leslie mandoki tour

Mandoki Soulmates – the international and inter-generational supergroup consisting of rock and fusion grandmasters surrounding founder and mastermind Leslie Mandoki – proudly announce their new album,  A Memory Of Our Future , to be released worldwide on May 10th via Sony Music’s label InsideOutMusic. 

Auftritt der Mandoki Soulmates vor der Basilika in Budapest am 18. August

Am 18. August um 19.00 Uhr erklingt auf dem Platz vor der Basilika in Budapest wieder Musik, wenn der in Ungarn geborene Musiker, Produzent und Sänger Leslie Mandoki, der sich selbst immer als Pester bezeichnet hat, mit seiner großartigen Band Mandoki Soulmates dem ungarischen Publikum ein besonderes Konzert zum Stephanstag präsentiert. Der Eintritt ist frei.

An diesem beeindruckenden Ort, wo Kunst und Musik miteinander verschmelzen, wird die Band allen Anwesenden ein unvergessliches Erlebnis bieten.

Die einzigartige Atmosphäre des Konzerts wird nicht durch besondere visuelle Elemente bestimmt, sondern durch die mitreißende Musik, die herausragenden Künstler, die positive Energie und nicht zuletzt durch das begeisterte Publikum. Die Atmosphäre des Abends wird durch die zauberhafte Kulisse und den freien Himmel noch verstärkt.

Zu den Mandoki Soulmates gehören Ikonen des englischen Progressive Rock und des amerikanischen Fusion Jazz, die zusammen 35 Grammys gewonnen haben.

Das Konzert am 18. August wird eine besondere Gelegenheit sein, nicht nur ein fantastisches Konzert zu genießen, sondern auch die wohlverdiente Verleihung der Goldenen Schallplatte zu feiern.

“Der 18. August wird eine besondere und einzigartige Gelegenheit sein, gemeinsam ein großartiges Konzert im Geiste der ungarischen Musikkultur zu erleben. Wir sind zuversichtlich, dass wir unserem Publikum mit unserem Konzert einen unvergesslichen …. oder besser gesagt “wolkenlosen” Abend bieten können und dass wir alle diese Momente noch lange in unseren Herzen und Erinnerungen bewahren werden”, so Leslie.

30 YEARS OF SOULMATES

The band of band leaders., in 1992, ian anderson, jack bruce, and al di meola became founding members of leslie mandoki’s band project mandoki soulmates, and for over 25 years since, leslie mandoki has continued to unite a who’s who of the icons of anglo-american and european rock and jazz- rock in the mandoki soulmates band. the remarkable lineups in the band’s recordings and performances over the years has included singers and players including ian anderson, jack bruce, david clayton-thomas, chaka khan, chris thompson, bobby kimball and steve lukather, nick van eede, eric burdon, nik kershaw, greg lake, al di meola, randy and michael brecker, cory henry, bill evans, john helliwell, till brönner, klaus doldinger, mike stern, richard bona, anthony jackson, victor bailey, pino palladino, tony carey, mark hart, paul carrack, peter frampton, and jon lord. original soulmates compositions and collective improvisations on highest levels are just as much part of the concerts as world-renowned hits of the individual soulmates members. “one stage – one band” with his soulmates leslie mandoki raises jazz-rock back to socio-political relevance, to quote him in his own words: “even in times of twitter, social media and short news on the smartphone, when mental laziness often blocks the perception, music for us is still like a love letter to our audience - handwritten with ink on paper.”.

“Diese Band repräsentiert einfach zu 100% das wofür ich mal als Musiker angetreten bin.” - Till Brönner

MANDOKI SOULMATES LIVE

30 years anniversary tour

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An Interview with Leslie Mandoki of the Mandoki Soulmates

From humble beginnings in Hungary, at an early age, Mandoki developed an affinity for both Jazz, and Prog Rock, and sought to bring to fruition, an ambitious vision of combining the two while coupling the music with Mandoki’s socio-political leanings.

All images courtesy of Chipster PR

Few artists have the intestinal fortitude to follow the path of trailblazing visionary, Leslie Mandoki.

After escaping a communist-ruled homeland, Mandoki found himself a refugee, with no money, no instruments, and no place to call home. Through a twist of fate, Mandoki was invited to sing on a few Disco tracks in the late 70s, and soon, Mandoki found himself an unwilling member of the Pop/Disco act, Dschinghis Khan.

For two years, Mandoki toiled away in a world of Pop-laden hell, and while money, fame, and fortune were raining down upon his shoulders, Mandoki’s artistic vision and integrity were just as quickly being buried, and so, in the face of even more fame, and riches, Mandoki chose to leave the burgeoning scene and started a new once again as a Progressive Rock musician, with his first release coming in the form of 1982’s Back To Myself.

In the years since Mandoki has forged a long and successful career as a solo artist, and as a member of the Mandoki Soulmates, whose newest record, Utopia For Realists, continues Mandoki’s trend of working with the genre’s latest, and greatest, while attempting to plug holes in an ever divided socio-political climate.

Leslie Mandoki has manifested his vision, but ever perceptive, Mandoki knows his worth is not done.

In this career-spanning interview, Leslie and I dig into his early roots, escaping his communist homeland, his entry into the fervent world of late 70s Disco, escaping Pop hell to begin a new, and a whole lot more. If you would like to learn more about Leslie Mandoki, and the MonDoki Soulmates, you can head over to his webpage, and dig in . Don’t forget to tune in for his live stream via YouTube on January 15th as well, which you can find a link to here .

Andrew: Leslie, I appreciate you taking the time today. How have you been holding up over the last year or so What have you been up to?

Leslie: The COVID pandemic has, of course, affected us and changed our lives, but two aspects of the life of a musician you cannot put into quarantine — responsibility and creativity. Consequently, in times of closed concert halls, we have decided to give something back to our audience, who have carried us on their hands over the past decades, in the form of our online concert.

Andrew: Before we dive into your professional career, let’s go back a bit. What first got you hooked on music?

Leslie: It was probably a mixture of my father playing the violin every night instead of reading me fairy tales, and later the feeling that music is the universal language of freedom against communism, a kind of natural rebellion. Originally, I wanted to be a poet, but my father wanted me to have a profession that could earn money and support a family, so I started playing the drums, and eventually fell incredibly in love with this instrument.

Andrew: Who were some of your early influences?

