iliosradio > > rembetika rebetika

": 47777 Nov 10 2010, 04:37 PM


Vassilis Tsitsanis (Βασίλης Τσιτσάνης January 18, 1915 January 18, 1984) was a Greek singer and songwriter. He became one of the leading composers and singers of rebetiko music, which was banned in Greece during its early years, and on the later laika style.

His best-known songs include:

* Synnefiasmeni Kyriaki (Cloudy Sunday)
* Eimaste alania (We are Tramps) lyrics: Eftichia Papagianopoulos
* To Vapori apo tin Persia (The Boat from Persia, about a hashish-laden boat that sank in Corinth harbor)
* O Sakaflias
* Ta leromena ta aplita (The Dirty Laundry)

Tsitsanis was born in Trikala on January 18, 1915. From a young age, Tsitsanis was interested in music and learnt to play the mandolin, violin and the bouzouki that was the mainstay of so many of his songs. In 1936 he left for Athens to study Law, and by 1937, had made his first musical recording.

During the German occupation of Greece, Tsitsanis lived in Thessaloniki. There he wrote many of his best songs that were later recorded after the end of the World War II.

In 1946, Tsitsanis returned to Athens and began recording many of his own compositions that made famous many of the singers that worked with him, such as Sotiria Bellou (Σωτηρία Μπέλου), Marika Ninou (Μαρίκα Νίνου) and Prodromos Tsaousakis (Πρόδρομος Τσαουσάκης).

From then on, Tsitsanis enjoyed wide acclaim throughout Greece.

Tsitsanis died in London on January 18, 1984; the day he was born sixty-nine years prior. He was mourned across Greece, where his music is still enjoyed to this day.
[edit] External links

* Official Sitede:Vassilis Tsitsanis


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": 47777 Nov 14 2010, 01:34 AM

Giannis Papaioannou (Greek: Γιάννης Παπαϊωάννου; January 18, 1913 August 3, 1972) was a famous Greek musician and composer born in Kios, Turkey (now Gemlik). In English his name is sometimes romanized as Yannis, Ioannis or Yiannis. Most active in the 1940s, he wrote many songs, some of which are today considered classics of the rebetiko folk music style. These include: Pente Ellines Ston Adi, Kapetan Andreas Zeppo, Modistroula, Prin To Charama Monachos, and Fovamai Mi Se Chaso. His style retains much of the musical quality of the classical rebetika of the likes of Markos Vamvakaris, although the thematic content of the lyrics tends not to focus as much on the typically dark topics drugs, death and prison of earlier rebetika.

He died on August 3, 1972 in a road accident and was buried in a cemetery in Kallithea, just southwest of Athens near the Tzitzifies area of south Kallithea where he, like many other rebetiko and laiko musicians, would frequently perform.


Style, sophistication, elegance and Swing . Swing ? Yes swing ! Try and think of Ioannis Papaioannou as similar the Great Jazz composer Duke Ellington . We are comparing Papaioannou to the great American "Duke " , because his compositions as well as his character and particularly his stage presence , were very much the embodiment of these first three attributes. In our opinion, Papaioannou was very much the Hellenic "Duke" of Rebetiko music . Many of Papaioannou's compositions were often very big hits. Especially with the Greek - American crowd . Much of his material was for a variety of reasons , much admired and very accessible for many a Western audience . Which is interesting , because he never really compromised his compositions or performances by attempting to overly "Westernize" them for the benefit of a Buck . Some of his songs had a hard driving lyrical rhythm, that was very appealing . You just don't hear that sound from any other Rebetic composer . Probably the best description I can offer in regards to this characteristic , is that unlike most other Rebetic numbers , Papaioannou's music often seems to emphasize various elements , that suggests a youthful type of exuberance and natural spontaneity . His music often seemed to have the rare capacity to take you away from your respective thoughts , even long after the number has ended . Papaioannou was also an excellent instrumentalist with the Bouzouke and that capability undoubtedly influenced his compositional style . He is the one authentic Rebetis , I would recommend most to individuals who are new to this music and want to explore Rebetiko music in greater depth . He merit's this recommendation not only because his compositions are some of the most immediately accessible and thoroughly intriguing, but more importantly because Papaioannou had a sound, that for some mysterious reason , never seems to grow old . Tragically Ioannis Papaioannou was killed in an auto accident in 1972 .


Γιάννης Παπαϊωάννου
1913 1972

Ο Γιάννης Παπαϊωάννου υπήρξε ένας από τους θεμελιωτές και κύριους εκφραστές του λαϊκού μας τραγουδιού. Γεννήθηκε στις 18 Ιανουαρίου του 1913 στην Κίο της Προποντίδας. Σε ηλικία δυο ετών ορφάνεψε από πατέρα κι επτά χρόνια αργότερα έζησε τη Μικρασιατική Καταστροφή.

Αρχικώς εγκαταστάθηκε με τη μητέρα και τη γιαγιά του στη Σαμοθράκη και λίγο αργότερα μετακόμισαν στον Πειραιά, στις Τζιτζιφιές, όπου ζούσαν οι θείοι του και η υπόλοιπη οικογένεια. Στη δουλεία μπήκε από μικρός. Εργάστηκε ως ψαράς, ως μαραγκός, σε συνεργείο αυτοκινήτων και σε οικοδομές. Η σκληρή βιοπάλη του απαγόρευσε να συνεχίσει το σχολείο.

Το 1928 ξεκίνησε να παίζει μουσική με μια φυσαρμόνικα, αλλά η σχέση του με τη μουσική θα παρέμενε σε εκείνο το επίπεδο αν δεν ήταν το ποδόσφαιρο. Έπειτα από έναν σοβαρό τραυματισμό του, η μητέρα του τού έκανε δώρο ένα μαντολίνο για να σταματήσει να παίζει. Η ζωή του άλλαξε, όταν μια μέρα άκουσε σε μια ταβέρνα Το μινόρε του τεκέ του Γιάννη Χαλκιά. Ήταν η πρώτη φορά που άκουγε μπουζούκι. Το ερωτεύτηκε και το υπηρέτησε πιστά μέχρι το τέλος της ζωής του.

Στο πάλκο πρωτανέβηκε το 1933. Στη σαραντάχρονη πορεία του έγραψε πάνω από 800 τραγούδια, περιόδευσε σε Ελλάδα και Αμερική, και ανέδειξε μια ολόκληρη γενιά καλλιτεχνών, μουσικών και τραγουδιστών. Η Φαλιριώτισσα Η Ψαροπούλα, Βαδίζω και παραμιλώ, Καπετάν Αντρέα Ζέππο, Πριν το χάραμα, Σβήσε το φως να κοιμηθούμε, είναι μερικά μόνο από τα διαχρονικά τραγούδια του που άφησε ως κληρονομιά.

Ο Γιάννης Παπαιωάννου σκοτώθηκε σε αυτοκινητιστικό δυστύχημα τα χαράματα της 3ης Αυγούστου 1972, καθώς μετά τη δουλειά πήγαινε για ψάρεμα στα Βασιλικά της Σαλαμίνας. Στη μνήμη του, ο Βασίλης Τσιτσάνης -κουμπάρος, φίλος και συνεργάτης του για πολλά χρόνια- έγραψε Το τραγούδι του Γιάννη που τραγουδά η Πόλη Πάνου.



"30 χρόνια από τον θάνατό του"

Άρθρο του Κώστα Παπαιωάννου (Εκδότη εφημερίδας "TO ΠΟΝΤΙΚΙ" - Αύγουστος 2002).

ΤΟΝ ΙΟΥΝΙΟ του '69 σ' ένα μονοστηλάκι μπήκε σε μια εφημερίδα η είδηση ότι πέθανε ο Ζέπος που είχε εμπνεύσει το ομώνυμο τραγούδι στον Γιάννη Παπαϊωάννου! Για τον πολύ κόσμο ήταν έκπληξη και ότι ζούσε - κάποιοι τον θεωρούσαν πρόσωπο ανύπαρκτο που είχε φτιάξει η φαντασία του μπάρμπα-Γιάννη.
ΕΝΑΣ δημοσιογράφος τηλεφώνησε στον Παπαϊωάννου να τον ρωτήσει για τον Ζέπο, να μιλήσουν. Εκείνος δεν ήθελε. Τον είχε λυπήσει ιδιαίτερα ο θάνατος του καπετάν Αντρέα Ζέπου, γιατί δούλευε στα καΐκια του όταν αυτός ήταν σπουδαίος καραβοκύρης, και είχε καταντήσει πάμπτωχος, να κοιμάται σε μια τρώγλη στις Τζιτζιφιές, ανάμεσα στα δύο μπουζουκομάγαζα όπου έσπαγαν πιάτα με το τραγούδι του και ξόδευαν παρά με ουρά! Κι αυτός δεν είχε να φάει - τον φρόντιζε ο μπάρμπα - Γιάννης και ελάχιστοι άλλοι...
Ο ΔΗΜΟΣΙΟΓΡΑΦΟΣ επέμενε, ο Παπαϊωάννου τού 'λεγε μια άλλη φορά, ο δημοσιογράφος του εξηγούσε ότι τώρα είναι το θέμα επίκαιρο και κάποια στιγμήο μπαρμπα-Γιάννης ρώτησε: Πώς είπαμε ότι σε λένε; Ο δημοσιογράφος απάντησε: Παπαϊωάννου. Ε, τότε, αφού σε λένε Παπαϊωάννου, έλα, του είπε και πριν κλείσουν το τηλέφωνο τον ρώτησε πώς πίνει τον καφέ, για να 'ναι έτοιμος, όταν πάει! Και ήταν!
ΑΥΤΟΣ ήταν ο μπαρμπα-Γιάννης που τούτες τις μέρες συμπληρώθηκαν 30 χρόνια από το θάνατο του σε τροχαίο. Ήταν 58 χρόνων...
Ο ΓΙΑΝΝΗΣ Παπαϊωάννου του Παναγιώτη και της Χρυσής το γένος Βοναπάρτη, γεννήθηκε το '14 στην Κίο της Μ. Ασίας, ήρθε στην Ελλάδα το '22 με την Μικρασιατική Καταστροφή και κατέληξε στο Κερατσίνι κι από εκεί στις Τζιτζιφιές, όπου έμεινε σε παράγκα που έφτιαξαν οι πρόσφυγες μόνοι τους...
ΔΟΥΛΕΨΕ... και πού δεν δούλεψε. Ο ίδιος αφηγείται μ' εκείνο τον μοναδικό τρόπο που τα 'λέγε:
*Είχα φτάσει τα 14 χρόνια μου. Οι θείοι μου ήτανε ψαράδες και κανονίσανε με κάποιο καΐκι, έφτιαξαν δίχτυα και βγήκαν στη δουλειά. Με πήραν και μένα μαζί τους, αλλά θαλασσοπνιγόμουν και το μερτικό ήταν μικρό. Έφυγα και πήγα σε έναν άλλο θείο μου, που ήταν μαραγκός. Έκατσα λίγο καιρό, αλλά περισσότερο ήταν το ξύλο παρά το ψωμί που έτρωγα! Η μάνα μου άρχισε να πουλάει σιγά σιγά τα χρυσαφικά, γιατί δεν τα φέρναμε βόλτα.
*Με πήρε η μάνα μου μετά και με έβαλε σε ένα συνεργείο φορτηγών αυτοκινήτων εδώ στον Άγιο Διονύση, στο γκαράζ του Άννινου. Εκεί μέσα ήταν το συνεργείο του Γιάννη Κότσια. Δούλεψα ένα διάστημα και όσο έπαιρνα τα έδινα στο σαπούνι για να βγάζω τη μουτζούρα από πάνω μου. Ήμουνα και ναυτοπρόσκοπος σαλπιγκτής. Γιατί από μικρό παιδί στην Κίο έπαιζα φυσαρμόνικα. Όταν φύγαμε από την Κίο, ήμουνα στην πρώτη τάξη, αλλά εδώ δεν πήγα σχολείο, αν και είχε νυχτερινή σχολή, γιατί κάθε βράδυ γύριζα κουρασμένος και ψόφιος από την ταλαιπωρία της ημέρας.
* Βγήκα μετά στις οικοδομές. Κουβάλαγα ζεμπίλια, έκανα κάθε λογής δουλειά. Ήμουνα σκληραγωγημένος γιατί είχα τραβήξει τόσα πολλά. Αγώνας για τη φασολάδα. Είχα όρεξη να φάω 10 φασολάδες και έτρωγα μία. Βλέπετε φτώχεια. Πήγα για λίγο καιρό και δούλεψα με το Ζέπο στα καΐκια του, αυτόνε που τον έκανα τραγούδι. Μεγάλος αυτός ο άνθρωπος, μεγάλη ιστορία. Φίλος μου. Συνέχισα τη δουλειά μου στις οικοδομές. Κουβάλαγα άμμο, κάθε μέρα στο γιαπί, κάθε μέρα κούραση. Μετά σιγά σιγά πήρα και το μυστρί, άρχισα να γίνομαι μάστορας. Έτσι πέρασε λίγος καιρός και αρχίσαμε να ανασαίνουμε με τη γριά.

ΘΑ ΚΑΝΕΙ κι άλλες δουλειές, θα αρχίσει να παίζει μπάλα (άριστος τερματοφύλακας στην Πέρα Κλουπ και στον Φαληρικό), να μαθαίνει από τον Ζέπο το ψάρεμα. Η μάνα του δεν ήθελε να παίζει μπάλα. Της είπε: θα σταματήσω αν μου πάρεις ένα μαντολίνο. Του πήρε! Έμαθε γρήγορα και μετά πήρε κιθάρα - ενώ συγχρόνως είχε γίνει εργολάβος: έπαιρνε δουλειές, σοβατίσματα και τέτοια. Και μετά ήρθε το μπουζούκι!

