Corridoor
Corridor Bassoon Quartet and Voice and Bass
"I thought - listening to the record - how pure, honest music this is, God! In a good way, I was struck by the positive energy with which Tibor Barna Csuhaj endowed the material. I don't want to explain that he wanted to Read more
"I thought - listening to the record - how pure, honest music this is, God! In a good way, I was struck by the positive energy with which Tibor Barna Csuhaj endowed the material. I don't want to explain that he wanted to be a jerk, in fact, he certainly didn't, but for me it provided such a cathartic experience that immediately suggested: how much this Man was able to rise above everyday, petty things, and revealed to us every nook and cranny of his beautiful soul! Beautiful melodies, arrangements. Catchy, but modern; modern, but still catchy. Spiced up - by the sound of the bassoons - with a kind of fairy-tale atmosphere, a kind of "Lord of the Rings feeling". She exudes a love of life. Even the more melancholic pieces! There is no such fashionable, "I am an extremely deep, intellectual artist" effect, which has already exiled more than one concertgoer to the bar around the fifth minute...
So, Ágnes Lakatos. As I mentioned, she appears four times on the album. Her husband was not kind to her, as he surprised her with such difficult, technically demanding songs that she was like, "I'm going to drink it up!" (Sorry; I know it's a cliché, but I had to cook it once! Sorry, Tibi!) However, no problem! Ági easily jumps over obstacles and interprets the works with heart and soul. Bravo, Ágnes! Here it is appropriate to note that "Into the Groove" and We can thank Martina Király for the lyrics, Sugárka Enyedi for "Seems Like" and "Papers in the Dark".
There is practically no improvisation on the album. We can hear and enjoy 11 pieces, as Tibor Barna Csuhaj has notated them. "No improv?! This is not jazz, brother!" My -already quoted, non-existent- friend from the countryside would say. And yet it is jazz! Now it would be time for me to explain, to explain why. Well, dear readers, I have hit a wall now, but that's okay. Perhaps I can justify it by saying that I do call a recording without improvisations jazz, because the author has immersed himself in the sea of our beloved genre to such a level that he is already writing jazz music viscerally. Moreover, he writes wonderful music!"