Leslie: I was influenced very early on by the American music culture of the time, such as embodied by John Coltrane, Charlie Parker, Miles Davis, or the rebellion and music of a Jimi Hendrix, British Invasion music, The Doors, and Prog Rock legends like Jethro Tull; I had a fourth-generation mono tape copy of their Aqualung album that probably changed my life. Even at that time, the desire grew in me to combine the meaningful,l and socio-political Prog Rock with the virtuosity of Jazz Rock into a new work of art.

Andrew: Let’s go back a bit. Take me through the formation of Dschinghis Khan.

Well, I was a refugee and became a session player in the second half of the 70s, in the greatest time of the Munich studios (which was called the Munich sound era). So, they asked me to sing a song, which was definitely not my understanding of music, but I was offered in return almost priceless studio time at that time, where I would have been allowed to produce my own music. Then, I sang it, and it became a big number one hit…. and I found myself on the covers of magazines. The beautifully brutal story of being a Pop Star even though I had a completely different musical, artistic vision. It certainly opened some doors for me, but in retrospect, it also closed some.

Andrew: The late 70s Disco era was such an interesting, and chaotic time in music. Paint a picture of what that singular era in time was like.

Leslie: That was a bit bizarre for me, who came from an idealistic, anti-communist student movement and longed for freedom, a kind of Prog Rock voice of the student movement, who lived a mature musical life as part of an intellectual movement, to gain a foothold in a purely commercial scene dominated by money and drugs. It was less about real creativity, and more about the artistry of producing smash hits based on a simple model. But this scene made so much money, partly because of the total irrelevance of the performers who called themselves “artists,” that it developed the biggest studio landscape.

So, again Elton John, Queen, Deep Purple , The Rolling Stones, and so on were attracted to Munich. Freddy Mercury and Donna Summer lived in the city at that time. So, I found my niche through the legendary Klaus Doldinger, and Udo Lindenberg, the technical situation in the studios was fantastic, and I started to develop a holistic understanding of making music. But yeah, sure, it was chaotic. And after the sessions, I often played through the night in Jazz clubs.

Andrew: While Dschinghis Khan was a classic Disco group, it’s been said that you were unsure regarding your involvement with the group being that you’re more Rock-centric. Is that true? If so, can you expand on your overall sentiment and general feelings toward Disco at the time?

Leslie: Disco and Electronic music have little craft relationship to what you can hear on the albums that Elton John or Freddy Mercury, for example, produced during their time in Munich. We hear here the sound of two completely different worlds, different in content and different in form, and extremely different in the way they were made. Disco productions were fast, efficient, and focused only on commercial reasons, and thus very successful for a while, but then came the American musical answer, which sounded much better, and the greatest music makers left Munich with their teams for Los Angeles, like Giorgio Moroder or Harold Faltermeyer.

The B-Call gang of Disco musicians stayed, but by that time, I was already in London. If you try to understand my vita, a central point is that I am a refugee. So, when I had to leave Hungary illegally as the leading Rock voice of the student opposition to communism, I was on my own. I couldn’t speak a single word, had no instrument, and theoretically no future. A total fresh start. It was not an easy challenge to start and grow into my new DNA to survive as a musician. I was a formerly relevant artist and freedom fighter, playing at huge illegal open-airs, and then suddenly, I ended up in a refugee camp, without an instrument, and looking at the next steps. And yes, I’ve always been interested in the future, so for example, I created the complete sounds of E-Mobility for a friend, the CEO of the Volkswagen Group. Always with an eye on tomorrow.

Andrew: What are your thoughts on Disco’s overall impact on Rock music? Being that you’re a Rock guy, do you have any regrets at all? In the early 80s, you left Dschinghis Khan. Take me through the events leading up to your decision.

Leslie: Leaving Dschingis Khan as soon as possible was an absolutely necessary, and understandable step. We sold millions of records and made a few people really rich, but as a Pop Star, you had no dignity at that time. My kids didn’t know for a very long time that their father had done that, and it was only two years of my life anyway. I then wrote my first Prog Rock album, Back To Myself , in 1982, to save my soul and deal with the previous two years.

However, I wanted to get back to the music I was born and ran for as soon as possible, a slightly more mature, sophisticated music because I had a vision of merging British Prog Rock complexity, and social relevance in poetic lyricism, with the virtuosity of American Jazz Rock. That was my path. As I said in the refugee camp, I wanted to play with Ian Anderson, Jack Bruce, and Al di Meola, who then also became the founding members of Mandoki Soulmates almost thirty years ago. I had and have a mission.

Andrew: You’re also a renowned producer and have worked with the likes of Phil Collins, Lionel Richie, and more. How did you end up entering that space?

Leslie: If my unintentional “career” as a Pop Star was good for anything, it was certainly the fact that this huge success and the fame I gained from it naturally opened many doors — in the music industry, show business, and also the world of film, and so, one thing led to another. For my own project, Soulmates, I was able to win over illustrious names from Jazz and Prog Rock, such as Ian Anderson, Jack Bruce, and Al Di Meola, right from the start. For many people, that was certainly an indication that we were doing good work here. The motto in our studio was, “Music is a matter of taste, and recording is a matter of dedication and professionalism. In our language, quality means no compromise!” Of course, word gets around, and artists like Jennifer Rush or Joshua Kadison came to us.

As Musical Director for Disney/BVI, I was able to produce many feature films, and that’s how we first met Phil Collins, with whom we not only recorded the songs for Tarzan but also for Brother Baer . The beginning of the wonderful collaboration with Lionel Richie came from a completely different direction, namely for the world premiere of the ProductLounge for the Mercedes SL, for which we composed the song, and then produced it with Lionel.

Andrew: I mentioned a few of the artists you’ve worked with earlier. This said, looking back, who are some of your favorite artists you’ve worked with. Which albums stand out the most?

Leslie: Well, once again it is a great honor and privilege to be able to work with such a long line of exceptional talent. Perhaps the closest is Ian Anderson, as the intellectual musical leader of the founding generation. But hey, Nik Kershaw, Chaka Khan, Randy Brecker, Mike Stern, Al di Meola, the guys from Toto, and Supertramp …and let’s talk about recent genius’, Cory Henry, and Richard Bona. And my Julia is one of the absolute greatest musical talents I’ve ever had the privilege to work with.

