SZILARD MEZAI SEPTET - CET
Odradek: CDRCD506
Szilard Mezei: viola: Andrea Berendika: flute, alto flute; Bogdan Rankovic: alto saxophone, bass clarinet; Branislav Aksin: trombone; Mate Pozsar: piano; Ervin Malina: double bass; Istvan Csik: drums
Recorded at Kulturni Centar Novog Sada, Novi Sad, Serbia, January 9th-11th 2015
Even before listening to the music of this CD, one can see that this is to be no familiar form of jazz. For one thing, there is an unusual blend of instruments in this septet. For another, the lead instrument (or rather the instrument played by the septet’s leader) is a viola. The liner notes state that the composer Ligeti once referred to the viola as being ‘hoarse with the smoky taste of wood, earth and tannin’, which reminded me of the description of a full-bodied red wine. Like a good wine, there are complexities in the experience of this music. It is also worth noting that Mezei was born, in 1974, in Senta; a place that was in Yugoslavia when he was born and is now in Serbia, and (more importantly, perhaps) is in the multi-ethnic region on Vojvodina, with a strong Hungarian tradition amongst its mix. It is to this Hungarian tradition that Mezei often turns, and there are sections in the compositions here that remind me of the ways in which Bartok worked with traditional folk-tunes. However, this septet is not a chamber group that is playing variations on folk themes; far from it. The closest analogy I can think of to describe the approach to composition that is occurring on this CD is in the way that the British film director Mike Leigh directs his films: players improvise their parts and this finesses into a coherent whole. Mezei notes that much of his inspiration comes from rehearsals of the septet. In this respect, Mezei’s role is to rein in the playing and edit it to a particular course. In the liner notes, he says that ‘In this music, I seek to reconcile the two poles of improvisatory and composed music. I feel that I am a jazz musician, but the music we play is not jazz in the traditional sense…’[T]hey are too contemporary for jazz music and too jazzy to be called folk music.’ What you are presented with is a collection of musical styles that mesh seamlessly into a style that Mezei has made his own.
I’d also like to acknowledge the particular care that Odorek has taken in packaging this CD. This is clearly the work of a label that is passionate about its artists and about presenting their music in the most appealing way. For a small, independent label, this shows a passionate commitment to the music.
Reviewed by Chris Baber
Odradek: CDRCD506
Szilard Mezei: viola: Andrea Berendika: flute, alto flute; Bogdan Rankovic: alto saxophone, bass clarinet; Branislav Aksin: trombone; Mate Pozsar: piano; Ervin Malina: double bass; Istvan Csik: drums
Recorded at Kulturni Centar Novog Sada, Novi Sad, Serbia, January 9th-11th 2015
Even before listening to the music of this CD, one can see that this is to be no familiar form of jazz. For one thing, there is an unusual blend of instruments in this septet. For another, the lead instrument (or rather the instrument played by the septet’s leader) is a viola. The liner notes state that the composer Ligeti once referred to the viola as being ‘hoarse with the smoky taste of wood, earth and tannin’, which reminded me of the description of a full-bodied red wine. Like a good wine, there are complexities in the experience of this music. It is also worth noting that Mezei was born, in 1974, in Senta; a place that was in Yugoslavia when he was born and is now in Serbia, and (more importantly, perhaps) is in the multi-ethnic region on Vojvodina, with a strong Hungarian tradition amongst its mix. It is to this Hungarian tradition that Mezei often turns, and there are sections in the compositions here that remind me of the ways in which Bartok worked with traditional folk-tunes. However, this septet is not a chamber group that is playing variations on folk themes; far from it. The closest analogy I can think of to describe the approach to composition that is occurring on this CD is in the way that the British film director Mike Leigh directs his films: players improvise their parts and this finesses into a coherent whole. Mezei notes that much of his inspiration comes from rehearsals of the septet. In this respect, Mezei’s role is to rein in the playing and edit it to a particular course. In the liner notes, he says that ‘In this music, I seek to reconcile the two poles of improvisatory and composed music. I feel that I am a jazz musician, but the music we play is not jazz in the traditional sense…’[T]hey are too contemporary for jazz music and too jazzy to be called folk music.’ What you are presented with is a collection of musical styles that mesh seamlessly into a style that Mezei has made his own.
I’d also like to acknowledge the particular care that Odorek has taken in packaging this CD. This is clearly the work of a label that is passionate about its artists and about presenting their music in the most appealing way. For a small, independent label, this shows a passionate commitment to the music.
Reviewed by Chris Baber
