Skylark Metropolitan is the brand new band of Viktor Tóth, saxophonist and composer, who has been selected multiple times as the Alto Saxophonist and Composer of the Year in Hungary. This time they perform in a trio lineup to create a more intimate yet still pulsating and rhythmic sound. Viktor Tóth has released eight albums so far, several of which have won the Jazz Album of the Year award in Hungary; each of his recordings and ensembles represent a different sound. What they have in common is an innovative spirit, overwhelmingly powerful expression and melodic richness. They invite the audience on an exceptional flight over landscapes of swing-based modern jazz and broken grooves.

János Vázsonyi's trio wonders on the boundaries of classical, jazz and folk music, exploring analogies between genres. Their concerts are thus a journey through music history, from ancient Greek music to contemporary music, where the specific musical styles frame the spontaneous improvisations as a theme. János Nagy needs little introduction to Hungarian jazz fans, but few know that he also has a close connection with church music; their saxophone-organ duo album with János Vázsonyi was recorded in a Budapest church. Flóra Joubert (drums) and Gábor Boros (double bass) are excellent partners in this lineup, as their sophisticated playing organically blends into the improvisations, which can almost be described as chamber music.

Hans Lüdemann and his French-German octet TransEuropeExpress have started their long-term Pan-European project On the Edges in 2019 and are now presenting the premiere of the fourth edition entitled Oriental Express. This ensemble of outstanding soloists now welcomes the great Ney flutist Burcu Karadağ from Istanbul as their special guest. She is an international soloist with classical orchestras, but also improvises and collaborates with jazz musicians. Hans Lüdemann has spent several longer periods as an artist in residence in Istanbul between 2021 and 2024, and they have been working with Burcu as a duo since then, including performances at CRR Philharmonic Hall and AKM in Istanbul. They developed a program of original music and also made re-interpretations of some pieces of oriental music like Kendim Ettim by Neset Ertas. The Ney flute is the core instrument of oriental and Turkish music, even constituting the names of different scales and tonalities. The character of the Ney is quite different from the Western flute as it requires a lot more air for the sound to be produced. This means that the music needs more space between the notes – and also behind them. The secret of the Ney is to connect us with a different, spiritual level. Hans Lüdemann has created new compositions and arrangements that give room for the special magic of the Ney flute and reflect his experience of Istanbul and the Orient in a poetic way. Hans Lüdemann, the TransEuropeExpress and Burcu Karadağ are also recording the music for a new album to be released on BMC Records. On the Edges is a Pan-European initiative to be realized in 5 different projects and album productions, each of them a creative musical encounter reaching to a border region of Europe and beyond. The idea, originally inspired by Navid Kermani’s book Along the trenches, has been transformed into the creation of a broad mosaic of musical colors within this frame. Each project is developed and realized in cooperation and exchange with guest artists and/or composers from the specific regions. The thread that finally connects all of the projects is a composition by Lüdemann in several parts, coming together to form a complete musical picture. The previous albums in the series were released on BMC Records: the critically acclaimed Maghreb Express with Majid Bekkas, Polar Express with Kalle Kalima and Sofia Jernberg, and, most recently, Roman Express with Rita Marcotulli and Luciano Biondini, which was nominated for the Deutscher Jazzpreis 2024.  

The pseudonym Fluidian hides Emil Gherasim, a composer, musician and sound artist born in Carei, whose work includes electroacoustic and electronic music, chamber music, film and theatre scores, sound illustrations for contemporary dance and visual performances, and ambient soundscapes. Fluidian is best known for his solo performances, but has also collaborated with artists such as Arve Henriksen, Tibor Szemző and Roland Heidrich. This time, he will engage in an improvisational chamber music dialogue with Moment's Notice Trio member László Gőz and Moment's Notice's regular guest artist Kornél Fekete-Kovács, who, like Fluidian, both illuminate the interconnections between jazz, classical-contemporary and electronic music as seasoned masters of music born in the moment.   With the friendly support of Ernst von Siemens Music Foundation. With the support of the National Cultural Fund of Hungary.