* Ακούστε λοιπόν, πώς πήρα το μπουζούκι και πώς έγινα Παπαϊωάννου: Ένα μεσημέρι καθόμουνα στην ταβέρνα αυτή και έτρωγα. Ήμουνα με τα ρούχα της δουλειάς. Ακουσα ένα δίσκο που είχε βγάλει στην Αμερική ο Χαλκιάς. Ήταν ένας μεγάλος δίσκος αμερικάνικος και από τη μια είχε ένα σόλο Μινόρε και από την άλλη ένα σόλο ζεϊμπέκικο. Μόλις το άκουσα τρελάθηκα. Σηκώθηκα να διαβάσω το δίσκο και είδα το όνομα του Χαλκιά. Έγραφε Γιάννης Χαλκιάς. Ηταν το "Μινόρε του Τεκέ". Τρέλα! (...) Αμέσως άλλαξα γνώμη και είπα θα πάρω μπουζούκι. Φούντωσε το μυαλό μου, δεν το χόρταινα να το ακούω....

Η ΜΑΝΑ του, όμως, δεν ήθελε και τον έδιωξε από το σπίτι (Έδιωξε η μάνα το παιδί για το μπουζούκι! θα πει!). Εκείνος θα συνεχίσει κρυφά στο σπίτι ενός φίλου του (γιατί είναι άσχημος νταλκάς αυτό το παλιόξυλο!) και τελικά θα γίνει σπουδαίος:
* Γρήγορα έγινα άπιαστος! Είχα γράψει τη "Φαληριώτισσα", το πρώτο τραγούδι, για πολλά χρόνια την τραγουδάγαμε με τους φίλους στους δρόμους. Χιλιάδες κόσμος είχε ακούσει που κάναμε καντάδα τη "Φαληριώτισσα" στα σοκάκια. Ήτανε η πιο μεγάλη καντάδα εκείνης της εποχής στις Τζιτζιφιές και στο Φάληρο. Όπου άκουγες τσούρμο από νέους τραγουδάγανε τη "Φαληριώτισσα"!.

ΜΕΤΑ το στρατιωτικό θ' ακολουθήσει η Μοδιστρούλα, ο Παπαϊωάννου θα βρεθεί με τους μεγάλους του είδους, τον Μάρκο (που θεωρούσε - όπως και ήταν - πρωτοπόρο και δάσκαλο, τον Μπάτη, τον Στράτο, τον Κερομύτη, τον Μπαγιαντέρα, τον Ρούκουνα, τον Χατζηχρήστο, τον Ανέστο Δελιά, τον Περιστέρη και τόσους άλλους. Γρήγορα θα γίνει ο μεγάλος Παπαϊωάννου και μαζί με τον Βασίλη Τσιτσάνη θα γράψουν χρυσές σελίδες στην ιστορία της λαϊκής μουσικής. (Λεπτομέρεια: είχαν γεννηθεί την ίδια μέρα: 18 Ιανουαρίου! Ο ένας το 1914 κι ο άλλος το 1915!).
ΘΑ ΓΡΑΨΕΙ αξέχαστες επιτυχίες (Πριν το χάραμα, Βαδίζω και παραμιλώ, Πέθανε ο Περικλής, Μαγκιόρισσα, Πέντε έλληνες στον Αδη, Σ' αγαπώ και μη σε νοιάζει, Η νοσοκόμα, Τις γυναίκες τις δουλεύω, Ανοιξε, άνοιξε γιατί δεν αντέχω, Κάνε κουράγιο καρδιά μου, Είμαστε φίλοι και δεν αξίζει μια γυναίκα να μας χωρίζει, Βαγγελίτσα, Ο καψούρης, Σβήσε το φως... και άλλα πολλά...) και θα ομορφύνει τις βραδιές μας για χρόνια - μόνο που ο θάνατος ήρθε νωρίς: στις 3 Aυγούστου, πριν από τριάντα χρόνια...

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": 47777 Nov 15 2010, 02:13 PM
Markos Vamvakaris
Markos is considered by many to be the father of bouzouki playing and rebetika. In 1932 he recorded for the first time and, although he didn't consider himself a singer, he ended up doing the vocals on his first record. It became a hit and his gravely singing became the norm. He made hundreds of records through the 30's and early 40's but eventually faded from the scene as the music began to change.


Markos was born to a poor working family on the island of Syros in 1905. His father played the greek bagpipes called Gaida and Markos would accompany him on the dog-skinned drum. When Markos was eight years old he left school to work with his mother in a cotton thread factory, which he promptly ditched and started picking up odd jobs like newspaper boy, butchers assistant, eventually getting mixed up with the underworld of the streets. When he was fifteen years old he stowed away on a ship to Piraeus and got a job loading coals on the docks. This was tough, low-down work, but the nights were all about hashish and women. He was kept in fine clothes by an older w***e and hung out at the tekes every night. In 1925, Markos heard Old Nikos play bouzouki and was immediately hooked. Six months later he was playing at a teke when Old Nikos stopped by, he couldn't believe it was the same kid who'd never even played a few months earlier. Nikos said they'd show Markos something i the morning and he'd come back and
play it better than them in the evening.
Because the bouzouki was considered a low-class instrument, it had not been recorded until 1932 when Yiannis Halikias (aka Jack Gregory), a greek-american, recorded his "Minor Tou Deke". The record was very popular, so Spyros Peristeris, who was working as a record producer, composer and instrumentalist for Odeon records in Greece, convinced Odeon to record Vamvakaris. In 1933, Peristeris supervised, and played guitar on Markos' first recording session (although he had recorded two songs in 1932 for Columbia, they were not released until later). Markos recorded one zebekiko, O Dervises, and one Hassapiko, O Harmanes. Markos hadn't considered himself a singer but ended up doing the vocals on these records. They were very successful and Markos' rough and powerful singing became fashionable.
Markos eventually teamed up with singer Stratos Pagioumitzis, baglamatzis Jiorgos Batis, and bouzouki player Anestis Delias to form his famous Piraeus Quartet. His popularity was sustained throughout the 1930's, despite growing political turmoil. Eventually the style of rebetika that Markos had pioneered became more mainstream, and by the 1940's Tsitsanis had started changing the subject matter to be about love and less about hashish, prison and other rebetika topics.
Likewise, Hiotis started changing the sound of the music, adding strings to the bouzouki in 1956 and moving towards a more flashy, electric and westernized sound. Markos continued to record in his older style through this period. He passed away in 1972.

Vamvarakis, Markos. Autobiogrphia. Ed. Ageliki-Bellou-Keil. Athens, Greece: Ekdoseis Papazisi,

Emery, Ed; Petropoulos, Elias. Songs of the Greek Underworld: The Rebetika Tradition. London:

Holst, Gail. Road to Rembetika: Music from a Greek Sub-Culture; Songs of love, sorrow and Hashish.

Anglo-Hellenic Publishing, 1975.

Biography vid



user posted image


": 47777 Nov 17 2010, 11:46 AM
Kostas Skarvelis - costas Skarvelis
From Wikipedia, the free encyclopedia
(Nickname "pastrami")
Kostas Skarvelis (Greek: Κώστας Σκαρβέλης; Istanbul[a], Ottoman Empire 1880 Athens, Greece 8 April 1942) was a Greek composer of popular music, οf the genre of rembetiko (ρεμπέτικο) in particular. He also wrote the lyrics for his songs and was an excellent guitar player, having participated in many recordings.
] Life

Skarvelis grew up in Istanbul, which at the time still had a significant Greek population. Due to unspecified adversities, during his childhood he was unable to attend a Greek school, hence lacked basic writing skills. He was nevertheless able to pursue his interest in music and had, by the age of 17, become a very good guitar player. Early in his adulthood he fled the country, never again to return, in order to avoid being drafted into the Turkish Army. He first settled in Alexandria in Egypt and eventually in Athens, Greece some time between 1915 and 1920. Before starting his career as a professional musician, Skarvelis worked as a specialist craftsman in the manufacturing of luxury shoes.

Following the defeat of the Greek Army in Asia Minor in 1922 and the expulsion of most Greeks from Turkey (and eventually a formal exchange of populations), Skarvelis was reunited in Greece with many musicians from those areas who arrived as refugees and with whom he shared a musical background. Notable among them: Antonis Diamantidis (Dalgkas), Kostas Karipis, Spyros Peristeris, Rita Abatzi, Grigoris Asikis. It was then that he started his professional career, initially as a guitarist and later as a composer as well.

Skarvelis eventually rose to the position of artistic director in the recording industry in 1930. From that position he further influenced the evolution of Greek music. He also helped with the instrumentation and as a guitarist in the recordings of most composers and artists he collaborated with.

Skarvelis continued to work as a live guitarist. Among others he worked with, he accompanied the famous Tetras (Markos Vamvakaris, Giorgos Batis, Stratos Pagioumtzis, Anestos Delias) in many of their performances.

He died of hunger on 8 April 1942 as a result of the occupation of Greece by the Axis during the Second World War, sharing the fate of hundreds of thousands of Greeks.

[] Work

Skarvelis composed hundreds of songs (recordings survive of over 200 of them). The voices he collaborated with for the recording of his songs include Giorgos Kavouras, Rita Abatzi, Kostas Roukounas, Stellakis Perpiniadis, Marika Frantzeskopoulou, Kostas Tsanakos, Markos Vamvakaris, Apostolos Chatzichristos. Among those, the lion's share belongs to Kavouras.

As a lyricist, Skarvelis mostly wrote songs about love. The majority belong to the sub-genre of hasapiko (χασάπικο), of which he explored all variations. His musical signature is considered most representative of the Constantinopolitan urban musical tradition


Κώστας Σκαρβέλης

(Ψευδώνυμο "Παστουρμάς")

Άρθρο του Παναγιώτη Κουνάδη.

Η Έρευνα για τη Ζωή και το Έργο του Κώστα Σκαρβέλη.

Ένα -σχεδόν- τυχαίο γεγονός ήρθε να λύσει ένα "αίνιγμα" που βασάνιζε τις τελευταίες δεκαετίες τους ερευνητές του ρεμπέτικου: Τι απέγινε ο μεγάλος κωνσταντινουπολίτης δημιουργός του ρεμπέτικου Κώστας Σκαρβέλης, ο πρώτος καλλιτεχνικός διευθυντής της ελληνικής Columbia, που στη δεκαετία του '30 δέσποσε στον χώρο του ελληνικού τραγουδιού, αφήνοντας 250 περίπου αριστουργηματικά τραγούδια στη δισκογραφία των 78 στροφών και διαμορφώνοντας, σαν διευθυντής-επιλογέας ρεπερτορίου, μαζί με τους συναδέλφους και συνεργάτες του Παναγιώτη Τούντα, Δημήτρη Σέμση (Σαλονικιό), Γιάννη Δραγάτση (Ογδοντάκη) και Σπύρο Περιστέρη, το νεότερο ύφος στο νεότερο λαϊκό τραγούδι των πόλεων. Ακούσαμε για πρώτη φορά για τον Κώστα Σκαρβέλη το καλοκαίρι του 1964, όταν, μαζί με τον καλό φίλο και πρωτοπόρο στην έρευνα για το ρεμπέτικο Νέαρχο Γεωργιάδη, ρωτούσαμε και μαγνητοφωνούσαμε τις αφηγήσεις του Μάρκου Βαμβακάρη, στο πλαίσιο της προετοιμασίας της αυτοβιογραφίας του, που δεν ευτυχήσαμε να την ολοκληρώσουμε εμείς, δηλ. "η ομάδα των φοιτητών" - όπως έλεγε κι ο Μ. Βαμβακάρης- της 10ετίας του '60, που ασχολήθηκε για πρώτη φορά -συλλογικά- με την έρευνα του ρεμπέτικου. Θυμάμαι ότι ο Βαμβακάρης μιλούσε με ενθουσιασμό και εξέφραζε τον θαυμασμό του για τους παλιούς συνεργάτες του Παν. Τούντα, Κώστα Σκαρβέλη, Σπύρο Περιστέρη που τον βοήθησαν σημαντικά να ανέλθει στην κορυφή του στερεώματος των δημιουργών του λαϊκού μας τραγουδιού. Από τότε πέρασαν πάνω από 30 χρόνια αναζητήσεων, για να συγκεντρωθούν στοιχεία για τον σπουδαίο αυτό δημιουργό. Ρωτήθηκαν όλοι όσοι από τους παλιούς συνεργάτες του ζούσαν, με ιδιαίτερη επιμονή στα θέματα της γεννήσεως και του θανάτου του, για την οικογενειακή του κατάσταση κλπ. Συγκεντρώθηκαν έτσι, αρκετά βιογραφικά, αλλά κανείς δεν μπόρεσε να θυμηθεί και να μας πληροφορήσει για το πότε χάθηκε, πότε και πού πέθανε, ενώ φωτογραφία του δεν είχε εντοπιστεί ποτέ. Ακολούθησε αναζήτηση στα δημοτολόγια των δήμων όπου ήταν πιθανή η καταγραφή του μετά την άφιξη του στην Ελλάδα (το 1922 όπως νομίζαμε), χωρίς να βρεθεί πουθενά κάποιο στοιχείο που θα βοηθούσε την έρευνα. Ακόμη, τα στοιχεία για την αδελφή του -που όλοι βεβαίωναν ότι υπήρχε- βρίσκονταν μέσα στην ασάφεια, αφού κάποιες ανασφαλείς -ίσως και ψευδείς- πληροφορίες την έφεραν να ζει μέχρι τη 10ετία του '70, ενώ είχε πεθάνει το 1954. Πριν από λίγα χρόνια "αγγίξαμε" τη λύση, όταν πληροφορηθήκαμε τον τόπο όπου έμενε -στην Ιερεμίου Πατριάρχου- αλλά συγκυρία πληροφοριών τη μέρα εκείνη δεν βοήθησε την προσέγγιση της οικογενείας του, που όντως ζει εκεί από τα μέσα της 10ετίας του '20. Με τη σύγχυση και ανασφάλεια αυτή φτάσαμε στην τελευταία περίοδο, όταν πριν από λίγους μήνες, με την ευκαιρία της προετοιμασίας της έκδοσης των αφιερωμάτων II και III του έργου του Κ. Σκαρβέλη στη σειρά "Συνθέτες του Ρεμπέτικου" αναζητήσαμε τα στοιχεία ενός επίσης "περίεργου και άγνωστου" συνθέτη -αφού κανείς δεν ήξερε ποτέ τίποτε γι' αυτόν- του Ι. Καραμαούνα, που το όνομα του εμφανίζεται στη δισκογραφία των 78 στροφών σε 4 τραγούδια, που οι πίσω όψεις των δίσκων περιλαμβάνουν πάντοτε τραγούδια του Κ. Σκαρβέλη. Ευτυχώς για την έρευνα, στο τραγούδι "Μα Τι Να Κάνω Σ' Αγαπώ" (δίσκος Ρarlophone Β- 7400 του 1940) με τον Γιώργο Κάβουρα, στο όνομα του Ι. Καραμαούνα ήταν καταγραμμένο, στην παλιά καρτέλα της Α.Ε.Π.Ι., μέσα σε παρένθεση, το όνομα του Κώστα Σκαρβέλη. Επομένως, ή επρόκειτο για ψευδώνυμο του συνθέτη ή για όνομα που ανήκε στο άμεσο -φιλικό ή οικογενειακό- περιβάλλον του Κ. Σκαρβέλη. Ευτυχώς, με το πρώτο τηλεφώνημα, από τα τρία ονόματα Ι. Καραμαούνα στον τηλεφωνικό κατάλογο, πέσαμε πάνω στον Ιωάννη Καραμαούνα, εγγονό του αναφερόμενου στην ετικέτα των παλιών δίσκων και συζύγου της αδελφής του Κ. Σκαρβέλη, Μαγδαληνής. Το αίνιγμα είχε λυθεί. Όμως η θλίψη ήταν μεγάλη, όταν μετά την πρώτη μας συνάντηση με τα μέλη της οικογένειας, πληροφορηθήκαμε τον βάρβαρο θάνατο του συνθέτη από την πείνα στα χρόνια της Κατοχής.


