Award-winning singer Rozina Pátkai's second and third albums, Paraíso na Terra and Taladim, whose songs were again inspired by Latin melodies, carry the listener away into a completely unique musical world. Improvisations are given more space, enveloping songs that are sometimes childlikely simple, sometimes unpredictably wandering. All this is sung in Portuguese, French, Spanish, English, and Hungarian, with poems and texts by Zsófia Bán, Paul Verlaine, William Blake, García Lorca, Jane Tyson Clement, and many other great authors. The ensemble will be joined by guest cellist Ditta Rohmann, with whom Rozina worked on the Taladim album – one of the rare occasions they perform these songs live. Ditta Rohmann is a versatile musician who has been appearing as a soloist in large concert halls, improvising in world music formations, in productions with dancers, as a chamber musician, and, more recently, as an actress. Her musical repertoire ranges from Baroque to contemporary music.  

Cimbalom player Miklós Lukács is undoubtedly one of the most exceptional figures in Hungarian and international music: his classical music training has enabled him to delve deeply into both jazz and contemporary music. His virtuoso playing and constant experimentation have led him to discovering previously unknown sounds on his instrument. The best examples of this can be heard in the music of the Cimbiosis Trio, founded in 2013, which has grown into one of the most original formations on the Hungarian jazz scene. On top of the unique combination of instruments and the constantly expanding repertoire of original compositions, neither the bandleader nor the members shy away from experimentation and exploring new paths. “I composed for this trio in such a way so that we would sound like a chamber music ensemble, where every musician has equal weight. That's why I chose the name Cimbiosis: the symbiosis between us is key,” said Miklós Lukács.  

The Emma Nagy Quintet represents the new Hungarian generation of modern, contemporary jazz. Their experimental spirit plays an important role in shaping their sound, with heavy drum grooves, free improvisations, contemporary compositions in the form of songs, and other unique solutions equally featured in their pieces. Contrasts and dissonance, improvisation and diversity, joy and spleen, contemporary sentiment, and grotesque, raw expression are all part of their style, revealing a kind of dreamlike charm. However, this diversity is not an end in itself, but serves to enable the band to delve deeper into the layers of chamber music on stage. In October 2025, their fifth album will be released: with Altered States, focusing on emotions and moods, the band ventures deeper into the world of popular music than ever before, while retaining its unique edge and character.  

Formed in 2012, Jü plays the music of rapture: their themes, often seemingly austere, sometimes unfolding from repetitive swirls, their compositions drawing simultaneously on psychedelic and noise rock, a touch of folk and power jazz, carry incredible energy. The music evokes the golden age of seemingly disparate genres coming together, but beyond the obvious reminiscences, Jü is by no means traveling down memory lane to the fusion music of the late 1960s and early 1970s: by expanding the possibilities of their instruments, they transport their spellbound audience from the continuously flowing present straight into the future. At this concert, they will present their first BMC Records album, Rudel, to be released this November, which combines the intensity of rock, the freedom of free jazz, the hypnotic effect of ambient textures, and the complex, visceral rhythms of African music.

The EliasHuemerProject feels like a treelegged Andromeda in the nightsky, floating above the neon reflections of the limelights on the wet pavement. Like nothing else. With their new album Somnambule, the band tells untold stories. Stories of daydreaming and sleepwalking. Of lonely citylights, of asphaltflowers and desertseas. Stories of the two sides in everything in everyone and the subjectivity of beauty that connects us all. In a language without words, that is spoken only in these songs. 

