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Mi Padre CD and Concert

Quote from a letter by Oscar-winning director István Szabó:

Dear David,

I treasure your father’s memory not only because I met him while he was recording film music and I had a chance to admire his talent as a musician, but also because I came to know him as a kind and loving man and friend. He played with outstanding musicians – Béla Szakcsi Lakatos, György Vukán, Rudolf Tomsits, Mihály Ráduly, György Szabados, Tony Lakatos. He had a hand in founding bands such as Rákfogó, the Music Studio of Kőbánya, and the Jávori Sound Machine. He was awarded several prizes, in Montreaux in 1968, and in San Sebastian in ’72, among others. He received the Leo Weiner Prize for his teaching. The way his son preserves his memory is nothing less than exemplary.

In friendship,

István Szabó


Quote from Mr. Miklós Eszenyi:

According to Gyula Krúdy, dreaming of a drummer means a long voyage. This album guides us along Vili Jávori’s long voyage from Viola utca through the fantastic drum solo of the Oscar winning film, to the Montreaux Jazz Festival. In each of its drumbeats a piece of his life is manifest, even though he said of the drum that it can neither make you laugh nor cry. Yet, as the finest talent with the brush, he added something to his music to make us hear anger, sadness, joy, and sensuous stroking, as well as the mischief that was part and parcel of his nature. Many of us miss him, but let us remember that when we hear the thud of raindrops during a summer storm, it is Vili’s fingers drumming up in the sky.


Music

David Javori:

Mi Padre CD:

CIEGO:

David Javori - Violin, Gábor Cseke - Piano, Sándor Sárkány - Bass, Tamás Berdisz - Drums


DEAR GEORGY

Neszmély Jazz Festival: - This is a song I wrote for my brother, but we played it only once. This was the first concert that we played without my father, which made it difficult for us. David Javori - Violin, Spanish Guitar, Vocals, Péter Sárik - Piano, Synth, László Nagy - Guitar, Vocals, Péter Kaszás - Drums, Viktor Hárs - Bass


Vilmos Jávori:

SNOW-CAPPED MOUNTAIN, RAINBOW ALBUM:

David Javori - Violin, Vocals
Péter Sárik - Piano, Synth,
László Nagy - Guitar, Vocals,
József Horváth – Bass,
Tony Lakatos - Saxophone
Vilmos Jávori - Drums, Percussion

SHABU SHABU:
Vilmos Jávori - Drums, János Fogarasi - Piano, Hammond, Attila László - Guitar, Béla Lattmann - Bass

PLESZKÁN TRIO:
Frigyes Pleszkán - Piano, Vilmos Jávori - Drums, József Parádi - Bass

JÁVORI TRIO:
János Fogarasi - Piano, Vilmos Jávori - Drums, Viktor Hárs - Bass

TOUCH WOOD:
Gergely Földvári - Piano, Synth, Bea Tisza - Vocals, Attila László - Guitar, Béla Lattmann - Bass, Kornél Horváth - Percussion, Vilmos Jávori - Drums

JÁVORI QUARTET:
Vilmos Jávori - Drums, Percussion, Ferenc Snétberger - Guitar, Péter Csiszár - Saxophone, Rudolf Torma - Bass

CSIK QUARTET:
Gusztáv Csík - Piano, Rhodes, Fogarasi János - Hammond, Analog Synth, Vilmos Jávori - Drums, Balázs Berkes - Bass

VUKÁN-JÁVORI:
György Vukán - Piano, Rudolf Tomsics - Trumpet, Vilmos Jávori - Drums, Aladár Pege - Bass, Dezső “Windows” Lakatos - Saxophone, Hungarian Radio Orchestra



Bio

DAVID JAVORI

Biographies generally bear lots of dates and place names. The things that have had a major effect on my life are less informative, yet more significant. I grew up in a very good place among good people, and I have had many funny and adventurous experiences among them. In the past years I have learned that one of the most important recipes for life is a sense of humor. My strength has come from my faith in God, and from the love I received from my Mother and Father. Since I was a lively child, I wanted to follow in my father’s footsteps and play the drum, but my father didn’t approve, and so I started to play the piano. Since I was still a child and I was repeatedly called upon to perform in kindergarten, and since I was too young to understand the relationship between things, I soon grew tired of the piano and opted for the violin instead. For one thing, it was closer to my size. Later, of course, I realized that the violin is the world’s most difficult but also the most beautiful musical instrument. I remained faithful to my violin during elementary school and during my adventurous high school years as well. But after a while I realized that musical composition was closest to my heart – creating something new, creating a new style – in short, innovation. During my high school years and studies at the music academy, I came closer and closer to realizing my dream. I came to know many outstanding musicians, and I worked together both as a composer and as a musician with countless highly gifted people. These were my first thirty years.

