Jazz |

If there is one distinctive feature of European jazz, it is the difficulty its artists face in gaining recognition beyond their own borders—even within the countries that form this loosely bound conglomeration, a union that often feels meaningless. Indeed, drummer and composer Marton Juhasz is primarily known in Northern Europe, which is why his website predominantly highlights endorsements from Northern European artists who admire his work.
Marton Juhasz offers a brand of jazz fusion or progressive jazz, depending on your perspective, drawing as much from rock as from jazz and evoking the soundscape of the late, great Jaco Pastorius. Based in Basel and the recipient of multiple accolades, Juhasz has carved out a niche for himself through his distinctive approach to the drums. This has led him to perform worldwide alongside luminaries of modern jazz, including Gilad Hekselman, Wolfgang Muthspiel, Jorge Rossy, and others. Twice named “Drummer of the Year” in JazzMa’s online readers’ poll, his 2017 album Pannon Blue, featuring Lionel Loueke, earned the “Best Hungarian Jazz Album” award at the Gramafon Awards. Yet, while the album boasts undeniable quality, it seems to go far beyond mere “inspiration.”
In 2025, one struggles to see the value in imitating Weather Report so closely, albeit with a slightly heavier rock influence. For those unfamiliar with the wild and majestic era of Weather Report or even the Zawinul Syndicate, this album may serve as a gateway, sparking curiosity to explore those jazz titans independently. For others, however, despite the album’s flawless execution and the musicians’ excellence, its lack of vision in creating a truly contemporary work is striking. A guitar that dominates excessively prevents the listener from fully appreciating the compositions’ deeper artistic roots.
This leads to auditory fatigue; when an electric instrument asserts itself too strongly, it becomes difficult, after a while, to engage with the artistic propositions. The strength of Weather Report—and of Purcell’s works, for that matter—lay precisely in the management of silence, which allowed themes to resonate and evolve. The most puzzling aspect of this album is that the musicians are outstanding, the compositions well-crafted, yet the arrangements, which seem to cram in as many notes as possible for fear of leaving gaps, undermine its impact. As a result, we can only grant it three stars. With greater restraint and insight, it might have earned a place among our favorites.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, January 19th 2025
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