Of course, I have to mention Phil Collins, Lionel Richie, Greg Lake, Jon Lord, Peter Frampton…the list could go on and on. Being able to realize my musical vision with all these artists for almost thirty years is something I consider an honorable privilege, so it’s hard for me to choose from all the different works I’ve been allowed to create and produce. I recently sat with my friend Gabor Csupo (Simpsons, Rugrats) in LA at the screenings for Don’t Look Up , an epochal stroke of genius that — I’m sure — will have a similar impact on the next generation as Easy Rider did back then. Of course, it’s nice to see that the messages I formulated in my album, Utopia For Realists , such as division, greed, and the lack of humanity, are now being visualized in a Hollywood movie.

Andrew: As you’ve alluded to, your versatility seems to know no bounds, and you’re also an accomplished director of commercials with clients such as Audi, Daimler, and Disney. What led to you breaking into the directorial space?

Leslie: I understood the paradigm shift, and my prediction a long time ago was that the recording industry would undergo an implosion. I was a few years ahead of the mainstream in my mind with this clear, unpleasant judgment. But I had no intention of closing our huge studio complex and laying off my salaried studio staff. So, against the judgment of a stumbling big industry, I explored new areas where our academic knowledge was useful, somehow needed, and respected. So, we became experts in scoring, writing, and producing title and end credit songs, sports anthems, and creating complex entertainment events, multimedia, and live experiences. The last gigantic task was to design and develop the complete sound aesthetic for Volkswagen Group’s E-Mobility.

Andrew: You touched on this a bit before, but take me through the formation, and progression of the Mandoki Soulmates, which for those that don’t know, is a really great Progressive/Jazz group. Do you have any new music on the horizon we can look forward to?

Leslie: I fled communist Hungary at the time to join Ian Anderson of Jethro Tull, Jack Bruce of Cream, and Al Di Meola in turning the vision of fusing meaningful and socio-political Prog Rock with the virtuosity of Jazz Rock into a new work of art into reality. They actually became the founding members of the Mandoki Soulmates, a musical community of values that unites the who’s who from Jazz and Rock, all of them bandleaders themselves. All of them know exactly what is important, and over the years, real friendships have developed.

From time to time, we get together in my studio at Lake Starnberg, make music, cook, and debate social politics together. This has resulted in nineteen joint albums with newly recorded music, countless joint concerts, and tours. Together we Old and Young Rebels have made it our goal to bring Progressive Rock back to socio-political relevance and, as long as there are challenges, and problems in our world, and society, to put our finger in the wounds. The global challenges facing humanity in the coming years — the pandemic, economic crises, migration integration, and climate change — we will only overcome these if we transcend the divisions across all borders, the Old Rebels and the Young Rebels together. That’s what it’s all about, generational justice, cooperation, and collaboration.

So our current radio release, “ The Torch ,” from our new album Utopia For Realists , is about generational justice because we have to ask ourselves — in what condition do we hand over our world to our children, the Young Rebels? Making that point in the lyrics of the song, “The world’s gone mad — the world you’re living in is all we have, you pay the dues; you pay the fine.” So, riding the strength and courage of a younger generation, and with our mutual hunger to strive for the right solutions, we can all fight for the cause while there is still time. Again, from the song, “Be brave, be strong, be hungry – pass on the torch!”

Andrew: Easy ones now. What are a few of your favorite albums, and why?

Leslie: This question is easy to answer. These are the albums that shaped me and helped me define my musical path

-Frank Zappa — One Size Fits All – Genesis — Selling England By The Pound -Jethro Tull — Aqualung -King Crimson — In The Court Of The Crimson King -Yes — Close To The Edge

But as you can imagine, after so many years in the profession, my list naturally includes far more works than could ever be written down here.

Andrew: What other passions do you have? How do those passions inform your music, if at all?

Leslie: I look at things holistically; my fundamental socio-political interest is naturally based on my musical vision. I originally wanted to become a poet before my father brought me to music. This is a never-ending source for our music, and we artists have to be loud and put our finger on the wound if anything is to change. We have direct contact with our audience, unlike painters and writers. A bit unconventional, but the best ideas, including for the sound aesthetic of the Volkswagen Group’s E-Mobility, come to me when I’m out canoeing in the early morning. The sounds of nature are an incredible source of inspiration.

Andrew: What sort of equipment do you use in the studio, and the live setting?

Leslie: I always try to combine the best of the analog, and digital worlds in my studio, so the centerpiece in my Neil Grant-designed control room is a ninety-six-channel SSL console of the latest design, which, in conjunction with the recording room, the appropriate microphones, and various state-of-the-art outboard (I’m a big Tube-Tech fan), is responsible for our sound. Live, my live engineers often have the pleasure of putting brand new equipment from renowned manufacturers through its paces, thanks to our far-reaching relationships.

Andrew: Do you collect vinyl? CDs? Cassettes? Or are you all digital now? If you do collect physical media, why is that important to you? Why do you feel keeping physical media alive is important in this day and age?

Leslie: Sure, I collect vinyl records. It’s a very special feeling, and an emotional, and haptic experience to take a record out of its sleeve, then put it on and study the record sleeve, and the booklets while listening to the music, not to mention the great sound experience! Basically, I have always been a supporter of physical recordings, which also has to do with the appreciation of the artists and authors and their works.

I see the financially disastrous development for these professions through streaming very critically because it denies the young up-and-coming musicians the opportunity to build a livelihood with their art. Especially in times when the live sector has almost completely come to a standstill due to the COVID pandemic, there is a lack of such reliable revenue models that streaming does not offer.

Andrew: Last one. What’s next on your docket? What are you looking forward to most in the post-COVID world? Do you plan on hitting the road, or playing any festivals in 2022?

Leslie: We are already waiting to be allowed to return to the big stages in 2022, our concert in Budapest in August this year was allowed to give a small foretaste of this. We have extensive live activities planned for the coming year, we will perform at several festivals, and play a big tour through Germany. We also already have some concerts in America in planning, plus we want to do a small streaming event in January, more about that will follow later — stay tuned!

Interested in learning more about the work of Leslie Mandoki? Check out the link below:

Dig this interview? Check out the full catalog of  VWMusic   Interviews , by Andrew Daly, here:   www.vinylwritermusic.com/interviews

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Mandoki Soulmates release single and video for The Big Quit 2nd single from their new album A Memory Of Our Future

28th March 2024: Mandoki Soulmates release new single and video “The Big Quit” from upcoming album “A Memory Of Our Future”; announce Dolby Atmos album mix and exclusive live open air concert in Munich on August 15th, the only German Mandoki Soulmates show this year

Credit: Till Brönner   Mandoki Soulmates – the international supergroup consisting of rock and fusion legends as well as founder and mastermind Leslie Mandoki – release the 2nd single The Big Quit from the upcoming album, A Memory Of Our Future.   Pre-Order A Memory Of Our Future here: https://mandokisoulmates.lnk.to/AMemoryOfOurFuture-Bio   The Big Quit is a prog rock tour-de-force with a hooky melody that will have you singing along long after the needle has been lifted from the vinyl. As Leslie Mandoki comments: “Well we were sitting on a wonderful summer night in Tuscany, with friends and also fellow Soulmate Till Brönner. We were talking about the future, and as we spoke I came up with the main lyrics: Hard times creating hard people, hard people making easy times, easy times creating easy people, and easy people bring us hard times again. And on that night I created this song ‘The Big Quit’. Have a listen to the wonderful playing.”

Watch the video for The Big Quit here: https://www.youtube.com/watch?v=T6W-t6bvGME   Stream The Big Quit on your favorite DSP or buy here: https://mandokisoulmates.lnk.to/AMemoryOfOurFuture-Album   In addition to the new single, Mandoki Soulmates announce the availability of a Dolby Atmos album mix, which will be available to stream and buy on May 10th. The mix was done by Bruce Soord, multi-instrumentalist, songwriter and frontman for internationally renowned experimental rock outfit “The Pineapple Thief”. Dolby Atmos is an immersive surround sound format that offers a spatial sound experience that has so far mainly been used in cinemas. When done well, Dolby Atmos allows music to be reproduced with unparalleled clarity and depth.   The entire album was recorded and produced purely in the analog domain, from microphone to mixing and mastering. Recorded and mixed in Leslie Mandoki’s Red Rock Studios near Munich, mastered in the infamous Sterling Sound Studios in New York, and cut in the Emil Berliner Studios in Berlin. The analog format is also an expression of their special appreciation and bond with the band’s audience, “like a love letter handwritten with a fountain pen”.   See Leslie Mandoki explain the analog process in this short video.   A Memory Of Our Future is now available for pre-order and will be available in the following formats:   180g black 2LP wide spined Gatefold & extensive 12-page booklet Ltd. CD Edition PocketPac with noble matt/gloss finishing, Vinyl-look disc and extensive 24-page booklet Standard CD Jewelcase (US Version) Digital album Dolby Atmos version Tracklist

• Blood in the Water – 06:54
• Enigma of Reason – 10:06
• The Wanderer – 05:03
• The Big Quit – 08:35
• Devil’s Encyclopedia – 05:47
• A Memory of My Future – 06:26
• I Am Because You Are – 04:32
• My Share of Your Life – 07:48
• Age of Thought – 04:38
• Matchbox Racing – 06:56
• We Stay Loud – 05:25
• Melting Pot – 05:51       Earlier this month, the supergroup released the single and video, Blood In The Water. The single has it all: a pulsating beat, a catchy hook, and that ineffable prog-rock spirit that appeals to heart and mind simultaneously.   Listen to the single here & watch the video here.   Pre-Order A Memory Of Our Future here: https://mandokisoulmates.lnk.to/AMemoryOfOurFuture-Bio   After their successful 30 Years Anniversary Tour through Europe, the Soulmates will be performing a special open-air concert in the courtyard of the Munich Residenz on August 15, 2024 and play the new album live.   Buy tickets here: https://www.muenchenticket.de/tickets/performances/etbn0mu9zw2q/Mandoki-Soulmates   Mandoki Soulmates are: Leslie Mandoki Ian Anderson (Jethro Tull) Mike Stern Al di Meola Randy Brecker Till Brönner Bill Evans John Helliwell (Supertramp) Cory Henry Richard Bona Steve Bailey Simon Phillips (Toto) Tony Carey (Rainbow) Nick van Eede (Cutting Crew) Jesse Siebenberg (Supertramp) Mark Hart (Supertramp)   Mandoki Soulmates online: Website: https://mandoki-soulmates.com/ Facebook: https://www.facebook.com/mandoki.soulmates Instagram: https://www.instagram.com/themandokisoulmates YouTube: https://www.youtube.com/@MandokiSoulmates Spotify: https://open.spotify.com/intl-de/artist/7fl0Hsad90Ni5g3zVYzg6m Amazon Music: https://music.amazon.com/artists/B07S2KV19B/mandoki-soulmates Apple Music: https://music.apple.com/de/artist/mandoki-soulmates/1526677421 YouTube Music: https://music.youtube.com/channel/UCS6fldWIZXVQJA_AhfGNZ_g Deezer: https://www.deezer.com/de/artist/65835822?app_id=140685 Tidal: https://tidal.com/browse/artist/15805305    

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An Interview With Leslie Mandoki Of The Mandoki Soulmates

Photo courtesy of Chipster PR

Few artists possess the fortitude to follow their passions like Leslie Mandoki does. From an early age, Mandoki fell in love with music across the board and coupled that passion with an ambitious vision to succeed outside of his homeland of Hungary.

After escaping his communist-ruled homeland, Mandoki found himself a refugee with no money, instruments, or a place to call home. But he soon became embroiled in the ’70s American disco scene as a member of Dschinghis Khan, though it never scratched his deepest musical itches.

Still, for two years, Mandoki toiled away as a pop artist, raking in fame, money, and accolades but setting aside what he truly wanted to be doing. By the ’80s, Mandoki had left disco and pop music behind and began recording the music he’d always envisioned. In the 44 years since, Leslie Mandoki has never taken his foot off the gas pedal.

Leslie Mandoki has manifested his vision, but he’s far from done. For  ClassicRockHistory.com , Leslie dug into his roots, inspirations, artistic process, new music, working with Ian Anderson and Al DiMeola, and more.

What inspired you to become a musician, and what keeps you inspired?

I’ve always been drawn to the arts. Actually, my first plan was to be a painter, and I took great pleasure in working on all the artwork for our albums. The second idea I had when I was young was to become a poet, and I won a young poets contest when I was 14. Music was always around me and in my heart.

