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Written in fRoots issue 217, 2001
BESH O DROM
Macsó Hímzés
Fonó FA-082-2 (2000)
ÖKRÖS ENSEMBLE
I Left My Sweet Homeland
Rounder 82161-5163--2 (2001)
Large, energetic Hungarian band Besh o droM seems to have drawn a lot of
interest on its UK gigs in 2000, including London and Glastonbury, where it
featured its “Besh o droM Space” line-up which includes a DJ and sampling.
There’s only one track in that expanded format here, but the band itself on this
showing, a splendid flight of wildness and joyous exuberance that rarely pauses
for breath, is already plenty high-energy without Space’s slight techno-tweaks.
It draws on Gypsy, Serbian, Macedonian, Turkish,
Albanian, Greek and Middle Eastern traditions, and feel is of a collision
between a Gypsy brass/reeds band and a frantic Balkan wedding band, with
occasional vocals from singer Ágnes Szalóki. Her stylistic centre is in
Hungarian tradition, but the band rarely plays Hungarian music. Nor is it
actually a Gypsy band, the only member raised in Gypsy tradition being
accordionist/violinist Róbi Farkas.
The band, which continues to expand and evolve,
first came together in 1999, a bunch of Budapest-based Hungarians playing, on
reeds, brass, violin, guitar, cimbalom, accordion, oud, ney, kaval, bass and
percussion music that excites them, not learnt at their father’s knee but picked
up here and there and from records, is yet further proof of the power of middle
and eastern European and Gypsy music to spread and metamorphose, gathering up
whatever sticks to it to make modern wide-audience music of dazzling drive and
colour.
The name, sounding Romany and chosen jokily for
that reason, actually comes from the Hungarian expression “Besodrom a cigit” -
“I’m rolling a cigarette”, according to an interview given by formerly
Israel-resident co-founder Gergö Barcza to the Sziget festival website. It
turned out to be also a fortuitously appropriate Romany expression meaning
something like “Ride on the road” and also “Let’s go”. (Lucky it didn’t mean
“All Roma are tossers”).
Very fine too, but very different in sound and
raison d’ętre, is the Ökrös Folk Music Ensemble album. The five-piece led by
fiddler Csaba Ökrös, consisting of two or three violins, viola, drum and double
bass or guitar, is concerned with a specific musical region, that of
Transylvania, and with continuing its traditional music and musical skills as
they dwindle in the villages. Aladár Csiszár, a Hungarian Roma violinist from
Székelyföld, guests on one track, an eight minute set of some of the tunes he’s
played much of his life. The sleevenotes present the Ökrös Ensemble as concerned
with “preservation”, but that perhaps implies that this would be dry, difficult
stuff, which it isn’t; it’s subtle, varied and fresh-sounding music from a very
skilful band, joined as on the previous album by the great Hungarian Gypsy
cimbalom player Kálmán Balogh. That last album also featured vocals from Ágnes
Szalóki, now with Besh o droM. This time the singer is the excellent Ágnes
Herczku, who in tone and style is strikingly reminiscent of Márta Sebestyén.
www.fonorecords.hu
© 2001 Andrew Cronshaw
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