Péter Rozsnyói earned his degree at the Jazz faculty of Ferenc Liszt Music Academy, Budapest. He represented Hungary in Montreux in 2006 and 2007, received the Dezső Ablakos Lakatos scholarship in 2007, and earned the Prima prize in Veszprém the same year. Since 2012 he is tutor at the Snétberger Music Talent Center. Besides jazz, he is also famous about his passionate interpretation of Bach’s works. He has founded his trio in 2004, with a solid line-up of György Orbán on double bass and András Mohay on drums from 2006, until the latter’s tragic death in a car accident in 2014. After more than a year of break the trio, now with former The Flower Kings’ drummer, Zoltán Csörsz, released in 2016 the critically acclaimed album Pain of an Angel on BMC Records.

“Rozsnyói plays light and bright over his 7 originals. He doesn’t walk on egg shells as much as floats over them. He is a very clean player who doesn’t waste notes and there are no fade outs. This is a quiet solid trio and the bass and drum solos keep in with the whole ambience of the date. Nice composition delivered without pretension. Bop, timely and wise that holds up well on re-visits.” Robert Rusch, Cadence Magazine

“There is a certain naturalness in the pianism of Péter Rozsnyói, which is to say that the pianist does what comes naturally to him in the repertoire on Pain of an Angel. He monkeys around with articulations, shocks you with unexpected accents, balances chords in strange ways and brings inner voices – both real and invented – to the fore. He can be sensitive to a teardrop in a ballad and tear through a piece as abstrusely entitled as “Pain of an Angel” like a graffiti-artist hell-bent on mayhem, where his affectations are, at times analogous to an animated cartoon. But always from end to end on these works on this extraordinary disc manage to contain and absorb Rozsnyói’s affecttuoso style.
Of course Péter Rozsnyói may be the lead voice on this disc, but he is almost never alone. And he is indeed in splendid company with bassist György Orbán and the ineffable drummer Zoltan Csörsz, all of whom feed on each other’s insatiable appetite for invention. This means that there is never a dull moment on Pain of an Angel. However, by that same token there is never a vacuous filigreed twinkling either. The studied grace of audaciously ornamented right-hand cantabiles are supported by mannered left-hand punctuations that can turn on a dime into the steady rock drill-like ranting bar after bar until the music’s militant subtext hits home.” Raul da Gama, JazzdaGama