My father played lullabies to me on the violin, and I grew up in the bosom of Béla Bartók, if you’ll pardon the expression. Eventually, by age 15, it was pretty clear that I was going to be a musician. Around that time, I went to the Bartók Conservatory in Budapest and saw what it meant to dedicate one’s life to music. And I said, “I’m in.”

The level of musical knowledge and appreciation in our audience has always propelled my creativity and kept me inspired. It is humbling to me because I do believe that we are not really the composer or lyricist of our songs, but rather that life itself is writing them, and we just have the joyous privilege to write them down.

And when the world turns upside down, and we end up in this labyrinth of crises without a compass, this is the inspiration to try to be the musical torch lighting the end of the tunnel. You see the symbol of the black swan on the album cover. We would really love to repaint this icon white again.

Tell me about where you grew up. What was the scene like?

I grew up behind the Iron Curtain, where there was censorship and where people in opposition were tortured. It was gray and lacking any liberal humanity. But this was only one side. It was because of this other side, an environment where people were very close to each other, and, despite the circumstances, there was a warmth, especially with my dad, that I grew up strong.

There was great mental strength and, in the classic European sense, almost a romantic feeling about love, respect, and tolerance. Culture and learning—these are the answers to everything a dictatorship gives you.

What were some of your favorite spots to take in shows as a kid?

My first concert, behind the Iron Curtain, of course, was The Spencer Davis group. I was young, and Stevie Winwood had just joined the band. A year later, I saw Traffic. Both were phenomenal, and the inspiration I got from these has never left me.

But most of the shows I saw in my teenage years were in semi-legal clubs, which in the daytime housed communist youth organizations, like the Pioneers. But somehow, there was a little space for American-style jazz-rock and British-style prog-rock.

That’s where I got the idea to merge both styles, to pursue complex harmonic structures, sophisticated lyrics, and the great production of British prog-rock like Jethro Tull and combine them with the instrumental virtuosity of, for example, the Brecker Brothers and Return to Forever.

Even on this new album, Ian Anderson of Jethro Tull, Al Di Meola from Return to Forever, and Randy Brecker are in the band. The drive to combine fusion and prog-rock was born in my heart and soul as a young teenager from these experiences.

Did any local musicians inspire you as you were coming up?

The best Hungarian band in my early days in Budapest was called Syrius, and unfortunately, they were eventually destroyed by the culture of communist censorship. In 1972, they recorded an album in Australia called Masquerade. What an inspiration! I was a young teenager, and they were established old boys, but they came back from Australia and were playing in these semi-legal big clubs.

Somehow, they discovered me and called me up to jam with them. Just as importantly, they shared with me the record collection they brought home to Budapest from Australia. There was also Szakcsi, a genius at the piano, who later became my teacher and inspiration at the Bartók Conservatory.

He became a lifetime friend, and I was lucky enough to record an American album for him on the legendary new age and jazz label GRP Records in New York in the middle 1980s.

Of your older work, what albums mean the most, and why?

Having produced over 100 albums, I have to say that each one has a special place in my heart. But maybe the one that means the most to me is from around 1980, called “Back to Myself.” It was taking the road back to what I felt I truly am musically, after feeling that I had been slipping the wrong way into being more of a pop star-type.

The first album with the Mandoki Soulmates was 31 years ago,  Out of Key… With the Time . I had never really planned to be “the cool guy,” I was always out for the balance of substantial content with the beauty of the form.

How did you enlist Ian Anderson and Al DiMeola into the Soulmates coming from such diverse geographic regions?

It’s very simple: it’s based on music. I was reaching out for the greatest of both British prog-rock and American jazz-rock, and they felt it. Back when I had escaped communism and was a refugee in the West, I told the resettlement officer that my plan was to form a band with Ian Anderson of Jethro Tull, Jack Bruce of Cream, and Al Di Meola of Return to Forever to create a musical melting pot of British prog-rock and American jazz-rock.

The officer smiled, perhaps understandably, and then asked my friend Gábor Csupo, who was sitting next to me, the same question. Gábor said he was going to Hollywood—we were the same age, 22, and he was a cartoonist and animator. His first work was on  The Simpsons , and then he created  Rugrats , and his studio, Klasky-Csupo, went on and on.

For the new record,  A Memory of Our Future , where are you pulling from in terms of songwriting?

It’s this crazy world we’re all now living in. There are so many problems that I would like to illuminate and help us get through, and I want music to help show us the way. Music is the answer—music is the greatest unifier. That’s what I learned as a little boy from our grandfathers at Woodstock.

Yes, music can heal and can and should build the bridges we need, even if we can’t see where the bridges used to be anymore. Music can teach us tolerance, respect, and love and also reflect the darker side of life.

There are also some personal songs on the new record, like “Matchbox Racing.” My aunt, who became a refugee after the 1956 Hungarian uprising, wound up in LA and used to send me Matchbox cars and postcards. One postcard, particularly, of the parking lot at LAX airport, somehow represented freedom to six-year-old me, along with those little Matchbox cars.

So, I had to write this story for this album. But my daughter, Julia, an extremely talented musician, wrote the music for this story. The big picture is that the inspiration for songwriting comes from two sources: the world around us and the world around me.

On this album, from the world around us, the songs would be “Devil’s Encyclopedia,” “The Big Quit,” “Blood in the Water,” “Enigma of Reason,” and “We Stay Loud.” From the world around me comes “Matchbox Racing,” “My Share of Your Life,” and “I Am Because You Are.” And what represents both is “A Memory of My Future,” which ends up with the lyric “A memory of OUR future.” That’s what it’s all about.

Which song means the most to you, and why? Tell me a little about the first single, “Blood in The Water.” What is the song about?

The songs that mean the most to me became part of this album—all the others were not recorded [laughs]. Especially when you work analog, and the band plays the songs together, you really have to be selective. That’s what I did and had to do to work in this analog way.

“Blood in the Water” initially represents the album musically, especially with the blessing of a solo by Ian Anderson and an amazing Hammond work by Cory Henry. As the lyrics say in this song:

“We are swimming against the current, 

because we are a little different

greedy shorting, big reset, tick your tock, and buff your glow

the sharks are hungry, and the water is deep. 

Freedom is ringing, freedom is singing

but our compass is lost, directions crossed 

in these trying times, truth is hard to find 

blind to the reason and the freedom of a free mind.”