"Daniel's works show great control and versatility on all levels. Being equally at ease with the jazz and symphonic idiom, both his compositions and arrangements show complete awareness of what is relevant in today's orchestral music. His affinity with drama and his gift to encompass this in music make him a natural film composer." - Jurre Haanstra, composer  Daniel Mester travelled around the world to find his own musical universe, which accommodates the melodies of Anatolia, Indonesian scales and imaginary Hungarian folk songs. He began his musical studies as a classical clarinetist, and later started to learn jazz saxophone playing. He graduated at the Conservatorium van Amsterdam, and he not only had the opportunity to perform in many parts of the world (South Korea, Indonesia, Turkey, Brazil, Morocco), but also to learn about musical heritages outside of Western musical traditions. He composed a couple of filmscores, and studying Turkish classical and folk music is another current inspiration for him, the impact of which is echoing in his compositions. His long-cherished dream of founding his own trio came true with the pandemic. He invited two talents of the young Hungarian jazz generation, guitarist Péter Cseh and drummer Tamás Hidász into this musical adventure. This evening, they will also be joined by the virtuosic master of the cimbalom, Kálmán Balogh. www.mesterdaniel.com

Thérapie de couple – we are talking, of course, about the Germany-France couple, the engine of Europe, which now and then finds itself in crisis. Saxophonist and bandleader Daniel Erdmann is the ideal counsellor because he knows the differences, the similarities, the possible misunderstandings, the psychology of these two countries very well. He is particularly pleased to have been invited to put together a new German-French sextet and, in selecting musicians, has opted for a combination of those he already knows very well – and the security that comes with that –, and inviting completely new people who bring with them the desire and magic of uncertainty. Daniel Erdmann has been travelling between Germany and France for over 20 years. German-French and European projects are at the centre of his work, in which he has been supported by Philippe Ochem and the Jazzdor Festival from the very beginning. Jazzdor is once again a partner and sponsor for the new band. Projects over the past 20 years include bands such as Das Kapital and Velvet Revolution, but also quartets, trios and duos with Heinz Sauer, Christophe Marguet, Vincent Courtois, Aki Takase, Henri Texier and many others. Two musicians from France, with whom Erdmann has played a lot in recent years, have agreed to join him in the new project: violinist Théo Ceccaldi, member of the band Velvet Revolution, and cellist Vincent Courtois, with whom Daniel Erdmann has been working in various bands since 2008, first in a quartet with Frank Möbus and Samuel Rohrer, then in Vincent’s trio with Robin Fincker and on the side in various projects with painters, actors, singers. All these common experiences can be a basis for imagining a band sound when composing. Other band members who have accepted the offer of this new collaboration include the young French clarinettist Hélène Duret, who is currently touring all the clubs and festivals in France with her band Suzanne. Her velvety clarinet sound combines wonderfully with the saxophone sound of Daniel Erdmann. The rhythmic basis of this sextet is formed by drummer Eva Klesse and bassist Robert Lucaciu, two now established greats of the German jazz scene, who in turn know each other well from the Leipzig jazz scene. A solid rhythm section that can also go unexpected ways, different generations and individual voices that can also put themselves at the service of the group sound. A German-French couple therapy full of the joy of playing with some of the best musicians of both countries. That is Daniel Erdmann’s idea for this new adventure. Before the concert, they are recording their debut album to be released on BMC Records in the near future.

Pianist György Pataj graduated from the jazz department at the Franz Liszt Academy of Music in 1997. Over the past fifteen years he has played with such prestigious Hungarian musicians as Aladár Pege, Imre Kőszegi, Gyula Babos or the Cotton Club Singers. Pataj Jazz Quintet, his own band was founded in 2009, and after a few changes, the present solid lineup of prominent musicians of the Budapest jazz scene came to being. The quintet revives the hard-bop genre of the '60s and '70s: their sound reflects the world of groups led by outstanding personalities of the period (Miles Davis, Art Blakey, Freddie Hubbard, McCoy Tyner, Lee Morgan, Benny Golson, Cannonball Adderley).

