Mihály Borbély and Sára Tímár’s new concert program is a unique blend of the rich soundscapes of jazz, world music, and folk music. Mihály Borbély arranged the songs selected by Tímár for a quintet: folk melodies and original compositions written by the duo in the spirit of these melodies are reborn, accompanied by wind instruments, cimbalom, double bass, and percussion. Among the band’s members are young talents from the Hungarian jazz scene, Áron Horváth (cimbalom) and Lőrinc Mohácsy (double bass), as well as Csaba Gyulai, a well-known percussionist on the world music scene. The convergence of three musical styles and three generations promises an exciting concert experience. Photo: Benjámin Timár  

The Yanchammer Trio is based on an unusual instrumental combination: the trio of piano, guitar, and bass guitar rarely appears as a standalone jazz lineup, yet it offers a particularly transparent sound and a high degree of musical freedom. In the absence of drums, the shaping of rhythm, harmony, and melody is shared among the three instruments, so their roles are constantly shifting. The band’s repertoire is based on compositions by the three members. These songs are deliberately open-ended: the musical direction is defined, but leaves ample room for new forms, emphases, and connections to emerge during the performance. Thus, the trio does not play the same pieces night after night, but reinterprets its own material at every concert. The three musicians represent different generations and musical backgrounds. János Nagy’s compositional approach, András Párniczky’s distinctive guitar playing, and Milán Nagy’s fresh, creative bass guitar playing do not establish a hierarchy, but rather come together as an equal, carefree music-making experience. One of the defining characteristics of the trio’s concerts is their chamber-music-rooted approach: even the slightest dynamic changes, tempo shifts, or improvisational ideas immediately redirect the entire band’s playing. It is this constant interaction that gives the group its character.

The Modern Art Orchestra’s Fall 2026 concert series pays tribute to the 100th anniversary of John Coltrane’s birth. One of the most influential figures in the history of jazz, Coltrane was not only an instrumental revolutionary, but an artist who redefined the relationship between improvisation, form, and spiritual expression. This four-concert series traces key stages of his artistic journey: from his hard bop roots through the reinterpretation of standards to his most lyrical, vocal expressions. The selected albums represent not only different periods, but distinct ways of thinking — a path that leads from tradition toward the creation of a unique and universal musical language. The musicians of the Modern Art Orchestra recreate these iconic recordings in their original instrumental settings, preserving their spirit while bringing them to life with their own voice, from a contemporary perspective. The opening concert of the series focuses on John Coltrane’s first album as a bandleader. While Coltrane is still rooted in the language of hard bop, it already reveals the unmistakable personal voice that would later transform jazz at its core. The distinctive horn textures and rich harmonic environment create a unique balance between traditional forms and an emerging individual vision. The soloists of the Modern Art Orchestra evoke this formative musical world, sensitively tracing the early yet remarkably intense phase of Coltrane’s artistic search.

The repertoire of Márton Stummer’s acoustic ensemble consists of Brazilian guitar songs and his own compositions. Afrosamba blends elements of Brazilian samba and Afro-Brazilian jazz. While building on this style, Márton Stummer’s compositions draw equally on classical music, jazz, and contemporary music, while also leaving room for free improvisation. The quartet’s sound is primarily inspired by the playing of Brazilian guitarist Baden Powell. Dominik Kosztolánszki, one of the most outstanding saxophonists of his generation who is at home in several styles, joins the band as a special guest. The title of their new program and concert is Coisas mágicas (Magical Things), a reference to the representation of magical realism in music.

Sakobi brings together three distinctive voices of the Czech jazz scene: saxophonist Radek Zapadlo, double bassist Vilém Spilka, and drummer Martin Kleibl. Having performed together for years in various projects, the trio shares a strong musical connection and an intuitive interplay on stage. Their repertoire combines jazz standards with original compositions from their two albums released on Bivak Records. While all three musicians contribute as composers, Vilém Spilka provides much of the material, drawing inspiration from sources ranging from his hometown of Brno to Japan, reflected in the band's name and album titles Banzai! and San. Rooted in jazz tradition yet open to influences from folk and other contemporary styles, Sakobi creates music that is dynamic, colorful, and full of character. Photo: Gabriel Fragner  

