Our latest album ‘ZONE’ got very positive feedback, here are some examples of this reviews:
“The 'Zone', in my opinion, is one of the great surprises of this year.” Jan Hocek (jazzport.cz)
“Such songs are these that will light the fire of excitement in the audience and keep that fire burning until the very last note.” Mihály Czékus (hifipiac.hu)
“1705 is an extraordinary phenomenon in the European jazz scene. Not only their compositions on the album “Zone” are unique and thoughtful, but the three instrumentalists, who are undoubtedly excellent and the trio’s diverse use of electronic effects perhaps define new formula for a twenty-first century fusion.” Robert Ratajczak (LongPlay)
“I am telling you: this is a bloody good record." Zoltán Trencsényi (Népszabadság)
"1705 is alert, fast and always fiery. Their answer to every musical challenge is wonderfully reckless: they simply set the bar higher and delight in climbing breathtakingly from ledge to vaunted ledge, springing like mythical characters with super (musical) power." Raul De Gama (jazzdagama.com)
“On its own merits it could be very difficult to outdo the 'Zone'.” Barbara Bércesi (Gramofon)
“...the 'Zone' is an album of an era; listen to it, it is worth it!” Károly Gáspár (jazzma.hu)
Just some words here...
|JAZZ FESTIVAL||NAGYKANIZSA (HU)
|JAZZ FOR SALE||KOSICE (SK)||21.11.2015|
|OPUS JAZZ CLUB||BUDAPEST (HU)||18.12.2015|
|MARIA THERESIEN APP III, HOFBURG||VIENNA (AU)||13.02.2016|
|MŰVELŐDÉSI KÖZPONT||BUDAÖRS (HU)||01.04.2016|
|OPUS JAZZ CLUB||BUDAPEST (HU)||15.04.2016|
There are several reasons for this trio's unusual choice of name: for one thing, this is the title of one of their songs (Zsolt Kaltenecker wrote it on a historical keyboard instrument made in 1705), for another, it brings up associations with the Legend of 1900 film and its hero, who deliberately or inadvertently mocks the musical hard-liners. For the members of the ensemble, openness and the crossing of imagined or real boundaries are the primary motivations. It is thanks to this approach that the trio's music nonetheless produces a homogeneous whole while combining dozens of influences: the melody and dynamism of popular music, the freshness of electronic music, the straining of classical music to achieve harmony, the diversity of world music and, of course, the freedom of jazz and its delicate combinations.
In addition to arcing improvisations that often seem to drift towards infinity, Zsolt's piano play often builds on the complete independence of his two hands and is immediately recognisable, András's unusual set of percussion instruments (on which he sometimes plays with almost complete freedom, sometimes like a sophistically programmed drum machine), and Béla's full-bodied, warm double bass and lyrically delivered solos are all hallmarks of 1705. Zsolt played for longer periods with Béla in the nineties and András in the first decade of the new millennium - and the fruits of their collaboration can be heard on four records in all. The trio was founded in late 2010 when Béla returned to Hungary from Australia after 15 years. Their first record was released as 1705 in 2012. A new CD is expected in the summer of 2015.
electric and acoustic pianos, sampler, electronics
Since 1995 he has been working with the best hungarian musicians. Beside his solo piano efforts presently he plays in the 1705 and the progressive metal band Special Providence. He had many international concerts all over Europe and also in Japan. Since 2003 he has been also playing electric pianos and synthesizers. His characteristically individual style and „sound” is perhaps the best described by the critic, Zoltán Végső: „ We can perhaps find the basics somewhere in the vicinity of modal jazz, where the rhythm, polytextural mentality, method of musical performance and sound effects are always more important than harmony, still horizontal planes build on one another thus a strange vertical structure can emerge, i.e. we can hear and feel the harmonic texture. This musical world extends to several directions and still the audience can feel the clean forms and intentions, and not the intertwined tunes and receive a jazz music that is enjoyable in its every element.”