Without any attempt at drawing up a full list, I would like to mention the names of some of the musicians from whom I learned a great deal, with whom I worked, and whom I owe a debt a gratitude. They were Vilmos Szabadi, László Koté, Katalin Janko, László Nógrádi, Sándor Kovács, János Fogarasi, Ferenc Tornoczki, Péter Sárik, Róbert and Béla Szakcsi Lakatos, Richard Révész, György Czutor, Chris Robinson, Nina Pastori, Collado Hessus, and Collado Manuel Sanchez. What I have learned from them and from many other musicians – in short, their influence on me – is evident in my own works


Vilmos Jávori

IN MEMORIAM VILMOS JÁVORI

“While playing the drum, Vilmos Jávori’s lips speak volumes,” Iringó Martin wrote after a concert in Pécs. This sentence sums up the way Jávori made music. He played with his whole body and soul; one moment he’d beat the drum with all his might, while a couple of second later he’d brush with such sensuous gentleness that few others could manage.

Vilmos Jávori was a born musician in the literal sense of the word. In his last interview with László Halper, he talked about his past as follows: “I had an easy time of it because both my father and mother were musicians, and what is more, though a woman, my mother played the drums. I grew up drumming even inside my mother’s belly. There was the drum always by mother’s side, and I had to go skip round it ever since I can remember. I learned the most from my mother. She taught me to read at the age of 4 or 5, when I was still in kindergarten, and she gave me great books to read. I could also more or less read scores by then. It never even entered my mind to chose another career or play any other instrument. Even now, I can’t think of a better alternative.”

Jávori also studied classical music with Oszkár Schwarz at the music conservatory (Béla Bartók Secondary School of Music), but he was most devoted to jazz. He spoke about this as follows: “I began trying myself out with jazz, which I loved from the beginning. It’s an incurable illness that makes no sense at all, because if you insist on playing jazz night and day, you starve to death. I was stubborn and pig-headed. I always went my own way. This way I persisted as a drummer and tried to do my very best.”

He began playing with Attila Garai and later played in bands with János Fogarasi, György Vukán, Rudolf Tomsits, Béla Szakcsi Lakatos, andGyörgy Szabados. In 1972 he co-founded the legendary Rákfogó Band with, among others, Béla Szakcsi Lakatos, Mihály Ráduly,and Béla “Gadfly” Lakatos. In his own words, “Actually, Béla and I founded the Rákfogó on the plane flying back from the States. Szakcsi had bought a Fender piano and a Hammond organ. They were the first of their kind in Hungary. I bought a fantastic stage sound system, which was also a curiosity, and needless to say, a great set of drums. There were a lot of jazz clubs back then, especially out of town, in colleges and academies, where concerts were held every week. We played regularly at the Architects Club in Petőfi Sándor utca in Pest. Basically, we lived in our cars, because we regularly played in Debrecen, Miskolc, Nyíregyháza, and Szombathely.” (It is part of the overall picture that at the time there were more than 30 jazz clubs around the country, and nearly 20 more in Budapest.)

