Budapest West

Budapest West's founder and leader, Rob Rigoni's passion for multi-cultural music is in full blossom on the groups initial CD "Letters From Afar". With Rigoni's emotional and slashing guitar riffs, pianist's Ray Hayden's alluring piano and the mood setting rhythm section of bassist Sid Anschell and drummer/percussionist Eric Montgomery, BW takes the listener on an, at times, wild and, at other times, sensitive ride to lands imagined in songwriter Rigoni's creative mind.

Rigoni, a resident of Hoquiam Washington, describes the sound as "High Energy International Fusion". With an opening song like 'Galatea' the group hits a high energy mark that sets the stage for the rest of the CD's ebbs and flows of intensity. With 'Ocean Song' and 'Heccta Head' the listener can almost taste the salt air and see the landscape of mysterious lands rising from the mist. "Letters From Afar" is a magical odyssey for the imagination.

Rigoni and the rest of Budapest West have set themselves a high water mark for future musical creations that will undoubtedly follow this inspired endeavor.

Budapest West: Letters From Afar is available online at www.cdbaby.com. - Newconnexion.net

Budapest West's founder and leader, Rob Rigoni's passion for multi-cultural music is in full blossom on the groups initial CD "Letters From Afar". With Rigoni's emotional and slashing guitar riffs, pianist's Ray Hayden's alluring piano and the mood setting rhythm section of bassist Sid Anschell and drummer/percussionist Eric Montgomery, BW takes the listener on an, at times, wild and, at other times, sensitive ride to lands imagined in songwriter Rigoni's creative mind.

Rigoni, a resident of Hoquiam Washington, describes the sound as "High Energy International Fusion". With an opening song like 'Galatea' the group hits a high energy mark that sets the stage for the rest of the CD's ebbs and flows of intensity. With 'Ocean Song' and 'Heccta Head' the listener can almost taste the salt air and see the landscape of mysterious lands rising from the mist. "Letters From Afar" is a magical odyssey for the imagination.

Rigoni and the rest of Budapest West have set themselves a high water mark for future musical creations that will undoubtedly follow this inspired endeavor.

Budapest West: Letters From Afar is available online at www.cdbaby.com. - Newconnexion.net

Prologue. "Letters From Afar" is the debut album by Budapest West, which is an American band led by Rob Rigoni. To all appearances (see also track list), this music should feature the tunes of Magyar folk music. Ancient Hungarians, Ungres, were originally living in the northern outskirts of Russia's river of Itille ([I'til]: known as Volga since the middle of the last millennium) and came to Europe exactly from there (as well as Bulgarians, though). Although their migrations were natural, the motives of them still remain obscure for scientists. Back to the hero of this review, according to Rob Rigoni, "Budapest West is an instrumental World / Rock project, but it definitely fits the spirit of progressive music".

The Album. . In reality however, the music that is presented on "Letters From Afar" has nothing to do with the so-called World Music, as well as Rock as it is. (All we know what a musical production is currently called Rock: AOR!) Although this music is, overall, not of an extreme complexity, it is pronouncedly progressive and breathes with freshness from the first to the last note of the album, which, in its turn, is one of the most original and unique albums that I've heard in the new millennium. In a general context, the stylistic definition of the musical Letters from Afar should, in my view, sound the next way. This is a blend of Classic European Progressive and Modern Hungarian Art-Rock (why not?) with elements of Prog-Metal, Classical Music, and those of music of East. Certainly, a general definition can never be used to describe in detail an album, which is not of a unified stylistic concept. So, to give you a more or less clear idea of what the contents of this album are about, I have to divide them into parts. Although all the basic arrangements that are featured on Shark Reef and Heseta Head (6 & 8) are, overall, quite slow, they develop almost constantly and contain just a few repetitions. The second of them, Heseda Head, entirely consists of the piano passages and represents a piece of Classical Music with elements of Modern Hungarian Art-Rock and those of music of East. While Shark Reef, which features slow interplay between passages of piano and synthesizer and the fluid solo of guitar, is about a traditional 'European' blend of Symphonic Art-Rock and Classical Music. Both of these compositions were performed without the rhythm-section. Ocean Song (7) is of the same stylistics as that of Shark Reef, though it was performed by the band as a whole and with the use of unusual meters, complex stop-to-play movements, etc. As for mood, it needs to be said that most of the arrangements on the album are of a dramatic character. Apart from the rhythm section, the main soloing parts on Ocean Song are presented by passages of acoustic guitar, piano, and synthesizers, solos of electric and bass guitar, and rhythms of mandolin. As well as a few of the other letters from afar, Ocean Song contains a couple of simply astonishing episodes, both of which are full of magic. Surprisingly, Hungarian Song In Cm (4), as well as St. Augustine (2), is about a very original and complex Symphonic Progressive where there are no Hungarian tunes at all. (Really, I can't find anything Hungarian in that Hungarian Song. Which, of course, doesn't much matter.) Whereas Nabagon (9), which, both stylistically and structurally, is almost completely in the vein of both of the said pieces, is, nevertheless, marked with light shades of Hungarian music. The contents of all five of the remaining tracks: Galatea, In the Tents of the Magyars, Lime Kiln Dock, Cape Disappointment, and Night On the Volga (1, 3, 5, 10, & 11), conform to a general stylistic definition of the album. In other words, a blend of Classic European Art-Rock and Modern Hungarian Progressive with elements of Classical Music, Eastern music, and Prog-Metal is the predominant stylistics of "Letters From Afar". Though the longest and the best composition on the album, Night On the Volga, features, besides, the elements of Waltz and even those of pagan music. All eight of the compositions that were performed by the band as a whole contain the complete set of essential progressive ingredients, all of which are well known for you dear readers. So, instead of listing them, I'd better draw your attention to those details of the album that, in my view, are the most important. As I've already mentioned above, "Letters From Afar" is filled with the music that is not only distinctly original and unique, but also very fresh and truly inspired. What's central however, is that no less than half of the tracks on the album feature amazingly polyphonic and wonderfully eclectic arrangements that, in addition, are sometimes marked with some indescribable magic.