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": 47777 Nov 17 2010, 12:10 PM
Kostas Skarvelis - costas Skarvelis

Κωνσταντινούπολη 1880 - Αθήνα 8/4/1942

Συνθέτης, στιχουργός, οργανοπαίκτης, μαέστρος, τραγουδιστής. Φημισμένος δημιουργός από την Κωνσταντινούπολη, που μαζί με τους Αντώνη Διαμαντίδη (Νταλγκά), Κώστα Καρίπη και Γρηγόρη Ασίκη αποτέλεσαν τη βασική τετράδα μουσικών που μετέφεραν στην Ελλάδα τον πλούτο της παράδοσης των αστικών τραγουδιών της Πόλης, που είχαν και την πιο μακρόχρονη ιστορία. Ο Κώστας Σκαρβέλης γεννήθηκε το 1880 στην Κωνσταντινούπολη από τον Παντελή Σκαρβέλη -ευκατάστατο αστό- και τη μήτερα του, που για άγνωστους λόγους ξαναπαντρεύτηκε και το 1883 γέννησε την ετεροθαλή αδελφή του Μαγδαληνή Χαλά. Μετά τον δεύτερο γάμο της μητέρας του, δεν πρέπει να πέρασε ευτυχισμένα παιδικά χρόνια, και παραμένουν άγνωστοι οι λόγοι για τους οποίους δεν πήγε καθόλου -ούτε αυτός ούτε η αδελφή του- σε ελληνικό σχολείο, με αποτέλεσμα να μη μάθουν ποτέ την ελληνική γραφή, παρ' όλο που μέσα στην οικογένεια έμαθαν να μιλούν εξαίρετα ελληνικά. Πιθανόν να υπήρχαν δυσκολίες -την περίοδο εκείνη- σε σχέση με τη συμπεριφορά της οθωμανικής εξουσίας, είτε ακόμη να μην υπήρχε δυνατότητα στην οικογένεια να αντιμετωπίσει τα ιδιαίτερα προβλήματα που δημιουργούσε η συμπεριφορά της μητέρας του. Με τη μουσική πρέπει να ασχολήθηκε από πολύ μικρός, διότι, σύμφωνα με τις αφηγήσεις της αδελφής του προς τα παιδιά και εγγόνια της, γύρω στα 17 του χρόνια ήδη έπαιζε πολύ καλά κιθάρα. Μάλιστα, για μεγάλο χρονικό διάστημα, όταν τον έκρυβαν στο σπίτι από τους Τούρκους για να μην παρουσιαστεί στον τουρκικό στρατό το 1897, τον άκουγαν να παίζει ατελείωτες ώρες στη μυστική του κρυψώνα. Για να αποφύγει οριστικά την κατάταξη του, φυγαδεύτηκε τα επόμενα χρόνια και με άλλους συγγενείς εγκαταστάθηκε στην Αλεξάνδρεια της Αιγύπτου. Τουλάχιστον για μια δεκαπενταετία δεν υπάρχουν στοιχεία για το πού ήταν και με τι ασχολήθηκε ο Κώστας Σκαρβέλης. Βέβαιο είναι ότι δεν επανήλθε στην Κωνσταντινούπολη, ούτε σε άλλο μέρος της Τουρκίας. Στην Αθήνα πρέπει να εγκαταστάθηκε μεταξύ 1915 και 1920, επομένως δεν ανήκει στον χώρο των προσφύγων της Μικρασιατικής καταστροφής. Η κύρια εργασία του στην Αθήνα πριν το 1922 ήταν ειδικός τεχνίτης στην κατασκευή υποδημάτων πολυτελείας, μάλιστα εργάστηκε στα γνωστότερα εργαστήρια όπως αυτό του Σεβαστάκη. Η αδελφή του, που έμεινε στην Κωνσταντινούπολη, παντρεύτηκε τον επίσης κωνσταντινουπολίτη επιχειρηματία Ιωάννη Καραμαούνα και έκανε μαζί του πέντε παιδιά, κατά σειρά την Ελπίδα, την Ανδρονίκη, την Άννα, τον Αλέξανδρο και την Καλλιόπη. Από τα παιδιά της αυτά προέκυψαν δεκατρία εγγόνια και πολλά δισέγγονα εκ των οποίων τα έντεκα βρίσκονται σήμερα στη ζωή. Δεν έχει ακόμη διευκρινιστεί πότε ήρθε η αδελφή του με την οικογένεια της στην Ελλάδα, πάντως αυτό που είναι βέβαιο είναι ότι εγκαταστάθηκε στην Αθήνα στη δεκαετία του '20, στο σπίτι της ανιψιάς του Καλλιόπης, που παντρεύτηκε τον Ιωάννη Παννάκη. Μαζί του ήταν και η αδελφή του Μαγδαληνή με τον άνδρα της Ιωάννη Καραμαούνα. Στο διώροφο αυτό σπίτι, που βρίσκεται στην οδό Ιερεμίου Πατριάρχου 48 (ή 50), έχει μετατραπεί σε τετραώροφο κτίριο, ζει σήμερα η ανιψιά του Καλλιόπη με τον άνδρα της και άλλα μέλη της οικογένειας της αδελφής του. Ο Κώστας Σκαρβέλης, με την εγκατάσταση των Μικρασιατών στην Ελλάδα, ξαναβρίσκει γνωστά πρόσωπα από τον χώρο των μουσικών και -όπως φαίνεται από τη δισκογραφία και τις αφηγήσεις των συνεργατών του- άρχισε αμέσως την επαγγελματική του καριέρα ως μουσικός. Ανέβηκε στο πάλκο ως κιθαρίστας (έπαιζε και εννεάχορδή κιθάρα με διπλή ταστιέρα) από το 1923 και έπαιξε σε όλα τα γνωστά στέκια που δημιουργήθηκαν από τους μικρασιάτες μουσικούς στην Αθήνα του Μεσοπολέμου: Στον "Πουρούζη" στη Λ. Αλεξάνδρας (και μετά στην οδό Αθηνάς όπου μεταφέρθηκε), στου "Πικίνου" στο θησείο, στο "Αραράτ" στην Λ. Αλεξάνδρας, στο "Απταιό" στο Φάληρο κ.α. Μαζί του ήταν μεταξύ άλλων: ο Κώστας Τζοβένος, ο Μήτσος Αραπάκης, ο Κώστας Καρίπης, ο Αντώνης Νταλγκάς, ο Γιώργος Λαζαρίδης (ή Σπανός), ο Κώστας Ρούπανας, ο Στελλάκης Περπινιάδης κ.α. Με την έναρξη της μαζικής δισκογραφίας στην Ελλάδα (1924-25) παίρνει μέρος στις πρώτες ηχογραφήσεις, με όλες τις τότε γνωστές εταιρίες (Οdeon, His Master's Voice, Columbia Αγγλίας, Ρathe, Polydor, Parlophone), παίζοντας σε όλα τα είδη μουσικής (δημοτικά, ελαφρά και κυρίως ρεμπέτικα). Ήταν εξαίρετος τραγουδιστής στο πάλκο αλλά, όπως και ο Σμυρνιός Βαγγέλης Παπάζογλου, προτίμησε να μην "ανταγωνίζεται" τους συναδέλφους του τραγουδιστές και ελάχιστες φορές συμμετείχε σε ηχογραφήσεις με τη φωνή του (κυρίως έκανε δεύτερες φωνές σε γνωστούς τραγουδιστές τής πριν από το 1930 περιόδου). Τα πρώτα δικά του τραγούδια εμφανίζονται με τη γαλλική εταιρία Ρathe γύρω στο 1928-29, ενώ η φωνή του αποτυπώθηκε σε δίσκους της γερμανικής ΡοΙγdor. Από το 1930, με την ίδρυση και λειτουργία του εργοστασίου παραγωγής δίσκων στον Περισσό -από την αγγλική Grammophone- αναλαμβάνει τη διεύθυνση της ελληνικής Columbia. Έτσι καταγράφεται στην ιστορία της δισκογραφίας ως ο πρώτος καλλιτεχνικός διευθυντής της. Από τη θέση αυτή, γίνεται ένας από τους σημαντικότερους παράγοντες προεπιλογής των τραγουδιών που θα περνούσαν στη δισκογραφία και μαζί με τους Δημήτρη Σέμση (Σαλονικιό), Σπύρο Περιστέρη, Παναγιώτη Τούντα και Ιωάννη Δραγάτση (Ογδοντάκη) συνθέτουν την πεντάδα των μαέστρων -καλλιτεχνικών διευθυντών που διαμόρφωσαν το νεότερο μουσικό ύφος των τραγουδιών των πόλεων στην Ελλάδα του Μεσοπολέμου. Ο Κώστας Σκαρβέλης συνεργάστηκε στη δισκογραφία και το πάλκο με τον Μάρκο Βαμβακάρη και τους υπόλοιπους της πειραιώτικης κομπανίας. Μάλιστα, από το 1935 έπαιξε και στο μαγαζί του ιδίου του Μάρκου -που είχε στήσει στο καφενείο των οδών Οφφωνίου (από 22/95 πλέον Μάρκου Βαμβακάρη) και Κρήνης στα Άσπρα Χώματα της Κοκκινιάς. Εκείνη τη χρονιά ήταν μαζί του και οι Μ. Βαμβακάρης, Γιώργος Μπάτης, Στράτος Παγιουμτζής, Σοφία Καρίβαλη και για λίγο ο Ανέστος Δελιάς (Αρτέμης).
Ο Κώστας Σκαρβέλης έγραψε εκατοντάδες τραγούδια, εκ των οποίων πάνω από 200 (μέχρι στιγμής) έχουν εντοπιστεί στη δισκογραφία των 78 στροφών. Τραγουδήθηκαν από τους μεγαλύτερους τραγουδιστές του μεσοπολέμου όπως ο Κώστας Νούρος, τη Μαρίκα Φραντζεσκοπούλου (Τιλίτισσα), τη Ρίτα Αμπατζή (και την αδελφή της Σοφία Καρίβαλη), τη Ρόζα Εσκενάζυ, τον Στελλάκη Περπινιάδη, τον Στράτο Παγιουμτζή, τον Μάρκο Βαμβακάρη, τον Κώστα Τσανάκο, τον Αντώνη Νταλγκά, τον Γρηγόρη Ασίκη, τον Κώστα Ρούκουνα, τον Γιάννη Παπαϊωάννου, τον Απόστολο Χατζηχρήστο, τον Ευάγγελο Σωφρονίου, τον Ζαχαρία Κασιμάτη και άλλους. Όμως, τη "μερίδα του λέοντος" έδωσε στον μεγάλο τραγουδιστή Γιώργο Κάβουρα, ο οποίος για μια μεγάλη περίοδο (1935-41) ταύτισε τη φωνή του με τις εξαίρετες μελωδίες και στίχους του Κώστα Σκαρβέλη. Ξεπερνούν τα πενήντα τα τραγούδια που γραμμοφώνησε ο Γ. Κάβουρας.
Ο Κώστας Σκαρβέλης -αν και δεν μπορούσε να γράψει ελληνικά- διατήρησε όλα τα χρόνια της δεκαετίας του '30 τη θέση του καλλιτεχνικού διευθυντή της Columbia. Το γεγονός αυτό του δημιούργησε πολλά προβλήματα και συχνά αναγκαζόταν να σταματά ακόμη και στον δρόμο -όταν σκεφτόταν κάποιους στίχους- και να ζητά τη βοήθεια των περαστικών. που του έγραφαν πρόχειρα σε κάποιο χαρτί ή πακέτο τσιγάρων τις λέξεις που ήθελε να χρησιμοποιήσει για το επόμενο τραγούδι του. Πληροφορίες που ανέφεραν ότι η αδελφή του έγραφε στίχους τραγουδιών του είναι τελείως λανθασμένη και ανυπόστατη. Αντίθετα ένα μικρό αριθμό τραγουδιών του (3 ή 4) έχει γράψει στο όνομα του γαμπρού του και φίλου του Ιωάννη Καραμαούνα -προφανώς για να εισπράττει κάποια ποσοστά από τα δικαιώματα απευθείας. Η έρευνα στη δισκογραφία -τον τελευταίο χρόνο- απέδειξε ότι ο Κώστας Σκαρβέλης έγραψε και αυτός ορισμένα (3 ή 4) ρεμπέτικα με περιεχόμενο γύρω από το χασίσι, ενώ ο κύριος όγκος των τραγουδιών του έχει ερωτική θεματολογία. Μάλιστα, μερικά θεωρούνται και ύμνοι τρυφερότητας προς το γυναικείο φύλο.
Ο Κώστας Σκαρβέλης, έχοντας ενσωματώσει ειδικές γνώσεις και εμπειρίες από τα τραγούδια της ιδιαίτερης του πατρίδας -της Κωνσταντινούπολης-πρέπει να θεωρηθεί ο κατεξοχήν συνθέτης, γνώστης όλων των ιδιαιτεροτήτων του χασάπικου. Σπάνια εμφανίζονται όλες οι ποικιλίες του παλιού βυζαντινού αυτού χορού σε άλλους συνθέτες.
Ο Κώστας Σκαρβέλης, αν και πέρασε τραγούδια του στη δισκογραφία ακόμη και το 1941 με την είσοδο των Γερμανών στην Αθήνα έπεσε σε μελαγχολία, όπως άλλωστε και οι περισσότεροι Μικρασιάτες.
Αυτός ο εξαίρετος γλεντζές, χιουμορίστας, καλός θείος και παππούς, καλοφαγάς (απ' όπου και το ψευδώνυμο "παστουρμάς") και ευγενής δημιουργός, πέρασε τον τελευταίο χρόνο της ζωής του ιδιαίτερα σκληρά. Αναγκάστηκε, για να μαζέψει λίγα χρήματα για την οικογένεια της αδελφής του, να επανέλθει στο παλιό επάγγελμα του επισκευαστή παπουτσιών. Έτσι, στην ύστατη του αυτή προσπάθεια δεν είχε πολλά περιθώρια αντοχής. Το πρωί της 8ης Απριλίου του 1942 στο εργαστήρι του που ήταν στο καμαράκι της ταράτσας της διώροφης οικίας της Ιερεμίου Πατριάρχου άφησε την τελευταία του πνοή. Το πιστοποιητικό θανάτου αναφέρει "θάνατος εξ οιδήματος εξ υποσιτισμού".
Η φασιστική λαίλαπα που θέρισε 50 (πενήντα) εκατομμύρια απλών ανθρώπων στον πλανήτη, έστειλε και στην Ελλάδα εκατοντάδες χιλιάδες ευγενείς Έλληνες στον άλλο κόσμο, από τον χειρότερο θάνατο: την πείνα. Δεκάδες από τους δημιουργούς του ελληνικού τραγουδιού (υπενθυμίζουμε μόνο σαν μνημόσυνο στον Κώστα Σκαρβέλη μερικούς) πέθαναν στα χρόνια της Κατοχής από βίαιο θάνατο: Ευάγγελος Παπάζογλου, Παναγιώτης Τούντας, Ανέστης Δελιάς, Γιώργος Κάβουρας, Γιάννης Εϊτζιρίδης (Γιοβάν Τσαούς), Σωτήρης Γαβαλάς, Θεόδωρος Μαυρογένης (το Θοδωράκι της Σμύρνης), Νίκος Χατζηαποστόλου, Κλέων Τριαντάφυλλου (Αττίκ), Στάθης Μάστορας (ο συνθέτης της "Ριρίκας") εκτελέστηκε από τα φασιστικά κτήνη στο Βιάννο της Κρήτης όπου υπηρέτησε ως γυμνασιάρχης.

