Kolinda - Kolinda 6 (1988)

«Kick-butt underrated Hungarian band. They probably don't like to call themselves progressive but they're just as progressive as most other 70's output. They're also very innovative. Masterminded by their founder Peter Dabasi, Kolinda invites you to partake in their sometimes insane, sometimes beautiful, sometimes hypnotic world of Hungarian folk and gypsy prog which includes a plethora of exotic instruments, bombastic (at times) female/male vocal harmonizing, sometimes beautiful vocal harmonizing, etc. I cannot say enough good things about Kolinda. They've been around since 1975 and have released a bunch of albums. They are still alive and recording even today.» (New Gibraltar Encyclopedia of Progressive Rock)

For more albums of and information about this amazing band, click here and here.

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Besh o droM - Macsó Hímzés (2000)

«It has been said that Hungary has two languages: its ancient spoken language and its ancient folk music. Probably due to the fact that Bela Bartók and Zoltán Kodály vigorously promoted Hungarian folk music during the inter-war period, it is intricately woven through the country’s national identity. So when an electro-acoustic, urban wedding collective like Besh o droM rises to the forefront of Hungarian music, it is bound to be a sensation. The band’s way of fusing deep ethnic folk roots with wild jazz improvisation and Albanian, Greek, Serbian, Macedonian, and Turkish music (not to mention an interlude with the most popular DJ in the country) has placed it far at odds with traditional folk purists, while creating immense popularity among young, loyal followers.

The band’s twelve musicians seem virtually incapable of doing anything but interpreting and recreating traditional music in their own, unique style. The line-up centers around two self-taught musicians, Gergõ Barcza and Ádám Pettik. In an interview for the Pepsi Sziget Festival, Pettik describes how the spirit is the most important thing in the music. He says, “I watch how Gypsy musicians learn. For example, I give Robi a cassette, he listens, he tries to play it. He wants to play it the same but he cannot because here in his heart is the musician. The musician in him will not allow him to copy. This is the way we try to play music.”

The inability to photocopy traditional music reflects itself in the band’s name. Although its literal meaning is ‘to ride the road,’ Besh o droM (that's right – small d, capital M) also means to follow your own path and not be held back. The Gypsy idiom connotes controlling something stronger than you. Like a person riding a horse. When that person takes charge, he or she can go anywhere they desire.» (Rockpaperscissors)

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Kolinda - Osz (1996)

Back in 1996 Kolinda (arguably Hungary’s finest avant-folk group) published this stunning comeback album, featuring a renewed line-up and updated sounds, but showing the same passion of old for experimentation and research. Another sparkling gem in their brilliant discography. (More on Kolinda in the Kolinda I post).

«1970, ils étaient hongrois. Comme un certain Bártok. Certains fouineurs de l’Ouest se sont intéressés. Un disque, puis deux, puis un troisième. L’Est atypique fascinait. On n’avait pas inventé le fourre-tout world, et le Rideau de Fer était tenace. Mais Kolinda, son univers bourré de micro-climats a frappé les esprits occidentaux, très chapelles. Fin Kolinda première époque. Iván, le concepteur, jette les amarres en France. Ágnes, la voix, goes west, jusqu’à l’Amérique, seul Péter rentre au bercail, les autres ne comptent plus. Pourtant, hongrois dans l’âme, ils restent. Le rideau rouille, se démantibule. Ça aide.

1995, les trois se donnent rendez-vous à Budapest, avec trois nouveaux complices. Pas question de revival. Ce qui était inédit pour nos oreilles de 76 l’est tout autant vingt ans plus tard. Plus qu’acoustique, Kolinda est et reste végétal. L’alchimie des instruments et des voix garde ses formules secrètes, avec ses tempos hybrides, ses voix d’outre terres. Car pendant que la planète tournait, les trois Kolinda ont cheminé. Ágnes Zsigmondi s’est acoquinée avec le jazz. Iván Lantos a bourlingué dans les sonorités incongrues. Et Péter Dabasi a gardé la maison. Les nouveaux Kolinda ont bricolé puis peaufiné leur constitution. Pierre Rigopoulos, côté percussion, Patrice Clémentin, dans les arcanes des sons électriques et Laslo Porteleki, sur le patrimoine instinctif.

Voilà Kolinda 96. Prêt à bouscouler les rockers, à halluciner les accros de jazz, à embringuer les voyagers de l’ethno-techno, à bouscouler les estampilles de la world, à désarçonner les bidouilleurs de mix improvisables.» (Rémy Kolpa Kopoul, from the liner notes)

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Vujicsics - Vujicsics (1988)

Named after a popular Hungarian musicologist, Vujicsics is a group of schooled and professional musicial folklorists who concentrate on preserving the traditions of Serbia and Croatia. They are highly regarded for their broad repertoire of collected songs and spirited performances with a variety of singers, including Marta Sebestyen. (AMG)

Créé en 1974, ce groupe tient son nom du compositeur et ethnomusicologue Vujicsics Tihamer et a participé au regain de faveur qu'ont connu les musiques traditionnelles en Hongrie au début des années 70. Cet ensemble interpète des musiques des rives du Danube, des minorités serbes et croates du Sud de la Hongrie et celles de la Dalmatie yougoslave. Reconnus pour leur ensemble de luths tamburas, inspiré des orchestres tsiganes et hongrois, ces musiciens participent aux créations de Vents d'Est. (RadioFrance)

More info here.

Courtesy of Danny at Italian Folk Music. Many thanx, Danny!

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Kolinda - Kolinda I (1976)

Debut album by Kolinda, stunning ethno-jazz ensemble from Hungary (and a personal favourite of mine), produced by Hughes De Courson of the French folk group Malicorne.

«“They’re one of the most interesting European groups that I’ve heard”, says Gary Cristall, organizer of the Vancouver Folkfestival, “but they do it in a different way. Even though they were doing traditional stuff, it had a different edge to it. They’ve never been looked on very favourably in Hungary. They were always a little too far outside.”
Kolinda’s reputation for being outside comes from the way they mix elements of Hungarian and Balkan folksongs with a large amount of jazz, a bit of classical, and even a few notes of rock. Their music manages to melt the passion and urgency of gypsy music with the cerebral with of cool jazz, an exciting combination that makes them one of the most successful hybrids of folk and contemporary music around today. Kolinda first formed in 1974, and in the next four years they released three albums on the French Hexagone label. But in 1978 the group disbanded and the members went on to other projects. In 1984, the group got together for a reunion tour. They’ve been playing together ever since, and have recorded other fine albums.» (From the net)

The original line-up of the band was: Ferenc Kiss (violin), Péter Dabasi (tamboura, guitar, gadulka, vocals), Ágnes Zsigmondi (vocals, flute), Iván Lantos (vocals, bass, percussion, flute, bagpipes), András Széll (vocals, violin), Dóra Kovács (vocals, violin, flute).

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