“…Hawkins is a really vital link in a long historical chain, and his ability to sculpt his own language from a deeply rooted creative bedrock is compelling” – Jazzwise Alexander Hawkins is widely recognised as one of the UK’s most innovative and imaginative pianists and composers. He is self-taught with a great love and deep knowledge of the jazz tradition which he brings, along with classical references, to his compositions and improvisations. In May 2025 he released his third solo album Song Unconditional on Intakt, following the 2019 Iron into Wind, also on the Intakt label. As well as his solo performances, Alexander works in a vast array of creative contexts including leading and composing for his Quartet and larger ensembles; in his duos with Evan Parker, Tomeka Reid, John Surman, and Sofia Jernberg, his Trios with Nicole Mitchell & Tomeka Reid, and with Tomeka and Chad Taylor; and Decoy with John Edwards and Steve Noble, with Hawkins on Hammond B3. He can also be heard in projects with contemporary leaders – Joe McPhee, Anthony Braxton, Marshall Allen and Ethio-jazz pioneer Mulatu Astatke.  

Turkish saxophonist and composer Korhan Futacı, known for his boundary-pushing sound and fearless approach to improvisation, brings his singular musical vision for the second time to Opus Jazz Club – this time with a very special guest: British pianist Alexander Hawkins. Recently relocated in London, Futacı has long been a prominent figure of Turkey’s alternative music scene and a driving force in experimental and improvised music, creating sound worlds that blend raw energy with rich textural depth. For this performance, he is joined by Alexander Hawkins, one of the UK’s most celebrated and innovative jazz pianists. The two artists have previously shared the stage at Café Oto and the Brighton Jazz Festival, building a unique musical chemistry that now continues in Budapest. During this concert, they will guide us from the chaos of Istanbul to an uncharted realm. A place filled with vitality but also darkness; fusing traditional Turkish music with free improvisations. Completing the quartet are two outstanding Turkish musicians based in Europe: Esat Ekincioğlu, a bassist residing in the Netherlands, and Erdem Göymen, a drummer currently based in Essen, Germany. Together, they form a cross-border ensemble that thrives on spontaneity, sonic exploration, and collective intuition. A rare gathering of bold musical voices led by Korhan Futacı, this concert promises a night of deep listening, free-form interplay, and genre-defying expression.

Dear Visitors, We regret to inform you that this concert is cancelled. Tickets purchased online will be automatically refunded by InterTicket Kft. Tickets purchased on the spot may be refunded at the BMC Info Desk.  We apologize for the inconvenience and thank you for your understanding.Budapest Music Center

György Szabados was a prominent figure in Hungarian avant-garde music. He created the Kassák Christmas series organized at the Kassák Club in the 1980s, which was revived by the Fonó Music House in the 1990s. Paying tribute to this tradition, the Adyton Art Foundation is organizing Adyton Christmas for the 10th time this year, finding a home at the Opus Jazz Club. In the first part of the evening, István Grencsó and Stevan Kovács Tickmayer will play as a duo. Although they have made recordings together from time to time – most notably with the Trio Kontraszt, the Grencsó Collective Special 5 with Ken Vandermark, and the album Várakozás (Waiting) from the triple album Esszék (Essays) – they have not performed as a duo since the bold Chamber Music, recorded in 1988 and released on LP. It will be exciting to hear what they have to say to each other and to the audience now. In the second half of the evening, the core of the band will be the rhythm section of the Grencsó Collective with Róbert Benkő and Szilveszter Miklós. They are joined by Stevan Kovács Tickmayer and Zoltán Mizsei, who appeared on two of Grencsó’s albums in the early 2000s, and whose current contribution will certainly add a new dimension to the free music sound of the Adyton Spontaneous Ensemble.  Zsolt Németh

The Coltrane Legacy sextet was founded in 2017, on the 50th anniversary of Coltrane's death, by one of the most sought-after musicians on the Hungarian jazz scene, bassist György Orbán. In the decade and a half from the mid-1950s until his death in 1967, the saxophonist laid new foundations for modern jazz. He created a legacy of music that has influenced generations of musicians ever since, reaching ever more spiritual dimensions. An experienced bassist who has played in many bands, György Orbán thought the best way to honour the saxophonist's legacy was to create a group that would play both original compositions inspired by Coltrane's music and new arrangements of Coltrane’s songs. The compositions, of course, take Coltrane's tradition as their starting point and continue to reflect the abstract spirit and tools of our time, thus continuing the spiritual jazz tradition. The members of the band are outstanding personalities of the Hungarian jazz scene, their progressive way of thinking and unique musicality have enabled them to work together as a team with unbroken creative enthusiasm.