user posted image

user posted image


": Alona Azaria Nov 18 2010, 12:37 PM
, .



477777 36_3_16.gif

": YOYODIDU Nov 18 2010, 08:47 PM

": 47777 Nov 18 2010, 09:28 PM


try again

badakti efshar

paret spcifit ma lo nitan ?

": YOYODIDU Nov 18 2010, 09:53 PM

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": 47777 Nov 21 2010, 10:42 AM
rembetiko Panagiotis Tountas Παναγιώτης Τούντας

Panagiotis Tountas, possibly the greatest musician from Asia Minor settled in Greece after the Asia Minor Catastrophe in 1922, was born in Smyrna in 1886. Born into a wealthy family, he started learning to play various musical instruments at an early age. He was particularly interested in the mandolin. As an instrument player, he was a member of the world famous Smyrna Estudiantina 'the Politakia' in the early 20th century, like another great composer of the Smyrna school, Spyros Peristeris.

He settled in Athens in 1924 and became the director of Odeon. Most of the 1923-1932 recordings were made under his supervision, when the creators and singers from Asia Minor were the main expressers of popular music. As the art director of Columbia (1931-1940), Tountas continued to dominate the recording business in Greece in a period when the Smyrna school was gradually giving way to Rebetiko[1] (Greek urban folk song), which was mainly represented by Markos Vamvakaris. Tountas Panagiotis died in 1942 from rheumatism.

Παναγιώτης Τούντας
1886 1942

Μικρασιάτης μαντολινίστας και συνθέτης ρεμπέτικων τραγουδιών. Γεννήθηκε το 1886 στη Σμύρνη από ευκατάστατους γονείς. Από παιδί άρχισε να παίζει μαντολίνο και σπούδασε μουσική στην Αίγυπτο. Από το 1915 συμμετείχε στη Σμυρναίικη Εστουδιαντίνα του Σιδέρη, που έμεινε γνωστή με το όνομα Τα Πολιτάκια. Συμμετείχε σε διάφορα μουσικά σχήματα που έκαναν περιοδείες εκτός Σμύρνης για την ψυχαγωγία των Ελλήνων της διασποράς.

Μετά τη Μικρασιατική Καταστροφή ήρθε και εγκαταστάθηκε στον Πειραιά. Πρωτόπαιξε στο Αραράτ της λεωφόρου Αλεξάνδρας, τον Αύγουστο του 1923. Κατόπιν εμφανίστηκε στην ταβέρνα του Κερατζάκη στην Ανάσταση Κερατσινίου και αργότερα δημιούργησε τη δική του ορχήστρα στην Πλατεία Πασαλιμανιού (στον Αστέρα).

Το 1924 αναλαμβάνει τη διεύθυνση του ελληνικού παραρτήματος της γερμανικής ODEON. Μέχρι να κατασκευαστεί το εργοστάσιο δίσκων στην Ελλάδα, συνεργάζεται σχεδόν με όλες τις δισκογραφικές εταιρείες και διευθύνει τις περισσότερες ηχογραφήσεις που γίνονται στην Ελλάδα. Τον ίδιο χρόνο ηχογραφεί τη Σμυρνιά με την αθηναϊκή Εστουδιαντίνα του Τάσου Μαρίνου και γίνεται ο πρώτος λαϊκός συνθέτης που το όνομά του αναγράφεται σε ετικέτα δίσκου. Το 1931 αναλαμβάνει καλλιτεχνικός διευθυντής της COLUMBIA και της HIS MASTER'S VOICE και παραμένει στη θέση αυτή μέχρι το 1940.

Τα τραγούδια που πέρασε στη δισκογραφία είναι γύρω στα 350 και έχουν ερμηνευτεί από όλους τους προπολεμικούς τραγουδιστέ της εποχής, όπως ο Κώστας Ρούκουνας, ο Στελλάκης Περπινιάδης, ο Κώστας Νούρος, η Ρόζα Εσκενάζυ, η Ρίτα Αμπατζή, ο Αντώνης Νταλκάς, ο Ευάγγελος Σωφρονίου, ο Ζαχαρίας Κασιμάτης, ο Γιώργος Βιδάλης, ο Στράτος Παγιουμτζής κ.ά.

Από τα τραγούδια του ξεχωρίζουν: Η γκαρσόνα (παλιό μικρασιάτικο), Νέα Σμυρνιωτοπούλα, Το κουκλί της Κοκκινιάς, Κουβέντα με το Χάρο (Το Χαρο τον αντάμωσαν), Λιλή η σκανταλιάρα, Ο κοκαϊνοπότης, Το Μαριανθάκι, Το Σωφεράκι, Μπίντα γιάλα, Στους Ποδαράδες, Φτώχεια μαζί με την τιμή, Νίνα, Μικρό μελαχροινό, Θα σε κάνω μενεξέ, Εγώ θέλω πριγκιπέσσα, Είν' ευτυχής ο άνθρωπος, Περσεφόνη μου γλυκειά, Κουβέντες της φυλακής, Πεισματάρα μου, Αλάνης πια δεν είμ' εγώ, Aμάν, Κατερίνα μου, Σαν πεθάνω, βρε μανούλα, Τα ζουμπουλένια μάτια σου, Η Δημητρούλα, Όνειρο ενός μπεκρή, Τουρκοπούλα μου, Αερόπλανο θα πάρω, Τομπουρλίκα, Τα τσόκαρα, κ.ά.

Ο Παναγιώτης Τούντας πέθανε, σε ηλικία 56 ετών, στις 23 Μαΐου του 1942.


