Attila Kollar - 1998 - Musical Witchcraft Tracks :
1. Musical witchcraft suite (19:16)
2. Music from the spheres (3:36)
3. Soleriade (4:57)
4. Morning dance in the garden of Chenonceau castle (2:03)
5. Silent man´s prayer (7:22)
6. Rocks and waves from Saint-Malo (4:32)
7. Alchemy (4:32) Line-up
- Attila Kollar / flute, recorder, whitsle, tambourine, ketboards
- Casaba Bogdan / acoustic & electric guitar
- Gabor Naszadi / acoustic guitar
- Zsolt Vamos / guitar
- Robert Erdesz / keyboads
- Laszlo Gomor / conga, percussion
- Gabor Kisszabo / bass
- Tamas Pocs / bass
- Fernc Gerdesits / vocals
- Szilvia Attila / vocals
- Zsuzsa Ullmann / vocals
Attila Kollar - 2003 - Musical Witchcraft II_Utopia
Tracks :
1. Suite Utopia - Utopia (3:33)
2. Suite Utopia - Prophets And Daydreamers (6:42)
3) Suite Utopia - Worlds Closed Into The Stone (4:25)
4. Suite Utopia - The Light Of The Stake's Fire (5:13)
5. In The Hiding Place Of Castles (2:51)
6. Secrets Of Morus (3:52)
7. Feast On The Tournament (2:23)
8. Inquisition (4:44)
9. The Tower's Room Lost In The Fog... (4:57)
10. Utopia From The City (5:07)
11. Fairy Tale Along The Loire (3:32) Line-up
- Attila Kollar / flute, recorder, tambourine
- Gyorgy Bokor / bassoon
- Laszlo Gomor / drums
- Ferenc Kornis / percussion
- Gabor Naszadi / acoustic guitar
- Tamas Pocs / bass
- Peter Sarik / piano, organ, synth
- Edina Szirtes / violin, vocals
- Zsolt Vamos / electric and acoustic guitars
- Laszlo Vermes / drums
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[color= rgb(153, 0, 0); font-weight: bold;]Attila Kollar[/color]
[Hungarian flutist of Solaris]
Attila Kollár is the flute player in the seminal Hungarian progressive rock band Solaris. His first solo album Musical Witchcraft (Periferic Records BGCD 016) bears strong resemblance to Solaris' music, and actually most of the band's late-nineties line-up appear on it. The music is largely constructed around Kollár's simple enough but beautiful flute melodies, which draw from Hungarian folk music but also strongly from baroque and renaissance themes. While the melodies are not really developed to any large degree, their splendour and the strength of the arrangements surrounding them provide more than enough interest and variation to make for an enjoyable 45-minute musical work without any unnecessary padding or stretching (most songs stay below the 5-minute mark). The supporting instrumentation can range from simple acoustic guitar and tambourine to full-blown band backing. In keeping with Solaris' style, there are also a more rocking songs with chunky guitar riffs and shredding solos, and this is where Kollár can add some Ian Anderson-styled flutter and wheeze to his playing. The main difference to Solaris is the lesser attention given to keyboards which are now reduced to accompainement. Without analog synth solos and with the occasional use of programmed rhythms, the album sound is pushed slightly more towards "modern" than with Solaris who always seem to strike a delicate balance between the retro and contemporary aspects of their sound. Three songs rise above the rest: "Boleriade" carries the album's most memorable, lambent melody over martial drumming; "Silent Man's Prayer" is a full-blown symphonic rock track with various tempo and rhythm shifts and solos; and "Ba'rock'" a spirited adaptation of a few J.S. Bach themes, with guitar, keyboards and flute racing through scales in amusing unison. In many ways this is comparable to Solaris' 1999 release Nostradamus - Book of Prophecies, though exhibiting a narrower and perhaps brighter palette, and should be enjoyable to all those who like that album. ~Kai Karmanheimo
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