó (g), then Csa- defÍnitely modern jazz. The best big ba Deseő (v), Sándor Dobsa (p), János bands were led by Ákos Holéczy, Já- Gonda (p), Tibor Gyimesi (p), Géza Komjáthy (sax), Egon Tritz (g), Tibor state owned Hungarian Recording Buvári (b)' Lajos Kabók (b) and Fe- Company set its Modern Jazz series renc Ruttka (dr). off. The first record was made by the The second half of the 50's was still Qualiton Ensemble led by János Gon- part of the period of preparation and da, the second bY the Attila GaraY maturing although more and more Quartet and the third by the Kornél could be heard of the new generation. Kertész Combo. These records were The crystallizing of jazz brought up followed by a decade when antholo- promisÍng talents like the hard bop gies were released exclusively. The and latin pianist Attila Garay, the late groups possessed only 6-8 minutes Péter Tihanyi (p), bebop pianist Tibor per record which had the result that Pitó, and Aladár Pege Jr., the virtuoso this exciting, lively period of Hunga- bass player. The most imPortant rian jazz has been documented frag- events turned out to be the big-time mentarily. jam sessions that revealed the urgent Among the most characteristic need and enthusiasm for this pre- groups of the 60's we should mention viously suppressed music. the Kornél Kertész Quartet with Péter Káldor (vib), Ernő Rahói (b) and Ti- bor Várnai (dr); they played a special jazz between The Sixties: A Green Light type of somewhere in cool and hard bop. The quintet of Radics (Ernő Ra- At last, the turn of the 50's and 60's vibraphonist Gábor János Szudi _ dr, Sándor meant the long a waited "green light" hói b, - _ p) made to the development oÍ jazz. For the Varga fl, György Vukán - comPosed, unu- Íirst time, jazz, as an independent art its name known by form, got through official publicity sually structured pieces. The Qualiton polyphonic and entered the concert halls. This Ensemble played basically jazz Márta Szir- was also the beginning of the estab- chamber witl:. vocalist Aladár Iishment of an organised jazz scene, mai as soloist. At that time a process that helped jazz achieve an Pege appeared mostly with Béla Szak- (p)' (dr)' organic place in Hungarian music cul- csi Lakatos Géza P. Lakatos (ts) ture. Surveys and articles tried to de- Dezső Lakatos (as), János Németh (reeds). fine the essence and values oÍ jazz and Mihály Ráduly At the and helped to make clear the differ- 1970 Montreux Jazz Festival, Pege and ences between iazz and dance music. Ráduly were awarded ,,The Best Eu- Two pioneering books were published ropean Soloist" prize. Also, the 60's in the middle of the decade, the his- saw the starting of György Szabados, torical survey of András Pernye and the most noted representative of Hun- garde par- the scientific analysis of János Gonda garian avant who, almost that was acclaimed by international allel with the free revolution in play criticism. America, began to the same kind One of the important events of these of music. Later he, more consciously, active and dynamic years was connec- mixed the free style with Hungarian ted with the openÍng of the Dália jazz Íolklore and the elements of con- club. The president oÍ this popular' temporary composed music, thus central club was Kornél Kertész who creating his sovereign "free musical contribured in many ways to the world". Another pianist, Attila Garay jazz widening of Hungarian culture. appeared with considerable success Dália became a meeting place for all at international festivals, winning the leading musicians where lectures, dis- prize in Karlovy Vary in 1962. cussions, concerts and jam sessions Íirst Gyula Kovács and Ala- enriched the program. Csaba Deseő, The seasons of straight ahead jazz dár Pege also toured abroad succes- concerts and festivals arrived, and the tully while János Gonda, as a musician, composer and teacher, received his homeland. Aladár Pege's name an invitation to Australia for some became Íamiliar on the international months. jazz scene. After a long absence, Attila Zo||et and Gábor Szabó, the two world-famous, expatriate guitarists The Lively Seventies visited their native country again.

Despite the rock explosion that turned away the interest of almost the Jazz Now whole young generation, the Hunga- rian jazz scene remained lively in the Entering our decade, we must come ?0's. It vas especially favourable that tho the conclusion that the 80's brought while the great stars of jazz (Duke a decline into Hungarian jazz life Ellington, Oscar Peterson, Lionel albeit with contrasting tendencíes. Par- Hampton, Dizzy Gillespie, Count Basie, allel with the decrease in the number Stan Kenton, Ella Fitzgerald, Keith of clubs, festivals and concerts for the Jarrett, the Modern Jazz Quartet, local groups, the list of world stars Charles Mingus) made their debut in performing at the new Budapest Budapest, the public interest in Hun- Sports Hall reached a previously uni- garÍan jazz didn't seem to decrease' maginable length. Jan Garbarek's pop- The two thousand seats of the second ularity compares with that of the Opera House, the Erkel Theatre were rock idols so it is understandable that always full at the concerts of local he appears almost every year in Hun- groups, too. BesÍdes the Alba Regia gary... Furthermore, despite the ex- Internationa| Jazz Festival in Székes_ penses (even with the sponsorship of fehérvár, Hungarian Radio started its the New York based Soros Founda- annual festival series in different tion), the Budapest Big Band, uniting towns (Nagykanizsa, Szeged, Békéscsa- leading musicians, has been formed, ba, Miskolc) of which Debrecen be- followed by the Creative Art Ensemble came the most important. There had made up of the Budapest Brass Band never existed as many jazz clubs as Ín and the Super Trio featuring reedman this decade, though of the 40-50 clubs Dezső Lakatos. This big band renais- that worked regularly in cultural insti- sance also has its manifestation in the tutions and universities none functioned countryside, to mention bands in Pécs, in the Western sense of the word. Szekszárd and Szombathely. Among the established groups, the The worsening existential possibil- ,,institutionalized'' Benkó Dixieland ities lead to the growing fluctuation Band performed abroad the most of the musicians. Many of them look fr:equently, often with international for job abroad or give up jazz (which guest stars. Constant units of this time has been an ever existing tendency in were the Montreux winner and inter- the hístory of Hungarian jazz) and the nationally acclaimed Tomsits Quartet loyals must fit into various musical that played modern mainstream jazz; surroundings for their living. Con- the dynamic, swinging trio of Gusz- sequently, it is becoming quite difficult táv Csik (p), János Fogarasi (org) and for the bands to work, play and Vilmos Jávori (dr); the popular jazz- develop consistently. This doesn't refer rock group Rákfogó and the Gonda to the traditional groups which, owing Sextet that mixed jazz with Far- to the wave of nostalgia, are very Eastern and Hungarian folk elements. popular with their style, like the In 1972 György Szabados won the first professional Budapest Ragtime Band. prize of the free category at the San The ingenious management of Benkó Sebastian Jazz Festival with his quin- Dixieland helps this formation to a tet, though his complex music had yet series of world tours from Singapore to difficulties in reaching the audience in the United States and Mexico. The

7 Molnár Dixieland Band, cultivating Among the reedmen we have alreadY traditional jazz and swing at the same mentioned the names of László Dés' time, is also a frequent partícipant at Mihály Dresch and Tony Lakatos, but the international festivals. similarly excellent musicians are Pe- On the list of the established, mo- ge's regular partner Gyula Csepregi dern combos the Super Trio should be (sax, fl), Gábor Czvikovszky (Ílh) and mentioned first. The unít of György Zo|tán Zakar (tb). There are quite a Vukán (p), Balázs Berkes (b) and Im- few pianists such as Károly Binder re Kőszegi (dr) has had succesful per- who won the fírst prize of Hungarian formances, for example at the Pori Radío's jazz competition in 1986 and Jazz Festival. The trio often Íeatures made recordings with John Tchicai; guest stars Kati Bontovics (voc) and Lászlő Gárdonyi who released a record Dezső Lakatos (reeds). The specific- featuring Polish star Zbigniew Na- sounding, popular Dimension, consis- myslowski and attended the Berklee ting of young musicians, is led by reed- College of Music; then Viktor Bori, man László Dés who is very active as Zo|tán Csanyi, Gaszton Gaál, Frigyes a composer, too. Tony Lakatos, the co- Pleszkán, Lászlő Süle and Róbert leader of Things is well known through- Szacsky who have alreadY Proven out Europe. The Dresch Quartet, their skill abroad, too. The number of wearing the name of leader Mihály promísing guitarists is also impressing, Dresch, is celebrated by the Íans of including Gábor Gadó, Sándor Horá- the avant garde. nyi, Attila Lász|ó, Ferenc Snétberger As a part of a new tendency, certain and Gyula Tóth. Splendid musicians musicians of a strong personalíty and are bassmen György Czvikovszky, Bé- original conception draw a circle of la Lattman, Tamás Tóth, Pál Vasvári followers around them that comprise and avant garde player Attila Lő- their performing groups. ThÍs is espec_ rinszky, drummer Gábor Szende' vo- ially the case with György Szabados. calists Márta Téli, Edit Geri and Gá- The avant garde music, which is now bor Winand. labelled as "East-European New As to theory, the two Periodicals 'Wave'', has gaíned a surprising popu- Jazz and Jazz Studium are of imPor- larity in the 80's and plays an essential tance. These magazines and Géza Gá- role even in Hungarian jazz |ífe. bor Simon's first comprehensive Hun- Contínuing the list of leaders, head- garian jazz discography reveal a need ing various formats the names of Gyu- for matured jazz criticism and schol- la Babos (g)' Csaba Deseő, János Gon- arly investigations. da, Gyula Kovács, Imre Kőszegi and Aladár ' Pege also need mentioning. Special colors on the jazz palette are the quintet Hot Club Budapest bring- ing about hÍstorical associations, and the Berki Team that reflects life Hungarian Music has alwaYs been through ironical texts. rich ín talents. our classical artists, vocalists, instrumentalists, dirígents' chamber and symhonic orchestras are Tte Young Generatlon welcome all cver the world. Jazz rnu- sicians have taken the same road. Finally, some words about the young Hopefully they will be provided with talents that will probably defíne the a better chance to prove this state- shape of (Hungarian) jazz to come. ment. The publishers of this booklet With few exceptions, they have all feel responsibility for contributing to attended tll.e Jazz Faculty of Béla Bar- its practícal realízation wÍth up-to-date tók Conservatory and have obtained a news on musicians, working groups signiÍicant place in today's music life. and organisations. MUSICIANS

Gyula Babos years he has been the guitar teacher (guitar) at the Jazz Faculty of Bartók Conser- vatory, as well as at the Tatabánya summer courses. As a sideman in demand, he has also contributed to dozens of pop recordings. Records: Session at Night (pepita SLPX 17s66 _ 1979) Saturnus (Pepita SLPX 17602 - 1980) Saturnus: Snail Sheils (Krém SLPX t7693 _ 1982) ContacÚ: Babos Gyula H_l052 Bu- dapest, Petőfi S. u. 6. Tel.: (36-t) 324-886