“Sassoon is a fascinating original, her piano world inhabited by Keith Jarrett’s lyricism and driving hooks and Steve Reich’s minimalism … This is music that splices lyrical shapeliness with bursts of take-no-prisoners abstraction, but Sassoon’s sensitivity to that balance is as alert here as her listeners have come to expect.” – John Fordham / The Guardian Whoever immerses themselves in the music of British pianist and composer Julie Sassoon will be rewarded with nothing less than an adventure, with sounds that can be lyrical and gentle, abstract and edgy, full of twists and turns, mysterious and unpredictable, yet highly accessible. Listeners are drawn into a world that offers more than one level of perception. ‘Voyages’, the latest album by Sassoon's renowned quartet, was nominated for the German Record Critics' Award for good reason. Born in Manchester and based in Berlin since 2009, Julie Sassoon is known for taking her audience on exhilarating and unpredictable journeys - whether solo, ‘Inside Colours Duo’ with saxophonist Lothar Ohlmeier, her duo with drummer Willi Kellers, her quartet or with other ensembles. What makes Sassoon's music so appealing is that this woman's musical thought processes are far removed from convention, that her imagination is always seeking new paths, new forms of expression.  

The Modern Art Orchestra's À la MAO... series aims to present compositions and adaptations, sometimes originals, by members of the orchestra in a new context. In recordings and concerts, the orchestra has created a repertoire that is unparalleled in the history of Hungarian jazz. Some of these pieces have never been heard before by old or new followers, arranged in a new thematical, stylistic or other way. Additionally, some of them have never been released on disc or digitally. The mythical magic of the Far East and the Balkan or Asia Minor have often influenced pieces of recent Hungarian music history, they now provide the thematic link to the oriental music programme. An unmissable piece in such a programme is the orchestra leader Kornél Fekete-Kovács's suite Yamas and Nyamas, of which the movement Tapas is based on an Indian raga. Actually, Bartók also collected folk music in Asia Minor, and in recent years the MAO has systematically adapted Bartók's works, such as the 15 Hungarian Peasant Songs, to its own sound. Some compositions by the in-house composers of the Modern Art Orchestra have also revealed Balkan, Indian and Arabic musical influences.

The poems in the lyrics contribute to the innovative world of Ötödik Évszak (Fifth Season), as do the use of both Hungarian and French, the immersion in the values of folk music that are not commonly known, the creative understanding of folk culture and the joy of chamber music. Their music playfully combines an urban environment and respect for tradition, and runs the gamut of emotions: their compositions alternate between dynamic, virtuosic, melancholic and life-affirming. The core of their songs is the folk music of the Carpathian Basin, which is expanding into the world of improvisation. Sometimes featuring guest musicians, the Fifth Season sees traditional folk music as a legacy of European culture, in which the creation as an intellectual heritage is also a community's contemporary imprint. Formed in 2018, the band has enjoyed great professional success, in 2020, they represented Hungary on the stage of the Womex Regional Showcase. The members of the Fifth Season are prominent representatives of the Hungarian music scene, who have already demonstrated their love of music in numerous productions (Buda Folk Band, Lajkó Félix, Dresch String Quartet, Hungarian State Folk Ensemble, Ifjú Szívek String Quartet or Ephemere).  

Think Big is an unprecedented quartet which has the air of a libertarian manifesto. A ground of experimentation furiously alive. The French double bass player Thibault Cellier and the French saxophonist Raphaël Quenehen got to know each other for 20 years within the collective of artists “Les Vibrants Défricheurs” and the band “Papanosh” (Laureate Jazz Migration 2013, Echoes of France selection Jazzahead 2015). Along with them, Mike Reed, drummer and composer, hyper-activist on the Chicago’s scene and member of the AACM, plus Ben Lamar Gay, his long-time partner, trumpetist and multi-instrumentalist coming from the same galaxy. Think Big toured twice in Europe, it’s the first introduction of the quartet in the USA. They also record a new album, to be released on BMC Records. Think Big has been made possible through Jazz & New Music, a program of Villa Albertine and FACE Foundation, in partnership with the French Embassy in the United States with support from the French Ministry of Culture, Institut français, SACEM (Société des auteurs, compositeurs et éditeurs de musique) and the CNM (Centre National de la Musique). Le collectif Les Vibrants Défricheurs est conventionné par le Ministère de la Culture et de la Communication / DRAC Normandie et par la Région Normandie, soutenu par les Villes de Rouen, Sotteville-lès-Rouen et Le Petit-Quevilly (76)

The brilliant and versatile Roy Hargrove summoned this parade 30 years ago, documented on 73+ minutes. Hargrove (1969-2018) created wonders: in addition to his quintet albums, he founded a big band and opened wide doors to hip-hop and R&B. Here, as one of the ambitious young lions, he provides yet another example of positioning his generation in the jazz tradition, while happily savouring every minute of musical encounters. The Cyrus Chestnut-Rodney Whitaker-Gregory Hutchinson rhythm section features saxophonists in their 30s: Ron Blake, Branford Marsalis and Joshua Redman, as well as grand masters Johnny Griffin, Joe Henderson and Stanley Turrentine. Hargrove shines as a bandleader, composer, soloist and host, smiling as he opens the door to the parade of saxophone stars. Kristóf Bacsó, János Ávéd, Árpád Dennert and Balázs Cserta - almost the entire MAO saxophone chorus - take turns interpreting the music of their great predecessors, while Kornél Fekete-Kovács takes the trumpet part.    

Vasakon represents a surprising soundscape, especially considering its members’ musical backgrounds. Imre Németh (aka Virgács) was part of the Ugar Records circle (Yonderboi, DJ Palotai, Miraq i Miro) in the early 2000s touring Europe, and has since produced numerous albums for Rutkai Bori. As a drummer, András Halmos has honed his improvisational skills in Jü, Tariqa, The Mabon Dawud Republic, Gadó Gábor's bands, and various other formations, delving deep into Afrobeat and Gnawa traditions. Together, they create a musical atmosphere that, despite its purely improvisational nature, results in an experimental creation in another way: a pure, minimalist IDM beauty from scratch. Each concert is unique, as they perform with different guest musicians without prior preparation. They prefer to remain in the background, providing their guests with an inspiring foundation and space. The ensemble’s name refers to the electronic instruments they play on: Vasakon, in Hungarian slang, literally means "on gear," referring to their hardware-driven setup. Each performance is a new narrative, a unique, personalized occasion, and their list offuture guests is long, exciting, and diverse.  

The Baló Project was founded in 2015 with the aim of presenting the same music in several lineups, always in a slightly different way. The members choose musical devices according to the ideas they want to express, drawing on elements of jazz, rock, folk and contemporary music. Their main ambition is to become so immersed that their creative energies can be unleashed and unite with their professional skills in a force that engages and captivates the audience. Now they aim at this with a special line-up, featuring guest appearances by László Dés, Máté Pozsár and András Dés.

Montreux competition winner Nikoletta Szőke is one of the most popular jazz singers in Hungary. In addition to concert halls and festivals in Hungary, she has performed with great success in New York, Tokyo, Brussels, Copenhagen, London and Berlin, singing with Michel Legrand, Bobby McFerrin, Kurt Elling and Gregory Hutchinson, among others. She has released seven solo albums to date, with her latest album Moonglow produced by Grammy Award-winning producer Helik Hadar. Since the beginning of her singing career, Nikoletta Szőke has been a committed advocate of accessible vocal jazz; in 2006, she paid tribute to one of her greatest idols, Ella Fitzgerald, with her first national tour. In this concert, she will perform the standards made famous by Ella, her most iconic songs, with arrangements typical of the golden age of jazz.  