Péter Bede writes the following on the history of the Rákfogó band: “The first and to this day legendary group of Hungarian jazz-rock, the Rákfogó, was playing parallel to the Syrius group from the early ‘70s. Though the band was together for nearly three years, and despite the outstanding musicians in the group, only a couple of radio performances have remained to posterity. The new musical trends of the time had an appreciable influence on them, among them the Mahavishnu Orchestra, the Weather Report – this is when fusion music came into vogue. Szakcsi brought with him a Fender piano, a novelty in Hungary at the time. The first Rákfogó concert took place in late 1971 with Béla Szakcsi Lakatos, Béla “Gadfly”” Lakatos, Gyula Babos, and Vilmos Jávori. They were later joined by János Németh on the saxophone. They had many appearances at the time – at the Architects Club in Petőfi Sándor utca as well as colleges and vocational schools around the country. János Németh was later replaced by the young violinist Lajos Kathy Horváth, who also appeared regularly with Syrius and Szabados’s group. The music that the Rákfogó played can best be described as progressive jazz-rock, but since they combined it with avantgarde elements, it was closed to contemporary classical music. Rákfogó’s music was somewhat freer and closer to jazz than the music Syrius played. In 1972 the group, which had been joined by Lajos Kathy Horváth by then, recorded one of their best known pieces for Hungarian Radio, Béla Szakcsi Lakatos’s suite in four movements, entitled “Four Journeys on the What’s New, Mr. Wagner Battle Ship”.

Vilmos Jávori was soon one of the best Hungarian jazz musicians, lauded by music critics alongside György Szabados, Béla Szakcsi Lakatos, Gusztáv Csík, andGyörgy Vukán. The Top Jazz Hungary ’77 votes named him the most popular jazz percussionist, ahead of Imre Kőszegi and Gyula Kovács.

From the mid-70s Jávoriplayed with the Csík-Fogarasi-Jávori trio. In the 1980s he founded the Jávori Quartet whose other members were Ferenc Snétberger, Rudolf Torma, and Péter Csiszár. In 1990 he started the Shabu-Shabu Band whose members were, besides himself, Tamás Berki, Attila László, János Fogarasi, and Béla Lattmann. With the participation of gifted young musicians, in 2003 he founded Jávori Sound Machine, which included his son David alongside his own pupils. Together they soon cut the album Snow-Capped Mountain, Rainbow, based on adaptations of popular Hungarian folk songs. The world famous saxophonist Tony Lakatos also participated in the making of the CD.

Vilmos Jávori’s first major concert abroad was at the Stockholm Jazz Festival in 1966, followed by the Warsaw Jazz Jamboree. (At the time, Polish jazz was esteemed throughout Europe.) From 1969 onward, he gave concerts worldwide with the famous whistling artist Tamás Hacki’s group. In 1971 he spent six months in the United States, where he was a student of Elvin Jones. Meanwhile, he gave almost nightly concerts with Béla Szakcsi Lakatos, and he also played withJan Hammer. He recalled this period of his life in these words: “We had Mondays off, when we’d visit all the jazz clubs. Almost immediately we made a bunch of friends.” In 1980 he played at the Jazz Yatra Festival in India.

Music was his life, and he was glad to sit behind the drums wherever he was. He was invited to all the Hungarian jazz festivals (Dzsessztergom, Dzsesszmélyl, etc.) He played with as much joy and enthusiasm in his hometown of Soroksár as in New York. From his earliest years until his death he served the music loving public with humility. Once he said that when he lived in Sweden, he had to pinch his pennies, and for weeks he lived on oily fish. And he remained just as open, humorous and down to earth when, still before the change in regime – a curiosity under socialism – he drove his huge Mercedes on the streets of Budapest, smoked expensive cigars, and drank fine wines. His son David laughs when he recalls that his father “”was invisible behind the wheel” of that big car.

Besides giving live concerts, Jávorialso helped cut albums with countless Hungarian and foreign musicians. He also provided the music for the recordings of such outstanding actors such as Iván Darvas, Gyula Bodrogi, László Csákányi, Mari Törőcsik, Erzsi Galambos, Judit Hernádi, Dorottya Udvaros, Péter Haumann, András Kern, and István Mikó. Of his full recordings, perhaps the best known are the Modern Jazz VII. Anthology ’68 (1968), Grey Földvári: Touch Wood (1993), Frigyes Pleszkán: Fingerprints(1995), Jávori Sound Machine: Snow-Capped Mountain, Rainbow (2003), and Sztereó Magyar Jazz No. 18. – Jávori Vilmos (2005). He also composed scores for films by directors István Szabó, Miklós Jancsó, Péter Bacsó and Károly Makk, among others. Still, he is perhaps best known for the drum solo he played in Szabó’s Oscar winning film, Mephisto. “I loved to play the drums. I played in operettas, for all the New Year’s Eve specials on TV, and in cabarets. I also played the drums in all the films of the time.” The 38 minute long concert film, Cserfő Jazzland – Jávori Sound Machine, also preserves his memory. Directed by István Seregély, it also featuresDavid Javori (violin), László Nagy (guitar), Péter Sárik(piano), and József “Pluto” Horváth (bass guitar).