Summary. "Letters From Afar" is an absolute masterpiece. Rob Rigoni, the leader and the main mastermind behind the American band Budapest West, can easily be regarded as one of the brightest hopes of Progressive's fu - Progressor.net

Prologue. "Letters From Afar" is the debut album by Budapest West, which is an American band led by Rob Rigoni. To all appearances (see also track list), this music should feature the tunes of Magyar folk music. Ancient Hungarians, Ungres, were originally living in the northern outskirts of Russia's river of Itille ([I'til]: known as Volga since the middle of the last millennium) and came to Europe exactly from there (as well as Bulgarians, though). Although their migrations were natural, the motives of them still remain obscure for scientists. Back to the hero of this review, according to Rob Rigoni, "Budapest West is an instrumental World / Rock project, but it definitely fits the spirit of progressive music".

The Album. . In reality however, the music that is presented on "Letters From Afar" has nothing to do with the so-called World Music, as well as Rock as it is. (All we know what a musical production is currently called Rock: AOR!) Although this music is, overall, not of an extreme complexity, it is pronouncedly progressive and breathes with freshness from the first to the last note of the album, which, in its turn, is one of the most original and unique albums that I've heard in the new millennium. In a general context, the stylistic definition of the musical Letters from Afar should, in my view, sound the next way. This is a blend of Classic European Progressive and Modern Hungarian Art-Rock (why not?) with elements of Prog-Metal, Classical Music, and those of music of East. Certainly, a general definition can never be used to describe in detail an album, which is not of a unified stylistic concept. So, to give you a more or less clear idea of what the contents of this album are about, I have to divide them into parts. Although all the basic arrangements that are featured on Shark Reef and Heseta Head (6 & 8) are, overall, quite slow, they develop almost constantly and contain just a few repetitions. The second of them, Heseda Head, entirely consists of the piano passages and represents a piece of Classical Music with elements of Modern Hungarian Art-Rock and those of music of East. While Shark Reef, which features slow interplay between passages of piano and synthesizer and the fluid solo of guitar, is about a traditional 'European' blend of Symphonic Art-Rock and Classical Music. Both of these compositions were performed without the rhythm-section. Ocean Song (7) is of the same stylistics as that of Shark Reef, though it was performed by the band as a whole and with the use of unusual meters, complex stop-to-play movements, etc. As for mood, it needs to be said that most of the arrangements on the album are of a dramatic character. Apart from the rhythm section, the main soloing parts on Ocean Song are presented by passages of acoustic guitar, piano, and synthesizers, solos of electric and bass guitar, and rhythms of mandolin. As well as a few of the other letters from afar, Ocean Song contains a couple of simply astonishing episodes, both of which are full of magic. Surprisingly, Hungarian Song In Cm (4), as well as St. Augustine (2), is about a very original and complex Symphonic Progressive where there are no Hungarian tunes at all. (Really, I can't find anything Hungarian in that Hungarian Song. Which, of course, doesn't much matter.) Whereas Nabagon (9), which, both stylistically and structurally, is almost completely in the vein of both of the said pieces, is, nevertheless, marked with light shades of Hungarian music. The contents of all five of the remaining tracks: Galatea, In the Tents of the Magyars, Lime Kiln Dock, Cape Disappointment, and Night On the Volga (1, 3, 5, 10, & 11), conform to a general stylistic definition of the album. In other words, a blend of Classic European Art-Rock and Modern Hungarian Progressive with elements of Classical Music, Eastern music, and Prog-Metal is the predominant stylistics of "Letters From Afar". Though the longest and the best composition on the album, Night On the Volga, features, besides, the elements of Waltz and even those of pagan music. All eight of the compositions that were performed by the band as a whole contain the complete set of essential progressive ingredients, all of which are well known for you dear readers. So, instead of listing them, I'd better draw your attention to those details of the album that, in my view, are the most important. As I've already mentioned above, "Letters From Afar" is filled with the music that is not only distinctly original and unique, but also very fresh and truly inspired. What's central however, is that no less than half of the tracks on the album feature amazingly polyphonic and wonderfully eclectic arrangements that, in addition, are sometimes marked with some indescribable magic.

