Fermáta -

Fermáta are a Slovak jazz-rock band that released seven albums between 1975 and 1984 on Opus Records. Five additional titles (four studio, one live) appeared during the 1990s and 2000s.

Formed by guitarist František Griglák and keyboardist Tomáš Berka, the band fused symphonic structure with electric jazz instrumentation. Their classic-era output featured bassist Fedor Frešo and drummer Peter Szapu, later replaced by Karol Oláh. Fermáta explored thematic concepts across albums like Huascaran and Dunajská legenda, earning distinction as Eastern Europe’s premier fusion act.

Members: František Griglák (guitar), Tomáš Berka (keyboards, 1972-85), Anton Jaro (bass, 1972-76), Pavol Kozma (drums, 1972-73), Peter Szapu (drums, 1973-75), Cyril Zeleňák (drums, 1976), Karol Oláh (drums, 1977-81, 1982-85), Ladislav Lučenič (bass, 1977), Fedor Frešo (bass, 1979-82, 1996-present), Juraj Bartovič (vocals, keyboards, 1981-84), Roman Chovanec (drums, 1981-82), Dalibor Jenis (bass, 1982-85), Martin Hanzel (keyboards, 1991-97), Márius Bartoň (bass, 1991-94), Jindřich Plánka (drums, 1991-94), Peter Preložník (keyboards, 1999-present), Martin Valihora (drums, 1999), Jakub Hittrich (drums, 2005), Igor Skovay (drums, 1999, 2006-present)

Background

Guitarist František Griglák formed Fermáta in 1972 in Bratislava with keyboardist Tomáš Berka, bassist Anton Jaro, and drummer Pavol Kozma.

Griglák (b. August 13, 1953; Bratislava) studied piano as a child and later guitar at the Bratislava Conservatory. He first performed with the late-60s beat combo Inside of Fire, which covered songs by Jimi Hendrix and The Kinks. At seventeen, he joined singer Pavol Hammel in a reformed Prúdy lineup that recorded the 1970 album Pavol Hammel & Prúdy. He then joined the art-rock group Collegium Musicum for their 1971–72 double-album Konvergencie. After leaving CM, Griglák reconnected with Berka and recruited players from Berka’s group Ex We Five, a Jethro Tull-influenced act active on the early ’70s Bratislava scene.

Keyboardist Tomáš Berka (b. 1951; Bratislava) studied architecture and visual design and maintained a parallel career in stage and film art direction. He played Hammond organ and electric piano on the first five Fermáta albums.

Bassist Anton Jaro (b. July 24, 1954; Bratislava) studied at the Secondary School of Printing Technology while performing in Ex We Five. After his tenure in Fermáta (1972–76), he played with jazz combos led by Laco Gerhardt and Dežo Ursiny and served in the RTV Bratislava Big Band.

Drummer Pavol Kozma played in early rock bands across Bratislava before joining the original Fermáta lineup. He exited in 1973, replaced by drummer Peter Szapu.

The group secured a deal with the state-owned Opus label, which issued their self-titled debut in 1975. Despite operating under a closed-border regime, Fermáta performed on Western-grade instruments (Gibson, Rickenbacker, Fender, Rhodes), earning them musical comparisons to Finch, Iceberg, and early Mahavishnu Orchestra. Their early concerts included national TV appearances and spots at Eastern European jazz festivals.

Fermáta

Fermáta released their self-titled debut album in December 1975 on Opus.

The album marked the emergence of a Slovak jazz-rock unit with fluent instrumental interplay and a lean quartet format. Guitarist František Griglák, recently of Collegium Musicum, fronts the group with keyboardist Tomáš Berka, who alternates between organ, electric piano, and early synthesizers. Bassist Anton Jaro and drummer Peter Szapu round out the lineup, contributing to a sound shaped by Western fusion imports but arranged with local discipline and tight execution.