Besides playing the drum, Jávorialso laid great emphasis on nurturing a new generation of musicians – nurturing, and not teaching them. In 1990 he co-founded the Kőbánya Music Studio, of which he served as vice-principal until his death. He felt that “people grow up hearing horrible music of all kinds, without getting any information about good music. This is going to be tragic for those who are studying music today, because there won’t be anyone for whom to play proper music. This problem is close to my heart because I have been teaching for a long time, and I am even heading a school.” He was proud of his students. “The young people who study with me are in the vanguard. Five out of the seven contestants of the Gyula Kovács Drum Competition were students of mine, as were the first three prize winners.”

He received a number of prizes in recognition of his performance: the special prize of the journalists at Montreaux in 1968, First Prize, with György Szabados, who later received the Liszt Prize, in the free category in San Sebastian in 1972, and the special journalists’ prize with the Mr. Szextett Band (with Szakcsi, Vukán, Berkes, Tomsits, and Ráduly) at the same festival.

He was married several times and had four children – Andrea, who lives in New York, his son Gyuri, who died and was percussionist for the world famous Joan Baez, his son David, who studied the violin and became a jazz violinist and composer, and who works mostly in Spain, and his daughter Fanni, who was only three years old at the time of her father’s death.

Vilmos Jávori died in February 2007, at the age of 62. A concert was held in his honor the same year at the Stefánia Palace. The participants included musicians he had played with and his students, among them the Shabu-Shabu Band, the Jávori Band, Charlie, Nikolas Takács, the chorus of the Kőbánya Music Studio, the Berkesi Trio, Gusztáv Csík, Joan Faulkner, the Wine and Soda Band, and the Jávori Sound Machine. Concurrently, a photo exhibition was also opened in his honor, and a CD by the Hungarian Jazz Quartet was published.

Many miss his sharp humor, and his clever remarks – the observations of a man of experience who has seen much of the world. After his death, many necrologs were published on him in the daily papers as well as the Internet.

Miklós Eszenyi

Cultural Historian



Vilmos Jávori Bibliography

We’d like to call the attention of all those interested to the following information on Vilmos Jávori:

  • János Gonda: Jazz. Történet, elmélet, gyakorlat (Budapest, 1979)
  • János Gonda: Jazzvilág (Budapest, 2004)
  • György Illanicz: Találkozásaim. Emlékek, művészportrék, dokumentumok a zene, a jazz világából (Cegléd, 1999)
  • Attila Malecz: A jazz Magyarországon (Budapest, 1981)
  • Katalin Marczell (ed.): Verőfogás. Interjúk magyar dobosokkal: Nesztor Iván, Martonosi György, Jávori Vilmos, Kőszegi Imre, Pusztai Csaba, Berdisz Tamás, Kisvári Ferenc, Mareczky István, Szentmihályi Gábor, Mády Kálmán, Mohay András, Borlai Gergő, Marczell Katalin (Budapest, 2008)
  • András Pernye: A jazz (Budapest, 2007)
  • Géza Gábor Simon: A magyar jazz 1945-1990. Történeti vázlat (Budapest, 1990)
  • Géza Gábor Simon: Magyar jazztörténet (Budapest, 1999)
  • Géza Gábor Simon: The Book of Hungarian Jazz (Budapest, 1992)
  • Gábor Turi: Azt mondom. Interjúk magyar jazzmuzsikusokkal (Budapest, 1983)

Media:

  • In memoriam Jávori Vilmos. Portrait. MR2 Petőfi Radio, March 12, 2007, 44 min.
  • Vilmos Jávori. Broadcast on Kultúrház, Hungarian Television 2, March 4, 2007, 30 min.
  • Vilmos Jávori memorial concert at the Stefánia Cultural Center. Broadcast on Hungarian Television 1, November 26, 2007, 10 min.


Photos

Gallery

Lunchtime – one of Budapest’s best places since 1938 Antal Freissler elevator – a part of our World Heritage from rosewood Viola utca – where so many things took their start Red light – Italy Cobblestones – Danube embankment The machine – 650 Nm Type 1200 – Italian style, Russian reliability Steinway


Mi padre – My father

My father “While playing the drum, Vilmos Jávori’s lips speak volumes.” Tension and precision Fine ballad, soft drumming The best drum in the hands of the best man Jávori Sound Machine at Feri’s Vili and his band, the Rákfogó (Lobster Pot) in the April 5, 1971 issue of National Geographic He was the endorser for all the brands in Hungary, but he liked Slingerland the best


George

Reflection Concert tour Gyuri and the Brush Making you laugh Bracing for sunset People loved him – a hug from Joan Baez Gyuri with Baez’s band in Virginia


Studio

With my friends László Nagy, Berci Temesi, Peti Kaszás, and Ricsi Révész at the Pannonia Studio Norbert Duka, possibly the greatest bass player in the world, was a friend and colleague of Herbert von Karajan. Herbert making the beautiful Linda and myself laugh Balázs Róbert did a great deal for me Peti Sárik and Viktor Hárs, who often played with my father My piano and I – the 50 year old Steinway Nothing but Ns10 and Gelenec1032 during a recording session


Musicians

Norbert – in his hands the bass sounds like a viola, or sometimes, a violin Charlie – who is still among the best Linda Király and Attila Kökény while I’m talking about the CD Friends and good musicians – Charlie Horváth, Viktor Király, and Attila Kökény Péter Wolf, an outstanding composer, and one of my father’s true friends Imi Kőszegi, the last of the drum show group and an outstanding musician Laci Balog, one of the best known drummers today and also one of the most talented. He is also a former Jávori pupil. My friend Peti Sárik and I – out of the ordinary both as a man and a musician Viktor Hárs – he and my father started playing music together as children József “Pluto” Horváth – one of my best childhood friends With Pisti Fekete, József “Pluto” Horváth, and András Mohai during the recording of Mi Padre Béci Szakcsi and I recording a song in blazing sunshine Attila László played a great deal with my father – one of the best, if not the best, guitar player in Hungary The sound of the bass guitar is inimitable, beautiful, and crystal clear – Béla Lattmann, the man who can coax it out Gábor Oláh, outstanding musician and good friend Vilmos Szabadi plays the violin like no one else, and he plays from the heart Uncle Feri taught me much about music, while Ferike is an outstanding rock and jazz-rock guitar player Gyula Bodrogi is a stage legend in his own time. His voice is recognizable anywhere. He and my father appeared together at the Blue Mouse. I’ve known Roby, the best jazz violinists, since I was a child. He learned to play the drum from my father. They loved each other very much. I like listening to him play, now and in years gone bye. Roby Lakatos, one of the best jazz and world music violinist in the world today. Roby Lakatos – a new setup-formation in my song.

Videos and works

Sabotage Agency


DeLaurel Production


Mirage film studio


Main Sponsors:

Ministry of Human Resources


National Cultural Fund


Ministry For National Economy


Hungarian Academy Of Arts


Main Partners

Palace Of Arts


MTVA


Audi Hungary


Mellow Mood Hotels


Bunt 24 Advertising Agency


Hungarian Virtuosi Chamber Orchestra


Bado


Partners

Szerencsjáték Zrt.


Deloitte Hungary


NovelMedix Kft.


SC-Tender


Mezzo Television


Klasszik Radio


Jazzy Radio


Nagyagota Collection


Gundel Restaurant


DeLaurel Production


Pannonia Studio


Mynd Creative


Vision team


Arizona Motion Picture Solutions


Stucni kft.


Használtkerékpár.com


Hangszerarzenál.hu


Ethno Sound Musical Instruments


Sound & More


Hungarian Jazz Federation


Felix Promotion


Hungaria Jazz Foundation


Colombo Italia


Koto Beauty Salon Koltai


Judith Lazar


Ravazzolo Milano


Yiddishe Mamma Mia Restaurant


Horvátország info


Marschallka


Profile

Music projects planning: Composition, project management, branding.