Balázs Berkes (Bass)

Born in 1949, this excellent guitar player receÍved his tutoring at private music schools and studios. In 196? he appeared with Aladár Pege' and in 1968 with guitarist Andor Kovács. In the early 70's he shared the success of the pioneering jazz-rock band in Hun- gary, the Rákfogó Quartet. His style is strongly swing, blues and rock, enrich- ing fusion music with bop guitar phrasing. At the beginning of the BO's he became a co-Ieader of the unit Sa- turnus that released two records. His collaboration with pianist Béla Szakcsi Lakatos goes back for more than a decade. Gyula Babos in 1986 came up with The most sought-after double-bass his own band named The Babos Trio player in Hungarian jazz was born in Plus, which combines electronics with 1937. He obtained his diploma at the the bop feeling and voicÍng. For many Ferenc Liszt Music Academy in 1962. He was one of the founding teachers (Krém sLPx 17910 - 1985) of the Jazz Faculty of Bartók Conser- Gonda-Kruza_Pleszkán : vatory and is still a lecturer of the Keyboard Music (Krém institution. From 1962 to 1978 he was SLPX 17916 - 1985) the member of Hungarian Radio's Stu- The SuPer Trio: Birthday dio 11 band, and since then he has Party (Krém sLPx 3704? - concentrated his activities almost ex- 1987) Bu- clusively on iazz. Contacl: Berkes Balázs, H_1122 At the turn of the 60's and 70's he dapest, Ráth Gy. u. 58. scored a great international success Tel.: (36-1) 552-064 with the now legendary Tomsits Quar- tet. His collaboration with György Vu_ kán, the pianist oÍ the quartet, proved Berki al- Tamás to be life-long, because now for (Vocal, leader, comPoser) most thirty years they have been relying on each other's sensitivity either as a duo or in larger formats. The most consistent working unit was the Vu- kán-Berkes_Jávori trio from |974 which from 1980 went on as the SuPer Trio, with Imre Kőszegi replacing Já- vori at the drums. During his eventful career' Balázs Berkes has also served as a ,,Jolly Joker" bassist for the international jazz workshops organized by Hungarian Radio, a central force in the country's jazz liÍe. To mention alt the important musicians he has worked with would mean a long list' but we should mention KennY Wheel- er, Albert Mangelsdorff, Juhani Aal- tonen, Ernst-Ludwig Petrowski, Tony Scott, Teddy Wilson, JimmY Owens, Charles Tolliver and Zbigniew Na- myslowski. The list implies that Balázs Berkes feels comfortable in quite ditferen{ A true sense for the stage, vibrating styles and musical settings, although personality, witty intellectualism, Ílex- his favourite line is modern chamber ible voice - these are the main char- jazz. He has appeared at a great num- acteristics of Hungary's top male sin- ber of international festivals from Ha- ger' Tamás Berki was born in 1946' vanna to Yerevan, from Pori- to Pa- received his musical tutoring at the lermo. His musicality and experience Jazz Faculty of Bartók Conservatory make him a Perfect accomPanist and from 1969 to L972 and has been active an enjoyable soloist. on the scene since then. He has worked Becords: Vukán-Berxes-Trantali- with a number of leading Hunga- dis: ClariÍication (EMI- rian jazz musicians including Imre Gusztáv Csik, János Gonda, col. 14C 062 71168 - 1980) KőszegÍ, The Super Trío: Together Vilmos Jávori and the Benkó Dixie- Alone (Krém sLPx 1?691 land Band. With the Íusion band In- 1982) terbrass they received a Golden Dip- - Csaba Deseő: Blue string loma at the 19?3 Prerov International in Czechoslovakia' (Krém sLPx 1?823 - 1983) Jazz Competition Andor Kovács: Nuages His greatest Personal success was

10 marked by the Íirst prize of the Inter_ national Competition for Jazz Vocalists in Lublin, 1977. The same year he won the second prize at a competition in Sotchi, the Soviet Union. His name could be found on Jazz Forum's read- er's poll in 1986. As a vocalíst, he was first influenced by blues and spirÍtual singers, later he turned to the songbook of swing and bop standards while in the 80's his efforts were manifested in creating a special kind of jazz-chan- sone, singing his ironical texts in Hun- garian. He is now leading his ou'n Ber- ki Team. Becorrls: Gonda Sextet: Shaman Song (Pepita SLPX 17484 - 1974) Berki Team: Real Paradise (Krém sLPx 17792 - 1984) Contact: Berki Tamás, H-1122 Bu- dapest, Gaál József u. 2llA Tel: (36-1) 559-111 duo with Attila Lőrinszky (b) and Fe- renc Körmendy (viola), and in 19B5 released a record with guest musi- Károly Binder cians titled "In lllo Tempore", but since (Piano, composer) then he has been performing solo. He played in Aschaffenburg, Boswill and The winner of the 1986 Hungarian Coppenhagen. 1986 was again a fruitful jazz competition was born in 1956. He year Ín his career for he was awarded studied piano from the age of five, and the first prize of Hungarian Radio's attended tt.e Jazz Faculty of Bartók National Jazz Competition. His piece Conservatory bet\Meen 1976:1979. He "Kontinentspiel" gained the full ap- formed his quartet 1later qúintet) back preciation of the international jury. at that time, thus coming out with the Binder's "world music" conception most original and progressÍve program mingles the elements of japanese, la- of the new generation. The group maist, gamelan, indian and african found its roots in the spirit of the music with the diatonic harmonies of black avant garde of the 60's, adapt- classical music and the improvisation- ing it to Hungarian musicality. At the al freedom oÍ jazz, Ín a unique amal- turn of the decade they appeared at gam, using acoustic and altered piano festivals in Novi Sad, Athens, Stock- at the same time. holm, Leípzig and achieved notable An intelligent, quiet-speaking per- success. son, Károly Binder has found his way Meanwhile, in 198l, Károly Binder of creating a sovereign musical won the Íirst place of the International world. Competition tor Jazz Pianists in Ka- Records: Binder Quintet Featuring lisz and this anticipated the directíon John Tchicai (Krérn SLPX of his activities. After releasing an 17759 - 1982) outstanding record in 19BB with the In Illo Tempore (Krém title ,,Binder Quintet Featuring John SLPX 17828 - 1985) Tchicai", the group was disbanded and Contact: Binder Károly, H_1133 he went on hís own. He worked in Budapest, Tutaj u. 1/F.

1t Contact: Bontovics Kati, H-1125 Bu- Kati Bontovics dapest, Rőzse u. 1/B. (Vocal) Tel.: (36-1) 553-959

Csaba Deseő (Violin, leader)

A vÍolin-player with two hearts for music: one for the classical heritage (since 1961 he has been the member of the Hungarian State SYmPhonY Or- chestra); and one. for tbe beloved jazz' Born in 1939, this remarkable soloist is a devoted representative of pure swing music Played with taste and stylistic buoyance. (He also favours bop and fusion.) During the 60's and the 70's he led his own groups' played at festivals in Bled, Warsaw, Prague, Bratislava and made tours in Austria, West-Germany' The leading Hungarian female jazz Holland, Finland and ltaly. He devel- vocalist (born in 1953) made her name oped a long-lasting cooperation with known at her first publíc appearance Yugoslavian vibraphonist Bosko Petro- in 1969 when she won an amateur tal- víc. From 1984 he has been co-leader, ent-contest which qualified her as a with old friend Andor Kovács, of Hot professional performer. She began her Club BudaPest in the Django Rein- career as a rock, rhythm and blues and hardt groove. His melodic inventive- soul singer, and attended lhe Jazz Fac- ness and rhythmic flexibility make ulty of Bartók Conservatory between him suitable to adapt himself to dif- 19?3 and 19??. In 19?9 she entered the ferent contexts whereas the sound of International CompetÍtÍon for Jazz Vo_ his instrument adds a special flavour calists in Lublín, where she received the second Prize amonA 23 Partici- pants. Kati Bontovics's jazz life has been closely connected with pianÍst György Vukán and The Super Trio. She is the guest vocal soloist of the group' appearing at various tours and festivals in Yugoslavia, Poland, the Federal Re- public of Germany. She is also a featured star on Hungarian TV's retro- spective jazz series. Her favourite styles are swÍng, bebop and soul, with an unhidden admiration for Ella Eitzge- rald, Sarah Vaughan and Betty Carter' She possesses an individuality of her own to capture the audience with her strong, middle-registered tone and at- tractive appearance. Becorils: Innocent Sin (Pepita 1980)

12 to the music. As a frequent participant Hotel Gellért. Later, he regularly un- of Hungarian Radio's international dertook jobs abroad in show business, workshops, he has played wíth many includíng countrÍes like Turkey, Sweden, noted instrumentalists such as Albert Denmark and Poland. In the first half MangelsdorÍf, John Lewis, Jean-Luc of the 60's he made triumphal perform- Ponty, Ake Persson, Günther Lenz, ances at important European festi- Marilyn Mazur, and Juhani Aaltonen. als and won the first prize in Karlovy His name regularly can be found on Vary in 1962. During the time his the top lists of Jazz Forum. piano style has been enriched by afro- Becords: Four String Tschaba (MPS cuban harmonies and rhythmíc for- 2022366-B 1974) Ultra- mulas. viola (Pepita SLPX 17504 At present Attila Garay is still ac- - 1976) tive, working on week-ends at Hotel Blue String (Krém SLPX Thermal, considering clubs and bars 17823 - 1983) to be the only real home for a relaxed Andor Kovács: Nuages jazz atmosphere. He has been the vo- (Krém sLPx 17910 _ 1985) cal teacher of the Jazz Faculty of Bar- Contact: Deseő Csaba, H_l11? Bu- tók Conservatory since 19B0 and a dapest, Bercsényíu. 36' teacher of jazz piano at various stu- Tel.: (36-1 650-802) dios. Becords: Attila Garay Plays His Piano (Supraphon 0164 - Attila Garay 1962) (piano) The Garay Ensemble (Qualiton 72L9 _ Í962) Contact: Garay Attila, H-1149 Bu- dapest, Varga Gy. A. park B,/A.