Griglák wrote four of the album’s five tracks, including a reworking of George Enescu’s “Rumunská Rapsódia.” He co-wrote “Postavím Si Vodu Na Čaj” with Berka, who composed “Valčík pre krstnú mamu.”

The album opens with “Rumunská Rapsódia,” which adapts Enescu’s theme into shifting segments of arpeggiated guitar runs and alternating organ-Rhodes textures. “Perpetuum II” builds from ambient fragments into clustered themes with gradual rhythmic layering, eventual solo sections, and multiple shifts in direction led by organ bursts and drum surges. “Postavím Si Vodu Na Čaj” alternates between quiet electric piano passages and brief guitar-led charges.

“Valčík pre krstnú mamu” moves through layered time signatures with a rounded arrangement of wah-toned leads, clattering electric piano fills, and a slow-funk coda. “Perpetuum III” extends the earlier piece into slower, episodic waves of phrasing and contrasting intensity, closing with a flanged guitar descent and percussive final surge.

A1. “Rumunská Rapsódia” [Roumanian Rhapsody] (5:54) — adaptation of George Enescu’s Romanian Rhapsody No. 1, arranged by Griglák
A2. “Perpetuum II” (10:27) — Griglák
A3. “Postavím Si Vodu Na Čaj” [I’ll Put the Kettle On] (4:20) — Griglák, Berka

B1. “Valčík pre krstnú mamu” [Waltz for Godmother] (7:01) — Berka
B2. “Perpetuum III” (11:43) — Griglák

Sessions occurred in 1975 under music director Ing. Igor Boháček with engineer Ing. Juraj Filo. Ing. Ján Hruška and Ing. Kazimír Kylheku provided technical support. Pressing occurred at Gramofonové Závody (OE 1460/61). Printed by Grafobal, Skalica. Exported by Slovart, Bratislava.

Between albums, Fermáta replaced drummer Peter Szapu with Cyril Zeleňák, a Košice native who had studied percussion and previously played with Forty Three and Prúdy. He joined the band in 1976 after stints with Modus and Collegium Musicum and became an in-demand session and jazz drummer throughout the decade.

Pieseň z Hôľ – Song From Ridges

Fermáta released their second album, Pieseň z Hôľ – Song From Ridges, in November 1977 on Opus.

The album introduced Fermáta’s revised rhythm section with drummer Cyril Zeleňák replacing Peter Szapu. His arrival brought tighter pacing and increased low-end clarity to a sound now focused less on riff-driven intensity and more on layered keyboard phrasing and cyclical structures.

Guitarist František Griglák remains central but shares more ground with keyboardist Tomáš Berka, who expands the band’s palette with extended passages of Rhodes and Moog. Bassist Anton Jaro anchors a leaner, cooler tone with more emphasis on modal repetition and dynamic restraint.

Griglák composed three of the album’s six tracks and co-wrote “Postavím Si Vodu Na Čaj” with Berka. Berka contributed two solo compositions, while “Svadba na medvedej lúke” originated as a three-way collaboration between Berka, Jaro, and Zeleňák. Violinist Milan Tedla appears on the closing track.

The eleven-minute title track, “Pieseň z hôľ,” rides a tense ostinato on bass with high-pressure drum fills and sharp guitar bursts. It builds through several climactic breaks with brief violin accents before Griglák launches into high-register soloing backed by rhythmic surges and syncopated keyboard flashes. “Svadba na medvedej lúke” opens with tom-led drum figures before resolving into a suspended mid-tempo jam with alternating synth tones and tight, pulsing bass.

“Posledný jarmok v Radvani” plays off a circular funk riff with layered transitions between lead lines on Rhodes, guitar, and fuzz-toned bass. “Priadky” opens with abstract textures and gradually forms a relaxed rhythmic structure with staggered piano clusters and lightly distorted rhythm guitar. “Dolu Váhom” places Griglák and Berka in a dual keyboard role over stuttering percussion. “Vo Zvolene zvony zvonia” stretches into ten minutes of gliding Fender lines, violin cadences, and Moog swells, moving between anchored themes and wandering interludes with subtle shifts in tempo and timbre.