Bálint Gyémánt's trio brings a special colour not only to the Hungarian, but also to the international jazz scene. Together with two brilliant artists, the bandleader guitarist creates a unique atmosphere, while inviting his listeners on a unique journey. Perhaps our country's most ambitious power trio, they released their first album, Vortex of Silence less than a year ago on Jazzhaus Records in Germany. After numerous concerts abroad and Europe's biggest jazz showcase, jazzahead!, the new album was premiered in Budapest, at Müpa Budapest, at a sold-out concert. Their spring highlight concert will be hosted by Opus Jazz Club, where they will tell their new stories in the language of music.    

What's the best way for a musician to celebrate his birthday? With a joyful music session. And that's exactly what István Tóth is planning, this time with bass guitar in hand, together with an entire big band of musician friends and surprise guests, with whom he has formed a special band, creating a programme and arrangements from his favourite songs for this occasion. The programme will pay tribute to the defining jazz-funk bands of the 1970s, with Weather Report and Headhunters as the main tracks, and István Tóth and his band will also evoke the musical world of Jaco Pastorius' album The Birthday Concert.

Immerse yourself in the world of Callisto, where innovation meets tradition and sonic landscapes are painted with bold strokes of creativity. Saxophonist Peter Van Huffel’s latest project is a bass-less quartet that skews the line between composition and improvisation. Featuring Peter on baritone saxophone and electronics, Canadian trumpeter Lina Allemano, Greek pianist and electronics artist Antonis Anissegos, and German drummer Joe Herstenstein, Callisto offers a unique and profound approach to modern jazz with their debut album, "Meandering Demons.” Peter's innovative compositions serve as the backbone for this project, weaving intricate tapestries that combine structured elements with the spontaneity of free improvisation. Some pieces are expansive and suite-like, taking the listener on a journey of musical adventure and surprise, while others offer a slow build which develops gradually through subtle harmonic twists and layering of sound. The absence of bass in this ensemble offers the piano an extended space in which to explore the vast range of the instrument while trumpet and baritone highlight frequencies at opposite ends of the spectrum, giving the four-piece band an almost orchestral presence. With the addition of electronics subtly incorporated into the sound of the piano and blended at select moments with the resonance of the acoustic horns, Callisto is a captivating musical experience that transcends genre and resonates with jazz enthusiasts and adventurous listeners alike. Callisto’s inaugural album “Meandering Demons” was released in March 2024 on the renowned Portuguese avant-jazz label Clean Feed Records. This carefully selected collection of tracks showcases the quartet's unquestionable chemistry, pushing the boundaries of the jazz tradition and inviting listeners into a realm of sonic exploration.  

The Electric Bebop Band Budapest was founded in early 2023, inspired by Péter Cseh. The connection with Paul Motian's band of the same name is obvious, which, under the leadership of the legendary jazz drummer, acted as a kind of musical incubator in the last decade of the previous millennium – names like Kurt Rosenwinkel, Ben Monder and Joshua Redman turned up there in their youth. For the six members of this unique, multi-generational band, the search for and experience of freedom is the most important common denominator. The repertoire is made up of now-classic pieces by outstanding figures of the bebop era, such as Monk, Parker and Bud Powell, which give new generations of musicians the opportunity to reinterpret and express themselves through them.

An artist with little need for introductions, Elliot Galvin is a long-time trailblazer in the UK jazz firmament with four solo albums that have seen him top album of the year lists at the likes of Downbeat and Jazzwise, as well as being a member of the Mercury nominated Dinosaur, and collaborating with Shabaka Hutchings, Emma-Jean Thackray, Norma Winstone, Marius Neset and Mark Lockheart. Scheduled for release in February 2025 via independent London tastemaker label Gearbox Records (Binker & Moses, Abdullah Ibrahim, Cahill//Costello), “The Ruin” marks a new start for Galvin. This is his most personal album to date, written on his childhood piano and inspired by the bleak yet beautiful landscapes of his hometown, the music free-flows between serpentine piano and modular synth lines weaving and colliding around ephemeral vocalisations, deceivingly groove-heavy percussion, and intricate, soulful flute improvisations, featuring a who’s who of estimable guest musicians and friends from the UK scene including a secret special guest on flutes, renowned bassist and vocalist Ruth Goller, Polar Bear drummer and Patti Smith / Damon Albarn collaborator Sebastian Rochford, and longtime collaborators The Ligeti String Quartet.