συνθέτης ,στιχουργός, οργανοπαίχτης ,μαέστρος

Ο διασημώτερος συνθέτης της Σμύρνης, ανήκει στην ομάδα των Μικρασιατών μουσικών, που μετά την καταστροφή του 1922, διαμόρφωσαν το νεώτερο λαικό τραγούδι στην Ελλάδα, πάνω στα πρότυπα που δημιουργήθηκαν στη πρωτεύουσα της Ιωνίας στη περίοδο της ακμής της (1850-1922).Στην ομάδα αυτή ανήκουν μεταξύ άλλων και οι συνθέτες Κώστας Σκαρβέλης, Σπύρος Περιστέρης, Γιάννης Δραγάτσης, (ή Ογδοντάκης),Δημήτρης Σέμσης ,Βαγγέλης Παπάζογλου.Ο Παναγιώτης Τούντας γεννήθηκε στη Σμύρνη το 1886, απο ευκατάστατους γονείς, που του έδωσαν την δυνατότητα να ασχοληθεί απο μικρός με τη μουσική.Άρχισε απο παιδί να παίζει μαντολίνο και στις αρχές του αιώνα, μπήκε στην περίφημη Σμυρνέικη Εστουδιαντίνα του Σιδερή, που έμεινε γνωστή με το όνομα "Τα πολιτάκια".Σπουδαστήριο, ταυτόχρονα με ταλαντούχους μουσικούς, η Εστουδιαντίνα αυτή ήταν για πολλά χρόνια πρότυπο και εστία διάδοσης της μουσικής της Σμύρνης.Απο τα νεώτερα μέλη ο Τούντας ,οι Ογδοντάκηδες ,ο Παπάζογλου και ο Περιστέρης, που το 1918 ανέλαβε τη διεύθυνση, μετά τον θάνατο του Σιδερή. Ο Παναγιώτης Τούντας άρχισε να συνθέτει τραγούδια απο τις αρχές της 2ης δεκαετίας του αιώνα και είναι πιθανόν πολλά τραγούδια που πέρασαν στη δισκογραφία της Σμύρνης και Πόλης πριν το 1922 να ανήκουν σ'αυτόν.Συμμετείχε σε ιάφορα μουσικά σχήματα που έκαναν περιοδίες εκτός Σμύρνης, για την ψυχαγωγία των Ελλήνων της διασποράς και ταξίδεψε στην Αίγυπτο, στην Αβυσσηνία, στην Ελλάδα και σε χώρες της Ευρώπης.Ήρθε οριστικά στην Ελλάδα το 1923 και εγκαταστάθηκε στη Ν.Σμύρνη, όπου αργότερα έχτισε και το σπίτι του στη γωνία Αιδινίου και Μενεμένης, το οποίο διατηρήθηκε, πριν γίνει πολυκατοικία μέχρι και την δεκαετία του 80.Τα πρώτα χρόνια μετά την Μικρασιατική καταστροφή έπαιζε σε διάφορα κέντρα ,σαν μαντολινίστας, όπως στου Μουρούζη στη Λ.Αλεξάνρας, με τον Ευάγγελο Σωφρονίου και άλλους.Απο το 1924 χρονιά που ανέλαβε την διεύθυνση του Ελληνικού παραρτήματος της Γερμανικής ODEON, φαίνεται ότι εγκατέλειψε -εκτός εξαιρέσεων-την μόνιμη παρουσία του στο πάλκο.Στην εξαετία που ακολούθησε, μέχρι την ίδρυση και λειτουργία της πλήρους μονάδας παραγωγής δίσκων στον Περισσό της Ν.Ιωνίας, ο Παναγιώτης Τούντας προίστατο των περισσότερων ηχογραφήσεων που γίνονταν στην Ελλάδα απο τα μεταφερόμενα μηχανήματα ηχογραφήσεως και των συνεργείων των ευρωπαικών εταιρειών δίσκων.Είναι ο πρώτος συνθέτης της δισκογραφίας στην Ελλάδα, που το όνομά του τυπώθηκε στις ετικέτες των δίσκων 78'.Το πρώτο του τραγούδι ,στην Ελλάδα, κυκλοφόρησε το 1924 και ήταν η "Σμυρνιά" με την Αθηναική Εστουδιαντίνα του Τ. Μαρίνου τραγουδισμένο απ' τον τενόρο Μισαηλίδη. Μέχρι το 1930 τα τραγούδια του κυκλοφορούν απ' την ODEON, την POLYDOR, την PATHE, και τις Αγγλικές εταιρείες COLUMBIA, και HIS MASTER' VOISE. Ενώ απο το 1930 και απο την PARLOPHONE και τις Ελληνικές COLOUMPIA και H.M.V. O Παναγιώτης Τούντας, πέρασε στη δισκογραφία της Ελλάδας πάνω απο 300 τραγούδια, τα οποία --εκτός απο μια δεκάδα περίπου ,που είναι μεταπλάσεις παλαιών μελωδιών της Μικράς Ασίας-- είναι πρωτότυπα έργα μεγάλου ενδιαφέροντος.Είναι απο τους λίγους συνθέτες ,που τραγούδια του κυκλοφόρησαν σε πολλές εκτελέσεις της εποχής της δημιουργίας τους.Σπάνια αναφέρεται συνεργάτης στιχουργός και έτσι φαίνεται ότι ο ίδιος έγραφε και τους στίχους των τραγουδιών του.Είναι ο συνθέτης της δισκογραφίας που όλοι οι τραγουδιστές της περιόδου 1925-1940 τραγούδισαν τα τραγούδια του, όχι μόνο στο πάλκο αλλά και στη δισκογραφία. Απο το 1931 ανέλαβε για πολλά χρόνια-ίσως μέχρι το 1940-την διεύθυνση της COLUMPIA και εκτός απο το ρόλο του μαέστρου και ενορχηστρωτή, αναζήτησε νέα φωνητικά ταλέντα και είχε την ευθύνη του ρεπερτορίου που θα πρότεινε στην εταιρεία. Ο σοβαρός, αυστηρός και ευγενής αυτός Σμυρνιός, που όλοι τον θυμούνται με το παπιγιόν του στο γραφείο του στην COLUMBIA έγραψε μεταξύ άλλων και μερικά απ'τα πιο χιουμοριστικά ρεμπέτικα τραγούδια, που προκάλεσαν τα δικαστικά σκάνδαλα.Επίσης ακολουθώντας το κλίμα της εποχής και εντοπίζοντας το μεγάλο πρόβλημα των ναρκωτικών ,που βασάνιζε και τότε μεγάλα τμήματα του πληθυσμού των πόλεων,έγραψε,χωρίς να έχει ο ίδιος προσωπική εμπειρία, μερικά απο τα πιο ενδιαφέροντα χασικλήδικα, που κυκλοφόρησαν με τεράστια επιτυχία πριν απο την εμφάνιση του Μ.Βαμβακάρη και της Πειραιώτικης κομπανίας. Ο Παναγιώτης Τούντας ήταν βαθύς γνώστης τόσο της Ευρωπαικής όσο και της Ανατολικής μουσικής. Με την ίδια ευχέρεια συνέθετε μακρόσυρτα ανατολίτικα τραγούδια ,νησιώτικα ,σμυρνέικα ,δημώδη, βαρειά ρεμπέτικα και ταυτόχρονα επιθεωρησιακά, ταγκό,οπερέττες και ελαφρά τραγούδια.Έδωσε σπουδαία τραγούδια και σε νέους τραγουδιστές, αναδεικνύοντας τις δυνατότητές τους, που εντόπιζε με το αλάνθαστο κριτίριό του. Ο Κώστας Ρούκουνας, ο Στελλάκης Περπινιάδης ,ο Κώστας Νούρος, η Ρόζα Εσκενάζυ, η Ρίτα Αμπατζή, ο Κώστας Τσανάκος, ο Αντώνης Νταλγκάς, η Ισμήνη Διατσέντου, ο Γιώργος Βιδάλης, ο Τίτος Ξηρέλλης ο Ζαχαρίας Κασιμάτης, ο Ευάγγελος Σωφρονίου, ο Δημήτρης Αραπάκης, άρχισαν τη δισκογραφική τους "περιπέτεια" με τραγούδια του Παν.Τούντα.Πολλοί δίσκοι που επανατυπώθηκαν, απο την ίδια μήτρα και κυκλοφόρησαν στο χώρο των Ελλήνων μεταναστών της Αμερικής ,καθώς και των Ελλήνων της Πόλης, στη δεκαετία του '30. Μετά το 1934 και την εμφάνιση της Πειραιώτικης κομπανίας του Μάρκου Βαμβακάρη, εγκαταλείπει τα όργανα της σμυρνέικης κομπανίας και χρησιμοποιεί μπουζούκια και μπαγλαμάδες στις ηχογραφήσεις των τραγουδιών του.Τραγουδιστές του Πειραιώτικου ρεμπέτικου, όπως ο Στράτος Παγιουμτζής ,η Ιωάννα Γεωργακοπούλου, η Νταίζυ Σταυροπούλου ,ο Στέλιος Κερομύτης, ο Μανώλης Χιώτης, κ.α.μετέχουν στις ηχογραφήσεις των τραγουδιών του μετα το 1935. Με μια σειρά σπουδαίων τραγουδιών παρέμεινε στην επικαιρότητα μέχρι και το 1941 (χρονιά που μπαίνουν στην Αθήνα οι Γερμανοί) παρά το γεγονός ότι νέα σημαντικά πρόσωπα, όπως ο Μάρκος Βαμβακάρης, ο Βασίλης Τσιτσάνης, ο Απόστολος Χατζηχρήστος, ο Γιάννης Παπαιωάννου,ο Δημήτρης Γκόγκος (Μπαγιαντέρας)κ.α. έχουν μπει στο "χορό του πάλκου και της δισκογραφίας".
Σις 23/5/1942 άφησε την τελευταία του πνοή, στο σπίτι του της Ν.Σμύρνης απο ρευματισμούς αφήνοντας μόνες στα χρόνια της κατοχής, τη δεύτερη γυναίκα του και τη πεντάχρονη -μοναδική- κόρη του. Ο θάνατός του μαζί με των άλλων της "Σμυρνέικης σχολής στο ρεμπέτικο" οριστικοποίησε και την εγκατάλειψη του μικρασιατικού ύφους στο νεώτερο λαικό τραγούδι των πόλεων, που χάνεται μαζί ΄μ' αυτούς στα χρόνια της κατοχής. Για πάνω απο τριάντα χρόνια, μέχρι το 1974-75, τίποτε και κανείς δεν έγραψε για τον μεγάλο αυτό δημιουργό. Ασεβείς, πρώην συνάδελφοί του, οικειοποιήθηκαν στην δεκαετία του '60 κάποια τραγούδια του.
ΑΘΗΝΑ Ιούλιος 1994

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": Nov 21 2010, 05:34 PM
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": 47777 Nov 27 2010, 11:33 AM
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MARIKA PAPAGIKA Μαρίκα Παπαγκίκα
From Wikipedia, the free encyclopedia

Born September 1, 1890(1890-09-01)
Kos, Greece
Origin Greece
Died August 2, 1943(1943-08-02) (aged 52)
New York City, New York
Genres Greek folk music, Rebetiko
Occupations Singer
Years active 19131937
Labels His Master's Voice, Columbia Records

Marika Papagika (Greek: Μαρίκα Παπαγκίκα, 1 September 1890 2 August 1943) was a popular Greek singer in the early 20th century and one of the first Greek women singers to be heard on sound recordings.

She was born on the island of Kos. In late 1913 or early 1914, she recorded for the Gramophone Company in Alexandria, Egypt. Only one of those recording have so far been found.

She had emigrated to America through Ellis Island in 1915 and in December 1918 recorded for Victor Records. In July, 1919, she also began recording for Columbia Records. Over the next ten years, she recorded more than two hundred performances of café-aman styled songs, including kleftiko demotikο (Greek traditional songs about Klephts, heroic brigands]), rebetiko, and light classical pieces, many of them overlapping with her chief rival in Greek music sales, in the United States, Koula Antonopoulos (known on her recordings as Kyria Koula or "Madame Coula"). By the mid-1920s she and her husband Kostas ("Gus"), a cimbalom player, had their own club in New York on 34th St between 7th and 8th Avenues, where Marika was often accompanied by Gus, cellist Markos Sifnios, violinist Athanasios Makedounas and the Epirot violinist Alexis Zoumbas. Marika was a noted exponent of the Smyrnaic style of the rebetiko tragoudi.

She and her husband apparently lost the nightspot shortly after the start of the 1929 Great Depression. Her recording career ended in that year as well except for four sides recorded in 1937.

Marika died on Staten Island, New York in 1943.

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": 47777 Dec 1 2010, 08:53 AM
rembetiko rempetiko rebetiko rembetika rebetika rempetika
Rita Abatzi (ca. 1935)

Rita Abatzi (Greek: Ρίτα Αμπατζή) (1914 17 June 1969) was a Greek rebetiko musician who began her career in the first part of the 1930s.

She was born in Smyrna, Asia Minor, now İzmir, Turkey. A versatile singer of rebetiko, Smyrneika and other music, she was a popular performer on gramophone records in the 1930s. During that decade, the only female singer of rebetiko who rivalled her in popularity, and in the number of her recordings, was Roza Eskenazi.[1]

Abatzi performed with many of the most famous musicians including Panayiotis Toundas, Vangelis Papazoglou, Kostas Skarvelis, Iakovos Montanaris, Spyros Peristeris, Dimitrios Semsis, I. Ogdontaki up to Markos Vamvakaris and Vassilis Tsitsanis. Her career ended after World War II. She did not publish any discography. She died in Egaleo (Athens), Greece.

Her sister, Sofia Karivali, was also a notable singer of rebetiko.

Abadzi, Rita- singer
Born in Smyrna in 1914, she, along with Rosa Eskenazi, was one of the most famous female singers of her generation. Her career began in the thirties, and she sang everything from Smyrneika, to dimotika, to rebetika. The hight of her popularity was from the thirties to about 1940. She worked with all of the leading composers and singers of the era including - Panayotis Toundas, Vangelis Papazoglou, Kostas Skarvelis, Spiros Peristeris, Dimitrios Semsis ('Salonikios'), Markos Vamvakaris, Vasilis Tsitsanis and others. (She also recorded on 78 rpms with Rosa Eskenazi, and it was said that their relationship, both personal and professional was mixed. They were rivals, and it was commen for people to argue over who was the better singer. She made no further recordings after World War II, but there is no doubt that she changed the history of Greek music, and opened the door for future female artists.) Rita Abatsi died in January 1969 in Aigaleo, a suburb of Athens.


Ρίτα Αμπατζή
1914 1969

Κορυφαία τραγουδίστρια του δημοτικού, λαϊκού και ρεμπέτικου τραγουδιού, το αντίπαλο δέος της Ρόζας Εσκενάζυ. Γεννήθηκε το 1914 στη Σμύρνη και ήταν αδελφή της Σοφίας Καρύβαλη, η οποία για να κάνει καριέρα άλλαξε επώνυμο.

Η Ρίτα Αμπατζή μεγάλωσε στη Σμύρνη και το 1922, μετά τη Μικρασιατική Καταστροφή, ήρθε στην Αθήνα. Ξεκίνησε την καριέρα της με ρεμπέτικα στο Κέντρο Πεταλούδα στο Φάληρο. Αργότερα στράφηκε στο δημοτικό τραγούδι και για πολλά χρόνια εμφανιζόταν στην Αράχωβα (Πλατεία Καραϊσκάκη), ενώ ταξίδεψε και στις ΗΠΑ.

Συνεργάσθηκε με τους σπουδαιότερους συνθέτες της εποχής, όπως τους Παναγιώτη Τούντα, Βαγγέλη Παπάζογλου, Κώστα Σκαρβέλη, Ιάκωβο Μοντανάρη, Σπύρο Περιστέρη, Δημήτριο Σέμση, Μάρκο Βαμβακάρη, Βασίλη Τσιτσάνη κ.ά.

Στη δισκογραφία μπήκε το 1931. Έκτοτε, ηχογράφησε πάνω από 400 σμυρναίικα, ρεμπέτικα και παραδοσιακά δημοτικά τραγούδια. Από αυτά ξεχωρίζουν: Το τσαγκαράκι, Κατεργάρα, Ο τζογαδόρος, Χαρικλάκι, Βρε χήρα δε λυπάσαι, O Aσίκης, Ο Φερετζές, Η Ζευγολατιώτισσα, Με ζουρνάδες με νταούλια, Η χωριατοπούλα, Η Αρμενίτσα, Βαρκάρης, Γκαρσόνα, Ναζιάρα μου, Αν σ' αγαπώ δε φταίω εγώ, Μια μελαχρινή, Για μια τσαχπίνα μερακλού, Για μένα δε σε μέλλει, Αμάν Αννίτσα, Έλα καράβι πάρε με, Άσε τα κόλπα, Να ζήσεις αμαξά μου κ.ά.

Μετά τον πόλεμο δεν τραγούδησε ξανά σε δίσκους. Πέθανε στις 17 Ιουνίου του 1969, στο Αιγάλεω.

Ρίτα Αμπατζή

Γεννήθηκε στη Σμύρνη του 1914. Στα 1922, μετά τη Μικρασιατική καταστροφή και ενώ έχει ήδη χαθεί ο πατέρας της, η οικογένειά της εγκαθίσταται στην Κοκκινιά. Αδελφή της ήταν η Σοφία Καρίβαλη, τραγουδίστρια που συνεργάστηκε κυρίως με το Μάρκο Βαμβακάρη. Παντρεύτηκε πολύ μικρή και σε ηλικία μόλις 16 ετών απέκτησε ένα γιο. Σύντομα ο γάμος αυτός διαλύθηκε. Αργότερα ξαναπαντρεύτηκε το σαντουριέρη Στέλιο Κρητικό και απέκτησαν δύο παιδιά.

Ξεκίνησε την καριέρα της στο τραγούδι στις αρχές της δεκαετίας του 30. Τραγούδησε ρεμπέτικα, σμυρνέικα, και δημοτικά τραγούδια. Μαζί με τη Ρόζα Εσκενάζυ απετέλεσαν τις κυρίαρχες γυναικείες φωνές του είδους τους στη δισκογραφία στα χρόνια 1930-1940. Και δεν είναι τυχαίο το γεγονός ότι σε πολλούς δίσκους, υπάρχει από την μία πλευρά ένα τραγούδι της Ρίτας και από την άλλη ένα με τη φωνή της Ρόζας. Συνεργάσθηκε με τους σπουδαιότερους συνθέτες όπως τους Παναγιώτη Τούντα, Κώστα Σκαρβέλη, Ιωάννη Δραγάτση, Βαγγέλη Παπάζογλου, Κώστα Καρίπη, Μανώλη Χρυσαφάκη, Στέλιο Χρυσίνη, Δημήτρη Σέμση, Γρηγόρη Ασίκη, Σωτήρη Γαβαλά, Κώστα Τζόβενο μέχρι τους Μάρκο Βαμβακάρη (στο τραγούδι Σαν είσαι μάγκας και νταής) και Βασίλη Τσιτσάνη (στο κανταδόρικο Απόψε να μην κοιμηθείς) . Στα πάλκα εργάστηκε τη δεκαετία του 30 με διάφορες σμυρναίικες κομπανίες και συνεργάστηκε με μερικούς από τους σημαντικότερους τραγουδιστές του δημοτικού και ρεμπέτικου τραγουδιού, όπως το Γιώργο Παπασιδέρη, τον Κώστα Ρούκουνα, τη Γεωργία Μηττάκη κ.ά.