László Gá rdonyi (Piano)

This pianist is a major figure of the ne',v generation emerging in the 80's. He was born in 1956, attended the

Born in 1931, this musician of the experienced generation of Hungarian jazz started his career in the 50's. He got a lawyer's degree at the university and soon became involved in the jazz circles of the capital. His melodic bop piano style made him one oÍ the central figures of the developing jazz scene. The now legendary Garay Quar- tet (Aladár Pege _ b, Géza Söptei _ sax' Viktor TarkőÍ _ dr) attracted legions of delighted fans to the bar of

13 Jazz Faculty of Béla Bartók Conser- I-ászló Gárdonyi: Is Really vatory between 19?6 and 1979, and This It? (Plainisphere since then has been seriously working 1985) on creating his musical identity. From Forward Motion: The Berk- 19?9 to 1982 he was the member of lee TaPes (HeP - 1985) Imre Kőszegi's international quartet, Forward Motion II. (HeP - then formed the Bacillus Combo with 1986) Tony Lakatos, and in 1983 came out Contoct: Gárdonyi Lősz|ó, H-1147 as a leader, featuring Zbigniew Na- Budapest, Kerékgyártó u' myslowski in his quartet, releasing a 13/A. or: Lász|ő Gárdonyi, Bos- record, too. 24I. W. Newton Str. B. The big jump came ín 1983 when he ton, MA 02116. received a Íull scholarship to the Berk- lee College of Music which he com- pleted withín two years, graduating Já nos Gonda where ,,Magna Cum Laude". In Boston, (Piano, leader, composer) he still lives, he Íormed his own band Forward Motion, and also Plays in Ahmad Mansour's Quartet' During his jazz years László Gárdonyi has appeared at festivals like Bracknell, Prague and Kamoos, Played with musicians such as Dave Liebman and Mi- roslav Vitous (their meeting ín Boston evoked a positive review in Boston Globe), John Abercrombie, Míck Good- rick, Tiger Okoshi, and Phil Wilson. Lászlő Gárdonyi started his jazz studies under the influence of Stra- vÍnsky, Bartók, Miles Davis, Keith Jarrett, John Coltrane and the early Chick Corea. Beginning to speak his own language, he moved towards an improvised, contemporary acoustic jazz that unites the EuroPean and Ame- rican tradition. He is undoubtedly on the way to establishing his name on the international jazz scene. Becords: Imre Kőszegí: For Kati (JG Records 049 1980) Musician, composer, author, teacher, - person. ac- Tony Lakatos: One Two organizer - all in one The Three Four (COL-EMI 14C tivities of János Gonda, who in the 06271254 1982) last decades has made an enormous Tony Lakatos:- Sing Sing contribution to the development ot jazz in Hungary, can not be summed uP in Song (Aliso 015 - 1982) Tony Lakatos and His one sentence. He attended the Ferenc Friends (Krém sLPx 1?817 Liszt AcademY of Music between first completing his studies - 1983) 1953-1961, László Gárdonyi: Reggaefor in musicology and later in piano. He Zbíccy (Krém sLPx 17841 was one of the first to tecognize iazz as a musical art form in itself. He - 1983) Toto Blanke's Electric Cir- wrote numerous articles on the subject' cus: Bella Donna (Aliso 1014 and recorded the first modern Hunga- jazz LP. - 1983 fian

14 As a musician, he has had three es- As a teacher, János Gonda partici- tablished groups during the years, and pated Ín the establisment of the Jazz this signaled his musical development. Faculty of Béla Bartók Conservatory From 1962 to the end of the 60's he and has been the head of it ever since led played the Qualiton Ensemble that with alumni like Károly Binder, Lász ' classic chamber jazz under the in- ló Gárdonyi and László Süle. He was fluence of the MJQ. The Gonda-Kruza the main inspiration for integrating Quartet between 1969-1972 changed to jazz into the primary level of music modern mainstream jazz coloured with education in Hungary. He is the ar- free notations. The Gonda Sextet, tistic director of the International which existed from 19?3 to l9ZZ, be- Summer Jazz Camp in Tatabánya, was came special for its dramatic trends of elected a member of the board of the synthesizing modern composed music Association of Hungarian Musicians and free jazz with the elements of Hun- and the leader of tl:e jazz section. He garian, Far-Eastern and Siberian also was the founding and board mem- folklore. The last ten years have found ber of the International Jazz Federa- him playing solo performances or in tion where between 1972 and 1984 he chamber-formats. worked as a vice president. As a composer, Gonda's musical During his rich musÍcal life, János world covers a great diversity of terri- Gonda has had the opportunity to pre- tories. Most of his jazz píeces have sent his music in a number of coun- been recorded, but he is also a noted tries and at festivals. He performed in composer of music accompaniment for BIed, Bilzen, Warsaw, Paris, London, ballets, theatre and films. Besides, he Stockholm, Zurich and many other has written modern songs for contem- West-European cities. He made tours porary poems and longer compositions in Australia in 1965, 1972 and t9BO. for symphonic orchestras, combos and Being featured at the important local big bands. jazz events, he belongs to those few As a musicologist, published he hís jazz musicians whose music can be book "Jazz History, prac- - Theory, heard at the concert hall of the music tice" 1965 in that was reprinted in a academy. He has been awarded high revísed and updated edition ín 1979. artistic decorations including the "Er- In 1982 he came out with a new book kel" prize. entitled "What Is Jazz?,,. Further important publications of his: "Ehrrope Records: Qualiton Jazz Ensemble and Jazz" in: In Memoriam Stra- (Qualiton LPX 2211 1968) - ,,Jazz - vinsky (Editio Musica) ; Research Gershwin: Rhapsody in and Musical Science" (Studia Musico- Blue (Qualiton LpX 13669 logia); "Problems of Tonality and _ 1968) Function in Modern Jazz Improvisa- Gonda Sextet: Shaman tion" - in:. Jazz Research, Jazz For- Song (Pepita SLPX I7484 schung (Universal) ; "International J azz - 1974) School Directory'' (Editio Musica). Hé János Gonda: Elective Af- also works for Music Education, Jazz finÍties (Pepita sLPx 17597 Forum and Music Maker. In addition _ 1979) to all this, he has given lectures at Gonda_Kruza-Pleszkán : the music academies of Graz and Keyboard Music (Krém Remscheid, the University of Stock- SLPX 17916 - 1985) holm, the conservatory oÍ Sidney, and the world congresses of ISME in Bris- Contact: Gonda János, H_1121 Bu- tol and Innsbruck. He has led semi- dapest, Remete u. 12. nars in Trondheim and Trossingen. Tel.: (36-1) 150-557

15 tory in the early 60's and his interna- Péter S. Horváth tional career began in 1966' The steps (Reeds) are as follows: 1966 Stockholm with Aladár Pege, Warsaw with Andor Ko- vács, 1968 Montreux wíth Rudolf Tomsits, Lg72 San Sebastian with György Szabados, 1973 Paris and Nurn- berg with Aladár Pege, 1975 Basel with Gusztáv CsÍk, 19?6 Novi Sad with György Vukán, 19Bo Bombay with Aladár Pege, 1981 Belgrade and Greece with his own band, 1986 Tbilisi with Tony Lakatos. Among his greatest successes, the 1968 Montreux press- prize and the 19?2 San Sebastian free first prize deserve special mentioning. As a versatile drummer, Vitmos Já- vori bas contributed to dozens of radio broadcasts and recordings as well' His most noted formats were the Csik_Fogarasi_Jávori Trio in the early seventíes, the Vukán_Berkes_ Jávori Trío in the late seventies, the Born in 1954, multireedman Péter Team with Tamás Berki around the jazz S' Horváth received hís dÍploma turn of the eighties, and lately hís own at the Jazz Íacul:ty of Béla Bartók quartet wíth various line-ups of tal- Conservatory in 19?7. This was fol- ented young musicians. He Íeels espec- lowed by the Íormation of hÍs own trio, ially at home in modern swing and but he also worked with János Gonda fusion. Now he is also the member of and drummer Gyula Kovács. In 1984 the Hungarian Jazz Quartet. he teamed up for an exciting duo Becords: Gusztáv Csik Quartet (Pe- with drummer Antal Faragó and pita SLPX 17506 - 197?) appeared at the Debrecen Jazz Days. Contact: Jávori Vilmos, H_1082 Bu- In the last few years he has mainlY dapest, Üllői út 46. performances. His concentrated on solo Tel.: (36-1) 342-4LB instrumental arsenal includes all saxes, clarinet, bass clarinet, flute plus vÍolin. Stylistically he was influenced by John Surman and AnthonY Braxton, though more European and Hungarian in character. Compositions: "WhereDo We Come From, Who We Are, Where AreWeGoing?", "8sfu6 -t", "2+3+4", "Parallels". Contact: S. Horváth Péter, H-111B Budapest, Muskotály u. 5.

Vilmos Jávori (Drums, leader)

A top drummer in HungarY, Vilmos Jávori was born in 1945. He studied music at the Béla Bartók Conserva-

16 by the fact that he helped to give birth lmre Kőszegi to György Szabados' groundbreaking (Drums, leader) record "The Wedding", and has contributed to a great number ot jazz and pop recordings. As one of the true jazz personalities of the local scene, his concerts always attract full houses. His timing is absolutely sure, his musical vocabulary is rich, letting himself express freely. Now he finds himself most engaged with the dynamic, swinging music of hard bop. He is amongst those few Hungarian jazz musicians, who, despite the technícal difficulties, are regularly involved in the European jazz circuit. A brief list of his fellow musicians: Kenny Whee- ler, Frank Foster, Teddy Ttrilson, Car- men Jones, Charles Tolliver, Jimmy Owens, Chico Freeman, Pony Poin- dexter, Tommy Vig, Tony Scott. Records: Tommy Vig: Live in Bu- dapest (Mortney MR 71425 - 1971) György Szabados: TheWed- ding (Hungaroton SLPX Hungary's premier drummer was 17475 - L974) born in 1944 and got his degree on Session at Night (pepita drums at the Béla Bartók Conserva- SLPX 17566 _ 1978) tory Ín 1963. joined Saturnus (Pepita SLPX He then Aladár _ Pege's group which won the fírst prize 17602 1980) of Hungarian Radio's jazz competi- Saturnus: Snail Shelts tion. During the 60's they appeared at (Krém SLPX 1?693 a number of Western festivals and 1982) clubs, gaining international recogní- Super Trio: Together Alone (Krém tion. In 1975 he hit the road'with his SLPX 17691 _ 1982) own band, the Kőszegi Rhythm and Lajos Dudas: Sunshine (Konnex Brass, which had a unique line-up of State - 1984) two reedmen, a drummer and a per- The Super Trio: Birthday cussionist. In 1980 he led his inter- Party (Krém SLPX 37047_ national group of American bassist r9B?) Jack Gregg, Polish saxophonist Zbig- Contact: Kőszegi Imre, H_1142 Bu- niew Namyslowski and Hungarian dapest, Királyhida u. 30. (36-1) pianist LászIó Gárdonyi, and made Tel.: 841-990 succesful tours in Western Europe. Also in 1980, he joined György vu- kán and Balázs Berkes to form the Richard Kruza Super Trio. Besides all this, he reor- (Vibes, arranger, composer) ganizes his bands from . time to time, sorrounding himself with young mu- Born in Chojnice (Poland) in 1931, sicians. Richard Kruza received his musical Kőszegi was mostly influenced by education in Torun. He formed his first bebop and free swinging jazz, but his band in 1963 and a year later won musical openness is well characterised the first prize both with the group

