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Ferenc Snetberger: TITOK

Read "TITOK" reviewed by Mark Sullivan

Hungarian nylon-string guitarist Ferenc Snétberger made his ECM debut playing live solo guitar on In Concert (2016). Here he shares the musical space with Swedish bassist Anders Jormin and U.S. drummer Joey Baron--a combination suggested by producer Manfred Eicher, and cemented by three concerts in Hungary before the recording session. Jormin and Baron have played together on live shows, but never on record, despite their many individual ECM appearances. Baron has considerable experience playing with guitarists: he has ...

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Ferenc Snetberger: In Concert

Read "In Concert" reviewed by Mark Sullivan

Hungarian classical guitarist Ferenc Snétberger makes his ECM debut with a live solo guitar recording, surely the most demanding and revealing format for any guitarist. His music is the product of diverse stylistic influences: starting with jazz, but then a strong classical music influence, followed by exposure to Brazilian, South American, and flamenco guitar music. Snétberger cites his first encounter with Johann Sebastian Bach's music as life-changing, followed by hearing ECM label mates Egberto Gismonti in duo with Nana Vasconcelos. ...

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Ferenc Snetberger: Nomad

Read "Nomad" reviewed by Eyal Hareuveni

Nomad is the seventh release by Hungarian-born, Berlin-based acoustic guitarist Ferenc Snétberger, but in many ways this collaborative effort may be the culmination of experiences by his collaborator, Norwegian bassist Arild Andersen, with small ensembles that feature acoustic guitarists. Andersen recorded Karta (ECM, 1999) with two of Snétberger's musical partners--German trumpeter Markus Stockhausen and French drummer/percussionist Patrice Héral--plus fellow Norwegian guitarist Terje Rypdal; four years later, Snétberger replaced Rypdal for the recording of Joyosa (Enja, 2004). Karta and Joyosa focused ...

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Ferenc Sn: Nomad

Read "Nomad" reviewed by John Kelman

They say music is the international language. That's true, but like any language it can have an infinite number of dialects. Add to that the result of cultural cross-pollination, and the language of music can become as complex and unfathomable as any other. The intricacies and complexities of jazz might be hard for a pure punk devotee to understand, for example, but the beauty of a simple folk song might also be lost on someone whose tastes run strictly towards ...


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