The artistic goal of Bence Dóczi (imdb) and the DDT trio is to combine the classical elements of hip hop with the freedom of improvisation to create a unique sound and express the diversity and limitless possibilities of music. In addition to instrumental virtuosity, which guarantees a technically high level of playing, the use of electronic effects and sound recordings plays an important role, adding a new dimension to the music. Some songs have psychedelic influences that take the listener on a journey, others are more groove-driven, which guarantees a sense of dynamism. In addition, improvisation allows the four young musicians to take advantage of the inspirations of the moment and share them with the listeners. The band's first album was released recently, and now they take their chemistry even further with cimbalom player Áron Horváth.  

The Jasna Jovićević Quinary is a groundbreaking ensemble redefining chamber jazz through artistic research, improvisation, and a deeply contemporary approach to composition. Formed in 2016, the group has established itself as one of the most innovative musical collectives in Serbia and the broader region. The Quinary combines the dynamic energies of string quartet instrumentation with the fluid versatility of woodwinds, voice, and percussion, crafting a unique soundscape that transcends conventional genres. The Quinary’s music is a form of conceptual program music, designed to explore the intricate relationships between sound frequencies, perception, and well-being. This visionary work integrates elements from the yogic tradition of Nada Yoga (the Yoga of Sound) with modern jazz aesthetics, creating compositions that resonate with the mind and body alike.  At the heart of the Jasna Jovićević Quinary is the seamless integration of composed and improvised music. Jasna’s compositions are uniquely tailored to highlight the strengths and distinctive styles of each member, allowing for a collaborative creative process that reshapes and refines musical ideas in real time. This approach fosters a collective expression of unity, empathy, and innovation, qualities that resonate deeply in today’s extraordinary times. The Jasna Jovićević Quinary challenges traditional notions of chamber music. With a deep commitment to innovation, the ensemble reimagines the roles of soloist, accompaniment, and ensemble interplay, allowing for an organic and fluid musical dialogue.  Critics and audiences alike have recognized Jasna Jovićević as one of the most intriguing figures in contemporary Serbian music. Described by Politika as “realizing her talents across numerous fields,” and by Jazzwise as “an excellent avant-garde player,” Jasna and her ensemble continue to push the boundaries of musical exploration.  

The members of the Szabó Dániel Quintet are top musicians active in Hungary and internationally. They mostly perform the compositions by the bandleader: progressive, but accessible and stimulating music. The repertoire is characterised by intense and joyful interaction between the members, complex rhythmic world, lush melodies and modern harmonies. They will play favorites from Intersections, the album recently released by the American version of the band (Daniel Szabo Quintet), along with several new compositions.  Szabó is active both in Hungary and in the US, having worked regularly with musicians such as Peter Erskine, Chris Potter and Joe LaBarbera, as well as with the younger generation of American musicians. His most recent album, Visionary, was a chart-topper in the prestigious American magazine JAZZIZ, with Brad Mehldau and Esperanza Spaulding. Chick Corea's management has asked Szabó to perform the final movement of Corea's Bartók-inspired Jazz Piano Concerto, dedicated to Müpa Budapest, with John Patitucci and Dave Weckl, in the spring of 2022. With his former mentor, the Grammy-winning Danilo Perez, Szabó gave a two-piano concert in December 2023.   

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Not just the members of the quartet, this album is a legend in itself. Two originals have become standards from it. By 1965, the self-taught Montgomery received many invitations, including one from New York’s Half-Note. The rhythm section, Wynton Kelly, Paul Chambers and Jimmy Cobb, had accompanied Miles Davis for four years. For some reason, only No Blues and If I Could See Me Now have made it from the concert onto the first release, the rest were studio recordings three months later. Two tracks with numbered titles, Unit 7 and Four on Six, became standards from this album, but the bluesy, hidden tension of What’s New is also full of excitement. The almost breathless momentum all the way through is impressive, like a hissing steam engine at full speed, and it’s not just the guitar that gives that feeling. It’s the piano and accompaniment throughout as well, as they reveal simple yet nuanced melodies with the endlessly precise interplay of the whole quartet. The first LP release has been followed by numerous analogue and digital discs since 1965, because this material never gets old. The guitarist of MAO, Áron Komjáti, a master of shades depicting any colour of jazz, interprets the classic tracks as a soloist on the podium.

