György Szabados, Roscoe Mitchell - Revelation (1998)

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György Szabados, Roscoe Mitchell - Revelation (1998)

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György Szabados (Born 1939 in Budapest) is a Hungarian jazz pianist, and is sometimes referred to as the "father" or "unofficial king" of the Hungarian free jazz movement since the 1960s.

Biography
Even though he started performing in 1962, Szabados' rise to fame is generally considered to have started with his quintet winning the renowned San Sebastian Jazz Festival Grand Prize in the free jazz category in 1972. His first album that was recorded with a quartet in 1975 was entitled Wedding. Despite the abstraction of the music, the record was well received in Hungary and abroad, thereby setting the scene for his subsequent albums. International recognition is probably noted by including the album in the Essential Jazz Records compiled by Max Harrison, Eric Thacker and Stuart Nicholson (Volume 2: Modernism to Postmodernism)[1]. Even though he could not record again until 1983, he maintained his status by establishing the Kassák Workshop for Contemporary Music, in which a new generation of musicians acquired a free and intuitive manner of playing jazz, with a distinct Hungarian sound. Generally, his collaborators would make up the next generation of Hungarian jazz, including acclaimed saxophone player Mihály Dresch. Further international recognition followed in the 1980s, through his collaboration with Anthony Braxton on their duo record Szabraxtondos. In Hungary, he proceeded to form MAKUZ, or the Royal Hungarian Court Orchestra, which membership varied, but always consisted of at least nice musicians that were committed to free, improvised music. Subsequently, he still collaborated with Roscoe Mitchell on their 1998 record Jelenés (Revelation) and again with Braxton and Vladimir Tarasov this time for the live recording Triotone.

Influences
Szabados' work and thinking is distinctly placed in Hungarian culture. Most importantly, a good deal of his music is influenced by Hungarian folk music, mainly from Transsylvania. Apart from direct folk associations, this influenced on Szabados' work was to a great extent mediated through the work of Hungarian composer Béla Bartók (1881-1945), who pioneered the reintegration of folk tradition in classical by his numerous field recordings. As he formulated it himself:
'Apart from the occasional moments, it is difficult to find traces of Bartók's music in our music. Hungarian music has such characteristic features that, when they appear, they are immediately linked to Bartók, whereas the real kinship is not with Bartók but, on a much deeper level, with Hungarian music, a world view, and a special taste'[1]
Apart from folk influences in his work, Szabados has always given clear references to other key instances of Hungarian culture. His 1983 record Adyton, for instance, is partially a reference to Hungarian poet Endre Ady, whereas his 1989 album A szarvassá vált fiak (Sons that became deer) was inspired by the Hungarian revolution of 1956. Choosing the word Adyton as a title for his record also shows the Szabados' philosophical thinking about his music.

Roscoe Mitchell
One of the top saxophonists to come out of Chicago's AACM movement of the mid-'60s, Roscoe Mitchell is a particularly strong and consistently adventurous improviser long associated with the Art Ensemble of Chicago. After getting out of the military, Mitchell led a hard bop sextet in Chicago (1961) which gradually became much freer.

He was a member of Muhal Richard Abrams's Experimental Band and a founding member of the AACM in 1965. Mitchell's monumental Sound album (1966) introduced a new way of freely improvising, utilizing silence as well as high energy and "little instruments" as well as conventional horns. Lester Bowie and Malachi Favors were on that date and Mitchell's 1967 follow-up Old/Quartet.

With the addition of Joseph Jarman and Philip Wilson (who was later succeeded by Famoudou Don Moye), the Art Ensemble of Chicago was born. The colorful unit was one of the most popular groups in the jazz avant-garde and Mitchell was an integral part of the band. Roscoe Mitchell (who, in addition to his main horns, plays clarinet, flute, piccolo, oboe, baritone and bass saxophones) also was involved in individual projects through the years and has recorded as a leader for Delmark, Nessa, Sackville, Moers Music, 1750 Arch, Black Saint, Cecma and Silkheart in settings ranging from large ensembles to unaccompanied solo concerts.

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György Szabados, Roscoe Mitchell - Revelation (1998)

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György Szabados, Roscoe Mitchell - Revelation (1998)

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