17 H-1098 and as a soloist at the Jazz On The Contaot: Kruza Richárd, Aranyvirág sé- Oder Festival in Wroclaw. In 1968 he Budapest, moved to HungarY and became the tány 1/III. co-leader of the Gonda-Kruza Quar- tet that took awaY the second Prize at the Alba Regia International Jazz Tony Lakatos Regia International Jazz Festival in (Reeds, leader) 1969. For some years he was teaching at tlne Jazz Faculty of Bartók Conserva_ tory. After that as a vibist, arranger and musical director, he has worked in Canada and in Poland. He attained success as an inventor by developing a jazz vibe that needs no motor, thus giving more room for the PlaYer's technical dexterity. As a keyboard player, he became an expert of sYn- thesizers, Ín 1985 publishing a book on the practical use of the instrument. Kruza first began to play jazz under the influence of the MJQ and John Coltrane. Later he absorbed contemporary and fusion elements in his playing, which he exploits in different musical settings eÍther as a soloist or a studÍo player. He is the member of Hot Club Budapest and the Berki Team. Becords: Csaba Deseő: Blue String (Krém sLPx 17823 - 1983) Andor Kovács: Nuages (Krém sLPx 17910 _ 1985) Gonda-Kruza_Pleszkán : Born in 1958 in the familY of a fa- Keyboard Music (Krém mous gipsy violinist and bandleader, Laka- SLPX 17916 - 1985) by the middle of the 80's TonY tos became the best known and ac- complished young Hungarian jazz musician in Europe. Despite his quite young age, Tony's career is marked by many important events. In the middle of the ?0's he attended the Jazz Fa- culty of Béla Bartók Conservatory' co- founded the contest-winner lazz-rock group Kisrákfogó, and played with Im- re Kószegi and Aladár Pege. In 1980 he formed the Bacillus Combo with Lász|ő Gárdonyi, and after a succesful period he moved to West-GermanY in 1983 to ioin Toto Blanke's Electric Circus. Since then he has been living the life oÍ a travelling musician, playing at festivals like Bracknell, Le Monde, SÍngapore, Tbilisi, Warsaw,

18 Leverkusen, Frankfurt, Coppenhagen, HelsinkÍ. He has worked with such in_ Aladár Pege (Bass, leader) ternationally known musicians as Manfred Schoof, Joachim Kühn, Jas. per van't Hof, Art Farmer, Rainer Brüninghaus, Charlie Mariano, and Michael Sagmeister. Courracts regularly call him to touring in Europe, for example in 1986 with Kenny Wheeler. Back home again in 1985, Tony La- katos formed his new Hungarian group Things which combined electronics with funky rhythms and boppish solos. At the same time he was appointed the saxophone teacher of the Jazz Faculty of Bartók Conservatory. An open-minded, all-round musician, Tony Lakatos doesn't bind himself to any specific styles but aims to Íit into all musical contexts, from bop to modern swing, from free to fusion, with the same ease. He is a virtuoso saxophone player, a born soloist, developing a distinctive sound on tenor and so- pranino saxophones. Tony stands all demands of becoming an international master of the instrument.

Becords: Aladár Pege (Pepita sLPx Aladár Pege is an exceptional phe- 17596 - 1980) nomenon we might say not only in Kisrákfogó (Krém sLPx Hungarian jazz, but jazz in general. 17692 - 1982) Born in 1939 in a dynasty of gipsy György Szabados: Adyton double-bass players, his name became (Krém sLPx 17724 - 1982) the best known of the Hungarian jazz Toto Blanke: Bella Donna musicians' in the world. Of course, (Aliso 1014 - 1983) the international recognition did not Tony Lakatos Quartet: One come without saying: it is the result of Two Three Four (EMI-COL a lífelong resoluteness and devotion L4C 06271264 - 1982) to music and the instrument. Pege Tony Lakatos' Bacillus: considers himself an artist of the bass Sing Sing Song (Aliso AL who plays classical music and jazz 1015 - 1983) as well, but in fact it ís jazz that has Tony Lakatos and His Fri- crowned his efforts wÍth frantic suc- ends (Krém sLPx L7BL7 cess. jazz - 1983) It is still not typical for mu- Jasper van't Hof]Özay Alti- sicians to graduate at the highest nay Band (Mood - 1984) educational level, but Aladár Pege Hores Band (Falirea got hís degree at the Ferenc Liszt 1985) Academy of Music in 1969. He was soon asked to stay on as an assistant Contact: Lakatos Antal, H-106?Bu- professor, then from 1978 become a dapest, Weíner Leó u. 17. full professor. In jazz, he formed his Tel.: (36-1) 312-824 fÍrst band in 1963 and has been lead_

r9 ing his own groups, mostly quartets' massÍve, and his improvisations earn ever since. With his band he won the him a standing ovation from the second prize at the 1970 Montreux Jazz audience wherever he appears. He is Festival, and he himself received "The one of those bass players who cen keep Best European SoloÍst'' award. From up the attention for solo Programs 19?5 to 19?8 he lived in West-Berlin without the help of any electronic de- where he attended the master-course vÍces. Having spent enough time with of the renowned classical double-bass free and Íusion, Aladár Pege is best jazz player, prof. Reinhold Zeppetitz. Back at home in bop-oriented modern in Budapest, he reformed his quartet where the feeling of swing is dom- and since that time he has only played inating. his own composítions. Becords: Aladár Pege Quartet: (Hun- Pege's brightest year to date was Montreux Inventions garoton L74LB 1980, when his Íirst album with Wal- SLPX ter Norris was released and garnered 1970) A. Pege: a four-and-a-half star review in Down Walter Norris - Beat. His concert at the Bombay Jazz SynchronicitY (Enja 3035' Festival, India, was a sort of sensation Inner CitY 3028 - 1978) Norris A. Pege: in the iazz wor|d,, inspíring Mrs. Su- Walter - (Enja 3067 san Mingus to present him one of the Winter Rose - four double-basses of her late husband. 1980) His triumph led to rave reviews in Pege (Pepita SLPX 1?596 - Down Beat, the International Herald 1978) Trio Tribune and Melody Maker. In the Friedhelm Schönfeld (Amiga 8.55.628 J 1978) same year he was asked to perform - and record with Mingus Dynasty, and Mingus DYnastY: Live at waxed his second LP with Walter Montreux (Atlantic 99145 - Norris. In 1981 he was voted the first 1980) BoP in the acoustic bass category in Down Charlie Antolini: (JPV 1981) Beat's TDWR-list that was followed Dance 8202 - two times by first places in Jazz Fo- Aladár Pege/Rudí WilÍer: Blues Fugue (RST 1981) rum in the next years. In 1982 he was - invíted to play at the famous Kool Pege Live (Krém sLPx Festival in the illustrious company oÍ L7742 1982) - (RST Herbie Hancock, Tony Williams, the Pege Solo Bass Marsalis brothers and Jimmy Owens. 1983) Bu- Meanwhile he regularly appeared at Contact: Pege Aladár, H_1025 18. D. the noted West-European festivals and dapest, Zöldlomb u. has been an especially frequent visitor to Vienna where he has built up close relations with Austrian and German Frigyes Pleszká n musicians. (Piano) Getting to the musical point of his international procession, it can be said One time a child ProdigY, Frigyes without any exaggeration that Aladár Pleszkán is the prodigal son of Hun- Pege is a rare virtuoso of his instru- garian jazz'. Born in 1959, first he was ment, Joachim Berendt properly gÍving inÍluenced by oscar Peterson's techni- him the name ,,The Paganiní of the cal perfectness to such an extend that double-bass" Ha has developed a he was called the best Hungarian techníque for two or three fingers follower of the great pianist. Maturing that uses guitar, saxophone and piano himself, Pleszkán developed a technical figures with Íantastic ease and speed. Ílexibility that enabled him to express There are no stylistic difÍiculties exist- his admiration toward modern main- ing for him. His swing is strong and stream jazz, rhythm and blues and

20 lstvá n Regős (Piano, leader, composer)

A significant personality of the middle generation of Hungarian jazz society, István Regős was born Ín 1947 and attended lhe Jazz Faculty of Bar- tók Conservatory between 1968_1972. First he played in the groups of Ká- roly Friedrích and Ríchard Kruza, and sínce 1973 he has been leading his own groups of different formats from trio to big band. He has introduced new talents ín hÍs bands, like László Dés' Mihály Dresch, István Baló, Zoltán Za- kar. In 1978-79 he directed a big band named "In Memoriam John Coltrane", making a tribute to the spiritual and musical heritage of the giant of modern jazz. In 1980 he had his author's funky. He attendad tl:e Jazz Faculty of evening in Budapest where he con- Bartók Conservatory between 1977 and ducted his own compositíons performed 1980 and, as early as 1976 he made by a l9_piece band and a strÍng hís debut wÍth his trio at the greatest quartet. Then he directed a series of concert hall in Budapest. The same concerts by varíous musicians, dedicated performing year found him at the Pori to the blues tradition. International Jazz Fstival. István Regős's piano style is charac- prÍze In 19?? he won the first of terized by a standard international Hungarian Television's talent-contest approach while his own pieces are and in 19?B won second Place and the interwoven by contemporary and folk- press prize at the International Com- Ioristic references. His present trio petition for Jazz Pianists in Kalis. Af- includes Zoltán Juhász (bass) and Ist- years road with ter some of hittÍng the ván BaIó (drums). He has been a rock groups, he reestablished himself teacher of the Jazz Faculty of Bartók promisÍng young as one of the most Conservatory since 1972. musicians of the local scene. In 1984 Contact: Regős István, H_1132 Bu- 1985 he gave solo performánces in and dapest, Alig u. 3. Nurnberg, Bayreuth, Hof, Leverkusen, Tel.: (36-1) 400-920 and had highly succesful concerts at the Debrecen Jazz Days. In 1986 he visÍted the Unites States. Still in his twenties, Frigyes Plesz- kán is tollowing the main |íne of jazz, putting stress on melodic diversity and improvisational creativity, in accord- ance with the message: "It don't mean a thing if Ít ain't got that swing." Becords: Gonda_Kruza-Pleszkán: Keyboárd Music (Krém SLPX 17916 - 1985) Contoct: Pleszkán Frigyes, H_2200 Monor, Jósíka u. 9.