These are actually the song lyrics. Musically, I was really happy with the instrumental arrangements on this album. I was not writing any complete arrangements because we were not programming anything. It was an album played and recorded analog. Everything was roughly written down before we started to record, and we worked out the parts as we recorded—totally old school.

How do you view the way you write music today versus the past? What has changed most?

It’s so varied. Sometimes, it’s just playing drums and singing along, or being out on an autumn lake with an acoustic guitar, or just singing to my iPhone to get the right melody with the right words. Sometimes, it’s in the most unpleasant places, and sometimes in the most pleasant places in life. And sometimes, the songs come to me when I’m sitting in the studio surrounded by all the instruments. So, there is no definite way to do it.

Can you   describe “revenge of the analog?” Is any part of the new release not analog?

First of all, the straight answer is: Everything is absolutely analog, except, of course, uploading to digital streaming services. So, the whole signal chain, from the very first note into the microphone all the way to cutting the lacquer master for the vinyl LP, is analog.

The “revenge of the analog” is just an ironic way to say that this is an analog record for a digital world. But this record is not so out of key with the time. It’s in sync with all those who are swimming against the current. And because we have that intuition and would like to express it, we were trying to find the right format, practically, aesthetically, and symbolically, and analog felt very right.

It was like we said, “Hey, let’s go down to the basement in the studio and take our 2-inch tape machine, set it up, plug in our best microphones, and it’s going to be like a handwritten love letter to our audience, not the usual text message.”

What’s one thing about you as a musician that you’d like people to understand?

I strive to find the things that unify us, the things that we have in common, our mutual goals that build bridges that bring us together musically, lyrically, and artistically. This is the most important aspect of both my artistic life and my personal life.

What are your short and long-term goals? How will you achieve them? 

The short-term goal, of course, is to celebrate this album’s worldwide release. But I want to celebrate by staying aware that the future is tomorrow! I’m moving forward from early morning to late night, eight days a week!

Will you tour North America?

Honestly, the greatest missing achievement in my life is to bring this music to America. We played once in Miami for Art Basel and once in New York City, invited by the Grammy organization. Of course, we would love to tour America and reach American audiences with our musical messages. We would pretty much do anything for that because I’ve always had the feeling that this music was actually born in and for America.

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Andrew Daly is a contributing writer at Classic Rock History, and a regular writer for Guitar World, Total Guitar, and Rock Candy Magazine. A guitar junkie at heart, Andrew has interviewed many favorites, including Joe Perry, Gene Simmons, Paul Stanley, Steve Vai, and more. Some of his favorite bands are KISS, Oasis, Blur, The Beatles, and The Rolling Stones.

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Leslie Mandoki (Mandoki Soulmates) Interview – Utopia for Realists

Leslie Mandoki of Mandoki Soulmates talks about the new release Utopia for Realists: Hungarian Pictures

Producer, composer and drummer Leslie Mandoki joins the podcast to talk about his star-studded project Mandoki Soulmates and the new visual album Utopia for Realists: Hungarian Pictures which is out on InsideOutMusic on Sept. 24th.  He tells about his incredible background to working with some of the biggest names in prog.

For the full audio click the podcast link or download the podcast on iTunes · Google · Stitcher · PodBean • Spotify Subscribe to the podcast to automatically receive future podcast episodes.

Mandoki Soulmates are set to release a brand-new expanded version of Mandoki Soulmates ‘Hungarian Pictures’ suite, released under the title ‘Utopia For Realists: Hungarian Pictures’ on September, 24th 2021. With just under a month till release, they have launched a video for the track ‘Barbaro’, which you can watch here:

Leslie Mandoki comments: “Carrying the prog-rock spirit deep within, “Barbaro” is the instrumental highlight of the album, bringing out the genius of the performing artists when they play expressive soli to each other and ignite fireworks of improvisational art. You could hear the pure joy of living and playing!”

A week and a half ago, thousands of enthusiastic fans celebrated the stage return of the Mandoki Soulmates in front of St. Stephen’s Basilica in the heart of Budapest, where they performed ‘Utopia For Realists: Hungarian Pictures’ in full, ahead of its release in September. After the pandemic break, this was the legendary band’s first performance since their show at the Berlin Concert Hall to celebrate the 30th anniversary of the fall of the Berlin Wall.

Get a taste of this incredible evening here: https://youtu.be/upwS8kAkxd8

On ‘Utopia For Realists: Hungarian Pictures’, Leslie Mandoki plays together with Ian Anderson (Jethro Tull), Jack Bruce (Cream), Nick van Eede (Cutting Crew), Chris Thompson (Manfred Mann’s Earth Band), Bobby Kimball (Toto), David Clayton-Thomas (Blood, Sweat and Tears), John Helliwell (Supertramp), Al di Meola, Mike Stern, Randy Brecker, Till Brönner, Bill Evans, Cory Henry, Richard Bona, Tony Carey (Ritchie Blackmores Rainbow), Jesse Siebenberg (Supertramp), Steve Bailey, and Julia Mandoki

CD/LP 1 Sessions In The Village 00:06:50 2 Utopia For Realists 00:02:08 3 Transylvanian Dances 00:26:38 4 You’ll Find Me In Your Mirror 00:02:34 5 Return To Budapest 00:15:27 6 Barbaro 00:04:31 7 The Torch 00:05:50

Blu-ray 1 Session In The Village Live In Berlin 00:07:12 2 Utopia For Realists Live In Berlin 00:02:19 3 Transylvanian Dances Live In Berlin 00:21:42 4 You’ll Find Me In Your Mirror Live In Berlin 00:02:54 5 Return To Budapest Live In Berlin 00:09:22 6 Pre-Barbaro Live In Berlin 00:04:43 7 The Torch Live In Berlin 00:09:37 8 Intro The Movies 00:03:04 9 Session In The Village The Movies 00:03:20 10 Transylvanian Dances The Movies 00:02:13 11 The Truth Behind The Dance The Movies 00:02:05 12 Cedar Of Life The Movies 00:01:42 13 Session In The Academy The Movies 00:03:34 14 Utopia For Realists The Movies 00:02:13 15 Children’s Dance The Movies 00:03:26 16 You’ll Find Me In Your Mirror The Movies 00:02:38 17 New York The Movies 00:02:25 18 Furioso The Movies 00:05:51 19 The Torch The Movies 00:05:51 20 Behind The Scenes 00:47:45

Mandoki Soulmates launch video for “Sessions In The Village”

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Mandoki Soulmates the international and inter-generational supergroup consisting of rock and fusion legends surrounding founder and mastermind Leslie Mandoki release the 3rd single  “We Stay Loud” of upcoming album,  A Memory Of Our Future .