A1. “Pieseň z hôľ” [Song from Ridges] (11:07) — Griglák
A2. “Svadba na medvedej lúke” [Marriage on a Bear’s Meadow] (4:15) — Jaro, Zeleňák, Berka
A3. “Posledný jarmok v Radvani” [The Last Fair in Radvaň] (4:31) — Griglák

B1. “Priadky” [Spinning] (7:37) — Berka
B2. “Dolu Váhom” [Downstream Váh] (2:20) — Griglák
B3. “Vo Zvolene zvony zvonia” [Bells Are Ringing in Zvolen] (10:10) — Berka

Sessions occurred in 1977 under recording director Ján Lauko with engineer Ing. Juraj Filo. Tibor Borský handled photography. Design by Rastislav Majdlen.

Huascaran

Fermáta released their third album, Huascaran, in August 1978 on Opus.

The album marks Fermáta’s shift into conceptual structure and expanded symphonic scope. Built around the 1970 Peruvian earthquake that killed thousands — including a Czechoslovak climbing team near Mount Huascarán — the work unfolds in long-form instrumentals that combine jazz-rock complexity with programmatic sequencing.

Guitarist František Griglák and keyboardist Tomáš Berka broaden their tonal arsenal, while the lineup introduces bassist Ladislav Lučenič and drummer Karol Oláh. Griglák also plays piano and synthesizer alongside his lead guitar role. Celloist Dezider Piťo guests on the first suite, and Peter Oláh adds brief wordless vocals.

Griglák composed both parts of the “Huascaran” suite, which bookends the album. Berka wrote the two intervening tracks, including “80 000,” named for the estimated quake death toll. He co-arranged the album’s synthesized textures on ARP, Roland, and Elka gear.

“Huascaran I” opens with sparse keys and slow, rhythmic emergence before shifting into layered rhythmic ascent with cello and guitar lines traded over spacey electric piano. A midsection break drops into ambient washes and delayed arpeggios before the final segment lifts into a fast pulse, balancing climbing synths with a thick, circling bassline. “80 000” begins in soft tones and builds into overlapping riffs with phased organ, pulsing Rickenbacker, and hard angular guitar figures.

“Solidarity” centers on clustered group interplay with Rhodes and bass holding a tight unison beneath guitar patterns that escalate into a brief solo climax. “Huascaran II” opens at full speed with raw guitar phrasing over rolling tom fills and cycling bass figures. The intensity breaks at midpoint into a slow unwind, ending on synth birdsong and a soft drum pulse that tapers to silence.

A1. “Huascaran I” (13:40) — Griglák
A2. “80 000” (7:30) — Berka

B1. “Solidarity” (6:30) — Berka
B2. “Huascaran II” (11:10) — Griglák

Sessions occurred in June 1977 at Opus Studio in Pezinok with recording director Ján Lauko and engineer Peter Smolinský. Technical collaboration by Jozef Hanák. Cover by Juraj Bartoš and Tibor Borský.

Dunajská Legenda

Fermáta released their fourth album, Dunajská Legenda, in May 1980 on Opus.

The album follows a two-year hiatus during which core members briefly played with Collegium Musicum. Bassist Fedor Frešo, a veteran of CM and Modrý Efekt, joins the group for the first of three albums with a stabilized lineup.

Continuing the thematic approach of Huascaran, the album evokes ancient legends tied to the Danube River. Guitarist František Griglák and keyboardist Tomáš Berka alternate lead passages on an expanded range of synthesizers and pianos. Drummer Karol Oláh remains from the prior lineup, and a four-piece string section appears on select tracks.

Griglák composed four of the album’s eight tracks, while Berka contributed the remaining four. Frešo, Berka, and Griglák each take occasional lead and background vocal parts.

“Wlkina” opens with bright keyboard figures and interlocked rhythmic runs that shift rapidly between fused patterns and scalar phrasing. “Chotemir” begins with acoustic fingerpicking and atmospheric pads, then builds through string motifs and moody transitions into a soaring guitar theme with cymbal-driven punctuation and a brisk closing run. “Witemir” adopts a subdued jazz-rock setting with light percussion and soft electric piano beneath wordless vocal lines.

“Unzat” uses synth textures to build layered crescendos that climax in dual-keyboard soloing. “Trebiz” pairs sparse piano melodies with stop–start bass patterns before a sudden drift into ambient spaces and final recapitulation. “Žilic” applies a clipped funk pulse to rhythmic synth accents and relaxed group chants. “Zuemin” drifts in subdued tones with a soft rhythmic center, while “Koceľ” gradually mounts intensity from a subdued intro to thick bass chords and saturated synth lines under tremolo guitar.

A1. “Wlkina” (4:08) — Berka
A2. “Chotemir” (6:15) — Griglák
A3. “Witemir” (3:15) — Griglák
A4. “Unzat” (5:47) — Berka

B1. “Trebiz” (6:15) — Griglák
B2. “Žilic” (3:30) — Berka
B3. “Zuemin” (4:48) — Berka
B4. “Koceľ” (5:24) — Griglák

Sessions occurred in August 1979 at Opus Studio in Pezinok with recording direction by Ján Lauko and sound engineering by Peter Smolinský. Photography by Michaela Kordová. Cover design by Sylvia Andrašovanová-Hložníková.

Biela Planéta (The White Planet)

Fermáta released their fifth album, Biela Planéta (The White Planet), in March 1981 on Opus.

The album continues the lineup from Dunajská legenda with bassist Fedor Frešo, drummer Karol Oláh, keyboardist Tomáš Berka, and guitarist František Griglák. The band adopts a new concept centered on famous explorers, with each track named after a historical navigator. The music shifts further toward structured compositions with fewer improvisatory segments, balancing rhythmic interplay and accessible melodic motifs across shorter, self-contained pieces.

Griglák composed four of the eight tracks; Berka contributed the other four. Frešo adds mandolin and applies a dry, clipped bass tone that enhances the album’s rhythmic precision.

“Cook” opens the album with smooth coordination between synth pads, syncopated drums, and midrange guitar themes. “Magellan” plays in subdued patterns with short chord cycles and muted percussive swells. “Amundsen” evolves gradually, first with floating textures and bass overlays, then with a sharp guitar sequence that briefly invokes the intensity of the band’s earlier work. “Polo” compresses Latin cross-rhythms into a compact four-minute piece, combining staccato basslines with layered polyphony and quick thematic resolution.

“Da Gama” opens side two in a slightly funk-tinged framework with a repeating melodic hook and interjected keyboard accents. “Humboldt” flows on a reflective tone with mid-tempo pacing and soft electric phrasing. “Kolumbus” employs echo-laced arpeggios and open-cadence guitar figures in tandem with soft percussive loops. “Livingstone” follows a stop–start pattern that alternates rhythmic shapes across the ensemble before closing in a coda of gradual release.

A1. “Cook” (4:29) — Griglák
A2. “Magellan” (5:21) — Berka
A3. “Amundsen” (7:05) — Griglák
A4. “Polo” (3:36) — Berka

B1. “Da Gama” (4:26) — Berka
B2. “Humboldt” (5:23) — Griglák
B3. “Kolumbus” (3:55) — Griglák
B4. “Livingstone” (5:54) — Berka

Sessions occurred in 1980 at Opus Studio in Pezinok with music direction by Ján Lauko and sound engineering by Jozef Hanák. Cover by Michaela Kordová.

Generation

Fermáta released their sixth album, Generation, in 1981 on Opus.

The album preserves the Biela planéta lineup of guitarist František Griglák, keyboardist Tomáš Berka, bassist Fedor Frešo, and drummer Karol Oláh, with guests Jozef Hanák (harmonica) and tenor saxophonist Jozef Krajčovič.

Though lighter and less thematic than its predecessor, Generation maintains their fusion focus with polished execution and expanded Latin and groove-based elements. Griglák handles guitar and occasional Moog synthesizer, while Berka and Frešo contribute the bulk of the material.

Berka wrote four of the album’s seven tracks. Griglák composed two and plays Moog on “Reserve” and “K.O.” Frešo composed “Gastronomic Pleasures” and “Reserve.”

The album opens with “Tie-Break,” a concise uptempo number built on synth-led motifs and a steady rhythmic drive. “Viña del Mar” adopts a Latin-jazz character with crossrhythmic syncopation and extended solo interplay. “Calamity” shifts between subdued piano sequences and sharp dynamic bursts. “Gastronomic Pleasures” interjects a short boogie-fusion number with bouncing guitar licks and a playful tone.

“Boleti” adds a slight reggae shuffle beneath clean guitar leads and vibrant drumming. “Reserve” merges a 7/4–5/4 rhythm pattern with synth overlays and restrained melodic figures. “K.O.” stretches out over eight minutes, moving through phases of slow groove, layered saxophone lines, and electric soloing with late-70s smooth-fusion textures.

A1. “Tie-Break / Prerušenie” (4:33) — Berka
A2. “Viña del Mar” (7:02) — Griglák
A3. “Calamity / Kalamita” (5:54) — Berka
A4. “Gastronomic Pleasures / Gastronomické radosti” (3:34) — Frešo

B1. “Boleti / Dubáky” (5:06) — Berka
B2. “Reserve / Zadané” (4:35) — Frešo
B3. “K.O.” (8:53) — Griglák

Sessions occurred at Opus Studio under recording supervisor Ján Lauko with engineering by Jozef Hanák.

Ad Libitum

Fermáta released their seventh album, Ad Libitum, in 1984 on Opus.

The album marks a shift toward a more streamlined, vocal-inclusive format and introduces bassist Dalibor Jenis, replacing Fedor Frešo. Founders František Griglák and Tomáš Berka remain central to the band’s sound, now joined by keyboardist–vocalist Juraj Bartovič, who shares composing and vocal duties. Griglák contributes guitar, keyboards, and occasional vocals, while longtime drummer Karol Oláh performs uncredited. Lyrics were provided by poet Milan Sarvaš on three tracks.

Berka composed four pieces and co-wrote two with Griglák, who contributes three additional pieces and co-writes the closing track. Bartovič wrote two songs and co-composed two others. Griglák, Bartovič, and Berka all appear on vocals, marking the band’s most vocal-heavy album to date.

The material spans compact fusion instrumentals and pop-structured vocal numbers, interspersed with theatrical or introspective elements. “Posledné tango na Vajnorskej ulici,” the album’s centerpiece, stretches over eight minutes with alternating sung verses and instrumental passages. “Stoličky” and “Ešte vládzem” blend lyrical motifs with atmospheric keyboard layering and syncopated guitar lines. The title track, “Ad libitum,” closes the album with an expansive instrumental coda.

A1. “Svet na doskách” (4:21) — Griglák, Berka
A2. “Posledné tango na Vajnorskej ulici” (8:25) — Griglák, Sarvaš
A3. “S.O.S.” (1:47) — Griglák
A4. “Stoličky” (5:18) — Berka
A5. “Ešte vládzem” (3:09) — Bartovič, Sarvaš

B1. “Prvý pád” (4:42) — Berka
B2. “Päť minút po dvanástej” (4:52) — Bartovič, Sarvaš
B3. “Post scriptum” (3:07) — Griglák, Berka, Bartovič
B4. “Sprievodca” (3:25) — Griglák, Berka
B5. “Ad libitum” (7:09) — Berka

Sessions took place at Opus Studio under music supervisor Ján Lauko with sound engineering by Juraj Filo. The cover art was illustrated by Peter Kľúčik.

Discography: