Hunnia Records

The album was recorded in SuperSize Recording Studios, Törökbálint, Hungary. Swansong Trio was founded in 2010 in Berlin by Gábor Csordás and Noriaki Hosoya. The first drummer, Andrea Zuliani was replaced by Marty Risemberg in 2016. That was the time when they recorded their self-titled first album “Swansong”. It was released in 2019 on Hunnia Records & Film Production which led to immediate success especially in Japan. The band has toured in Japan in 4 major cities performing the first album. Then the pandemic has cut the follow-up plans short, and the trio waited 3 years for another reunion. In 2022 the trio recorded two albums: “Do Swans Fly?” is their second studio album recorded in SuperSize Studios, and released also on Hunnia Records.

The Dreamer features The Gabor Szalay Trio performing six Jazz Classics. Including Alone Together by Arthur Schwartz and Howard Dietz, There Will Never Be Another You by Harry Warren and Mack Gordon, Body And Soul by Johnny Green, Edward Herman, Robert Sour and Frank Eyton, Waltz New by Jim Hall, St. Thomas by Sonny Rollins and In Walked Bud by Thelonious Monk. The title track – The Dreamer – was written by Gabor Szalay.

Acoustic Guitarist and Blues Singer Little G Weevil has recorded a Live Acoustic Session of Blues classics with Hunnia Records.

The quartet's music uses elements from avant-garde trends, while the content is "sheet music" jazz. Grotesque and postmodern sound is built on energetic solos and melodic themes.

Chamber opera for singing actors and irregular chamber orchestra.

The albums of the Felczak Records series communicate with music, the most universal language, to demonstrate the friendship between the Polish and Hungarian nations, which is nourished by emotions, thoughts and shared values rooted in the historical past. A real specialty of the record is that the listener might be able to guess what the contribution of the Hungarian pianist and that of the Polish trumpet player is. The courageous lines and bends of Wojtasik on the one hand, his rooty melodies that may in the next moment reveal melancholy, and a rich and colourful harmonic foundation laid down with ease avoiding carefully to sound blatant from the hands of Oláh on the other.

As I write these words in Chicago during May of 2020 and look back on the week of activity in January that led to these recordings with István Grencsó and Róbert Benkő, it’s hard for me to comprehend that the tour scheduled at that time would most likely be the last series of concerts that I play in 2020. Without warning the world changed for everyone between those months, and it’s very hard to predict how things will look in the future, for music and for everything else.

I founded the Balázs Rodek Trio in 2018 with such talented and sought-after young musicians as bassist Ádám Bögöthy and drummer Dàniel Ferenc Szabó. You can somehow feel who you are on the same wavelength musically with, who you can imagine working with. For me, Ádám and Dani are like that.

Schumann‘s compositions are above all, mystical to me. This mystical musicality is combined with an unparalleled realism, which altogether gives this unique and special musical experience. It is precisely this double effect that is the strongest and most special feature of Schumann’s music for me. I would say that both elements are present with extreme realism.

I do not intend to evaluate the music of Johann Sebastian Bach in any form here. The basic situation for me in this respect is very simple: I have not been able to identify with any intellectual argumentation or analysis, for I have always had a feeling of incompleteness. No superlative seems sufficient to me. Regarding the tunes of Bach, the saying that music begins where the word ends is the truest one for me.