Pre-Order  A Memory Of Our Future  here:

https://mandokisoulmates.lnk.to/AMemoryOfOurFuture-Bio

Leslie Mandoki comments:  As Soulmates, were always trying to find a musical way to express ourselves, and musically its probably the hardest rock song on the album.

Watch the video for  We Stay Loud  below.

Stream  We Stay Loud  on your favorite DSP or pre-order here:

https://mandokisoulmates.lnk.to/AMemoryOfOurFuture-Album

Watch the insights of the album and behind the scenes of the production here:
 https://youtu.be/0RnFwaG0I9c

A Memory Of Our Future is now available for pre-order and will be available in the following formats: · 180g black 2LP wide spined Gatefold & extensive 12-page booklet · Ltd. CD Edition PocketPac with noble matt/gloss finishing, Vinyl-look disc and extensive 24-page booklet · Standard CD Jewelcase (US Version) · Digital album · Dolby Atmos Version

• Blood in the Water – 06:54
• Enigma of Reason – 10:06
• The Wanderer – 05:03
• The Big Quit – 08:35
• Devil’s Encyclopedia – 05:47
• A Memory of My Future – 06:26
• I Am Because You Are – 04:32
• My Share of Your Life – 07:48
• Age of Thought – 04:38
• Matchbox Racing – 06:56
• We Stay Loud – 05:25
• Melting Pot – 05:51

Stream and watch the supergroup’s last single and video release, “ The Big Quit” .   The single has it all – musically and socio-politically. The Soulmates counter the relentless, literally harsh diagnosis of the lyrics with the poetic power of the music as energetic therapy. A prog rock classic with catchy tune potential that will have you singing along long after the needle has been lifted from the vinyl.

Listen to the single here & watch the video here.

After their successful 30 Years Anniversary Tour through Europe, the Soulmates will be performing a special open-air concert in the courtyard of the Munich Residenz on August 15, 2024 and play the new album live.

Buy tickets here:

https://www.muenchenticket.de/tickets/performances/etbn0mu9zw2q/Mandoki-Soulmates

Mandoki Soulmates are:

Leslie Mandoki Ian Anderson (Jethro Tull) Mike Stern Al di Meola Randy Brecker Till Brönner Bill Evans John Helliwell (Supertramp) Cory Henry Richard Bona Steve Bailey Simon Phillips (Toto) Tony Carey (Rainbow) Nick van Eede (Cutting Crew) Jesse Siebenberg (Supertramp) Mark Hart (Supertramp)

Mandoki Soulmates online:

Website:  https://mandoki-soulmates.com/

Facebook:  https://www.facebook.com/mandoki.soulmates

Instagram:  https://www.instagram.com/themandokisoulmates

YouTube:  https://www.youtube.com/@MandokiSoulmates

Spotify:  https://open.spotify.com/intl-de/artist/7fl0Hsad90Ni5g3zVYzg6m

Amazon Music:  https://music.amazon.com/artists/B07S2KV19B/mandoki-soulmates

Apple Music:  https://music.apple.com/de/artist/mandoki-soulmates/1526677421

YouTube Music:  https://music.youtube.com/channel/UCS6fldWIZXVQJA_AhfGNZ_g

Deezer:  https://www.deezer.com/de/artist/65835822?app_id=140685

Tidal:  https://tidal.com/browse/artist/15805305

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Mandoki Soulmates – A Memory of our Future out 10th May 2024

Ian Anderson appears on the forthcoming Mandoki Soulmates album “A Memory of Our Future”, due for release via InsideOut Music on 10th May 2024. More info about the record, including it’s all analog recording process can be found below in the press release:

More than three decades after its inception, the Mandoki Soulmates band, led by founder Leslie Mandoki, has not only set breakthrough musical standards with their new album “A Memory Of Our Future,” but has also delivered a masterpiece of audio production technology: an entire album recorded and produced in the analog domain—from first note to finished vinyl. 

Needless to say, the production of an 80-minute concept album is a rare undertaking in today’s musical landscape. On top of that, the purely analog signal processing used throughout, from microphone to mixing and mastering, to vinyl lacquer cutting, makes “A Memory Of Our Future” a manifesto of precision and passion that can be felt in every note of this magnum opus. The mastering of the analog mix-down tape by the renowned Greg Calbi (John Lennon, Bob Dylan, Paul Simon, Bruce Springsteen) at Sterling Sound in New York, and the vinyl master cut at Emil Berliner Studios are bona fides of the level of the album’s audiophile excellence. 

With a recording and production process hard to find in contemporary music, the band has captured a warmth and vibrancy in their sound that is often lost in digital recordings. Put all together, the Soulmates have created a work of musical diversity that ranges from prog to jazz rock, combining compositional maturity, playful ease, and artful solos with great arcs of tension and profound lyrics with socio-political themes.

This inter-generational supergroup of rock and fusion grandmasters with Ian Anderson (Jethro Tull), Mike Stern, Al di Meola, Randy Brecker, Till Brönner, Bill Evans, John Helliwell (Supertramp), Cory Henry, Richard Bona, Steve Bailey, Simon Phillips (Toto), Leslie Mandoki, Tony Carey (Rainbow), Nick van Eede (Cutting Crew), Jesse Siebenberg and Mark Hart (both Supertramp), are calling out for action against division and for humanity with this album. 

With “A Memory Of Our Future,” the Soulmates achieve a unique fusion of audiophile excellence and socio-politically relevant music. This album is not just for fans of prog and jazz rock, but for anyone who appreciates authentic music.

Pre-order “A Memory Of Our Future”: https://releases.mandoki-soulmates.com/a-memory-of-our-future

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MANDOKI SOULMATES Release New Single And Video “We Stay Loud” From Upcoming Album “A Memory Of Our Future”

Mandoki Soulmates – the international and inter-generational supergroup consisting of rock and fusion grandmasters surrounding founder and mastermind Leslie Mandoki have released the 3rd single  “We Stay Loud”   off the upcoming album,  “A Memory Of Our Future.”

Pre-Order   “A Memory Of Our Future”   HERE .

