Gonda Sextet - 1976 - Samanenek

Gonda Sextet

1976

Samanenek

01. Sámánének ‒ Kamassz Sirám = Shaman Song ‒ Kamass Dirge

02. Párbeszéd = Dialogue

03. Elcserélt Fejek = Confused Heads

04. Afro-Cuban

05. Lavina = Avalanche

06. Profán Ünnep = Profane Feast

Piano – János Gonda

Bass – Gábor Balázs

Congas, Percussion – István Dely (tracks: A1, A3, B1, B3)

Drums, Percussion – Gyula Kovács (tracks: A1, A2, A3, B1, B3)

Piano – János Gonda

Congas, Percussion – László Dely (tracks: B1, B3)

Trombone – Károly Friedrich (tracks: A1, B1, B3)

Trumpet – Endre Sipos (tracks: A1, B1, B3)

Soprano Saxophone, Alto Saxophone – Péter Kántor (tracks: A1, A2, A3, B1, B3)

Vocals, Guitar, Percussion – Tamás Berki (tracks: A1, A3, B1, B3)

Hungarian pianist and composer Janos Gonda formed his sextet in 1972. On the album Semanenek (Shaman Song) the band combines elements of traditional and modern jazz with modern classic, ethnic styles or partly blues and swing. The used mostly archaic sounding ethnic styles, tibetan, west indies, afro, combined with voice and singing, generate a special spiritual depth. You can also find some free or nearly rock sequences. A pulsating, sensual and dramatic work.

This is not your usual jazz record. Janos Gonda is a leading figure since 1962 on the Hungarian jazz scene. His musical activity embraces a wide field; ranging from composing, through performing and from teaching to musical research. The GONDA SEXTET formed in 1972 and this influential album sidesteps from the special elements of european jazz to a more modern composed music, although the basic intonation of jazz remains present throughout the whole recording. "Shamanenek" (Shaman Song) is an exercise in style. Musical phrases influenced conceptually by ancient cultures flow everywhere; from ethnic elements to traditional jazz, modern composition, the blues, swing, free improvisation… all are inherent in the depths of the playing. The album's story is about the dramatic conflict of sensuality and spirituality in an ancient, cultic world. This is better symbolized in the opening track, where the choir of the Tibetan lamas dives into an oriental vocal solo, swept away by the entrance of a dialogue between fender electric piano and saxophone, slowly departing the archaic world and approaching 70ies European jazz stylings. Then come afro-cuban primeval rhythms, tribal percussive patterns from the islands of West Indies until the group reaches motives swinging upwards to suddenly fall like an avalanche and end the album in a rock influenced pulsation. In the closing section the playing ends in an upward arching eruption with sweeping dynamic. And this is the summation of the emotional and intellectual masterpiece of a record that "Samanenek" is: one of the most important east European jazz releases.