Jazz can be described as a musical conversation: a dialogue between musicians, part planned, part spontaneous. The audience may choose to engage in this exchange or remain as an observer. That was precisely the atmosphere created at KUMU within the Autumn Jazz program. Making his debut performance in Estonia, Hungarian drummer and composer Bal\u00e1zs B\u00e1gyi brought his New Quartet to the stage, offering a unique interpretation of Erik Satie’s music. It was an evening that allowed listeners to immerse themselves in a blend of structure and improvisation, characteristic of jazz’s conversational nature.<\/p>\n
Erik Satie<\/strong> (1866 – 1925) was a French pianist and composer, a creator of \u2018\u2019furniture music\u2019\u2019. His music influenced many composers, including Claude Debussy, Maurice Ravel<\/strong>, Igor Stravinsky<\/strong>, the Les Six, and many others. Being known as a major influencer of 20th-century music, he only gained popularity and recognition in his 50s. Several important concerts, organized by Maurice Ravel and creation of a ballet Parade<\/em> (1917) made a turnaround in Satie\u2019s career.<\/p>\n Satie\u2019s compositions gained widespread popularity long after his death, becoming staples in various musical genres around the world. His legacy continues to inspire artists, with his Trois Gymnop\u00e9dies<\/em> being heard in concerts, films, commercials, and radio. This enduring influence speaks to the timeless nature of Satie’s work, transcending traditional boundaries and finding new life in modern interpretations.<\/p>\n One musician who found inspiration in Satie\u2019s music is Hungarian composer and drummer Bal\u00e1zs B\u00e1gyi<\/strong>. For his concerts in Tallinn and Tartu, B\u00e1gyi, along with his New Quartet, crafted a special program featuring interpretations of Satie\u2019s well-known works, as well as original compositions inspired by his music. With Bal\u00e1zs B\u00e1gyi on drums, Dezs\u0151 Ol\u00e1h <\/strong>on piano, P\u00e9ter Ol\u00e1h<\/strong> on double bass, and S\u00e1ndor “Soso” Lakatos<\/strong> on alto saxophone, the band opened the In the Footsteps of Erik Satie <\/em>concert with a captivating rendition of Gymnop\u00e9die No. 1<\/em>, setting the tone for an evening of jazz reimaginings and homage.<\/p>\n The setlist included the Quartet\u2019s interpretations of Satie\u2019s Gnossienne No. 3<\/em> and Gnossienne No. 1<\/em>, offering a fresh perspective on these timeless pieces. It was fascinating to hear how such globally recognized classics could be transformed into a “jazzy” interpretation. It took a few moments to recognize the compositions, as they were played in a way quite different from the familiar versions. The jazz rendition of these “untouchable” classics introduced new textures and sounds, which, from a listener\u2019s perspective, might take some time to adjust to. But just when you start settling into the new version, the musicians surprise you by shifting back to a more classical approach, creating a dynamic and unusual listening experience. Despite their focus, each musician also had the opportunity to shine with their own solo.<\/p>\n The next two pieces, Repetition No. 1<\/em> and Repetition No. 2<\/em>, were original compositions by Bal\u00e1zs B\u00e1gyi, directly inspired by Satie\u2019s music. Though these pieces shared a stylistic connection with the earlier compositions in the concert, there was a noticeable shift in the synergy between the musicians. The ensemble began to loosen up, with more playful duos and solos emerging. The relaxed interaction between the performers added a new dynamic to the performance. B\u00e1gyi\u2019s fascinating solo at the end of Repetition No. 2<\/em> served as a final flourish in this tribute to Erik Satie, marking the conclusion of the first half of the concert.<\/p>\n The second half of the concert featured original compositions from Bal\u00e1zs B\u00e1gyi’s album Decade<\/em>, which celebrates the 10th anniversary of his band. The Quartet performed pieces like Brave Heart<\/em>, Fairy Tale<\/em>, Bass Dance<\/em>, and Eastern Influences<\/em>. As the music unfolded, the audience could sense a transformation in the musicians’ attitude. They became noticeably more relaxed and expressive, particularly when playing their own material. Pianist Dezs\u0151 Ol\u00e1h poured his heart into the performance, showing emotion and playfulness, even laughing at times and supporting his fellow musicians on stage. S\u00e1ndor Lakatos, who had remained calm during most of the concert, began to show more emotion, while Bal\u00e1zs B\u00e1gyi skillfully commanded the drums with precision and flair. The further the concert progressed, the more the audience was drawn into the Quartet\u2019s relaxed energy, creating a shared sense of ease and connection between the musicians and the listeners. It was a simple yet profound exchange of energy.<\/p>\n Indeed, jazz is a musical conversation\u2014a dynamic dialogue between musicians, where the audience has the choice to either engage in this exchange or simply observe. I chose to engage, and as the conversation on stage unfolded, I found myself increasingly drawn in. The longer the performance continued, the more involved I became, captivated by the experimental and unpredictable nature of the music. It was a truly immersive experience that challenged my expectations and rewarded my openness to the unexpected.<\/p>\n \u201eIn the Footsteps of Erik Satie\u201d<\/strong> The band:<\/p>\n Bal\u00e1zs B\u00e1gyi \u2013 drums Photo: Siiri M\u00e4nni<\/p>\n"},"yoast_head":"\n
\n28th<\/sup> of September 2024, Kumu Auditorium<\/p>\n
\nDezs\u0151 Ol\u00e1h \u2013 piano
\nP\u00e9ter Ol\u00e1h \u2013 double bass
\nS\u00e1ndor \u2018\u2019Soso\u2019\u2019 Lakatos \u2013 alto saxophone<\/p>\n