Είναι αξιοπερίεργο το γεγονός ότι μετά το Δεύτερο Παγκόσμιο πόλεμο, η Ρίτα Αμπατζή, ελάχιστες ηχογραφήσεις έκανε, παρ' ότι συνέχιζε τις εμφανίσεις της στα πάλκα κυρίως στα εκτός Αθηνών μεγάλα πανηγύρια τραγουδώντας δημοτικά τραγούδια.

Πέθανε στις 17 Ιουνίου του 1969 στο Αιγάλεω από καρκίνο.

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": 47777 Dec 4 2010, 04:34 PM
Greek, Rembetiko, Rebetiko, Rembetika, Rebetika; rempetika; rembetica; erbetica
Ρόζα Εσκενάζι Εσκενάζυ Roza Eskenazi Eskenazy Sarah-Skinazi
Rebetiko (Smyrneiko)

Roza Eskenazi
Background information
Birth name Sarah Skinazi
Also known as The Queen of Rebetiko
Origin Istanbul, Ottoman Empire
Died December 2, 1980(1980-12-02)
Athens, Greece
Genres Rebetiko (Smyrneiko)
Occupations Singer
Years active 1920s 1977

Roza Eskenazi (mid-1890s 2 December 1980, Greek: Ρόζα Εσκενάζυ) was a famous Greek singer of Rebetiko and traditional Greek music from Asia Minor, whose recording and stage career extended from the late 1920s into the 1970s.

* 1 Childhood
* 2 Early career
* 3 Athens
* 4 International career
* 5 World War II
* 6 The post-war years
* 7 Decline and rediscovery
* 8 Last days
* 9 Biographies
* 10 References
* 11 Links
* 12 Discography

[edit] Childhood

Eskenazi was born Sarah Skinazi to an impoverished Sephardic Jewish family in Istanbul. Throughout her career she hid her real date of birth, and claimed to have been born in 1910. In fact, she was at least a decade older, and was likely born sometime between 1895 and 1897. Her father, Avram Skinazi, was a rag dealer. In addition to Roza, he and his wife Flora had two sons, Nisim, the eldest, and Sami.

Shortly after the turn of the century, Skinazi family relocated to Thessaloniki, then still under Ottoman rule. The city was undergoing rapid economic expansion at the time, with its population growing by 70 percent between 1870 and 1917. Avram Skinazi found work in a cotton processing mill and took various odd jobs to improve his familys financial standing. At the time, he entrusted young Sarah to a neighboring girl, who tutored several local children in basic reading and writing. These sessions were the extent of her formal education.

For some time, Sarah, her brother, and her mother lived in nearby Komotini, a city that at that time, still had a sizable Turkish-speaking population. Roza's mother found employment there as the live-in maid for a wealthy family, and Roza assisted her with the housework. One day, Sarah was overheard singing by the Turkish owners of a local tavern. They were enthralled by her voice, and immediately came to the door to express their wish to hire the girl to perform in their club. Sarah's mother was incensed at the suggestion that her daughteror any other member of her familywould become an artiste. Years later, in an interview, Roza admitted that her time in Komotini was a turning point in her life. It was there, she said, that she decided to become a singer and dancer.
[edit] Early career

Sarah was not to realize this dream until her return to Thessaloniki. At the time, the family was renting an apartment near the city's Grand Hotel Theater, and several of the neighbors performed there. Every day, Sarah would help two of the dancers carry their costumes to the theater, hoping that she would one day appear on the stage alongside them. It was there that she finally began her career as a dancer.

While still a teenager, Sarah Skinazi fell in love with Yiannis Zardinidis, a wealthy man from one of Cappadocia's most prominent families. Zardinidis' family disapproved of the match, considering her to be of loose moral character. Nevertheless, the two of them eloped around 1913, and Sarah changed her name to Roza, the name by which she was known throughout her career. Zardinidis died, due to unknown circumstances, around the year 1917, leaving Roza with a little child- Paraschos. Realizing that she could not maintain her career as a performer while raising an infant, she brought him to the St. Taksiarchis nursery in the city of Ksanthi. His father's family agreed to support him there, and Paraschos Zardinidis eventually grew up to be a high ranking officer in the Greek Air Force. It was only years later that he finally reunited with his mother, after finding her in Athens in 1935.
[edit] Athens

Roza had moved to Athens shortly after Zardinidis' death to pursue her musical career. She quickly teamed up with two Armenian cabaret artists, Seramous and Zabel, who reportedly liked her because she could speak Turkish, and because she showed talent as a singer. Though she continued to perform as a dancer, Roza also began to sing for patrons of the club in Greek, Turkish, and Armenian. It was there that she was first "discovered" by well-known composer and impresario Panagiotis Toundas in the late 1920s. Toundas immediately recognized her talent and introduced her to Vassilis Toumbakaris of Columbia Records.
"Photo of Smyrna Style Trio (c. 1930)
K. Lambros, R. Eskenazi, A. Tomboulis (Athens, c. 1930)

Roza's first two recordings for Columbia, Mandili Kalamatiano and Koftin Eleni Tin Elia (c. 1928) marked the beginning of a recording career that would continue almost without interruption well into the 1960s. By the mid-1930s, she had recorded over 300 songs for them, and had become one of their most popular stars. Some of the music was folk songs, especially from Greece and Smyrna (İzmir) in Turkey. Her most important contribution to the local music scene, however, was her recordings of Rebetiko and especially the Smyrna school of Rebetiko. She was, almost single-handedly, behind the music's breakthrough into popular culture, and even today her unique sound is still identified with the genre.

Soon after she began recording, Roza began performing nightly at the Taygetos nightclub in Athens as well. Appearing with her on stage were Toundas, the violinist Dimitris Semsis (Salonikios), and oud player Agapios Tomboulis. Eskenazi, however was the star of the show, earning an unprecedented 200 drachmas per night. She later confided to her biographer Kostas. Hatzidoulis that she should have been much wealthier, just from the income of the show, but that she had a weakness for expensive jewelry and spent too much of her income on it.
"Photo of Smyrna Style Trio (1932)
D. Semsis, A. Tomboulis, R. Eskenazi (Athens, 1932)

As her career blossomed, Eskenazi signed an exclusive contract with Columbia Records, sometime in 1931 or 1932. According to the terms of her contract, she would record at least 40 songs per year and receive 5 percent of the cost of every one of her records that she sold. At the time, she was the only female Greek artist to have a royalties agreement with a record companies.
[edit] International career

Before long, her career extended beyond the political boundaries of Greece to the Greek Diaspora. Together with Tomboulis, she traveled to Egypt, Albania, and Serbia, receiving a warm reception not only from the local Greek communities, but from the Turkish communities as well. Her music had a certain edginess to it, and one of her songs, Πρέζα όταν Πιείς ("When You Take Cocaine"), was even censored by Greek dictator Ioannis Metaxas. As a result of his decision, many other traditional Rebetiko artists were marginalized, though a new trends in the genre, led by Vassilis Tsitsanis, was gaining ground.
[edit] World War II

Within a short time, however, Greece's own independence would be challenged. By 1940, Italy invaded, and in 1941 the German army occupied the country. Despite the repressive regime, Roza continued performing, and in 1942, she even opened up her own nightclub, Krystal, together with her son Paraschos, with whom she had since been reunited. Although she was a Jew, she had managed to obtain a fake baptismal certificate, though her safety was also ensured by an affair she had with a German officer.

But Roza Eskenazi was hardly a traitor or even a collaborator. She used her privileged position to support the local resistance, and hid resistance fighters and even English agents in her home. She was also able to rescue Jews in both Athens and Thessaloniki. Among those she saved from deportation to Auschwitz was her own family. By 1943, her cover finally crumbled, and Eskenazi was arrested. She spent three months in jail before a concerted effort by her German lover and her son succeeded in getting her released. She spent the rest of the war in hiding, fearful that she might be arrested again.
[edit] The post-war years

Over the course of her long career, Roza developed good relations not only with Columbia Records Vassilis Toumbakaris, but also with Minos Matsas, who had recently founded Odeon/Parlophone. This enabled her to promote the careers of many other well-known artists, including Marika Ninou and Stella Haskil. She introduced them to the Allilovoithia musicians union, and within a short time, they were recording with Vassilis Tsitsanis. After the war, in 1949, Roza returned to Patras to obtain a new ID card. She gave a few concerts as well, but the real turning point in her life came when she met Christos Philipakopoulos, a young police officer almost thirty years her junior. Despite the age gap, the two of them fell in love. It was a relationship that would last, in some form or other, for the rest of Rozas life.

Although Roza had toured extensively throughout the Balkans, it was only in 1952 that she made her first tour of the United States to perform for the Greek and Turkish Diasporas there. The trip was sponsored by the Parthenon Restaurant and Bar in New York City and lasted several months.

This was just the first of several musical tours overseas. In 1955, Albanian impresario Ayden Leskoviku of the Balkan Record Company invited her to perform and record in Istanbul, the city where she was born. She eventually recorded about forty songs for Leskoviku, and received about $5,000 for them. Although this was a relatively paltry sum, she later claimed that her performance fees and tips were ten times that amount.

Soon after Istanbul she embarked on two more tours of the United States, and performed in New York, Detroit and Chicago. On 5 July 1958, during her second trip to the U.S., she married Frank Alexander. The wedding seemed to have been in name only. This was necessary for her to get a work permit in the U.S. Nevertheless, Eskenazi loved America and would have emigrated there were it not for her other love, Christos Philipokopoulos. She returned to Athens in 1959 so that she could be with him. She bought the two of them a large house in Kipoupoli with the money that earned in the States, as well as two trucks and some horses. She and Philipakopoulos would live in that home for the rest of her life.
[edit] Decline and rediscovery

Eskenazi was now in her sixties, and the music scene in Greece had changed considerably since she launched her career over four decades earlier. Smyrneiko (the music of İzmir) and Rebetiko had declined in popularity, and she, as well as other masters of the genre, were relegated to occasional appearances at village festivals and other small events. Though she did record a few songs over the coming years, these were mainly covers of her older, well-known hits, made for minor recording companies in Athens.

It was only in the late 1960s that there was some renewed interest in her earlier work. RCA recorded two 45s containing four of her songs (including Sabah Amanes) with violinist Dimitris Manisalis, but the release was limited. All this changed, however, in the final days of the military dictatorship in the early 1970. Suddenly, the youth of the country developed a renewed interest in the urban songs of the past, and several important compilations were released. One of the best known was Rebetiki Istoria, a six-record collection of Rebetiko music, which sold hundreds of thousands of copies. After over a decade away from the limelight, Roza Eskenazi, now in her seventies, was a star again.

What set this decade apart from her earlier career was the widespread appearance of television. Roza quickly adapted to the new medium and appeared on a number of shows. In 1973, she was documented in the short film To Bouzouki (directed by Vassilis Maros) and in 1976 she did a TV special with Haris Alexiou, which included interviews and songs, as well as a couple more appearances. Throughout that time, however, Roza never abandoned her roots in the country's nightclubs, and she did a weekly live show in Themelio, a nightclub in Plaka.

As one of the few surviving Rebetiko singers who remained active at the time, artists and musicologists began studying her style, which was deemed "authentic". This had a lasting impact on a new generation of performers including Haris Alexiou (whom she appeared with on television) and Glykeria. The tragedy was that while musicians and academics were intrigued by her abilities, as well as by her insights into a lost musical world, the general public was less enthusiastic, and considered her more of a curiosity. Nevertheless, she continued to perform, giving her last show in September, 1977, in the city of Patras. Fans of all ages came to see her sing and dance and get a taste of the music of the past.
[edit] Last days

Eskenazi spent her twilight years in quiet, at her home in Kipoupoli, together with Christos Philipakopoulos. Although she was a Jew from birth, she converted to the Greek Orthodox faith in 1976, and was renamed Rozalia Eskenazi. Within two years, she began to show symptoms of Alzheimer's disease, and would occasionally get lost as she made her way home. In the summer of 1980, she slipped at home and broke her hip. This led to three months in the hospital, with Christos constantly by her side, tending to her every need. She returned home briefly, but was soon back in a private clinic due to an infection. She died there on December 2, 1980. Roza Eskenazi was buried in an unmarked grave in the village of Stomyo in Korynthia. In 2008, the village's cultural committee raised enough money to erect a simple tombstone, with the inscription, "Roza Eskenazi, Artist".
[edit] Biographies

In 1982, two years after her death, Kostas Hatzidoulis published a brief memoir entitled Αυτά που Θυμάμαι ("The Things I Remember"), based on interviews Eskenazi gave later in life. Included in the book was a vast collection of photographs, especially of Roza early in her career.

In 2008, filmmaker Roy Sher of Sher Productions began work on a musical documentary named My Sweet Canary, based on the life and career of Roza Eskenazi. The film, an international coproduction, follows three young musicians from Greece, Turkey, and Israel, who embark on a journey in search of Greece's best-known and best-loved Rebetiko artist. The film is scheduled to be released in spring 2011.

Some of her well-known hits

* Enas mangas ston tekke mou
* Nea meraklou
* Palamakia-palamakia
* Hariklaki
* Dimitroula
* Elenaki
* Oi lachanades (Kato sta lemonadika)


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": 47777 Dec 14 2010, 07:45 AM
rembetiko rempetiko rebetiko rembetika rebetika rempetika
V.A. - Rembetika 1 (Greek Music from the Underground
Great Britain's JSP label took a chance in 2006 by issuing a four-disc overview of rembetika (the "officially designated" Greek underground and criminal communities) called Rembetika: Greek Music from the Underground. It was official because at one point in the 20th century, the music was actually officially banned by the Metaxas government (in 1937) and didn't peep... More above ground for another 11 years. (Gangster rappers and metalheads take heart: you were not the first nor will you be the last.) That set, like this one, appropriately titledRembetika 1: Greek Music from the Underground, included four CDs, all of which were annotated with fine notes, and production masters cleaned up as much as possible -- no easy feat since a lot of this music was originally released on either 78s or cylinders -- but some survived, amazingly, on recording tape

Disc 1, The Ottoman Legacy, 1925-1937.
Greek singers from the Ottoman Empire were forced to leave Turkey after the Greek - Turkish war in 1922. They set the Rembetica ball rolling in the Greek recording studios.
Disc 2, Piraeus Heavy Hitters 1934-1946.
The title is self - explanatory
Disc 3, Dope,Dice,Guitars, Knives 'n' Such 1928-1946.
Songs with heavy underworld content in lyrics
Disc 4, After Censorship, 1937-1947.
Censorship was introduced in 1937. Despite this, a lot of Good Stuff managed to get onto record.
The origins of the music we now know as Rembetica lie in the obscurity of the mid-nineteenth century, or even earlier. It can be roughly divided into two schools: The first was that created by the Greek population of Ottoman cities such as Constantinople (Istanbul) and Smyrna (Izmir). In the main, this was played in public places of entertainment by highly skilled professional musicians, using, chiefly, Violin, lyra, Sandouri, guitar and mandolin. However, the fact that there also existed a rougher, more underground, form is evidenced by the "brothel" recordings made by Yiangos Psamathianos in Constantinople in around 1912 (see Arhoolie CD 7005). Meanwhile, chiefly in the underworld of homeland Greece, there developed another form of Rembetica, played in enclosed places such as "Tekedhes" (hash-dens) and prisons. This was more a music of non-professional musicians performing on guitar, baglamas and bouzouki.
Recording began as early as 1905, in Constantinople and until 1914 engineers from England and Germany made many visits to the Near East to record Greek and other local musicians. After the tumultuous events of the first World War, and the Greek - Turkish war which followed it, recording of Greek music by the large international companies switched mainly to Athens.
Between ca.1925 and 1937 a wealth of material was recorded, much of it of a semi-underground nature - a phenomen that appears to be unique in world music. However,in 1936 a Fascist government under Ioannis Metaxas took power and quickly introduced censorship. This censorship took a while to be fully implemented, but from 1937 on hard-core Rembetica was forced underground; although it made a brief post-war re-appearance on record in June, 1946, before censorship was reimposed.
Review All Music Guide
Thanks to the crazy music fans at JSP in England comes this packed four-disc overview of rembetika, the true music of Greece's underworld. Rembetika has an interesting history. Its origins are not exactly known, and are traced back in various labyrinthine ways to the mid-19th century. In 1911, the word "rembetico" appeared on a record label, and the word was defined as being of "mildly erotic," bohemian content; it was used to describe such records through the mid-'20s. Beginning around 1925, the music's name changed and became associated most specifically with the underworld -- primarily because of music played in brothels, hash dens, prisons, and other generally criminal surroundings. It was raw, immediate, sometimes harsh and bawdy, other times noir-ish and seductive in a sinister way. The music listeners now consider true rembetika came into view after the Greco-Turkish war. It flourished between 1925 and 1937 when it was officially censored as immoral by the Metaxas government. The music lived, however, and went deeply underground; it surfaced again briefly around 1946 before it was once again censored. The instrument rembetika brought to Greece's popular consciousness was the bouzouki, though violins, ouds, hand percussion, and singing were all part of the rembetika experience. The four discs here are organized around various themes. The first concentrates on the music made in the golden years as the material developed into a bona fide recordable style as it came out from under the hard thump of the Ottoman Empire. Singers such as Marika Papagika, Achilleas Poulos, Rita Abadzi, Stellákis Perpiniádhis, and Kostas Karipis are all featured on this slab. Disc two begins in 1932 under censorship; it goes deeply underground and reflects the seamy side of life in the underworld. Here is the place where the bouzouki and baglamas come into prominence (bouzouki has been the featured instrument in Greek music since that time). Here the more popular song is introduced. Most of the performers here are male, and they make an impression with their swirling darkness and tales of lost love, drunkenness, power, violence, and grief. From the start, the bouzouki reigns supreme as Márkos Vamvakáris sings "I Klostirou (The Mill Girl)." Long intricate instrumental patterns dig into the lyric and assert themselves at the tune's nadir. Yiorgos Batis' "I Fylakes Tou Oropou (Oropos Jail)" is another punch in the gut as he sings with rage about his pain and isolation. Vamvakáris and Batis are featured on this disc many times, but one never tires of the music they make. Stellios Keromytis is also here, and his "I Moni Mou Parigoria (My Only Consolation)" is one of the this CD's highlights. Disc three, entitled Dope, Dice, Guitars, Knives and Such, documents the scene thematically with songs of the underworld along those lines from 1928 to 1946. And some familiar names are here such as Jack Halikias, whose "Raste Tou Deke" was the first true -- albeit underground -- rembetika hit and featured the bouzouki, making many other musicians turn their heads. Also included are fine decadent tunes by George Katsaros, Róza Eskenázi, and Gus Dussas. The final volume in the set showcases the brief popularity -- above ground -- of rembetika. The big names in the scene are here, like Perpiniádhis, Stratos Payoumtzis, Yiannis Papaiouannou, and Apóstolos Hadzichrístos. But this disc is also the place where rembetika virtually disappears and goes back so far underground that it almost -- almost -- ceases to exist. The rawness is here; the sexual allure and tales of the forbidden have gone back into the shadows where they have begun to emerge once more in archival recordings such as these. JSP's documentation of this music is superb. The remastering job from tapes and 78s is exacting, which makes for a warm sound even on the earliest sides. The notes are historical, with a different set for each volume, and the histories of performers, origins of terms and words, and even a pronunciation guide are provided. Like the great blues collections they issue, Rembetika: Greek Music from the Underworld is a treasure trove of the lost, the forgotten, and the dangerous. As stellar and soulful a documentary collection as you'll fine anywhere.
~Thom Jurek, All Music Guide

V.A. - Rembetika 2 (More Of The Secret History Of Greek Underground Music)

Charles Howard has done an excellent job of compiling and annotating this second box, and takes a different approach than on the first one. While the music was arranged according to the popularity, suppression, and eventual dissemination of rembetika on the first box, here the approach is strictly chronological, beginning with recordings made as early as 1908 and continuing until 1929.

The music began to flourish in 1927 and gained an infamous notoriety by the time it was suppressed in 1937. The second disc here concentrates on the years when the style began to emerge as a mature musical form to the brink of its flowering as genuine popular music to be enjoyed not only in bars and other places of ill repute, but at home on the Victrola: 1929 to 1934. The music was nearly mainstream, despite its lyrics about sex, death, dope, and violence. This didn't make a whit of difference to its musicians and singers, who went about their lives as if they had never seen the embracing of the form, though, as is wont to happen when any record company comes sniffing around, "stars" of a fashion were made and recorded often. The third disc follows the trail of the years 1934 through the official crackdown in 1937, when lyrics, music, and singing styles began to make it so blatantly anti-authoritarian, the Metaxas power structure, pressured by Turkey, had no choice but to brand anyone playing rembetika as a subversive; this is the beginning of rembetika's return to the underground. Its origins are shrouded in mystery anyway, buried in the murky, cross-whispering cultures and folk styles of the middle 19th century where it had emerged as a coded speech for criminality. Beginning in 1937, all recording of rembetika was thought to have stopped because being caught singing, playing, or taping this music was punishable by prison. It never completely ceased, but became as hard to get as a gun in Canada. It existed solely in hashish houses, brothels, gambling and opium dens, and in other locales where hardened criminals congregated; it was recorded there or under cover of night in home fashioned studios. It returned to its dubious honor as the official folk form of the criminal class. The last disc offers proof of the kind of truly hardcore rembetika made during that suppression, as well as a kind of coded music that resembled it, and hinted at its gnarly and knotted roots and legendary origins.

As fascinating as all this is, however, it's not what truly separates this box from its predecessor and makes it such a compelling and obsessive listen. The earliest music on this box isn't even from Greece! Rembetika wasn't recorded there until 1925, three years after refugees arrived in Greece from the Greek-Turkish war. The earliest music here comes from Constantinople and Smyrna, where traveling sound engineers from record companies did field recordings of the songs coming from the counterculture. They surfaced, as early as 1915 in the United States were attempts were being made to establish a market for rembetika among Greek immigrants. On the first volume here, accordions, balalaikas, fiddles, ouds, cembaloms, and above all, those deep mournful, defiant, and sadder than death vocals come wafting out, creating a stranger, more troublesome blues. The music on these sides is far more rare than what appears on the first box, and is rougher in sound quality in many places. It comes from sources where only a single copy is known to exist in a private or museum collection. That said, the power of these recordings is not diminished in the slightest. The hard research, and the painstaking mastering work is not the reason to snag this collection up. Indeed, the reason is, this is amazing music, haunted, hunted, and dangerous. It is akin to rock & roll or the Delta blues but doesn't sound anything remotely like them. This is otherworldly music drenched in emotions like sorrow, hatred, grief, and desire. This collection is as highly recommended, and perhaps more so, than its predecessor.
Thom Jurek

V.A. - Rembetika 1 (Greek Music from the Underground)

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Track Listing
Disc 1
Mandalena - Marika Papagika
Chakiji Zeibek - Achilleas Poulos
Tsifte Telli - El. Melemenlis
Huseini Manes - A. Dhiamadidhis Dalgas
Ballos Smyrneikos Me Mane - E. Sophroniou Vaggelakis
Aidhinikos Xoros - Marika Papagika
Zeimbekiko Melemenio - And. Dalgas
Piran Ta Frygana Fotia - Leopold Gad
Minore Manes, Safino Tin Kali Nychtia - Kostas Karipis
Sousta Politiki - And. Dalgas
Bournovalio - Popular Orchestra
Melachrinoula - Marika Politissa
Rast Zergile - Marika Politissa
Markopouliotissa - Rita Abadzi
Dzerkeza - Roza Eskenazi
Gazeli Sabach, Sti Mavri Yi Chrosto Kormi - Roza Eskenazi
San Eyriz Ap Tin Pylo - Efstratios Payioumidzis
Mes To Vathi Skotadhi - Roza Eskenazi
O Prezakis - And. Kalyvopoulos
Yiovan Tsaous - And. Kalyvopoulos
Paraponiounde I Manges Mas - And. Kalyvopoulos
Ego Thelo Prigipessa - Stellakis Perpiniadhis
Disc 2
I Klostirou - Markos Vamvakaris
Zeimbekano Spaniolo - Stratos Payioumidzis
Thermastis - Yiorgos Batiso
San Ise Mangas Ke Dais - M. Vamvakaris & Rita Abadzi
Kapote Imouna Kiego - Markos Vamvakaris
O Synachis - Markos Vamvakaris
Varka Mou Boyiatismeni - Yiorgos Batis
I Fylakes Tou Oropou - Yiorgos Batis
Prepi Na Xeris Michani - Markos Vamvakaris
Panta Me Glyko Hasisi - D. Gongos Bayianderas
Htan Anixi - D. Gongos Bayianderas
Manges Piaste Ta Vouna - Ef. Payioumidzis
Pende Manges - And. Kalyvopoulos
Soura Ke Mastoura - Anestis Dhelias
Taxim Athineiko Ke Zeimbekiko - Yiorgos Batis
Mes tou Vavoula Ti Gouva - Stellios Keromytis
Ouzak-To Tragoudhi Tis Xentias - Efstratios Payioumidzis
I Moni Mou Parigoria - Stellios Keromytis
Ego Mangas Fenomouna - Michailis Yenitsaris
Taxim-Zeimbekiko - Markos Vamvakaris
Olli I Rembetes Tou Dounia - Markos Vamvakaris
I Baglamadhes - Stratos & St.Keromytis
Ithela Na Moun Iraklis - Nikos Vrachnas
Disc 3
Stis Syras To Aniforo - George Katsaros
Tout I Batsoi Pou rthan Tora - Yiannis Ioannidhis & Manolis Karapiperis
Troumba - K.Kostis
O Skylomangas - Petros Kyriakos
Me Pianoune Zaladhes - A.Kostis
To Minore Tou Deke - Jack Grigoriou & S.Michelidhis
O Paraponiaris - Gus Dussas
I Efmorfi Attaleia - Gus Dussas
Echo Meraki Echo Dalga - Andonios Dalgas
To Yellekaki - D. Phillipopoulos & D. Efstratiou
Raste Tou Deke - John (Jack) Halikias
O Vlamis Tou Psyri - Rita Abadzi
Mas Kynigoun Ton Argile - Roza Eskenazi
Strive Logia - Yiorgos Karras
To Flidzani Tou Yianni - Rita Abadzi
Pane Yia To Prasso - Rita Abadzi
Ime Prezakias - Roza Eskenazi
Dhervisis Ke Anna - Stellakis Perpiniadhis - Anna Pagana
To Proi Me Tin Dhrossoula - Stratos & V.Tsitsanis
Hadzimilousiko - Mike Patrinos & Yiannis Deyaitas
Trikouverto - Jack Halikias
Disc 4
I Margarita - Rita Abadzi
Ola Ta Cho Varethi - Stellakis & P.Chrysinis
Mikroula Pireotissa - Stellakis & Stratos
I Magdhalo - Stelllakis
Thelo Na Se Andamoso, Xaveriotissa - Stratos & Stellakis
I Mikri Ap'to Passalimani - Stellakis
Vaggelitsa - Ef. Payioumidzis & St. Perpiniadhis
Se Fino Akroyiali - Stratos & Stellakis
Tatavliano - Vassilis Tsitsanis -Bouzouki
Dhen Thartho Peia Stin Kokkinia - Yiorgos Kavouras
Pali Mou Kanoun Proxenia - Yiannis Papaioannou
Paliopedho - A.Hadzichristos
O Tsiggounis O Babas Sou - Yiorgos Kavouras
Vadhizo Me Parapono - Yiannis Papaioannou
Tha Se Klepso Tha Se Paro - A. Hadzichristos & M. Vamvakaris
I Meraklidhes - Payioumidzis & Tsitsanis
To Portofoli - M.Vamvakaris & A.Hadzichristos
Opios Orfanepse Mikros - Stratos Payioumidzis
Manavissa Me Gaidhouraki - Markos Vamvakaris
O Serianis - Stratos & Stellakis
Tis Mastouras O Skopos - Stratos & St. Keromytis
Varka Yialo - Stratos & V.Tsitsanis
Nea Vaggelitsa - Hadzichristos

