Product Details
- An MVD Exclusive
- SKU: BMCCD230
- Format: CD
- UPC: 5998309302305
- Street Date: 04/01/16
- PreBook Date: 01/01/01
- Label: BMC Records »
- Genre: Jazz
- Run Time: 39 mins
- Number of Discs: 1
- Year of Production: 2015
- Box Lot: 25
- Territory: NA,GB,AU
Product Assets
Csaba Palotai - The Deserter
Special mixture of proto-jazz, ambient, noise, pop, rockabilly, blues and fragments of forgotten romances & folk-tunes
- List Price: $15.99
- Your Price: $15.99
- In Stock: [{"available":"0"}]
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The Deserter, Csaba Palotai's new BMC release, is a solo work with 11 short, fascinating compositions. Because of the title we would be inclined to look for abandonment and desolation and at first listening, on the surface, the music seems to meet our expectations. Nonetheless, the stripped-down, lean and haunting sounds of the guitar and the dreamlike musical fragments of most different genres call forth an absolutely original and compact style. This "garage jazz" is a special mixture of proto-jazz, ambient, noise, pop, rockabilly, blues or fragments of half-forgotten romances and folk-tunes - this all mellowed to some very personal, emotionally rich and unique musical texture, through the deeply honest and sincere way of expression.
Track Listing
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Press Quotes
A highly engaging Hungarian solo guitar recording with Transylvanian traditional music at the core, but also a minimalist song-like aesthetic derived from raw blues, folk, electric and ambient jazz-rock traditions.
—Jazzwise
There is more than a whiff of Mississippi Delta stylists in guitarist Csaba Palotai's The Deserter, as his picking technique is based on the alternating thumb- and finger-strokes with bluesy slides and bends over ringing open-string chord forms. Born in Budapest, now a Parisian of 20 years, Palotaï titled his album to reflect a desertion of 'jazz' and other labels in favor of a more personal musical statement. Four tracks, titled 'The Debt' (with subtitles 'Burning House', 'Military Recruitment/Verbunk', 'Shepherd/ Kecskés' and 'Accompaniment to a Dead Man') are based on traditional Transylvanian songs: the first paradoxically suggesting Americana with its Woody Guthrie-esque hammer-ons; the second muffled and distorted; the third evoking a more alien character in its unusual melody and tuning; the last, washed in reverb, sounding both folksy and (a bit) weird.
—Tom Greenland, The New York City Jazz Record