Since meeting in 2010, Michèle Pierre and Paul Colomb have played together continuously, their playful musical dialogue giving rise to Duo Brady. In La Vie d’après – a post-Covid repertoire conceived as a reverie about our possible futures – they blend melancholy with hope and celebration. Everything that made the duo so compelling – lyrical depth, virtuosic improvisation, and seamless interaction – is heightened by new influences: acoustic techno, progressive rock, and contemplative pop. Make way for the body, for dance, and for trance – as if moving forward, together, through the winding roads of an uncertain future. (Raphaëlle Tchamitchian) From the White Stripes to the Black Keys, the drum/guitar duo is to rock what the piano/bass/drum trio is to jazz: a classic format. But reducing Oasis Boom’s music to a single aesthetic would be a mistake. Inside the “car radio of the cactus bus” – the name of the single extended piece they perform live – you’ll find greasy rock, yes, but also surf music, drone, lullabies, and club rhythms. The machine rolls on at breakneck speed, transforming, soaring, teleporting. It’s direct and relentless. Through windows stained with red dust, we glimpse the hallucinatory vistas of Piton de la Fournaise, the languid bends of the Niger River, and the dry immensity of Arizona. When it’s over, Melissa Acchiardi and Vincent Duchosal step down in silence, hands blackened by electricity, eyes still filled with melting horizons – and we realize that the journey hasn’t really ended. It never does. (Hélène Gant) Photos: Duo Brady by Zoe Cavaro, Oasis Boom by Julia Gat  

The collaboration between Bori Orbán and Valami Swing dates back nearly a decade. For their new album, released in 2024 and titled Chanter la vie, l’amour, they have compiled a selection of their favorite songs together, blending chanson, jazz, swing, and manouche. Bori Orbán’s chanson-inspired style and Piaf-like, distinctive voice, and Valami Swing’s unique, virtuoso sound, rooted in gypsy jazz, come together in harmonious unity to bring old and new songs to life, preserving a world that lives on through these songs. Bori Orbán’s regular musical partner, Kristóf Pánczél, will play the piano as a guest artist. Photo: Sandro Valentini

Luca Kézdy is one of the most distinctive violinists on the Hungarian jazz and contemporary music scene. Her playing is at once meditative and passionate – a musical journey woven with improvisation, electronics, and delicate textures, where the boundaries between genres blur. At her solo concert, we can explore the frontiers of jazz, contemporary music, and improvisation alongside her: every moment gives rise to something new and unrepeatable. Luca Kézdy’s first solo album, Home, was released in December 2022, followed in 2023 by Unseen Landscapes, which she premiered on the Opus stage; at the same time, her first and second solo exhibitions, bearing the same title, opened. Photo: Levente Baltay  

Dear Guests, Due to health reasons, Chris Joris unfortunately cannot perform at this concert. Contrary to the line-up originally announced, the trio's drummer will be Nico Chkifi. Thank you for your understanding,BMC – Opus Jazz Club This acoustic trio explores the frontiers of contemporary blues infused with jazz and African music. Through the organic interplay of guitar, saxophone and percussion, this multi-generational ensemble creates an intense musical experience driven by innovation. Their sound is both lyrical and deeply expressive, capable of shifting in an instant into realms of atonality and chaos, leaving the listener exhilarated and disoriented. Each composition unfolds as a sonic landscape, a kaleidoscope of textures in which rhythm and groove often take centre stage, only to dissolve into other forms of expression and musical dialogue. This ever-changing interplay keeps audiences on the edge of their seats, balancing delicately on the wire of musical exploration. Beyond its sheer musicality, the trio’s music carries a profound spiritual and emotional dimension. It conveys the powerful message that light is always greater than darkness. While chaos is an inevitable part of life, it can be transformed into something positive and beautiful. This transformative spirit resonates throughout their compositions, evoking a sense of hope and possibility. Like an echo of the modern age, their music invites listeners to immerse themselves in an ocean of sound where melodies intertwine and emotions awaken. It is a journey through intricate harmonies and pulsating rhythms, with the musicians painting a vivid sonic landscape. Their artistic exploration reflects the complexity of the human experience, offering a glimpse into the depths of the soul. Their debut album, titled Midnight Sun, was released in December 2024 by IGLOO Records, followed by the digital live recording Midnight Sun Live in 2025. Capturing the trio’s remarkable onstage chemistry, the album features evolved live versions of eight tracks from their debut.  Photo: Lucinde Wahlen  