“’We Stay Loud’   – is actually the most contemporary statement to say “let’s swim against the current” in this black-tie devil’s masquerade. This is no peaceful resistance, no love parade. As Soulmates , we’re always trying to find a musical way to express ourselves, to give a comment to our world, and musically it’s probably the hardest rock song on the album. It’s a very clear statement, a revenge of analog in a digital world,” shares the band.

“A Memory Of Our Future”   will be available in the following formats:

• 180g black 2LP wide spined Gatefold & extensive 12-page booklet
• Ltd. CD Edition PocketPac with noble matt/gloss finishing, Vinyl-look disc, and an extensive 24-page booklet
• Standard CD Jewel case (US Version)
• Digital Album
• Dolby Atmos Version

After their successful 30th anniversary tour through Europe, Mandoki Soulmates will be performing a special open-air concert in the courtyard of the Munich Residenz on August 15, 2024, and play the new album live. Get your tickets HERE .

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[News] Mandoki Soulmates’ release new single and video for “Devil’s Encyclopedia (feat. Ian Anderson)”

Mandoki Soulmates ‘ new single, “ Devil’s Encyclopedia ,” is an exciting sneak peek into their new album for 2024, as well as the ongoing Thirty Year Anniversary Tour (dates below).

This new Rock soundscape comes from Ian Anderson (Jethro Tull) , Jesse Siebenberg (Supertramp) and Tony Carey , along with bandleader Leslie Mandoki , Fusion legend Mike Stern , and Richard Bona .

Mandoki reflected on the inspiration for this new work: “ When I see the division and radicalization accumulating today especially through a feeding frenzy on endless crises with social media, I feel that my art must work toward a generationally just world. I want to say to the grandchildren of Woodstock: Courage is calling for people like us.* “

Continuing his rumination, Mandoki points to the accompanying music video, which “ addresses humanity’s eternal questions, crying out against totalitarianism and brutality. These days, wounded hearts are calling and the dogs of war are howling, presenting those of us who want to live peacefully in a free world with a dilemma. ” As the song says, When words fail, music speaks.*

Watch the video for “ Devil’s Encyclopedia ” through the YouTube player below:

Mandoki Soulmates are currently on their Thirty Year Anniversary Tour in Germany:

Sept. 1, Hamburg Sept. 2, Berlin Sept. 3, Munich Sept. 4, Dresden Sept. 5, Leipzig

Tickets: https://www.eventim.de/artist/mandoki-soulmates/

Mandoki Soulmates | Official Website | Facebook Page | Instagram | YouTube Channel |

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Music | ‘a very bad individual’: man shot, wounded two san jose police officers shot in hotel confrontation, subscriber only, music | this music star is so popular that he’s playing two nights at levi’s stadium, luke combs plays may 17-18 at levi’s stadium.

And, gulp, it includes not just one, but two nights — May 17-18 — at mammoth Levi’s Stadium in Santa Clara.

Yes, that’s the same amount of nights that Taylor Swift performed at Levi’s back in July. And it’s twice as many nights as either Beyonce or Ed Sheeran are playing at the Santa Clara venue on their individual headlining tours.

Impressive.

Actually, Combs is playing nothing but big stadiums on this upcoming road show — dubbed the Growin’ Up and Gettin’ Old Tour — and he’s doing two shows in pretty much every city he visits. (The one exception being his show at the Country Thunder Saskatchewan in Craven, Saskatchewan, Canada.)

Tickets to the Levi’s dates go on sale to the general public at 10 a.m. Aug. 25, ticketmaser.com . Fans can also register for a presale at lukecombs.com .

Tour dates:

AUGUST 16 Qudos Bank Arena Sydney, NSW, Australia

AUGUST 17 Qudos Bank Arena Sydney, NSW, Australia

AUGUST 19 Rod Laver Arena Melbourne, VIC, Australia

AUGUST 20 Rod Laver Arena Melbourne, VIC, Australia

AUGUST 23 Adelaide Entertainment Centre Adelaide, SA, Australia

AUGUST 26 RAC Arena Perth, WA, Australia

SEPTEMBER 30 Spektrum Oslo, Norway

OCTOBER 1 Avicii Arena Stockholm, Sweden

OCTOBER 4 Royal Arena Copenhagen, Denmark

OCTOBER 6 Barclays Arena Hamburg, Germany

OCTOBER 7 AFAS Live Amsterdam, Netherlands

OCTOBER 8 La Cigale Paris, France

OCTOBER 10 The Hall Zurich, Switzerland

OCTOBER 11 Ancienne Belgique Brussels, Belgium

OCTOBER 13 3 Arena Dublin, Ireland

OCTOBER 14 SSE Arena Belfast, Northern Ireland

OCTOBER 16 OVO Hydro Arena Glasgow, Scotland

OCTOBER 17 AO Arena Manchester, England

OCTOBER 19 O2 Arena London, England

OCTOBER 20 O2 Arena London, England

APRIL 12 American Family Field Milwaukee, WI

APRIL 13 American Family Field Milwaukee, WI

APRIL 19 Highmark Stadium Buffalo, NY

APRIL 20 Highmark Stadium Buffalo, NY

APRIL 27 Beaver Stadium University Park, PA

MAY 3 EverBank Stadium Jacksonville, FL

MAY 4 EverBank Stadium Jacksonville, FL

MAY 10 Alamodome San Antonio, TX

MAY 11 Alamodome San Antonio, TX

MAY 17 Levi’s® Stadium Santa Clara, CA

MAY 18 Levi’s® Stadium Santa Clara, CA

MAY 31 State Farm Stadium Phoenix, AZ

JUNE 1 State Farm Stadium Phoenix, AZ

JUNE 7 Rice-Eccles Stadium Salt Lake City, UT

JUNE 8 Rice-Eccles Stadium Salt Lake City, UT

JUNE 14 SoFi Stadium Los Angeles, CA

JUNE 15 SoFi Stadium Los Angeles, CA

JULY 14 Country Thunder Saskatchewan Craven, SK

JULY 19 MetLife Stadium East Rutherford, NJ

JULY 20 MetLife Stadium East Rutherford, NJ

JULY 26 FedExField Washington, D.C.

JULY 27 FedExField Washington, D.C.

AUGUST 2 Paycor Stadium Cincinnati, OH

AUGUST 3 Paycor Stadium Cincinnati, OH

AUGUST 9 NRG Stadium Houston, TX

AUGUST 10 NRG Stadium Houston, TX

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