Júlia Karosi's latest musical journey seeks an even more intimate sound than before, with the singer also taking on the role of keyboardist. The vocal theme is built on multiple parts, performed live by two young singers who have recently distinguished themselves with their unique voices: Rebeka Nagy-Babos and Kriszta Koncz. The lyrics of the songs are largely inspired by Japanese haiku poetry, while the music combines elements of modern classical music and minimalist art pop with the world of jazz in both style and sound. The musical producer of the project is Yank, known for his extremely diverse work.

The Legendary Album Series | Blue Note Series | Miles Davis Vol. 1. | Young Man With a Horn The title Young Man With a Horn not only refers to the film of the same name but also acknowledges that Miles Davis was already considered one of the greatest promises in jazz at the time. The 1952 recordings were later released in an expanded form under the title Miles Davis Vol. 1. On the album, alto saxophonist Jackie McLean and trombonist J.J. Johnson engage dynamically and atmospherically with Davis, who later highlighted in his autobiography how satisfied he was with these recordings, despite having entered the studio without a regular band. In the MAO adaptation, the horn section will consist of Kornél Fekete-Kovács (trumpet), Kristóf Bacsó (saxophone), and Mátyás Papp (trombone), while the rhythm section will feature the familiar trio of Gábor Cseke, József Barcza Horváth, and László Csízi.

Saxophonist and composer Yvonne Moriel is one of the most exciting new voices in Austria’s vibrant jazz scene. Her recent recognition with the Austrian Jazz Prize for Best Newcomer highlights her artistic depth and growing influence. Over the past two years, her quartet sweetlife has been captivating audiences and was selected as a New Austrian Sound of Music act for 2025/26 – which acknowledges their fresh perspective and valuable contribution to Austria’s dynamic and forward-looking jazz community. The sound of sweetlife blends classic jazz elements with electronic soundscapes, complex rhythmic structures intertwine with dub effects. The instrumentation – saxophone, trumpet, synth bass/keys, and drums – presents a reimagined take on the classic, sophisticated jazz quintet. Yvonne Moriel, trained in both classical and jazz music, is a stylistically versatile musician. With her highly individual musical voice and compelling original projects, she has drawn quite some attention. Names like Shake Stew, Seb Rochford, Christian Muthspiel, Christian Lillinger and many more pop up when you are looking at her musical activities. Since 2022, she has been developing a distinctive sound with sweetlife – one that questions traditional concepts and opens up new sonic spaces. Following the release of a first EP in 2024, their debut album is set to be released end of 2025, accompanied by an international tour including Europe, America and Asia.  

The Austrian trio other:M:other (consisting of Judith Schwarz, Arthur Fussy and Jul Dillier) aims to create a rhythmic symbiosis of sound. Acoustic and electronic sounds merge seamlessly into one another, creating percussive networks of impulses that draw their inspiration equally from experimental music and beat-based club music. With unconventional instrumentation, extended playing techniques and a free improvisational approach, they explore the boundaries of musical genres and are virtuosos at translating their own sound language into a wide variety of stage settings, concert formats and stylistic contexts. Imagine a missing link between free jazz improvisation and club music and you get the idea of what makes this trio so unique.  

