Big Band Reconceptualizations Nart Orchestra

• 1 Krajcár 10:05
• 2 Plastic 09:06
• 3 Multiverse 11:04
• 4 UTR 06:54
• Total Runtime 37:09

Info zu Big Band Reconceptualizations

How is the original? What makes something fake that is not real? How does the material treat us and how do we treat the material? How do we reuse what we don't use but was once useful? Can it come to life what people breathe life into?

These are some of the questions we can ponder in relation to Ádám Meggyes's album Underground Big Band Reconceptualizations, but the best, first of all, to allow ourselves to be sucked in by the music and drift off on a new, intergalactic fantasy journey.

If curiosity is sufficiently fuelled and we have the courage, we can explore our own universes in the colours of the composer's unique musical world, to see as far inside as James Webb telescope can see outside.

The author is a dramaturge with a sure taste and he leads the canter (which is not without free improvisation and experimentation, and which integrates a wide variety of styles from rock to afro-beat to sacred music) with a strong hand, so that we are guaranteed to arrive.

It doesn't hurt to have a few pennies of sensitivity to uniqueness, a sentiment to life and an artistic desire for order, because anyone who brings these talents on the road with them can watch the film of their life if they close their eyes, or really open them.

Because it is – like the non-degradable plastic that you mould into a new shape from time to time to use again – what it is. Meggyes's music is a takeaway for the everyday, a survival kit for the journey, to make the heart beating, the adrenaline pumping and the imagination working. Because life is exciting and it's up to us to make it real.

Anyone with an eye for difference, who appreciates identity and loves novel connections, and who delights in colourful, free and pure expression that simply tells true stories, will enjoy the music of Ádám Meggyes, even when it's complicated.

Nart Orchestra
Ádám Meggyes, conductor
Guest:
Sampo Hiukkanen, alto saxophone (track 4)

Ádám Meggyes
Born in 1983 in Budapest, he started his classical music education at the Budaörs School of Music (Leopold Mozart School of Music today), majoring in trumpet. He went on to Bartók Béla Music High School where he first encountered jazz music, which has raised his curiosity to a level that he has transferred to Kőbánya Music Studio, and later to the Jazz Conservatory of Csepel. Finishing his high school studies he was admitted to the jazz trumpet major of the Franz Liszt Academy of Music.

As result of his attraction to the big band set-up he started learning orchestration and composition in a self-taught manner which eventually led to earning a third place in the 2009 Competition of Composition and Orchestration for Big Band of the Hungarian Jazz Federation for his composition entitled “Double Q”. In 2013 his 3 track big band EP came out in digital format, after which he starts creating big band and symphonic orchestration for pop groups, which are played and recorded by the Hungarian Radio Symphonic Orchestra. During this time he composes his first wind ensemble piece called “The Valley” and his first swift for symphonic orchestra called the “Hammer.” In his music written for the entirety of the film The Cabinet of Dr. Caligari he mixes the genres of avant-garde, mainstream, and popular music so that the piece can be played on stage simultaneously with the visual screening of the film. In 2017 he founds his own avant-garde septet, Kézműves Kultúra, with whom he plays his own compositions and where they mix free improvisation and its approach with the composition techniques of classical music and jazz. In 2020 his composition called "R.E.C." awarded by the Hungarian Art of Palace big band composition application.

His first encounter with pop music as a trumpet player occurred at the beginning of his high school studies, when he co-founded the Long Play Superstars funk cover-band with some of his friends. Over the next few years he has tried himself out in several garage bands and eventually, during his college years, he was selected to be part of one of Hungary’s best concert bands in pop music: the family of Irie Maffia, of which he is an active member to this day. He also plays an active role in the subcultural music scene of Budapest. From 2009 he has become a member of The Qualitons, the leading psychedelic soul-beat band of Hungary. From 2013 he is the trumpet player in the solo band of Sena Dagadu. From 2017 he is a member of The Mabon Dawud Republic afrobeat-jazz band. The same year he has joined the Los Orangutanes party-band, who play Latin American, cumbia music uniquely in Eastern Europe. In 2018 he co-founded the Fővárosi Rapcirkusz and since then functions as their art director.

He meets György Balázs Csicsák jazz guitarist during his classical music studies and becomes the trumpet player in his mainstream jazz ensemble Midnigt Free. His friendship with Gyuri (György) played a crucial role in his road to becoming a jazz-trumpeter. He founded his big band consisting of mainly amateurs in 2001, which functioned under his leadership for 8 years. Jazz took the place of classical music in his focus of musical interest. During his years at the Academy he has formed a close friendships with Gergő Kováts saxophonist and Máté Pozsár pianist, who introduced him to the world of free jazz. Later in 2008 he was selected into the finals of the jazz trumpet talent search competition of the Hungarian Radio, all the while playing in different jazz ensembles on a semi-regular to regular basis. He also became a full-time member of the Budapest Jazz Orchestra between 2009 and 2013. This membership gave him the opportunity to play with musicians like George Duke, Peter Erskine, Butch Lacy, and Thomas Gansh. Finishing college he started focusing on free jazz, pushing mainstream jazz to the background. In 2010 he met Szilárd Mezei, Vojvodinian composer and viola player, forming a friendship to this day. Aside from many common concerts (Belgrade Jazz Festival, Kanjiza Jazz Festival, etc.) they also made several recordings in enslebles or band formations. He was a guest on the album “Derengés” from Grencsó Open Collective lead by István Grencsó, saxophonist. The album is a tribute to the memory of György Szabados. Only a few years later his attention is commanded solely by free improvisation. Meanwhile he has been on stage with almost all free musicians in Hungary. His interest turns to formations of fewer members and eventually settling for a playing in duos. Together with Ernő Hock he recorded their big bass and trumpet album, “Shunfy Tunning”. He also plays with Ernő in many formations and on several records while keeping up a close relationship. With Gergő Kováts they form the electro-acoustic duo, NARTcore whose first album “aeluton” was published by Creative Sources. In 2017 he has founded his septet, Kézműves Kultúra. Their first record “La Bumm” coming out on tape, contains his own compositions.

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