Summary. "Letters From Afar" is an absolute masterpiece. Rob Rigoni, the leader and the main mastermind behind the American band Budapest West, can easily be regarded as one of the brightest hopes of Progressive's fu - Progressor.net

Guitar player Rob Rigoni was a particular stand-out with not only his tasty slide playing and unbelievable solos, but his energy onstage, taking the mic with command to wake up the room with the veteran charisma of a seasoned touring front man. His voice has a sexy quality full of raspy power, which is a nice departure from the more whiney rock vocals pushed by so many bands right now. - CD Insight

Guitar player Rob Rigoni was a particular stand-out with not only his tasty slide playing and unbelievable solos, but his energy onstage, taking the mic with command to wake up the room with the veteran charisma of a seasoned touring front man. His voice has a sexy quality full of raspy power, which is a nice departure from the more whiney rock vocals pushed by so many bands right now. - CD Insight

Rob Rigoni rocked for a living in the 1980s and '90s as a lead electric guitar player, working with bands and in studios, rubbing shoulders with some fairly big names in rock. He always swore he could write a book chronicling the "quirky observations and bizarre situations" he'd seen on the road.
The perfect bridge between his book idea and his music, he realized, would be to write his own lyrics. Rigoni's latest CD with his band, Budapest West (based in Hoquiam, Wash.), is a high-energy romp through the songwriter's slightly warped take on the people and places that spark his imagination. "Most of it's lighthearted ... and strange," he says.
Ask Rigoni what his favorite cut is, and he grins. "'Hairy Buffalo,'" he answers after a moment of thought. The title isn't a dirty euphemism, he points out, and it's not a physical place, as some listeners assume. "It's a type of party - out here they call it a 'spodie,'" he explains. "It takes me back to the days of no worries, when everything was casual. It makes me happiest."
Inspiration comes to the Ohio native in fusing different styles of music. His first solo project was instrumental rock tinged with Hungarian influences from his family heritage. "I've never done 'traditional' anything," he claims. "I take something and metamorphize it into what I want." - The Daily Astorian

Rob Rigoni rocked for a living in the 1980s and '90s as a lead electric guitar player, working with bands and in studios, rubbing shoulders with some fairly big names in rock. He always swore he could write a book chronicling the "quirky observations and bizarre situations" he'd seen on the road.
The perfect bridge between his book idea and his music, he realized, would be to write his own lyrics. Rigoni's latest CD with his band, Budapest West (based in Hoquiam, Wash.), is a high-energy romp through the songwriter's slightly warped take on the people and places that spark his imagination. "Most of it's lighthearted ... and strange," he says.
Ask Rigoni what his favorite cut is, and he grins. "'Hairy Buffalo,'" he answers after a moment of thought. The title isn't a dirty euphemism, he points out, and it's not a physical place, as some listeners assume. "It's a type of party - out here they call it a 'spodie,'" he explains. "It takes me back to the days of no worries, when everything was casual. It makes me happiest."
Inspiration comes to the Ohio native in fusing different styles of music. His first solo project was instrumental rock tinged with Hungarian influences from his family heritage. "I've never done 'traditional' anything," he claims. "I take something and metamorphize it into what I want." - The Daily Astorian

The all instrumental Letters From Afar is simply a divine mix of classical and progressive rock with some middle-eastern accents. Mainly, though, there is a European sensibility to the music, and that's where the classical elements come in. This American group, called Budapest West, move between these styles seamlessly, mixing light tinkling piano (Ray Hayden), taut percussion (Eric Montgomery), electric and acoustic guitar and mandolin (leader Rob Rigoni) and bassist Sid Anschell, all top notch musicians. While the opening track "Galatea" features crying guitar leads, the sweeter "In The Tents Of The Magyars" is more acoustic, and made me think of California Guitar Trio, as did the more "American" - i.e. mid-west -- sounding "Nabagon," with its touches of rolling piano, and twangy guitar. That isn't say that this doesn't also have its share of fiery guitar leads, it does, as evidenced by the wild, yet mature, soloing from Rigoni towards the end of the piece, or the metal-guitar fury in "Galatea." "Hungarian Song In Cm" is also all guitar lead, and a tasty one at that. "St. Augustine" has more a saucy jazz feel, with more piano - the only minus, and it's a very, very small one is, is that's there is a strange tone that often sounds like a saw heard from a distance.

Their most classical moment comes with the solo piano piece "Heceta Head," a lovely, yet sparse mellow instrumental. Of course, in there we hear quotes from Beethoven - maybe it's Bach. Anyway, the dramatic passage is recognizable even if, like me at this moment, you can't name it.

The production is crystalline - all the work of Rigoni, though the drums were co-engineered by Hayden -- which just makes for a sparkling, and beautiful, musical experience.
- Progressiveworld.net