Pianist Verena Zeiner and drummer Ziv Ravitz met in NYC, when they both lived in the vibrant city. Since 2021 they play together as a duo and have released two albums since then: The Sweetness of Finitude (2022) and Radical Care (2025), an album on which the duo’s sound palette has been expanded to include guitar, bass and a string trio, creating a rich, immersive musical experience. Verena Zeiner, renowned for her unique and captivating piano performances, seamlessly blends improvised music with elements of chamber music and jazz. Ziv Ravitz, an exceptionally versatile drummer and composer, is one of the most sought-after musicians in modern jazz, collaborating with greats such as Avishai Cohen, Petros Klampanis or Dominic Miller. On this evening they will perform pieces from their existing albums and also brand-new music, featuring electronic enhancements to their acoustic instruments.  

“Perhaps no composer has had as great an influence on contemporary jazz as Bartók. The astonishing power and dynamism of his works almost overwhelms the listener; his music is full of thrill, mystery, boundless depth and purity. We created our arrangements with the aim to bring Bartók's music closer even to those who did not find it appealing until now,” said Péter Sárik about his first Bartók-inspired trio album, released in 2018. Since then, the band has performed the program to great acclaim in 15 countries around the world, from Finland to Kazakhstan to China, and in 2023 they followed up with the album X2 Bartók, featuring jazz adaptations of even more piano and choral works.  

The collaboration between Ági Szalóki, János Ávéd, and István Tóth is inspired by a respect for tradition and a love of freedom. Their program includes contemporary arrangements of church folk songs, Advent and Christmas carols, works by Sebestyén Tinódi Lantos, Bálint Balassi, Maurice Duruflé, and unknown 13th–18th-century English, Italian, and Hungarian composers, as well as thoughts, biblical passages, and poems related to the songs and the upcoming festive season. The cornerstone of the contemporary interpretation of the pieces is provided by Ági Szalóki, whose singing speaks several musical styles at a native level. The collective improvisations of István Tóth and János Ávéd blossom from beautiful melodies and move away from the traditional representation of the era into a more contemporary jazz context. Departure and return are seemingly two opposing processes, but they are also a necessary part of the basic experience of being a musician; we could even say that they are the journey itself.

László Dés, Miklós Lukács, Márton Fenyvesi, and András Dés formed their free jazz band in early 2019. Their idea is to push the boundaries of jazz, a genre that already allows for great musical freedom, to the absolute limit. Relying solely on their instrumental skills, their ears, and their sensitivity, they play without any prior rehearsals or coordination, with the joy of complete freedom. This requires great external and internal focus, as the music takes shape during the performance. The themes, structure, and form are all born in the moment, which is a tremendous experience for both the musicians and the audience, as the music that is created can never be reproduced in that form again. This shared experience is like a great magic, the magic of improvisation – four outstanding musicians finding each other through their instruments, concert after concert.  

It has become a tradition at Opus to end the year with a concert by the Dresch Quartet, which has been playing in its current lineup for six years, and its founder, the highly acclaimed Mihály Dresch, has been a key figure in etnojazz and in Hungarian music in general since the 1980s. His quartet consistently and confidently treads its own unique path with an individual fusion of Hungarian folk music and African-American jazz, jointly developed by Dresch and the band members. Commitment to the musical concept, respect and humility towards the sources, outstanding musicians, new and evergreen compositions, standards in the Dresch manner – all these combined create the musical experience that strikes the audience again and again with its freshness.  

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The Jamaican-born, New York-raised pianist Wynton Kelly (1931–1971) rose to global fame playing with Wes Montgomery and as a member of the Miles Davis Quintet, all while creating timeless recordings with his own trio. His first recordings as a leader, made in 1951, featured the stunning bassist Oscar Pettiford and drummer Lee Abrams. Blue Note released this session under the title New Faces, New Sounds, which was later retitled the more appropriate Piano Interpretations. Kelly was influenced by the rhythm and blues school and technically brilliant performers like Teddy Wilson: his playing is cheerful, quick, attractive, and even crafty – perhaps because he was not yet twenty years old at the time. He excels in his harmonization on the blues numbers and in the quick, rolling runs on the faster pieces. This material is a rewarding opportunity for the always precise and clearly articulating pianist, Gábor Cseke, and the rhythm section.

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