When jazz in Hungary was in first stages of its development, progress led to esthetic stratification – most of audience was still close to dance music, while some artists were playing more complicated and expressive kinds of music. It was beyond acceptance of public considering jazz as popular music. No wonder in centrally managed system of state culture has any proper space for many experiments. Most professional part of avant-garde music was counted as contemporary academic music, even if it was in best part improvised. More popular, based on rhythm patterns and harmonic changes was credited as part of popular music. In seventies there were two leading labels in Hungary, Pepita recording all genres of popular music, including jazz, and Hungaroton publishing recordings of artistic music, historic and avant-garde. As both were run by the same state, catalogue numbers were not duplicated. Most of jazz music was published by Pepita, although there were exclusions.
There is one at least record being published under these two labels, this is Szabados Quartet album Az esküvő (The Wedding). The record labels were printed with Pepita logo, and front cover was designed with Hungaroton logo, both with the same catalogue number (SLPX 17475). Back cover includes lots of informations with linear notes in Hungarian, English and Russian, but besides the catalogue number has no indication on any label. This situation is easy to understand reading fragment opening notes where editor reffers to the traditions of Hungarian folk music, as well to the experiences and achievements of contemporary academic music or to influences of progressive American jazz. Probably on various phases of production various genre qualifications were considered. And such hesitance is fully justified in many fragments this music sounds like controlled performance of a composed works.
Szabados Quartet – Az esküvő (1974)