Tovább a tartalomra

Jackie Orszáczky biográfia azól


Jelen dokumentum az eredeti cikk betűhív közlése!
A cikk forrása:
Szerző: ismeretlen

Jackie Orszaczky was born in 1948 in Budapest Hungary, where he studied classical piano and violin. During his early teens he’s been captured by the spirit of the ‘afro-american’ music – not dissimilar to some of the eastern European folk music he was raised upon. By his early twenties he went on to become an significant rock artist for a generation of young Hungarians and today he still commands crowds of 3,000-30,000 people at his annual Budapest concerts. In the early 70s he started writing for and experimenting with unusual instrumentation and larger ensembles.

Jackie’s experimental rock group SYRIUS toured Eastern and Western Europe and then Australia in 1970-71. For release in Australia and Hungary the group recorded an album in Melbourne. In Hungary, due to the political and ideological limits of the day, Syrius become a battle flag for progressive intellectuals of that country.

Jackie was invited to return to Australia to join rock-group Bakery in 1974. He remained in Australia and released his first solo album BERAMIADA in 1975. And this established him as a unique artist with a somewhat different approach to popular music of the day.

Orszaczky was now in high demand as a session bassist and arranger working on pop, rock and jazz records. Through one of these engagements he was invited to lead Australia’s first significant soul band – that of vocalist Marcia Hines. The music was influenced by the African-American soul and R&B tradition that Jackie loved. Through the mid 70s to 1980, as Musical Director he wrote all the orchestrations and arrangements for the group’s live concerts. The “Marcia Hines Live Across Australia” album with Orszaczky’s stage arrangements sold over 200,000 copies.

The shockwaves of punk music in the early 80’s had big effects on the Australian music scene. For Jack these years were spent searching for new ways of expressions, re-evaluating the position of a “serious musician”. This period gave birth to some experimental groups, such as a trio with young guitarist Peter O’Mara (who these days is well established in the German jazz scene) and others such as BLAND FRENZY, THE ALPHABETICS and THE ASTONISHED BOYFRIENDS.

Jack started to feel the urge to sing again. (it takes a while to build up confidence in a newly learnt language despite the pidgin-hungarian-english he practiced in his birthplace) so he got right back into his unique singing-style with bands such as THE STANMORE GROOVERS and THE SOUL AGENTS – re-learning the soul-classics.

Audiences once more were rediscovering black music – soul, R&B and funk – so the time was ripe to put together JUMP BACK JACK. For a short time known as the MATTHEW TALBOT SINGERS and then as the O. K. CLUB, Orszaczky’s jazz-funk band JUMP BACK JACK brought brilliant technical players together with a feel element like no other group in Australia had done before. Added to this was a combination of freedom, skill and rhythmic dynamics that audiences could dance to. This band featured two drum-kits, a classical percussionist, and a four-piece horn section – all playing original arrangements. The independently released JUMP BACK JACK -“BLUE COVER” was followed by DOUBLE TAKE through ABC Records to celebrate local Sydney station Double J’s transition to the nationally broadcast Triple J. Jump Back Jack’s ability to consistently draw huge audiences to clubs and pubs was ‘legendary’. Aside from their regular club appearances they opened shows for Stevie Wonder and Al Jarreau, and played the huge dance-parties of the era – Rat Parties and Fun Parties.

As a countermeasure to the hedonism and self-indulgence of the epoch, Jack had several sideline projects running parallel to regular performances. In 1987 Jack created a performance art ensemble called INDUSTRIAL ACCIDENT that combined various unusual elements: transcripts of factory machine rhythms, strings and large brass section, ‘live’ arc-welding, sculpture and oil-painting, classical type battery including timpani, marimba and xylophone, visual and sound instillations and a thirty piece mixed choir. Reviews in the press were full of praise for the innovative execution of the events. A self-titled (and totally) independently produced cassette by INDUSTRIAL ACCIDENT documents some of the material performed. Another, similarly experimental project, the HUNGARIAN RAPSADISTS, brought together the influences of Hungarian folk music, rap style vocals (some in Hungarian language), gipsy music as well as the tradition of the ‘working men’s choir’, with live sampling technology operated and executed brilliantly by Paul Mac. Two discs have been recorded with this material: the self titled Hungarian Rapsadists 45rpm EP and the CD titled 100% (the latter released on Hungaroton only). GRAVITY, a season of concerts combined the music of Jackie Orszaczky and Jump Back Jack with the choreography and dancing of Stephen and Russell Page (Sydney Dance Co, Bangarra dance theatre) in company of Michael Hennessy (also Sydney Dance Co). Rave reviews of the performances came from music and dance critics and full houses on each of the 8 nights witnessed a unique symbiosis of art forms.