Krisztián Oláh's music is equally rooted in classical compositional techniques and the improvisational, abstract rhythms of contemporary jazz. His central artistic drive is the organic synthesis of these two worlds, shaping a dynamic, lively vision of contemporary music. His most important musical project, the Krisztián Oláh Quartet uniquely blends composition and improvisation into a coherent artistic language. The band consists of leading figures of Hungarian jazz, contemporary and alternative music scenes. While their programme is built around the bandleader's compositions, all members are outstanding improvisers. As a result, spontaneous and collective improvisation forms an essential part of their performances, carrying the spirit and musical vocabulary of our time, and shaping a fresh, complex sound for the quartet. Photo: Botond Sepsi  

❗ Please note that the concert will begin at 8.00 PM and will last until 9.00 PM, without an intermission. ❗ The half-day concert series organized to celebrate the BMC’s 30th anniversary will come to an end in the Opus Jazz Club, with a performance by the world-travelled quartet that includes BMC’s founding director, László Gőz. The music of the Moment’s Notice Quartet is framed by electronic effects, which are then filled by instruments that differ in both sound and character, engaging in a sensitive and magical chamber music dialogue. The band takes to the stage without discussing anything but the basic concept – their sounds emerge without prior planning, born in the fleeting reality of the moment, illuminating the interconnections between jazz, classical, contemporary and electronic music. At this concert, the four musicians will again demonstrate the highest art of spontaneous music-making.

For the band’s 10th anniversary, Jan Galega Brönnimann, Moussa Cissokho and Omri Hason present their third album, I Nia Yelle. In Mandinka, the language of a West African ethnic group, this means: Open Your Eyes. JMO are not only the initials of the three musicians, but also the three main influences in their music: jazz, mandinka and oriental. The music of this trio brings the art of storytelling back to life. The sparkling, clear sound of the kora (traditional African bridge harp with 22 strings) meets the sonorous, smoky tones of the bass clarinet and is supported by Omri Hason’s various percussion instruments. The interplay between Moussa Cissokho, Jan Galega Brönnimann and Omri Hason captivates with beautiful melodies and rhythmic elegance – in their unforgettable live concerts, the three oscillate between magically transfigured moments and rhythmically explosive flights of fancy. The result is authentic and contemporary chamber music. The trio crosses boundaries between traditional and modern sounds from Africa, Europe and the Orient. The repertoire comes from all three musicians and shows their different influences. The encounter of the three cultures, the selection of instruments and the rich pool of ideas, melodies and rhythms makes the music an unforgettable listening adventure. Influenced by the cultural heritage of West African Griot songs, Moussa Cissokho sings about life in Africa and Europe today. His lyrics are about longing, mysterious rivers or experiences at border controls in Europe. He belongs to the 42nd generation of the great Kora dynasty and Griot family Cissokho, which has shaped the tradition of West African music for over 1000 years. Photo: Christa Engstler  

Weird Ugly Fish, the duo by Aistė Kalvelytė (drums) and Julius Čepukėnas (electronics) perform music that goes beyond genre boundaries. In their creative work, we can sense influences from various music styles, starting with free jazz, krautrock, punk rock, including but not limited to IDM and ambient. The compositions of Weird Ugly Fish are long, dynamic musical journeys that contrast improvisational elements with rigid constructions. The duo’s first public performance happened in the summer of 2021. Since then, they have been actively performing in Lithuania and abroad, most notably at the Vilnius Mama Jazz Festival, the Lt.art Vienna Festival, the Claws Of Saurtopia Noise Fest, the Vilnius Jazz Festival, and the jazzahead! 2025. In October 2024, the band released their second album, Cannot Disappear. Photo: Rytis Šeškaitis  

MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The opening concert focuses on the meeting of Kornél Fekete-Kovács and Bob Brookmeyer. Brookmeyer was one of the greatest innovators of modern big band writing. His music is characterized by transparent forms, finely layered textures, and sophisticated harmonic thinking. His work fundamentally shaped the sound of contemporary large ensemble jazz inthe late twentieth century. The compositional world of Kornél Fekete-Kovács approaches form and orchestral color with a similar sensitivity: structural clarity and lyrical expression are equally essential elements of his music. This evening is not only about influence, but about the encounter of genuine musical mindsets — where Brookmeyer’s transparent complexity finds a contemporary continuation.

MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The opening concert focuses on the meeting of Kornél Fekete-Kovács and Bob Brookmeyer. Brookmeyer was one of the greatest innovators of modern big band writing. His music is characterized by transparent forms, finely layered textures, and sophisticated harmonic thinking. His work fundamentally shaped the sound of contemporary large ensemble jazz inthe late twentieth century. The compositional world of Kornél Fekete-Kovács approaches form and orchestral color with a similar sensitivity: structural clarity and lyrical expression are equally essential elements of his music. This evening is not only about influence, but about the encounter of genuine musical mindsets — where Brookmeyer’s transparent complexity finds a contemporary continuation.

Lilla Orbay is one of the most prominent and versatile members of the younger generation of Hungarian jazz, participating in the work of her own band as a singer, composer, bandleader, and pianist. Their music draws inspiration from the melody-driven, atmospheric world of the 1970s, blended with modern arrangements and the band members’ distinctive improvisations. The band has gained recognition both in Hungary and internationally, having performed at festivals such as EuroJazz in Mexico City and the Amersfoort World Jazz Festival in the Netherlands, among others. Their first single, titled Paradise Ablaze, was released in December 2023. Photo: Wanda Martin    

The Coltrane Legacy sextet was founded in 2017, on the 50th anniversary of Coltrane's death, by one of the most sought-after musicians on the Hungarian jazz scene, bassist György Orbán. In the decade and a half from the mid-1950s until his death in 1967, the saxophonist laid new foundations for modern jazz. He created a legacy of music that has influenced generations of musicians ever since, reaching ever more spiritual dimensions. A seasoned bassist who has played in many bands, György Orbán thought the best way to honour the saxophonist's legacy was to create a group that would play both original compositions inspired by Coltrane's music and new arrangements of Coltrane’s songs. The compositions, of course, take Coltrane's tradition as their starting point and continue to reflect the abstract spirit and tools of our time, thus continuing the spiritual jazz tradition. Coltrane would have turned 100 in September 2026 – we can celebrate this anniversary together with the group at this concert. Photo: Róbert Vatai

Triology is a newly founded collaboration between three outstanding artists: Ratko Zjaca, an internationally awarded guitarist and composer behind a large international discography, Roland Abreu, the Cuban-born bassist who found his second home in Europe, and Austrian drummer Klemens Marktl. Together, they perform original compositions in a trio format. The peerless combination of guitar, acoustic bass and drums leads to stunning results in terms of sound and arrangement, sparkled with rhythmic ideas, texture and space. The three artists’ enthusiasm, passion, intensity and warmth can be experienced in every moment of their live performance, presenting an inspiring and enjoyable powerhouse of original compositions.  Photo: Jesper de Jong

Kristóf Bacsó is one of the leading figures on the Hungarian jazz scene as a saxophonist, composer and teacher. His wide-ranging work is also reflected in the fact that he has released five albums of his own compositions in recent years, ranging from trio through quartet and quintet line-ups to pieces written for a big band. Bacsó’s latest album, Let It Go, recorded with his band Triad, was released by BMC Records. The quartet will play songs from this album at the concert, but their program consists mainly of new compositions which blend stylistic elements of contemporary jazz, Hungarian folk music heritage and contemporary classical music into a unique musical concept in an exceptionally skilful manner. Photo: Virág Stépán  

Petra Várallyay’s solo project, Circles in Motion, draws inspiration from both the cycles of nature and Eastern martial arts. Centred on the themes of being in motion and cyclicality, live looping plays a key role in the programme, boldly experimenting with the possibilities of polyphonic choral textures and orchestral sounds. Modal improvisation, Balkan asymmetry and South Indian Carnatic music all contribute to the distinctive soundscape, which comes to life on stage in close harmony with Petra’s playing. Petra Várallyay studied jazz piano, jazz singing, classical violin and jazz composition at the Liszt Academy in Budapest and the jazz department of the Maastricht Conservatorium in the Netherlands. As a composer and performer, she has worked with Bobby McFerrin and Yo-Yo Ma, and performed at numerous festivals in Hungary and abroad, covering a wide spectrum of genres. Formed in 2014, her progressive fusion jazz trio has won numerous international awards, including the Audience Award at the Independent Music Awards (USA) for their album Deadline Haze.  Photo: Kristóf Lányi

The Modern Art Orchestra’s Fall 2026 concert series pays tribute to the 100th anniversary of John Coltrane’s birth. One of the most influential figures in the history of jazz, Coltrane was not only an instrumental revolutionary, but an artist who redefined the relationship between improvisation, form, and spiritual expression. This four-concert series traces key stages of his artistic journey: from his hard bop roots through the reinterpretation of standards to his most lyrical, vocal expressions. The selected albums represent not only different periods, but distinct ways of thinking — a path that leads from tradition toward the creation of a unique and universal musical language. The musicians of the Modern Art Orchestra recreate these iconic recordings in their original instrumental settings, preserving their spirit while bringing them to life with their own voice, from a contemporary perspective. This concert focuses on a unique chamber-like encounter: the collaboration between John Coltrane and Kenny Burrell, a masterclass in lyricism and refined expression. The dialogue between guitar and tenor saxophone creates transparent textures and subtle dynamic nuances, while deeply felt interpretations of blues and standard repertoire come to the forefront. In this setting, the musicians of the Modern Art Orchestra emphasize restrained intensity and the power of attentive interplay, revealing a more intimate and lesser-known side of Coltrane.

The Miles Davis 100 Tribute Quintet was formed to mark the 100th anniversary of the legendary trumpeter’s birth. The ensemble not only pays tribute to one of jazz’s greatest innovators, but also reinterprets his legacy from a new perspective: the production centres on a contemporary, European interpretation of Miles Davis’s work. The five exceptional musicians reflect, through their own artistic language, on material drawn from various periods of the Davis repertoire, placing great emphasis on collective improvisation, open forms and a contemporary sound. The end result, rather than being a reconstruction, reinterprets and enlivens the trumpeter’s legacy within the context of contemporary European jazz. The Miles Davis 100 Tribute Quintet’s performance is thus, on the one hand, a tribute and, on the other, an attempt to engage in a dialogue with the past using the language of the present.

2026 therefore marks Papanosh’s 20th anniversary. Far from wishing to celebrate this milestone as a wistful photo album or a mausoleum for a glorious musical narrative – which is, above all, a unique, human and democratic artistic adventure – the five members wanted to return to the drawing board and the fresh air of their residencies to give themselves time to devise a collective repertoire that truly reflects who they are. This show is entitled Yes I Are!, very much in keeping with the zany English-language titles of their previous repertoires, which subtly reflect their light-hearted approach to the seriousness of so-called contemporary music and trace the thread running through their music, steeped in African-American aesthetics. Above all, it is a cry from the heart for the collective, in which the individual does not lose their identity but, on the contrary, flourishes and expresses themselves even more uniquely. And to craft this new chapter, Sébastien Palis brings the distinctive timbres of the Mellotron to his piano, whilst Raphaël Quenehen enriches his saxophone with percussion and flutes from around the world. A production by the Les Vibrants Défricheurs collective, in co-production with Jazz sous les pommiers – a leading jazz centre, Jazzdor Strasbourg and Le Pannonica Nantes.The Les Vibrants Défricheurs collective is funded by the Ministry of Culture and Communication / DRAC Normandy, the Normandy Region and the City of Rouen. It is supported by the Seine-Maritime Department and the town of Sotteville-lès-Rouen.  

Since its inception, NoSax NoClar has established itself as one of the most distinctive and essential acts on the contemporary jazz and world music scenes. Led by saxophonist and clarinettist Bastien Weeger and bass clarinettist and beatboxer Julien Stella, the duo has developed an instantly recognizable sound, where virtuosity, physical engagement and melodic power come together in a deeply organic musical language. Through their three albums – Kahmsïn (2020), Red Sisters (2021) and No Dahïss (2023) – NoSax NoClar has crafted a free and borderless sonic universe, an “imaginary folklore” nourished as much by modern jazz as by Celtic, Turkish, Berber and Armenian musical traditions. Their music is made of breath and trance, rooted in rhythm, timbre and improvisation, constantly pushing the expressive possibilities of their instruments further. With nearly 150 concerts across Europe and around the world, the duo has built over the years a rare connection with audiences, captivating listeners through the intensity of their performance, their stage energy and their ability to create deeply sensitive and universal listening experiences. The year 2026 will mark a new chapter for the group with the release of a new album in the fall, alongside an international tour taking NoSax NoClar across the Americas, including Brazil and Canada, further expanding an international presence already firmly established. Above all, NoSax NoClar remains a deeply human experience: music that brings people together, carries them away and leaves a lasting impression. On stage, breaths intertwine, rhythms collide and time itself sometimes seems suspended. The duo invites listeners into an instinctive and vibrant journey, somewhere between memory and imagination, celebration and vertigo. Today, NoSax NoClar fully asserts a singular voice within the landscape of contemporary acoustic music: a living, open and intensely embodied music capable of giving each listener that rare feeling of having experienced a truly unique moment. Photo: Jef Rabillon  

Singer Charlotte Planchou – who rose to prominence in 2024 with the success of her album Le Carillon, receiving awards from the Académie Charles Cros and the Académie du Jazz – and renowned accordionist Didier Ithursarry form a natural duo, built on the spontaneity of a high-caliber musical dialogue. Their repertoire consists mainly of covers, ranging from French chanson (Ferré, Gainsbourg) to jazz standards, with echoes of South American songs and German cabaret. In Didier Ithursarry’s hands, the accordion carries the memory of an era and radiates a profound humanity, while displaying remarkable virtuosity and balance. With an exceptional technique rooted in classical singing, Charlotte Planchou embraces every contrast, and her stage presence is breathtaking. Together, they spontaneously shape sensitive arrangements, moving between chiaroscuro and flashes of brilliance. A suspended, vibrant and luminous moment that goes straight to the heart. Photo: Alessandro Camillo, Jean-Baptiste Millot

Sitmob, an unusual keyboard-drum duo by Áron Tálas and Ádám Klausz perfectly combines the pulsating grooves of modern hip-hop, funk or drum'n'bass with the harmonic and melodic world of jazz. The band was born out of the idea of street music, with a hidden intention of bringing this kind of music to people who would probably never encounter it otherwise. Pianist-drummer Áron Tálas has shown in the Borbély Quartet and in his own trio, among many other projects, that professional knowledge and a mischievous sense of humour strengthen rather than cancel each other out when it comes to creation, while Ádám Klausz has demonstrated his versatility and openness as drummer with Co Lee and Emma Nagy Quintet. Photo: Márton Fantoly

Blood Quartet is an experimental band formed in Barcelona in 2015 by New Yorker Mark Cunningham (Mars, Don King, Raeo) alongside Catalan musicians Kike Bela, Lluís Rueda, and Carles Esteban. Their sound, featuring a hypnotic and cinematic aesthetic, combines no wave, jazz noir, industrial rock, and free improvisation. They have published five works: Dark Energy (2015), Deep Red (2016), Until My Darkness Goes (2018), Root 7 (2022), and, in collaboration with Dongyang Gozupa, Terra Ignota (2025).  Blood Quartet's sound combines improvisation, unsettling atmospheres, and freeform structures inspired by free jazz and industrial rock, marked by a clear underground and experimental sensibility. They stand out for their ability to adapt to other disciplines such as cinema, dance, poetry, or performance art, having collaborated with artists like Miguel Ángel Blanca, Konik Thtr., Blanca Haddad, Ben Brooks, Laila Tafur, and musicians including Za!, Seward, and Julio César Palacio. Their sound is characterized by the use of effect-processed trumpet, distorted guitars, heavy bass, and broken rhythms, creating dark, unsettling, eerie and cinematic compositions reminiscent of a soundtrack to a distorted film noir or an abstract thriller – always driven by a strong improvisational presence and a radically free attitude. Photo: Anita Cortes  

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At a time of dangerous political, religious, and cultural polarization and xenophobia, Yemen Blues leads by example, creating a color-blind, all-embracing celebration of gyrating togetherness with love firmly at its pulsing core. The four members of Yemen Blues are spread across continents, with roots that span cultures. This global patchwork manifests in their singularly exhilarating polyglot mélange of Bedouin folk, funk, blues, avant-garde, Arabian classical, fuzzed-out rock, psych and jazz. So, wherever you’re from, Yemen Blues speaks your language. Equally a gathering of musicians and a spiritual channeling, Yemen Blues rejects the very concept of taking sides, instead seeing only unity and love as pathways to harmony on both micro and macro levels. They explore intricate and potentially thorny issues through the simplicity of sheer fun – a universal state where we all can meet. With their latest album, Only Love Remains, Yemen Blues delivers a genre-defying album that fuses tradition with raw emotion and contemporary sound. The group weaves together Yemeni roots, Afrobeat rhythms, Arabic soul, funk, blues, and jazz – creating music that is both deeply spiritual and intensely physical. Photo: Dudi Dayan  

MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The second concert brings together Illés Szabó and the rich, multi-layered musical universeof Pat Metheny. Illés Szabó is one of the versatile voices of the younger Hungarian jazz generation, active as a guitarist composer, and arranger. Winner of the 2021 Big Band Composer Competition of the Hungarian Jazz Federation, he studied at the Liszt Ferenc Academy of Music and the Conservatorium van Amsterdam. Pat Metheny is one of the broadest musical horizons in contemporary jazz. His music combines lyrical melodic writing, atmospheric textures, and groove-oriented thinking while constantly expanding the boundaries of the genre. His compositions are both accessible and complex, immediate yet deeply crafted. A special feature of the concert is that Metheny’s compositions will be performed in large ensemble arrangements created by the outstanding Bob Curnow and Illés Szabó. The original pieces appear in a new orchestral light while preserving the unmistakable atmosphere of Metheny’s musical world.

MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The second concert brings together Illés Szabó and the rich, multi-layered musical universeof Pat Metheny. Illés Szabó is one of the versatile voices of the younger Hungarian jazz generation, active as a guitarist composer, and arranger. Winner of the 2021 Big Band Composer Competition of the Hungarian Jazz Federation, he studied at the Liszt Ferenc Academy of Music and the Conservatorium van Amsterdam. Pat Metheny is one of the broadest musical horizons in contemporary jazz. His music combines lyrical melodic writing, atmospheric textures, and groove-oriented thinking while constantly expanding the boundaries of the genre. His compositions are both accessible and complex, immediate yet deeply crafted. A special feature of the concert is that Metheny’s compositions will be performed in large ensemble arrangements created by the outstanding Bob Curnow and Illés Szabó. The original pieces appear in a new orchestral light while preserving the unmistakable atmosphere of Metheny’s musical world.

In the age of precisely calibrated mass-produced goods, the Grencsó Paradox Four offers an exciting adventure for those seeking a unique, one-off and unrepeatable intellectual and emotional experience. The core of the band consists of István Grencsó, a wind instrumentalist and a black-belt master of the Hungarian free music scene, and Barnabás Dukay, who is not only one of today’s most significant, uncategorisable and extravagant composers, but also an outstanding keyboardist. Their collaboration spans more than ten years, during which time they have consistently demonstrated a unique, one might say spiritual, artistic chemistry that is truly rare. Their joint performances have been immortalised on albums regarded as milestones in free jazz, such as Hátrahagyott dolgok apály idején, Esszék and When Down..., not to mention their outstanding concert recordings, which lie hidden in private collections. Joining them – not for the first time – is composer Bálint Bolcsó, a figure with his own distinct musical world, who brings his electronic instruments to the table; he has previously made remarkable duo recordings with Grencsó. Szilveszter Miklós is a percussionist of exceptional musical and technical prowess, and one of Grencsó’s longest-standing musical partners. What makes his playing particularly valuable is that it goes far beyond mere “drumming” to provide a rhythmic foundation: in free improvisations, he is a creative partner on a par with his fellow musicians. This evening, we will hear the free flow of musical ideas conversing with one another from the very first note to the very last. This requires special attention from the audience as well, offering them the opportunity to enter into these musical flows, so that they may not merely be recipients but active participants in the creative process.

When Joe McPhee steps on stage, a piece of jazz history enters the room. For decades, the tenor saxophonist has stood for a jazz that knows no compromise – from the early, funky and raw recordings of his album Nation Time to the widely acclaimed solo excursions on Tenor. McPhee never stopped playing, yet it was a new generation of improvisers who rediscovered him in the mid-1990s – not least through his long-standing collaboration with Peter Brötzmann, in whose legendary Chicago Tentet he became a central figure. To this day, his tone is considered one of the finest in the field, even where he ventures into the outer regions of jazz. At his side is Steve Swell, one of the most distinctive trombonists of his generation. Swell treats the technical peculiarities of his instrument not as limitations but as invitations – howling glissandi, chattering chromaticism, and a playfulness that pushes his instrument to its limits and beyond. That he never abandons the ground of postbop linearity is what makes his music so multi-layered: virtuosic and unpredictable at once. The foundation is provided by Mark Tokar on double bass and Klaus Kugel on drums – two musicians who have understood each other intuitively for years. Tokar plays with a concentration and devotion that takes every moment of interplay seriously; his full, unmistakable tone forms the sonic backbone of the quartet. Kugel, in turn, ranks among the most defining drummers in contemporary European jazz: precise, alert, and always in dialogue with his fellow musicians, moving confidently between structural clarity and complete freedom. Together, the two form a rhythm section that distills improvised music into a universal language – the sturdy foundation on which the sound worlds of McPhee and Swell can unfold freely. Photo: Žiga Koritnik  

