Napkelte alkonyatkor (1972-1973)
01. Napkelte alkonyatkor 10:48
02. Az árnyékok kinyúlanak 7:36
03. Kis nyúrga füst virágzik Hold elott 5:27
04. A pillanatok zörögve elvonulnak 7:46
05. Szerelem, szerelem? 7:03
06. Szomorú vasárnap 11:58
07. Eljön a Mennyek Országa (J. S. Bach, BWV 659) 4:58
Babos Gyula: guitar, remastering
Kathy Horváth Lajos: violin
Jávori Vilmos: drum
Koszegi Imre: drums
Orszáczky Miklós: bass guitar
Ráduly Mihály:soprano saxophone, tenor saxophone, flute, piano, composer
Szakcsi Lakatos Béla: piano, fender rhodes electric piano
Sándor Vajda: double bass
Hungarian radio studio recordings from 1972/73, released 2001. Saxophonist and flutist Mihaly Raduly won a price for best soloist in Montreux Jazz Festival 1970 and is most famous for playing with Aladar Pege, Syrius, Rakfogo. But this is not „just another session on well known stuff“, instead thoughtful compositions that aren't comparable with the parallel Syrius or Rakfogo output. It's overtly jazz fusion with a few snippets of world music woven in and sometimes knocking at the door to free jazz for better expression.
Sandor Vajda (bass / György Szabados, Benko Dixieland Band), Bela Szakesi Lakotas (keyboard / Aladar Pege, Saturnus), Jackie Orszaczky (bass / Syrius), Vilmos Javori (bass / Aladar Pege, Szabados, Rakfogo), Imre Köszegi (drums / Szabados, Csik Trio, Saturnus), Lajos Hrorvarth (violin / Szabados, Yochk'o Seffer's Neffish Music) took part in this recordings.
Listeners could be surprised by the first track starting with a gamelan intro flowing into the „alien welcome melody“ of Spielberg's science fiction movie „Close Encounters of the third kind“, five years before that movie. Message or incident? The Solresol music language was invented by Francois Sudre around 1917. For the movie a polished Solresol version of hungarian componist Zoltan Kodaly, a friend of Bela Bartok, was used. Are there more Solresol messages hidden in Raduly's compositions?
The recordings stay eclectic, for example an emotional interpretation based on Rezsö Seress melancolic piano piece „Gloomy Sunday“, that has a reputation for being allegedly responsible for many suicides. Raduly manages to transform the nucleus of the expression of desperation in powerful liberated jazz. Raduly let's the recording end playing the classical piano piece of J.S. Bach „Nun komm der Heiden Heiland“ (BWV 659) in a contemplative and thoughtful manner. I wish Raduly would release more of this interesting radio recordings