21 of the East-European countrÍes al_ Ferenc Snétberger though, accordÍng to many, fresh im- (Guitar) pulses can be expected Írom this part of the Globe. The work and art of György Szabados is a genuine contri- butíon to this process. Born in 1939, he studied music prí- vately. He formed hÍs first band in 1955 and has aPPeared with his own groups ever since. Already in 1962-63, he was gÍving free jazz concerts in Budapest which, with their spon- taneous emotional eÍfect, their unu- sually complex harmonic and rhythmic realm, opened a new Íield in Hun_ garian jazz surprisingly synchronized with the avant garde phenomena in international jazz, especially the music of Coltrane, Shepp and Cecil Taylor. His conceptions burst open the framework The internatíona| jazz scene has no of jazz Íorms and styles of the day. lack of good guitar PlaYers, so it is He instinctively built his musical idíom not easy to develop a personal sound' on the soil of the rubato tYPe Hun- Ferenc Snétberger has succeeded in garian folksong and the oriental asym- creating a style of his own. Combining metríc rhythm so familiar from Bar- the elements of Brasilian and Indian tók's music _ an idiom which re- musíc with the improvisational tech_ vealed new dimensions of the genre nique of jazz, he captivates the au- and led to a strongly controlled, but dience with his harmonic inventive- free music performance of great impro- ness and mild, warm tone. visatory possibilities. He attended the Jazz Faculty of Bar- tók Conservatory between 1978 and 1982 and since has played at festivals in Ljubljana, Belgrade, Bratislava and has made tours in Austria, Finland, and West-Germany. A leader of a trio with bassist Béla Lattman and conga player/Ílutist Kornél Horváth, he also works as a soloist. In addition, he Ís founding member of Trio Stendhal. Contact: Snétberger Ferenc, H-1021 Budapest, FurulYa u. 3. Tel.: (36-1) 167-635

György Sza bados (Piano, composer, leader)

One of the basic questions concern- ing the development of contemporary jazz is the proportion of ethníc dialects giving special characteristics to this universal language. Unfortunately, little is known about the peculiarities

22 The first international success for sitions are regularly performed at the Szabados came in L972 at the San Se- Ferenc Liszt Academy of Music at con- bastian Jazz Festival where he won temporary music series. the first prize of the free category with György Szabados at present works his quintet. Hi s groundbreaking LP, with his sextet, the ten-piece MAKUZ entitled "The Wedding", summed up Orchestra and also as a soloist, using his musical achievements and was re- both acoustic and altered piano. leased in 19?4. In the second half of Records: Szabados: The Weddíng the seventies he gained enthusiastic (Hungaroton SLPX 17475 - local public appreciation with his con- r974) stant trio (Sándor Vajda _ b, Antal Szabados: Adyton (Krém Faragó - dr). The BO's have at last SLPX 17724 - 1982) brought deserved international recog- Szabados and Braxton: nition of his music. His debut at the Szabraxtondos (Krém SLPX Daxberg Festival in 19BB turned out to 17909 - 1984) be a grandioso success, and since then Contact: Szabados György, H_2626 he has pleyed at such noted places Nagymaros' Táncsics u. 6. as the Oper of Cologne and the Al- ternative Music Festival in Vienna. His meeting with Anthony Braxton, for the initiative of the latter, resulted Béla Szakcsi Lakatos (Piano, composer) in concerts and a recording released in Hungary. György Szabados is not only a musician but an artist (poet, author) devoted to expressing his ideas rooted in particular social and geographical de- terminations. His serious musícal approach and individuality earned him an almost glorified respect in intellectual and jazz spheres, He is a true creator of Hungarian jazz and music in general, a schoolsetter musician, sorrounded by a branch of followers. Szabados was a healing force of the Contemporary Music Workshop of Kassák Club, one of the avant garde centers in the capital, which gives home to a circle of young musicians teamed up to perform his compositions. Today Szabados's compositional di- rections transcend the strict idiom of jazz; they cover various means of ex- pression from minimal music to symphonic orchestration, recently fo- It there are so-called. "born" jazz cusing on the origins of ancient Hun- musicians, Béla Szakcsi Lakatos (1943) garian music, i.e. the folk traditionc is one of them. He studied classical of Middle-Asia, leading to long pieces music until the age of sixteen, when like "Ceremony Music", "Time Music" jazz and dance music attracted him to and "A Peripheric Concert", resolving the night life of show business. He the different elements in his sovereign played in Budapest and abroad in va- musicality. In 1985 he was awarded rious bands, in the meantime pre- Hungary's top musical performing dec- paring himself to become a full-time oration, the "Liszt"-prize. His compo- jazz musician. His talent was discov-

23 ered by guitarist Andor Kovács who Becords: Pege Trio: Montreux In- hired him for his group. In the second ventions (Hungaroton SLPX half of the 60's he joined Aladár Pe- ?418 - 1970) ge's Quartet that won the second prize Rudolf Tomsits: Dream and at the Montreux International Jazz Reality (PePita SLPX 17549 Festival in 1968. - 1978) In 1971, parallel with the birth of Session at Night (Krém _ jlzz-tock, he Íormed the Rákfogó 1979) Group which gained extreme popular- Saturnus (Pepita SLPX ity among the young audiences. After 17602 - 1980) some triumphal years Rákfogó was Saturnus: Snail Shells disbanded and Béla Szakcsi Lakatos (Krém SLPX 17693 _ 1982) continued in duos with György Vukán Lász|ó Dés: Behind The and Imre Kőszegi, and in Pege's quar- Wall (Krém sLPx 17771 _ tet again. The next step was Saturnus, 1984) formed with guitarist Gyula Babos in Contact: Szakcsi Lakatos Béla, 1980. This band became the premier H-l088 Budapest, SzigonY fusion unit in Hungary in the first half u. 4. of the BO's. Later it transformed into TeI.: (36-1) 346-227 B-D-Esz Collection and coloured its music with (Cipsy) folkloristic elements. Tomsits joined Rudolf Recently Béla Szakcsi Lakatos (Trumpet, arranger, leader) Hungarian Jazz Quartet and works solo, too. As a composer and keyboard player he contributed to the records of György Jinda's and Chieli Minucci's SpecÍal EFX in the United States. For many years he has been a teacher at the Jazz Faculty of Bartók Conser- vatory and at the Tatabánya Jazz Camp. Szakcsi's manysided musicality is highly appreciated by Hungarian musical circles. (He has also composed two musicals that were premiered at the Operetta Theatre in Budapest.) To many, he is the most gifted jazz pianist who is always expected to come out with something great and special. During his musical adventures, he has tasted the Born, in 1946, Rudolf Tomsits stud- free and fusion styles, but is also at ied music privately and soon was in- home in bop and contemPorarY com- volved in dance music circles in Bu- posed music. He speaks about himself dapest. That was the time when the as a blend of Keith Jarrett, McCoY first official jazz elub opened in the Tyner, Chick Corea and Herbíe Han- capital, giving a home to dozens of cock, dissolving the influences in an young and talented musicians. When indivÍdual approach. He is a master of 18, Tomsits became the trumpet so- harmonic progressions and melodíc loist of Studio 11, the dance band of flows, his ballad-playing being espec- Hungarian Radio, and stayed with it ially fascinating. All in all, Béla Szak- until 1980. In the beginning of the 60's csi Lakatos is an universal musician his interest led him to jazz and he deserving wider international recogni- played with musicians like Aladár Pe- tion. ge' Dezső Lakatos, János Kőrössy, and

24 Jan Johanson, Aarne Domnerus in to renew himself in new sorroundings, Sweden. In 1965 he joined the Quali- in l986 he became the trumpet so- ton Ensemble Ied by János Gonda. In loist and arranger of the Belgrade Ra- 1966 he formed his own quartet which dio and Television Big Band. Par- in conception offered the most pro- allelly, he is also leading his new gressive jazz modern Íor the upcoming quartet (Bora Rokovic - p, Lala Kova- years. prize of They won the first cev - dr, and Misha Blam - b). His Hungarian Radío's jazz competition present direction is hard driving, mod- and the prize of the press at Mont- ern mainstream. He is a great master reux in 1967. The quartet's chamber of travelling as well, for every week jazz approach was well received he drives from Belgrade to Budapest throughout Europe. to give trumpet lectures at the Jazz This period lasted till 1972, after Faculty of Bartók Conservatory. which some years break followed. Becords: Clark Terry at Montreux Tomsits formed his new sextet in 1978 (Polydor 2391 011 - 1969) with young musicians in the jazz-rock Rudol{ Tomsits: Dream and vein. But his inclinations attracted Reality (Pepita SLPX 17549 him towards big band music, so in - 1978) 1980 he accepted the invitation to be- Big Band RTV Novi Sad come the leader and arranger of the (F"TB 2L20240 - 1980) Novi Sad Radio and Television Big Contact: Tomsits Rudolf, H_ÍI22 Band. He has worked with, among Budapest, Gaál J. u. 70,'72. others, Sal Nistico and Tony Scott, and Tel.: (36-1) 550-026

GROUPS

Benkó Dlxieland Band

25 Hungary's most popular dixieland a high decoration by Hungary's Min- band was formed in 1957. After win- ister of Culture for international ning the Budapest Youth Festival in achievement and outstandÍng artÍstic 1960 and one of the prizes of Hunga- performances. The leader of the band, rian Radio's jazz competítion in 1967' Sándor Benkó, was decorated with the BDB made highly succesful debuts State Youth Prize in 1982, and received abroad, for example in Dresden, Zu- the ''Líszt''-prize in 1984. rich, Cracow, and Munich. They ran The band's repertoire includes a away with the "European Class" prize wide range of New Orleans and dixie- at the Prerov Festival in 1971. The land standards but they also feature same year saw BDB capture the first their own compositions revealing a prize in the traditional category at swinging character. The line-up ís: Montreux. ln L972 the band was award- Sándor Benkó (cl)' Béla Zoltán (tp)' ed the Grand Prix of the audience in Iván Nagy (tb) Jenő Nagy (bj)' Vilmos San Sebastian. Afterwards they were Halmos (p)' Sándor Vajda (b)' and welcome in the whole of EuroPe and János Járay (dr). toured several countries of the old The BDB was the first Hungarian continent. The prestigious music ma- jazz band to come out on video in gazine Music Week awarded the dis- 1985, and so far two books have docu- tinction "Hungary's Star of the Year" mented the history and concert tours to the Benkó Dixieland Band repre- of the band. senting the Hungarian record label Records: Benkó Dixieland Band Pepita, in 1976. (Pepita - SLPX 17440 - One of the major landmarks ol r912) BDB's career was the 9th Sacramento BDB: Budapest (Jazz Cro- Jazz Jubilee where BDB received ofÍi- ner SPE 1724 - L972) cial public recognition due to the BDB Plays with Fatty band's temperament and lively pre- George and Albert Nicholas sentation. Consequently, the BDB was (Pepita SLPX 17479 - 1972) again invited to Sacramento, then made BDB: Tin Roof Blues (Pe- a tour in Mexico and in the Far-East. pita SLPX 17ő22 _ 1976) In 1982 they celebrated their 25th BDB Jubileum (Pepita anniversary with guests like Ernie SLPX 17545 - 1977) Iüilkíns, Joe Newman and Harry BDB: Blues (Pepíta 17640 "Sweets" Edison, adding Freddie Hub- - 19Bl) bard in 198? to the 30th anniversary. BDB: Face to Face (Krém They are regular participants at Hun- SLPX 1772? - 1982) gary's jazz and tradítional festivals, BDB and their American often featured by the radio and tele- Friends (Sacramento JR) vision and they take part in poPu- Side by Side (Krém SLPX larizing music by giving concerts to 1?764 - 1982) the young generations. Their records are La Fiesta Grande (Krém sold in very large numbers, the first SLPX 17925 - 1984) having a sale of over a hundred thou- ContocÚ: Interkoncert' H-1051 Bu_ sand. dapest, Vörösmarty tér 1. Benkó Dixieland Band was awarded Phone: (36-1) 184-767

its birth, the group presented itself in Bop Art Bruxelles at the 1983 Hoeilart Jazz The idea of Íorming this orchestra Competition where they won fÍfth came from composer-keyboard player place. In the upcoming years it became Attila Malecz in 1982. Not long after a regular habit for Bop Art to enter

