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Fuvola Blues |
M7 országút |
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Gregorian dal |
Mercy Mercy |
By the way the jazz program was only a part of our program. We preferred the jazz-rock style. Our program consisted of mostly Jimmy Smith, Tijuana Brass, Blood Sweat & Tears, Chicago, Sergio Mendes music and jazzy version of Beatles songs. In these songs we could improvise, but we always kept in mind that
those guys or girls from our audience who prerred to dance to the pure joy of listening, could dance to the music. These songs with their particular sound made up the basic of our program when we played abroad, and we had big success with it. Unfortunately no recordings survived this era. When Jakab Gyuri had to leave the band because he did not receive the permission to leave for the West, I took over his place as the piano and electric organ player, besides I had to play the trombone as well. (Like before with the Olympia-band.) This made my job difficult, but in the meantime it was really a show.
We played the above mentioned songs mostly in abroad, in Lübeck (Gemany) on the „Riverbboat” or in West Berlin in the Hotel Hilton. The audience often enjoyed our music sitting, and rewarded us with applause. I had arranged about 120 songs during these three years, and I did not even find it exhausting. I listened to this recording 37 year ago, on the day when it was recorded, and forgot about it. I found it accidentally in the last week, and it surprised me. One thing is for sure: I wanted to achieve quality by using my ideas in playing. I always wanted to play that kind of music I liked, and it seems to me that I succeed to do so. I really regret that I did not continue to make recordings. So many of my efforts remained unremarked. Listening to the recordings you can feel the enthusiasm it was played with. It was always like this. We considered ourselves rock-musicians in the first place, and we played concerts night by night. My enthusiasm infected the rest of the band, and the air was boiling around us. We recorded the music one night live, with a simple radio-casette-recorder. Unfortunately it is audible on the proportions of the sound of each instrument. But this is forgivable considering that it is live-recoding.
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Unfortunately only a few of our recordings survived this era. And I was able to dig up some of the old songs only. I have, however found on the WorldWide Web the homepage of the Drum-Museum in the town of Cegléd in Hungary. The director, Sándor Karman used to come in the Matróz Csárda in Siófok, where we played quite often and he falled in love with our music. He still remembered us after such a long time and expressed a very positiv opinion of our artistic creativity. Moreover, he encouraged me to make these old songs public, because -- according to him -- they carry a nice and progressive profile of the band of the days. |
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The name „Jo Wynn Brass” was given us by our german agent because it sounded rather english-like. The idea worked because the British-American hegemony int he rock music is still unbroken and will remain like this. The new name was based on my original name: Josef Winkelmayer. Jo stoods for Joseph, Wyn stood for Winkelmayer and Brass stood for our sound, since we were using trombone, trumpet and saxophone. Winkelmayer, a Bavarian name originally, sounded special in Hungary but not in Germany
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