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The Modern Art Orchestra's À la MAO... series aims to present compositions and adaptations, sometimes originals, by members of the orchestra in a new context. In recordings and concerts, the orchestra has created a repertoire that is unparalleled in the history of Hungarian jazz. Some of these pieces have never been heard before by old or new followers, arranged in a new thematical, stylistic or other way. Additionally, some of them have never been released on disc or digitally. Big bands achieved their greatest popularity during the swing era, and the Modern Art Orchestra, embracing the jazz tradition, is keen to return to its roots. Recently, trombone player Attila Korb's suite Swinging on the Danube was written entirely in this style, in which the composer plays several instruments, including a memorable bass saxophone solo. Not only Korb performs regularly in traditional orchestras, also some other composers are rooted in the swing tradition, whether in rhythm, harmony or the pulsation of the kind that the Ellington and Co’s song says without swing „it don’t mean a thing”. 

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Bassist Stanley Clarke’s name is at the top of this studio album cover only because of the alphabetical order: the quintet (with Freddie Hubbard, Lenny White and Chick Corea) was mainly known as the Griffith Park Band. Perhaps the biggest star at the time was saxophone legend Joe Henderson, so he got to play the first solo on most tracks. The band, acoustic throughout, presents a wide cavalcade of moods. The musicians move like big cats, stretching lazily and then rushing to attack. It’s no coincidence that the orchestra has more concert than studio recordings. Only a Steve Swallow composition is featured here, the others are original compositions in which both the highly inspirational interplay and the far-reaching impros are perfectly developed. It’s good to experience the giants of jazz-rock bath together in a hard bop river before crossing it. MAO soloists, on the other hand, can reflect on this album with four decades of accumulated musical knowledge. 

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The Modern Art Orchestra's À la MAO... series aims to present compositions and adaptations, sometimes originals, by members of the orchestra in a new context. In recordings and concerts, the orchestra has created a repertoire that is unparalleled in the history of Hungarian jazz. Some of these pieces have never been heard before by old or new followers, arranged in a new thematical, stylistic or other way. Additionally, some of them have never been released on disc or digitally. On International Jazz Day, an initiative associated with the name of Herbie Hancock, one of the founding fathers of jazz-rock, it almost goes without saying that the Modern Art Orchestra will be drawing on the extensive repertoire of the jazz-rock genre. Works by the versatile trumpeter-composer Gábor Subicz, pianist Gábor Cseke, saxophone soloist Kristóf Bacsó and bandleader Kornél Fekete-Kovács form the backbone of the programme. A surprise guest will be sitting down into the drum chair.

The Modern Art Orchestra's À la MAO... series aims to present compositions and adaptations, sometimes originals, by members of the orchestra in a new context. In recordings and concerts, the orchestra has created a repertoire that is unparalleled in the history of Hungarian jazz. Some of these pieces have never been heard before by old or new followers, arranged in a new thematical, stylistic or other way. Additionally, some of them have never been released on disc or digitally. The Modern Art Orchestra's last concert of the season might as well bring up Herbie Hancock's name again, because this is the title of the Hancock's sextet album released almost 30 years ago.  They have been instrumentally reworking current pop hits. Of course, ever since jazz emerged, it has been using the hits of the day as a starting point to improvise, and the Great American Songbook was almost exclusively made up of musical, pop and film hits from the 1930s. In the last few decades, the freshness of new styles of pop has inspired some of the most famous foreign artists. The Hungarian jazz repertoire has also included songs by the most successful pop ensembles, while composers such as Gábor Subicz, Kristóf Bacsó and the orchestra leader Kornél Fekete-Kovács have also adapted film or stage music, creating a whole series of new jazz standards.