26 different competitions like Dunqerque the synthesisers and the orchestration, (1983) to win the second prize, San is symhonic and big band-like. It also Sebastian (1985) to become a finalist, integrates the traditions of classical Karlow Vary (1986) and once again music and the rhytmic variety of rock. the Hoeilart contest (1986). It hap- The group's affection for the theatre pened to be an exceptional honour for has been revealed through perfor- the group that its guest saxophonist mances placed in dramatic contexts László Dés was awarded the best so- and scenery. loist trophy in Dunqerque, San Sebas- The guest stars for Bop Art are the tian and Karlovy Vary. outstanding Polish saxophonist Zbig- Bop Art represents the fusion efforts niew Namyslowski and the talented of modern jazz, playing the original Portugese singer Maríe Joao. compositions and scoring of Malecz. The líne-up includes drums, percussion, Records: The 20th San Sebastian Festival 1985) electric bass, electric guitar, piano and - keyboards, reeds and sometimes trum- Coctact: Malecz Attila, H-1088 Bu- pet and female vocal. Although Bop dapest, Baross u. 6. Art is a combo, the sound, owing to Tel.: (36-1) 134-951

help of a foundation sponsored by Budapest Big Band György soros, a Hungarian expatriate living in the United States. BDB's spir- great Although there are traditions itual are reedman Lász|ó playing ''fathers'' of hot big band in Hungary, Dés, trumpet player Endre Sipos and at present one finds no professíonal big trombonist Károly Friedrich, who are bands existing in the country. So it also leaders of their respective must have been a kind oÍ sensation the have made no- when, in January 1986, the Budapest wind sections, and a Bíg Band held its debut concert in'the table contribution to the local jazz capital. The new 2O-piece band was life since the beginning of the seven- formed with the significant financial ties.

27 BDB is made up of musicians whose vics, the Budapest Big Band can boast main interest is jazz. At first the band excellent instrumental soloists, a fact worked through a study oÍ the scorings that contributed to successful concerts of Thad Jones, Count Basie and Duke throughout the country. Ellington, and then began incorporat- ing the compositions and arrangements Contact: Sípos Endre, H_1116 Bu- of the members, thus reaching the next dapest, Bánhida u. 22. level i.e. developing its own sound and Tel.: László Dés (36-1) repertoire. Besides vocalist Kati Bonto- 321 -488

stance, was formed in 1983. A collec- Buda pest tive of classically trained, Budapest- Ragtime Band based musicians, the group has built up a considerable international fame: Interestingly enough, the 80's brought in 1984 they performed in Warsaw and a revival of traditional music in Hun- Dresden, in 1985 in Holland, West- gary. This nine-piece band, for in- Germany, Austria, Yugoslavia, Bel-

28 gium, in 1986 in Holland, the Soviet Records: Budapest Ragtime Band Union, Austria, and West-Germany. (Krém sLPx 17794 _ 1984) Their repertoire includes mostly Scott BRB: Elite Syncopations Joplin and James Scott originals, (Pan - 1985) transcribing the piano pieces into Conúact: Interkoncert, H_1051 Buda- multicolored instrumental arrange- pest, Vörösmarty tér 1. ments. Tel.: (36-1) 184-76,

Creative Art Ensemble

This unique co-operation of a classical wind ensemble and a jazz trío, with the help of the Soros-Foundation, dates back to 1986. The audiences of the Ferenc Liszt Academy of Music and the University Theatre, the two places for the debut concerts of the ensemble, faced a program first contrasting classical brass music and pure jazz, then synthesising the diverse components in a kind of Third Stream music. Th'e 22 members of the Buda- pest Brass Ensemble are first class representatives of their genre and this holds true for the Super Trio in iazz. What they introduced collectively were the brand new compositions of György offering a fresh amalgam that tran- Vukán, featuring Dezső Lakatos on scends artifical musical barriers. reeds. Contact: Interkoncert, H-1051 Bu- Creative Art Ensemble is a comon dapest, Vörösmarty tér 1. dominator of different musical worlds, (36-1) 184-767

period oÍ appearing at festivals in Dimension Pori, Warsaw, Novi Sad, and Debre- A coherent unit of four equally de- cen. voted instrumentalists, Dimension was After a two-year break the quartet formed in 1980 by László Dés (leader' was reformed in 1985, with Róbert ss, ts), János Másik (p), Tamás Tóth Szacsky having taken the role of the (el. b) and Gábor Szende (dr). They pianist. Absolving concerts at festivals issued their first LP in the fusion line in Borkum, Bratislava, and Umea, the in 1981. The same year brought anoth- group released its second LP in',1987. er international success as they won During the time, Dimension's iazz-rock the prize of the critics at the Wroclaw style has moved towards a more in- Festival. It was followed by an active timate, emotional, acoustic chamber

29 in Hungarian jazz. He had studied piano beÍore he entered the Jazz Faculty of Bartók Conservatory' He got his degree in 1976 and since then has played on more than a hundred LPs, mostly pop and some jazz recordings. His solo LP, with the title ,,,Behind the Wall", was released in 1984. His open, meaty saxophone tone has earned him acclaim on numerous occasions. He was awarded the best soloist in San Sebastian (1976, 1985), Dunqerque (1985) and Karlovy Vary (1986). He is also the composer of numerous jazz and pop pieces. Both with his group Dimension and as a soloist, László Dés offerc jazz something special. Records: Session at Night (Krém _ 1979) Dimension (Krém SLPX 17651 - 1981) Lász|ó Dés: Behind the Wall (Krém sLPx 17771 _ 1984) music, relying largely on the outstand- Dimension: Avec plaisir ing improvisational capacitÍes of the (Krém sLPx 37071 _ 1987) members. Contact: Dés László, H_1137 Buda- Founder and leader Lász|ó Dés (1954) pest, Pozsonyi út 25. is one of the most sought-after soloist Tel.: (36-1) 321-488

The Dresch Quartet

Separations can occur when the participants lose something of their mu- tual inspiration, but there are also sit- uations when the new, independent life brings forth previously concealed qualities. This is the case with Károly Binder and Mihály Dresch, strong representatives of their generation, who had developed a fruitful musical conception in their. former group, the Binder Quintet, and after going on their own, could deliver their creative energies even more effectively. Mihály Dresch, born in 1955' re- ceÍved his diploma at the Jazz Fac- ulty of Bartók Conservatory in 1979. He worked with Binder until 1983, evolving definite a "individual image. An impulsive triumph in his

30 career was the winning of the soloist 60's black movement, thus resulting prize at the Jazz on the Oder festival in a music which has a very distinctive in Wroclaw in 1983. His quartet, after ethnic flavour. It is a kind of "energy" several trials and personal changes, playing encased in a Hungarian musi- has existed in the present form since cal background. The warm reception 1984. The members are: István Gren- of their atmospheric interpretations at csó (reeds), Róbert Benkő (b)' and festivals in Belgrade, Debrecen, Zürich, István Baló (dr). Leipzíg, Nurnberg, Ljubljana and Novi Originality is a fundamental demand Sad proves that there are open ears in today's jazz world; but it was not for this kind of music in the inter- as a consequence of external pressure, national music community. but rather the result of an internal The members of the Dresch Quar- development that encouraged the quartet are playing ín other musÍcal set- tet to give up following the American tings as well, especially in the various and West-European jazz |íne, attempt- projects of György Szabados. ing to pioneer a specific path of their CompositÍons: Dirge, Flower Rain, own. The group plays the compositions Transylvanian B

Szabados's musicality. The band plays The Grencsó Kollektíva the sparkling, strongly accented, often ironical compositions of its leader, This collective of young musicians, reedman István Grencsó, conscíously devoted to the avant garde, is largely avoiding and mockíng the clichés oÍ ispired by the radiance of György traditional and mainstream jazz. Gren-

31 csó also performed with Manfred He- where they have played with mu- ring at the Leipzig Jazz Days, and sicians like P. Brötzmann, P' Kowald' with the band at the Novi Sad Festi- D. Diesner, etc. The band is featured val. on cassette recorded by the Kassák The regular home for this four-plus- Club. member group is t}:.e jazz club of the Contact: Grencsó István, H_10B5 Bu- UnÍversity of Economics in Budapest. dapest, Makarenko u. 13.

bars and locals, For more than twenty Hot Club Budapest years he has been solo guitarist in Hungar Hotel's Alabárdos Club. Fortu- nately, from tíme to time he renews his relationship with jazz. From 1951 to 1962 he was the member of the famous Martiny Quintet and since then he has been leading his own groups and works as a soloist. Being excep- tionally many-sided he feels at home in swing, bossa-nova, Hungarian folk songs and the Spanish flamenco. Most of his repertoire have been broadcast by Hungarian Radio. He appeared at festivals and music halls in East- and West-Germany, Poland, Yugoslavia, and ltaly. As a teacher, he has been Hot club bands exist wherever mu- an inspiration for generations of young sicians have heard about the name and guitarists. art of Django Reinhardt, but this Hot Club Budapest is Andor Ko- Hungarian quintet is of a special char- vács's latest working band, with his acter because of its leader, virtuoso old friend, violin-player Csaba Deseő gipsy guitar player Andor Kovács. Jazz and young musicians in the line-up. people who have been lucky to listen It is a splendid tribute to the work and to his unique technique and the melod- heritage of the late Django Reinhardt ic variety of his compositions agree and Stephane Grappelli, that reflects upon the fact that he could have been the group's own colors as well. one of the world's premier guitarists Records: Andor Kovács: Nuages were he not livíng in a small conutry (Krém SLPX 17910 _ 1985) somewhere in the middle of EuroPe. But Andor Kovács chose hÍs adored Contact: Kovács Andor, H_1145 Budapest and the life of an entertaíner Budapest, Törökőr u. 40. playing night by night in distinguished Tel.: (36-1) 421-003