The next live project started to take shape in 91. With the GODMOTHERS Jack’s vision was an organ trio (Hammond, bass, drums) with the great vocal harmonies of the southern gospel tradition. With vocalists Lily Dior and Monique Morrell, there was Chris Abrahams on Hammond organ and Hamish Stuart on drums. The group built a huge following around the clubs and music bars. Later the lineup extended with fine & funky guitarist Arne Hanna and the music was reminiscent of New Orleans style R&B/ Jazz. The Godmothers’ soaring vocals and dead funky grooves had Sydney dancing for a few years.

Meanwhile a mysterious and confounding ensemble was performing on Wednesday nights in the Round Midnight Club in Sydney: Jack (bass and vocals), Carl Orr (guitar), Tony Buck (drums) and Chris Abrahams (piano) were the GRAY SUITS. Deconstructing jazz, pop, and easy listening with an equal mix of affection, cruelty and astute musicality the fulsome foursome played everything from Duane Eddy surf guitar tunes through James Brown to jazz standards and the worst of Oz Rock (Australian ‘pub rock’ of the 1980s) with a vitriolic twist. Rarely have such brilliant musicians been heard to perform so atrociously. The many musicians, critics and artists who witnessed these mind-boggling concerts claim their perceptions of ‘good music’ were henceforth turned around. Sound enthusiast Barry Wolifson has recorded one of these performances and cassette copies are a cult must-have. Around the same time Jack began his fascination with the movie scores of the ‘James Bond’ flicks. He scored all the classics for rhythm section (including full orchestral percussion), string quartet, 3 trombones and tuba. This show has been a favourite around town featuring various pop (and not so pop) singers on different occasions.

When Jack discovered the wonderful vocalist TINA HARROD, a new groove/R&B band was formed in 1994 – the GRANDMASTERS. Over the next few years they toured in Australia and overseas and released several CDs in Europe. The culmination of this period was the release of “Deep Down & Out” by the ‘Orszaczky Budget Orchestra’, a double CD containing some studio recordings by the Grandmasters and other favourites from their live repertoire re-arranged for a quasi brass band with vocals and rhythm section. This release led to a series of live concerts with the ORSZACZKY BUDGET ORCHESTRA: Imagine a a brass-band of jazz players performing originals, old eastern European marches, big band blues and whatever takes Jack’s fancy; throw in a string quartet and a groove-based rhythm section; and listen as this large and unlikely ensemble meld R&B, folk and contemporary ballads with spine tingling vocals from Tina and Jack. Reviews were again outstanding and audiences were strong.

Since the early 90s Jack has been fooling around with a new toy: the ‘piccolo’ bass. He had an old bass lying around and he stuck a set of piccolo strings on it. It was pretty handy for composition and perfect to just have some fun. These experimentations led to the formation of ODD, – a funkin’ organ trio with bass parts played on the Hammond organ pedals, and Jack playing the ‘piccolo’ bass. (More technically speaking it is a high-tuned bass guitar with light gauge bass strings pitched either at D, G, C, F or E, A, D, G. This gives the player the freedom to work in the upper range to create melody, harmony and embellishment not usually associated with standard bass register. An octave divider pedal can restore normal function when required.)

The harmonic and expressive possibilities of the ‘piccolo’ convinced Jack to make tt his first instrument in his live performances. Of course when one plays piccolo bass, someone else has to take care of the bottom end. Through his older daughter Anna – who attended the Sydney Conservatorium of Music – he met a very fine young bass player — Dave Symes. Jack’s projects are now simply called the “JACKIE ORSZACZKY BAND” and based on the trio of Jack, Dave and long time associate Hamish Stuart. Size of the band varies from a trio to a full-blown brass band with featured singers and string ensemble…depending on the economic rationale of today’s rational economics.

Since the release of the double CD ‘Deep Down & Out’ Jack helped to organized two Music Festivals at Erskineville in 99 and 2000, had a baby girl with Ms Tina Harrod and released a new CD with old friend Tibor Tatrai (featuring Tina Harrod).

No comments yet

Vélemény, hozzászólás?

Adatok megadása vagy bejelentkezés valamelyik ikonnal: Logo

Hozzászólhat a felhasználói fiók használatával. Kilépés /  Módosítás )

Google kép

Hozzászólhat a Google felhasználói fiók használatával. Kilépés /  Módosítás )

Twitter kép

Hozzászólhat a Twitter felhasználói fiók használatával. Kilépés /  Módosítás )

Facebook kép

Hozzászólhat a Facebook felhasználói fiók használatával. Kilépés /  Módosítás )

Kapcsolódás: %s

%d blogger ezt szereti: