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European Jazz Conference 2015: Hungarian Showcases

Henning Bolte By

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The finishing performance came from the brand-new three-generations Organic Trio of saxophonist Viktor Tóth comprising Tóth on alto, Mátyás Premecz on Hammond-B3 organ and 18 years old wonder-boy David Hodek on drums. Tóth is a highly accomplished musician internationally witness his numerous collaborations with among others Chicagoan drummer Hamid Drake, Berlin pianist Carsten Daerr, Belgium trumpeter Bart Maris or French guitarist Manu Codja. Mátyás Premecz (1982) is a key figure of Hammond-B3 organism in Budapest and runs a Hammond-B3 club and concert-series. Drummer Dávid Hodek (1997), a child prodigy from an ethnic Hungarian family in Slovakia, also played in the trio of pianist Béla Szakcsi Lakatos at the first night.

The set was played very competent and perfectly well with an impressing tone and versatility of all three musicians. It was quite entertaining especially at the end when Tóth entered into reggae regions. It was however all standard repertoire and so the farewell became a farewell light. It was nice and reason enough to take a trip along Tóth's BMC-albums, to check out the organ-player Premecz and have an eye/ear on young drummer Dávid Hodek.

Conclusion/Befejezés

Spending three full days at the BMC with its small-scale clarity, togetherness, friendliness and great facilities from library to gastronomy has been quite an experience and conducive for productive exchange. The showcases presented solid musicians and groups of high quality with an open fringe and lookout to (re)new(ed) perspectives and territories, especially Harcsa/Gyémánt, Santa Diver and Grencso's rejuvenated Open Collective. Drummer Dávid Hodek and reedist Kristóf Bacsó are musicians to keep an ear/eye on. Miklós Lukács, the joker, for sure will continue to enjoy audiences in new combinations. The performance of the ten constellations showed something about the dynamics and potentials Hungarian scene, a glimpse, a gate to enter through. Through the international collaborations not only BMC but in the first place the Hungarian musicians relate to and are connected with other interesting scenes in Europe or abroad. Hopefully the pulling will not only be unilateral as in the past but bilateral such that young musicians from the west and north find their way into the Budapest-scene as a new normality. The music called jazz anyhow is itself closely connected to migration and urbanization from its origin.

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