The village of Szászcsávás in Romania only has 1,000 inhabitants, but its fame far outweighs its size thanks to its celebrated village band who have toured Europe and beyond. The population is almost 100% Hungarian, and 30% of those are Gypsies. Inevitably it's the latter who make up the musicians in the band. If you visit the village (Ceuaş in Romanian), there's a wealthier lower part along a stream and then up on the hill the Gypsy area is largely a shanty town, although new houses are now being built. Most of the musicians, having made some money in the band, now live in the lower part of the village. They've became internationally known after a groundbreaking Harmonia Mundi release in 1992. The band have long been led by a masterful violinist called István Jámbor, known as ‘Dumnezeu’ (God), now in his late 60s. The name is a tough call, but he's mesmerising to listen to. The kontra (accompanying viola) player, nicknamed Csángáló, is also a personality and the subject of a forthcoming documentary Hands of God.

ñ ese six CDs, recorded by Zoltán Szánthó and Ágoston Bartha, span nearly 20 years. The first was made in 1990 and includes instrumental dance tunes of mainly Hungarian repertoire, but also a few Gypsy and Romanian ones. Although Szászcsávás are Hungarian, the band play in the Maros region for all communities. The drawback with this disc is Dumnezeu only plays on three tracks and it would have been better if it had been more closely recorded. Transylvanian Folk Music depicts the band from 1991-4 and also includes a few songs, including a short, slow csárdas sung by Dumnezeu accompanied by Csangáló. The third disc, 3, from 1995-98, is the best of the village recordings with a smattering of songs as well as instrumental dances with a communiÑ feeling. The striking ‘Mahala’, is an unusual track of presumably Gypsy repertoire played by fi ddler Levente Mezei. The varied set ends with ‘Rákóczi Induló’ (Rákóczi March), a popular way to finish an evening.

Live in Chicago features the sixstrong Szászcsávás (three violins, two kontra and a double bass) in concert in 1998, looking rather like gangsters on the cover. This is obviously a performance for an audience, with representative repertoire including three songs (sung by Dumnezeu) and a powerful energy. It also includes the catchy ‘Mahala’ with some stick percussion. It closes with an atmospheric dance sequence recorded in a Hungarian restaurant. Lots of superb playing throughout.

One of the other things Szászcsávás are famous for are their multi-voice choir, not at all usual in Hungarian music. This developed because the music teacher simply had an interest in choral music. The fi Á h record features religious and folk songs, mostly unaccompanied, except for three tracks towards the end. But it's all pretÑ dirge-like. The fi nal disc, 6, includes recordings from 1996-2007; these are the most vivid of the series. Lead fi ddle is taken by both Dumnezeu and the younger Levente Mezei, although the latter died in 2017. With several songs it's a good record of the band in these years with a much nicer choral contribution on the Romani song ‘Pabiljasz Muri Kaliba’. Altogether Szánthó and Bartha have produced a signifi cant survey of one of Transylvania's best traditional bands.