Qiyan, comprising well-known figures from the Hungarian jazz and free music scene, draws from the traditional music of Jewish slave women who lived in the Caliphate of Córdoba. The band’s leader and founder is Péter Ajtai (AMP, Baló Project, Geröly Trio, Mingus! Mingus! Mingus!), who recorded his first album under his own name with this group. Their untitled debut album was released in 2020, followed the next year by Man is a Dream About a Shadow, which also shows the influence of traditions from the Carpathian Basin. In classical Arabic terminology, the term qiyan referred to female slaves who had to entertain their captors with their singing, instrumental music and charms. These slaves, who lived in the Caliphate of Córdoba and were mostly Jewish, were, like geisha, highly skilled in music, poetry and the arts in general; consequently, they constituted the highest class of slaves in pre-modern Islamic society. A significant proportion of medieval Arab female poets also came from their ranks. From the repertoire of the qiyan trained in Medina, Baghdad or Córdoba, a distinct musical tradition developed in Al-Andalus, which survived even after the abolition of slavery. The region experienced its golden age under the Caliphate of Córdoba (929–1031), when both the economy and culture flourished. Religious tolerance was generally characteristic of the Caliphate of Córdoba; this extended to the Jewish faith, and many Christians even converted to Islam.  Photo: Márton Ádám Demeter  

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MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The third evening centers on the meeting of Cseke Gábor and Maria Schneider. Maria Schneider is one of the defining figures of contemporary big band music. Her compositions are known for their extraordinary orchestral sensitivity, organic sense of form, and powerful emotional arcs. Her music often unfolds like sonic landscapes, filled with subtle dynamics and rich textures. As both composer and performer, Cseke Gábor is recognized for his sensitivity to detail, balancing complex structures with freer improvisational thinking. This concert promises an especially rich and nuanced world of sound, where the big band can sometimes achieve the intimacy and delicacy of chamber music.

MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The third evening centers on the meeting of Cseke Gábor and Maria Schneider. Maria Schneider is one of the defining figures of contemporary big band music. Her compositions are known for their extraordinary orchestral sensitivity, organic sense of form, and powerful emotional arcs. Her music often unfolds like sonic landscapes, filled with subtle dynamics and rich textures. As both composer and performer, Cseke Gábor is recognized for his sensitivity to detail, balancing complex structures with freer improvisational thinking. This concert promises an especially rich and nuanced world of sound, where the big band can sometimes achieve the intimacy and delicacy of chamber music.

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MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The closing concert of the series presents Attila Korb in dialogue with the legacy of Thad Jones. Thad Jones represents one of the highest peaks of modern big band writing: his music combines driving swing grooves, deep blues roots, and masterful orchestration in a uniquely powerful way. His compositions are energetic, yet full of subtle and unexpected details. Attila Korb’s musical world is also deeply connected to this tradition while striving for a contemporary voice. The concert selection will reflect the atmosphere of the Advent season, where festive moods meet the energy of swing. Through the shared language of blues and groove, the evening offers a joyful yet sophisticated musical experienc — a fitting finale to the series.

MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The closing concert of the series presents Attila Korb in dialogue with the legacy of Thad Jones. Thad Jones represents one of the highest peaks of modern big band writing: his music combines driving swing grooves, deep blues roots, and masterful orchestration in a uniquely powerful way. His compositions are energetic, yet full of subtle and unexpected details. Attila Korb’s musical world is also deeply connected to this tradition while striving for a contemporary voice. The concert selection will reflect the atmosphere of the Advent season, where festive moods meet the energy of swing. Through the shared language of blues and groove, the evening offers a joyful yet sophisticated musical experienc — a fitting finale to the series.

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