Concerts and other events:Full-night musical concerts, designing and organizing club concerts and business events, concert management for international artists.

Visuals: music for films and commercials, branding and musical accompaniment for television shows and series.

Services: musical basis and technical engineering for restaurant, bar, club, and other services.

Agency: Bands and stage events for firms dealing with travel, entertainment and catering in classical, jazz, pop, ethno, Latin and other styles from one-man shows to dance, song and music productions with up to 120 performers.




Projects - Infos

Mi Padre – My Father:

Mi Padre – My Father is a memorial exhibition of sorts dedicated to everything that I have learned and received from my father.

The CD and the concert were born from the musical give and take of the years we spent together. I wrote the music for the album and organized the concert. I was motivated by love, respect, and tradition. I received much help from my father’s former students and friends. During my musical career I have come to know many artists – some have become my colleagues, others my friends. I was able to count on their help, too, in making this complex project a reality.


The complexity of the project called for approximately three years of preparation for its realization. I began the project in December 2008, the first anniversary of my father’s and the second anniversary of my brother’s death. I felt that the time had come to commemorate these two men who had given so much to those around them, not least of all myself. Ninety percent of the CD was written in January 2009. The first recordings were made in 2010. The work was made easier by my mother’s strength and determination and those who gave me their support in mid-stream. Without even attempting to give everyone their due, I would nevertheless like to mention the names of those friends who are not musicians, but who were a great help in organizing the CD and the concert: Miklós Eszenyi, Róbert Kakas and the Kakases, Attila Tóth, György Cutor, Norbert Kommenczi, István Szanyi, László Hegedűs, Péter Reiner, András Juhász, Éva Dóri, Zoltán Kis, Károly Aranyos, Erika Nagy, Andrea Vizkeleti, and Ferenc Sallai. It took almost two years to make the CD. It took this long first and foremost because we aimed for quality. Some songs had to be recorded repeatedly before I was satisfied with the results. We used the latest digital and the best analog techniques while we made the recordings. The mixing and mastering took nearly twelve months, which speaks, perhaps, of the quality that was our aim. The sound material is the finest thanks in part to the participation of the best musicians, but also to various recording studios in New York, Barcelona, Düusseldorf and, last but not least, Budapest. Special instruments also give the CD extra color. In Károly Fehér’s Ethno Sound we recorded Viktor Szabó playing a nearly two and a half meter African drum, which I worked into the song, I Will Go. I used a number of wonderful, exotic African, Indian, and Eastern musical instruments to make the sound more intriguing, but without going overboard, I hope. Tony Lakatos and Martin Endel were a great help during our recording sessions in Germany, and in Spain I received help in organizing the CD from Collado Hesuss and Martin Himenez. The Hungarian recordings would not be the same without the help of Balázs Róbert and Viktor Szabó. I was already intent on organizing the concert while I was working on the CD. I received a lot of help with this, too, and I would like to mention some of the people who helped and supported me, Károly Aranyos, Mariann Hemerle, István Komoroczki, Gábor Kosztolánczy, Petra Tóth, Ágnes Kerényi, Anna Tóth, Péter Szentkereszti, Tamás Németh, Judit Klöcz, Márton Vizy among them.

The musical material is comprised mostly of jazz, classical and folk music, and so I would call it a world music album. I have always liked new things, and so the concert, too, will be innovative. The CD and the concert will be different, but anyone listening to the CD will recognize everything that is also part of the concert, except there will be fine differences. We are planning to take the concert on tour to Barcelona, New York, Tel Aviv, Düsseldorf, Riyadh, and Oman. Naturally, the concert at the Palace of Arts in Budapest and the concerts to come will also be slightly different.


The Third Day (Harmadnapon):

I am grateful to my friend Gyuri Czutor for my participation in the film entitled The Third Day (A Harmadnapon). He called me up and introduced me to Linda, and we began to work on the film together. It is a profound and touching story about the past, present, and future – specifically, that there is no present and no future without the past, and if you do not respect your predecessors, you will come into a heads on confrontation with this sooner or later. I had mainly classical music in mind, and so the baroque style came to predominate. I recommend it to everyone who loves reality and stories that speak to the heart.