(b)' Béla Szakcsi Lakatos (kbds)' Gyu- Hungarian la Csepregi (ts, fl), and Vilmos Jávori Jazz Quartet (dr). The leader, Pál Vasvári was born in This new group is a fruítful mix- 1957 and attended the Jazz Faculty of ture of experienced and talented young Bartók Conservatory between 1978 and musicians. Its line-up is: Pál Vasvári 1981' As an actíve jazz musician ho

32 established his name in the bands of Gábor Füsti Balogh' Imre Kőszegi, and Tony Lakatos. In 1984 he came out as a leader of a fusion band composed of young musicians. He has played at festivals in Prague, Bled, Belgrade, Leip- zig, Athens, Munnich, and made tours in Greece, West-Germany, Austria, Finland, Yugoslavia, and Czechoslova- kia. His group has included such soloists as the noted Polish violinist Krzesimir Debski and the Yugoslavian fluegelhorn-player Stepko Gut. His music fits in with the trends of bop, Íu- sion and modern mainstream. His combo was among the four to be honoured at Hungarian Radio's jazz competition in 1986. Hungarian Jazz Quartet is a combi- Contact: Vasvári PáI' H-1072 Bu- nation of generations, dissolving dapest, Majakovszkij u. 43- straight-ahead jazz ideas in contempo- 45. rary vocabulary and fine musicality . Tel.: (36-1) 216-903

ing musical forms. This is a sort of Makám improvisative chamber music contain- ing the elements of classical music as The Makám ensemble was formed in well as contemporary iazz and rock. 1984 with the purpose of establishing Its melody and rhythm are influenced a peculiar form of community played by East-European folk and oriental music, and trying to show the common music. Beleiving that the ancient Hun- characteristics existing in music cul- garian folk music is deeply related to tures oÍ different peoples and contrast_ Eastern traditions, the group arrived

33 at cultures geographically far away ídly on the orígínal Íunctíonsof the from Hungary. instruments but tries to explore new The name of the group, Makám, is possibilities in playing techniques, to- a word of ArabÍc origin, referring to nality and scoring. the structural significance in impro- The members had played together visational music. Particular chords in in several groups before. They have the band's style are due to the rarely made many discs and radio recordÍngs heard rhythms and melodies on one of classical music and folk-jazz in hand, and, on the other to the original Hungary and abroad, and have given collective sound of instruments never concerts in festívals, concert halls and experienced in the same way before. jazz clubs throughout Western Europe Besides the classical instruments such with great success. One of the pre- as oboe, guitar, double-bass, the tu- decessors of Makám was the re- nable tabla and two ancient stringed nowned Kolinda. instruments, the Balkanian gadulka Makám is now: Lász|ó Bencze (b, and the Indian sarangi, play an impor- perc), Endre Juhász (oboe, fI), Zo|tán tant role in the group's sounding. Fur- Krulik (g' perc) Péter Szalaí (tabla' thermore, several exotic stringed in- ektar, sansa, bells), Szabolcs Szőke (ga- struments plucked with a plectrum, and dulka, sarangi, kalimba, sansa), and percussíon instru_ments, such as ma- Balázs Thurnay (marimba, derbukka, rimba, kalimba, bamboo sansas, ektar, perc). talkíng drum and bells, colouf the harmony of the musÍc' Most of these Contact: Makám Group, H_1725 Bu- instruments are made by the group's dapest Pf. 2. members. Makám does not stand rig- Tel.: (36-1) 358-421

cles, they won national amateur com- Molnár Dixieland Band petitions in the sixties. In the 70's the band established itself as one of Hun- gary's top traditional formations. 1972 brought a remarkable success in their career as they won the title,,European Classic" at the Prerov Jazz Festival. This was also the beginning of their international conquest manifested in more than 40 appearances since that time. They have made tours and concerts in Austria, West-Germany, HoI- land, Norway, Czechoslovakia, the Ger- man Democratic Republic and the So- viet Union. They regularly participate at the famous International Dixieland Festival in Dresden, always gainÍng the :nthusiastíc response of the audience. At home, as well as in its native town, the band has become a perma- nent performer at various jazz events Originally formed in 1964 with the name old Timers Band, thÍs Szeged- Hungarian Radio organized through- based traditional group is still con- out the country. The have started tinuing energetically in its thÍrd dec- their own club in the capital, too. The ade. Growing out of university cir- lively and dynamic rendering of the u band serves as a basis Íor their success. vocal and pianu contribution of Márta Their repertoire includes melodic stand- Garay, too. Chicago period and ards from the Becords: Szeged Oldtimers (Pepita, the evergreens of the English neodix- SLPX 17520 19?6) for the ieland school. The ideals Szeged Oldtimers- (Beeren- group are the Louis Armstrong All donk Records, B.R. 99913 Stars from the fifties, the Chris Barber - 1982) Acker Bilk Paramount Jazz Band, the Szeged Oldtimers: Tiger Jazz Band and the Kenny Ball Band (Beerendonk Records. B.R. from the sixties. Orchestrated spirit- 99919) uals and rags also color the program, Molnár Meets Mortimer as do some swing pieces. (Krém sLPx 1?967 _ r9B5) The leader Gyula Molnár is really a European classic on clarinet and tenor Contact: Molnár Gyula, H_6726 Sze- saxophone. The general eÍfect of the ged, Pinty u. 715. band gains speciality from the vivid 'rel.: (36-62) 55-804

No-Spa

The intellectualism of the one time and plays ín avant garde, minimal and historic cool style is seemingly an at- pop Íormats as well. The other mem- tractive force for the younger genera- bers, too, are all in their twenties. tions in Hungary. This sextet also No-Spa was formed in 1985 and a favours that reflective, controlled ly- year later finished up amongst the ricism whicb they combine with the best four groups of the national jazz rhythmic and harmonic devices of competition, a promising first step on present-day jazz. The original com- their hopeÍully straight-ahead jazz- positions are mostly written by leader road. Mihály Farkas (kbds). The trombone player of the group is László Gőz, who Contact: Gőz Lász|ó, H_1028 Buda- received both classical and 5azz tuition pest, Dutka u. 4.

festival of Hungarian Television. As a Studium result, they had a chance to tour in Dixieland Band Cuba the same year. In 1984 their first SP was released and in 1986 they gave This eight-piece band was formed in successful series of concerts at the Pa- 1982 and won nationwide acclaim by last der Republik in Berlin. During the ending at the top of the talent-contest years their repretoire of dixieland

35 moved slightly more towards swing, jazz tone oÍ their vocalist, Marianna due largely to the presence of the Falussy. guitar. Keeping the multifold character of their program, their success is ad- ConÚact: Rókusfalvy Pál' H-1114 vanced considerably by the full-warm Budapest, Bartók B. u. 35.

The three musicians started the Su- The Super Trio per Trio in 1980. During their cooperation they have appeared with se- Pianist György Vukán, bass-player veral well-krown guest soloists (Kay Balázs Berkes and drummer Imre Kő- Winding, Zbigniew Namyslowski, Ju- part oÍ szegi have been an important hani Aaltonen, Frank Foster, Jimmy jazz the forefront of the Hungarian Owens, Linda Hopkins, and others). since the beginning of the 60's. They They have made a number of record- almost the have had concerts at all ings, too. of Europe major festivals and in towns The trio goes all out realizing the (West-Berlin, Palermo, Athens, Prague, principle of making music in a maxi- Zurich, Warsaw, Vienna, Rome, Nurn- mum equality of rank: real chamber month berg, etc.). Vukán also spent one playing and swinging. Disregarding United States in 1985 as a soloist in the free jazz, all kinds of style elements played musicians in where he with can be found in their style. Their re- (Jimmy eight towns Owens, Charlie pertoire is composed mainly by Vukán, Haden, Jones, Jor- Philly Jo Clifford but the compositions are formed and dan, BiIIy Higgins, and Milcho Leviev). worked out together. They play as a Berkes played in Tom- Vukán and the unified group to a degree seldom sits from 1968 until 1972, then Quartet achieved by rhythm sections, not only they worked mainly in duo and trio in Hungary, but also in Europe. formations. Kőszegi played in various pianist was groups between 1970 and 1975, then he Composer, György Vukán formed his own group in 1975 in which born in 1941. He got his degree in pia- he proved to be rather successful both no at the Ferenc Liszt Academy of at home and abroad. Music in 1960. He was a teacher oÍ

3ó composing, arranging and singing at of manuscripts on singing, arranging the Jazz Faculty of Béla Bartók Con- and improvisation and has worked out servatory from 1964 to 1980. He has "The Relative Axial System" for com- had numerous piano concert appear- posed and improvised music. ances, mostly jazz, in Europe and in Contact: Interkoncert, H-1051 Bu- the States, composed music for about dapest, Vörösmarty 1. sixty Íilms, and ballet, symphony and tér Tel.: (36-1) 184-767 camber ensembles, theater, big bands, radio and tv plays, and especially Recodrs: Vukán_Berkes_TrantaIi- movles. dis: Clarification (EMI-COL His awards in 14C 1?1168 are: Helikon Prize 062 - l9B0) 1957, Chopin Prize in Poland in 1962, The Super Trio: Together prize compositions of the Hungarian Alone (Krém sLPx 17691 - Record Company in 1970, press prize 1 982) at Montreux in 1969, Béla Balázs prize The Super Trio: Birthday in 1979, Hungarian per- (Krém and Radio's Party SLPX 37047 - forming award in 1981. He is an author 1 987)

The Szekszárd Jazz Quartet

tfie $ f í #

37 In a country where one fiÍth of the and possessing refined musicality. population is living in the capital, a Namely: Endre Kelemen (vib), István twofold effort is needed to keeP uP Hulin (p), Gyula Lőrinczy (b), and Ti- with things from the countryside. It is bor Rudnai (dr). The instrumentation no wonder that almost all proÍessíonal recalls the Modern Jazz Quartet which jazz musicians are located in Buda- serves as an ideal for the group's mu- pest, although some of the bigger cities sical direction, that is chamber jazz. can take pride in a lively jazz scene. The repertoire, however, is mostlY One of these places is Szekszárd which Tombeau Debussy, Last Dance, The boasts a big band and a jazz quartet. Clown). The group, in 1984, performed originally Íormed as a trio, the made of originals (Hommage á MJQ' Szekszárd Jazz Quartet developed to its in Paris, in 1986 in Poland, and has present line-up ín 1981. The members been featured on tv programmes. are doctors and engineers, though with- Contact: Kelemen Endre, H-7100 out any amateurism in Performance, Szekszárd, Szabó Dezső u. 7.

Syna psis

Thís new group is led by László the group took part at the Karlovy Süle, the most promising among the Yary jazz competition where they were talent on today's Hungarian jazz scene. awarded the Sílver Fountain Prize' In Born in 1955, he has been studying the same year Süle won a special prize piano since the age of seven. From at the International Competition for 1978 to 1981 he received private tui- Jazz Pianists in Kalisz. 1986 was again tion of composing and music theorY, a succesful year for the band, for they and from 1981 to 1984 attended the took away the first prize of the Kro- Jazz Faculty of Bartók Conservatory, meriz festival and were positioned where he later became a teacher of amongst the four to be awarded at music theory and arranging. Hungarian Radio's jazz competition. He formed Synapsis Ín 1982. In 1985 It was classical and contemporary

38 music that led the way for Süle to ing composer and an energetic impro- jazz, and this background left a strong viser, being able to involve the public influence on his compositional and in his musical world. Both with Sy- improvisational approach' His music Ís napsis and as a soloist, Lász|ő Süle is bound neither to the old-fashioned nor a highly original representative of the to the "free" trends of jazz. His idea is jazz trends in Hungary in the 80's. to create a compositional chamber-like jazz music which at the same time Contacú: Süle László, H_1147 Buda- sounds contemporary and relates to the pest, Czobor u. 43/A. valuable jazz hetitage. He is a think- Tel.: (36-1) 832-617

members belonged to the one-time Th i ngs noted fusion band Kaszakő, among them Attila Lász|ó. Mr. László was a This is a group of musicians in member of Hungarian Radio's Studio their late twenties, united by common 11 band, and has contributed to a sum musical tastes. It was co-founded by of recordings, one being for the Ame- reedman Tony Lakatos and quitarist rican Apon Records. Attila László in 1986' "Things" made its debut at the 15 th The idea behínd forming the sextet Debrecen Jazz Days, in the summer of was to produce a contemporary, 1986, and since then is often featured electronic group with elaborated in the programs of Hungarian Radio. arrangements, funky rhythms, and Contact: Lász|ó Attila' H_1125 Bu- extended solos. Formerly some of the dapest, Galgóczy u. 27.

on the subtle interaction of the saxes Trio Stendhal and the guitar, enriched by the rhythmic colours of the percussion. group Hun- Thís brand new of the Despite its short existence, the trio has garian jazz scene was the formed at made a succesful tour in Austria, and end of 1987 Ferenc Snétberger (g)' by attracted the attention ot the organizers Lász|ő Dés (reeds) Horváth and Kornél of' great festivals, such as (perc). international The members, known from Bombay and Montreux. other formats as well, are all masters of their instrument who united theÍr Contact: Dés László' H_1137 Buda- exceptional improvisational skill in pest, Pozsonyi u. 25. playing acoustic chamber jazz, based Tel.: (36-1) 32r-488.

39 INSTITUTIONS

AssocIATIoN oF HUNGÁBIAN MU- INTEBKONCEBT .(International Con- SICIANS cert Management) H_1051 Budapest, vörösmarty tér 1. H-1051 Budapest, Vörösmarty tér l' Address: H-1364 BudaPest, Pf.. 47. Manager of jazz and light music: General Secretary: ÉvaCsébÍalvi Zsolt Pentz. Tel.: (36-1) L79-62L (36-1) 184-243 Office of International Music Compe- Leader of the Jazz Section: János titions and Festivals: Tamás Klen- Gonilo Jónszky (36-1) 179-910 Lacking an independent jazz feder- Interkoncert is the state management ation in the country, the only official office that acts on behalf of Hunga- organisation Íot jazz ís the Jazz Sec- rian artists and groups abroad, organ- tíon of the Association of Hungarian izes their foreign performances and Musicians. This organizes lectures, signs the contract with artists coming coneerts and conferences, promotes and to Hungary. A special department of coordÍnates the jazz activíties of dit- Interkoncert is the Office of Inter- ferent cultural institutions, keeps up national Competitions and Festivals Íoreign contacts and takes part in the that organizes local music competitions organisation and preparation of certain and delegates young Hungarian artists jazz events like the Tatabánya Jazz and jury members to foreign contests. Camp. Tl:'e Jazz Section is the Hunga- rian branch of the International Jazz HUNGABIAN RADIO Federation. It has published the Inter- H_1088 Budapest, Bródy S. u. 5_7. national School Directory and the pe- Address: H-1800 Budapest riodical Jazz. Tel.: (36-1) 338-330, 339-330 Jazz mana1er: Imre Kiss (Music Pro- HUNGABIAN MUSICIANS' UNTON duction Department) Section of Music Education Aside from studio work and Prog- H-1068 Budapest, Gorkij fasor 38. rams for broadcast, Hungarian RadÍo Secretary: Zoltín Laczó (36-1) 428-927 takes credit for organizing and manag- Head of jazz department: Jónos Gontla ing many international and local jazz events, concerts, festivals, and compe- EDITIO MUSICA titions in the country. It is the co- H_1051 Budapest, Vörösmarty tér 1. organizer of Hungary's most important Address: H-1370 Budapest, Pf. 322. international festival, the Debrecen Jazz contact: Dorritt Bévész Jazz Days. (36-1) 184-739 HUNGABOTON HUNGARIAN BE- HUNCARIAN TELEVISION COBD COMPANY H_1054 Budapest, Szabadság tér 17. H_1051 Budapest, Vörösmarty tér 1. Address: H-1810 Budapest Address: H-1364 BudaPest 4, Pf. 31. General manager of light music and General manager: Péter Bákosi jazz: Pélt Móalos (36-1) 178-078

40 EDUCATION

JAzz r.ActsLTY oF BÉLA BABToK oTHEn FoBMs oF EDÜoATIoN CONSERYATORY The network of primary jazz educa- H_1065 Budapest, Nagymező u. 1. tion has been taking shape in music Tel.: (36-1) 217-5L4 schools since the middle of the 70's. This faculty was founded in 1965 as The largest faculty, with about 200 one of the first such institutions in students, works at the Postás Erkel Fe- Europe, and since then has been renc Zeneiskola in Budapest, which working continuously. The curriculum serves as a preparatory level for the is based on a four-year program. The Jazz Faculty of Bartók Conservatory. students are above 18, usually aiming In the countryside it was Salgótarján to become professional jazz artísts and that started jazz education first. In the jazz teachers. The head of the faculty is improvisational workshops of the mu- János Gonda. The teachers of the main sic schools of Pécs and Komló, both branches are: Gyula Babos (g), Balázs jazz are bases for Berk€s (b)' Gyula Csepregi and Tony classical music and Lakatos (sax), Attila Garay (voc), Já- education. Further jazz faculties of nos Gonda and Béla Szakcsi Lakatos music schools can be found in Nagy- (p), Gyula Kovács and lván NeszÚor (dr), kanizsa, Szekszárd, Siófok, Székesfe- Dezső Selényi (tb)' Builolf Tomsits (tp). hérvár and Debrecen.

SUMMER COURSES

TATABÁNYA INTERNATIONAL kes' János Gonda, Dezső Lakatos, rmÍe JAZZ CAMP Kőszegi, Alatlár Pege' Béla Szakcsl La- Organised by the Puskin Cultural katos, B,udolf Tomsits) and interna- Centre tional experts (Bicharil Dunscomb, Jas- H_2B00 Tatabánya, Kossuth u. 4. per van't Hof, Egit Johansen, Runo Tel.: (36-34) 12-509 ErÍcsson, Hans Koller' Charlie Ma_ Director: Benedek Benkő riano, Fritz Pauer, Janusz Stefanski). Artistic leader: János Gonda The Hungarian Section of Jeunesses International contact: Assocíation of Musicales also participates in the or- Hungarian Musicians (see there). ganisation. The next date: summer, The most important international 1988. summer jazz camp is held in Tatabá- nya biennially, in the first twelve days STKONDA JAZZ CAIIIP of August. Local and foreign students Leader: Géza Gábor Simon planning to become full time musi- Three or Íour days every year for cians attend the camp. The teachers fans and amateur musicians, organised have been well known Hungarian by the Baranya megyei Művelődési musicians: (Gyula Babos, Balázs Ber- Központ, Pécs, in midsummer.

41 szÁzHALoMBATTA l*zz oAiMP SZOMBATHELY IMPBOVISATIONAL organised by the Barátság Művelődési MUSIC WOBKSHOP organised by the Megyei Múvelődési Központ. és Ifjúsági Központ. H_2440 Százhalombatta' 18. Pf. H-9?00 Szombathely, Ady Endre u. 2. A week biennially in the summer, for A week every year for musicians in- amateur musicians. terested in modern and new wave jazz Next date:1989. and the pedagogy oÍ improvisation'

FESTIVALS

DEBBECEN JAZZ DAYS ALBA REGIA JAZZ FESTIVAL Organised by Hungarian Radio and the Every three years usually in May, last time 198?, in Székesfehérvár. Kölcsey Művelődési Központ (H-4026 in Debrecen, Hunyadi u. 1-3.) OTHEE EYENTS Jazz week-ends in Nagykanizsa, Sze- Contact: Imre Klss' Hungarian Radío ged and MÍskolc. Dixieland festivals International jazz festival for 4 days, in Tata and Salgótarján. at the end of July, every year. Contact: lmre Klss, Hungarian Radio.

CLUBS

Benkó Dlxlelanil Klub (traditional H_1ll8 Budapest, Villányi u. 35_45. jazzl Marx Kóroly Kőzgaziluígl Eryetem - H_1093 Budapest, Török Pál u. 3. University of Economics (avant garde) Open: every wednesday. H_1093 Budapest, Dimitrov tér B. Epítők Műszokl KtubJo (modern maÍn_ Fészek Míivészklub (modern main_ stream) stream) H-1052 Budapest, Petőfi 5. S. u. H_10?3 Budapest, Kertész u' 36. Open: every thursday. Open: every wednesday. Belvllrosl lljúsóst lJíz (traditÍonal (modern jazz) Kossák Klub and avant garde) H_l056 Budapest, Molnár u. 9. Jókol Klub (modern chamber-jazz) H-1145 Budapest, Uzsoki u. 45. jazz) H_1r21 Budapest, Hollós u. 5. Koti Bár (night club Kertészetl EgyeÚem _ University of H_1008 Budapest, Szentkirályi u. 8. Horticulture (modern mainstream) Oper: every night except for Sunday.

42 A DYTO N

dh BINDER

43 PrÍnteil ln Debrecen by Kinlzsi Mg. Szakszövetkezet nyomdaüzeme