V.A. - Rembetika 2 (More Of The Secret History Of Greek Underground Music)

Track Listing
Disc 1
Tchakidji Turkessou - Haim Effendi
Smyneiko Minore - Zounaras Me Armonika
Tsifte-Telli, Tha Spaso Koupes - Elliniki Estoudiandina
Smyrneikos Manes - Yiangos Psomathianos
Shed Araban Taksim - Marko Melkon Alemsherian
To Salepi - Theodhoros Mytilineos
Dhen Mou Lete To Hasisi Pou Pouliete (Tell Me Where They Sell the Dope) - El. Menemenlis
Pergamia (Dance From Bergama) - Alexis Zoumbas
Karsilamas Tekirdag - Cavadhias Popular Orchestra
Mes 'Tou Sygrou Tin Fylaki (In Sygrou Jail) - Marika Papagika
Tsifte-Telli - Athanasios Makedhonas
Apo Kato Ap 'Tis Dhomates - Y. Ioannidhis
Pote Mavra Pote Aspra - George Katsaros
Nei Hasiklidhes (The Young Hash Smokers) - And. Dalgas
Karotsieris (The Coachman) - And. Dalgas
O Bochoris - Anonymous
Tsifte-Teli Yiala - Andonis D. Dalgas
To Hasisi - Savaris & Miliaris
Ta Kounaga (I Shook the Dice) - Estudiantina Grecque Leopold Gad
Beoglou Manes - A. Dalgas
Manes Mahour - Marika Politissa
Dou Dou - Panayiotis Tsoros

Disc 2
Aptaliko Zeimbekiko - Ogdhondakis
Manes Sabach - D. Arapakis
Kaike Ena Scholio (Kostis-Tedis) - A. Kostis
Mytilinio Zeimbekiko - Popular Orchestra
Kato Sto Yialo - E. Sophronious
Ballos Tis Avyis - E. Sophronious
Yiannis Hasiklis (Synchronich) (Yiannis the Hash Smoker) - Y. Kamvisis
To Marikaki - Kostas Roukounas
Ap' Tin Porta Sou Perno (I Pass By Your Door) - K. Kostis
Yeni Turk Zeybegi - Servet Hanim
I Trata (The Trawler) - Konst. Doussas
Ap 'Tin Poli Enas Mortis - Dalgas
Merakli Rast Manes (Let Me Burn) - Roza Ezkenazi
Binda Yiala (P. Toundas) - Roza Ezkenazi
To Baglamadhaki Spase - Andonios Dalgas
Mourmouriko Zeimbekiko - John (Jack) Halikias
Ap' Tou Memeti To Nero - Marika Frandzeskopoulou
To Koutsavaki (Tsama) (The Dude) - Zach. Kasimatis
Ores Me Threfi O Loulas (M. Vamvakaris) - Markos Vamvakaris
Zoi Ine Afti Zoitsa Mou (A. Dhiamandhidis) - Rita Abadzi
Argiles (E. Papazoglou) (The Hash Pipe) - Stellakis Perpiniadhis
Pou Ine Ta Chronia Ta Palia (S. Gavalas) - K. Rouknounas

Disc 3
Manges Karavotsakismeni (Manges In Distress) - Efstratios Payiomidzis
Elleni Mikropandremeni - Stellakis Perpiniadhis
Voliotissa (The Girl From Volos) - Roza Eskenazi
Galata Manes - Aggelitsa Papazoglou
Rast Mahour - Dhimitris Atraidhis
O Stavrakas Mes' Ston Teke (Stavros At the Hash Den) - Stavros Tsouras
Bachrie Tsifte-Telli - Mario Salonikia
To Sakkaki (The Stolen Jacket) - An. Dhelias
O Boufedzis - Yeorg. Batis
To Barberaki - Yeorg. Batis
Kaftone Stavro, Kaftone - Markos Vamvakaris
S'Ena Deke Skarosame - Yeoryia Mittaki
Varvara - Stellakis Perpiniadhis
Sfouggaradhes (The Sponge Divers) - EF. Payioumidzis
I Eleni I Zondochira (Eleni the Divorcee) - Andonis Kalivopoulos
M'Ena Karedzi Blegmeni - George Katsaros
Dhen Pavi Pia To Stoma Sou - M. Vamvakaris
M' Eblexes Vre Poniri - M. Vamvakaris
Mi Mou Les Pos Dhen Me Thelis (Don't Say That You Don't Want Me) - K. Roukounas
Manes Hitzaskiar-Pireotikos - Stavros Remoundhos
Manges Mou Symoforthite (Dudes, Behave Yourselves) - Stellakis Perpiniadhis
Manes Rast Neva - EF. Payioumidzis
Ean Dhen Isoun Ftisikia (If You Weren't Tubercular) - St. Keromytis-Tassia Vryoni
M'Ekapses Skyla - Stellios Keromytis

Disc 4
Parigoria Ta Matia Sou (Your Eyes Are My Consolation) - Dhim. Roumeliotis
Echo Vathia Ton Pono - Hadzichristos
Tora Yirnas Stis Yeitonies - Stellakis
Dhen Se Thelo Pia - V. Tsitsanis
Stis Salonikis Ta Stena - V. Tsitsanis
Kala Mou Topane Mario - Ap. Hadzichristos
O Tsitsanis Sti Zoungla (Tsisanis In the Jungle) - V. Tsitsanis
Dhodheka I Ora (At Midnight) - V. Tsitsanis
Levendikos Horos - Yiannis Papaioannou
Sklirokardhi - Daizy Stavropoulou
To Tragoudhi Tis Agapis - Bayianderas
Pio Pera Ap' To Zannio - Har. Mavridhis
Dhen Vrethike Yiatros - Y. Kavouras
Ston Lofo Tou Skouze (On the Hill Of Skouze) - Stratos
Dhespo - Stratos
Ta Tsaggarakia - E. Payioumidzis
Koritsi Apono (Heartless Girl) - Stratos Payioumidzis
Tha Pao Na Ziso Sta Vouna - Daizy Stavropoulou
Hadzi Baxes - V. Tsitsanis
Ftochia (Poverty) - A. Hadzichristos


user posted image

": 47777 Jan 8 2014, 06:03 PM
markos vamvakaris
Μάρκος Βαμβακάρης
Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 1.

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 2.

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 3.

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 4.

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 5.

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 6.

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 7.

": 47777 Jan 8 2014, 06:06 PM

tsitsanis vasilis biography
-Βιογραφία Βασίλη Τσιτσάνη
Βιογραφία Βασίλη Τσιτσάνη - μέρος 1
Βιογραφία Βασίλη Τσιτσάνη - μέρος 2

": 47777 Jan 8 2014, 06:15 PM
amalia baka-amalia vaka
aμαλία βάκα
was known as Kyria Amalia

Amalia! Old Greek Songs in the New Land 1923-1950

Three days after her 15th birthday, traveling by herself on the The Kaiser Franz Josef I, Mazaltov (Mally) Matsa of Janina, Turkey, steamed toward the new land. Two weeks shy of a year later she married Jack Saretta, a fellow from her hometown, and set up housekeeping on Rivington Street in New York's Lower East Side, a short walk from the New York Janina Synagogue. She had work as a seamstress and he made silk flowers for lady's hats.

The Janina she left in 1912 was diverse, fractious, complicated, multinational and multicultural, in many ways similar to New York. Romaniote Jews had lived in Janina for about 1,800 years.

Life for Mally had been strictly defined by that tradition. In the Romaniote community, girls were born to a servile position in a male-dominated world, their births not recorded, their early education limited to that which would best serve their future husbands, and their worth reckoned in the end by the number of male children they might bear. A Rornaniote girl was kept at home until her father chose a husband for her. When she married, she was sent to live in the home of her new husband.

Mally's marriage was certainly arranged before she left Janina. The home she made in the new land was intended to continue the old ways. The enumerator for the 1920 census found Mally and Jack with two daughters, Diamond and Esther Cleoniki, named after their grandmothers in the Romaniote tradition.

The old ways had a good foothold on New York's Lower East Side, although for Mally the pressures and freedoms to be found on foreign shores had shaped changes even before she landed. She had traveled by herself on the Kaiser Franz Josef I, an immense modern ocean liner, only months from its own maiden voyage (actually the largest ship ever to fly the Austrian flag). At Ellis Island she was detained because she did not have the $50 in cash required of new immigrants; after a phone call she was sponsored by her Aunt Rachel. Life in New York demanded money, so Mally got a job sewing in a factory. Circumstance had forced her to accept a level of responsibility and independence forbidden Romaniote girls in Janina, and with it came opportunities that were also customarily denied.

In Janina, Mally lived within Jewish, Greek, and Turkish cultures, and threads of each are woven through her songs. About the only public or semi-public activity that Romaniote women could engage in was the keening of laments at the time of death. Romaniote religious ceremony is conducted in demotic, that is, everyday spoken Greek, instead of Hebrew, and Romaniote singing also borrowed traditional Greek melodies. The memory of these songs and laments was deeply instilled, and they would always be an important part of Mally's repertoire.

Mally sang all her life. Her talent for singing was "discovered" when she sang in the factory where she sewed, or when she sang while hanging up her laundry. Both stories are probably true. She sang in Greek and Turkish, and by the early 1920s had begun singing professionally as Amalia in Greek cafe-amans and Turkish clubs. Her first recordings were eight Turkish songs for the M. G. Parsekian Record Company, across the Hudson River in Hoboken, New Jersey; then in Chicago, she recorded six Greek and Turkish songs for the Greek Record Company of George Gretsis and Spiros Stamos.

Amalia's independent spirit and emerging career caused trouble at home. In the old country, women who sang in clubs were considered prostitutes- fallen women at best. Jack divorced her, and Cleoniki was sent to live in Greece ("kidnapped", Diamond says).

In 1926 Mally converted to the Greek Othodox Church in order to marry Gus Bakas, and continued recording as Amalia Baka from 1927 to 1929. Gus worked in the restaurant business, and Amalia was herself involved in clubs and restaurants, both as owner and as headline entertainment.

Live performances in Turkish clubs, cafe-amans and restaurants were the mainstay of Amalia's singing career. She was always working, according to her daughter, Diamond, who from the beginning was with her at recording sessions and on stage, playing doumbek, encouraging her with "Ya sou, Mitera! " ("your health, mother!") and sometimes singing duets with her. Cafe-amans were lively and numerous in Prohibition-era New York. Entertainment, atmosphere and booze were a magic combination, and dozens flourished around Eighth and Ninth Avenues at 33rd and 34th Streets, packed with people from all parts of the city. Amalia opened her own club, the Cafe-Aman Pavsilipon, with, as Diamond remembers, "- a few tables and a bottle of bootleg booze ... little by little they were coming in ... the priest came in, too."

Amalia did not record in the 1930s, but traveled quite a bit, often with singer George Katsaros, and sang at clubs, restaurants, and resorts in an informal circuit that included New York, the Catskills and Finger Lakes areas of New York, and cities with large Greek populations such as Detroit, Chicago, Gary (Indiana) and Philadelphia.

Through marraiges, affairs, personal tragedies, she was a colorful character who shook her shimmy, flirted like a champ,

she didn't record during the '30s, seemingly finding performing and running illegal bars during Prohibition more profitable).

By 1940 Amalia and Diamond were living in Chicago, and Amalia was involved with a club/restaurant, the Pantheon, near Halsted Street in the heart of "the Delta," Chicago's old Greektown. Chicago Greek restaurants were also bars and nightclubs, social watering holes with live entertainment, cadres of regulars and many stories. Amalia was a spirited and memorable participant who helped lead the charge for about two decades and is still remembered with fondness and awe. "If she didn't like you, chairs would fly", recalled John Katsikas, a cymbalon and samtouri player who accompanied Amalia. Her performance of "Bahaiotiko," a slow dirge, is remembered still, as is her prowess at poker and barbuti dice. To a patron who needed money to get married she gave a gold ring from her own finger, "and she would swear like a man".

In the early 1940s Amalia was recording again, this time for Ajdin AsIlan's MeRe/ Balkan/ Gadinis/ Kalaphone/ Metropolitan family of labels in New York, in which she also had part ownership. Her recording sessions in New York were with luminaries such as clarinetists Gus Gadinis, John Pappas and John Dalas, kanounists Garbis Bakirgian and Theodore Kappas, and violinists Alexis Zervas and Nick Doneff.

During World War II Greek music in the United States saw a revival of songs and styles that had originated or were popular in the late 1910s and early 1920s, the time of the influx of ethnic Greek refugees from Turkey into Greece as part of the 1922 League of Nations relocations. Over a third of Amalia's recordings from this period were old songs from her own or from pioneer Greek vocalist Coula Antonopoulos's early recorded repertoire. Mostly laments or songs that expressed resilience in the face of troubles, they offered some solace to expatriates horrified at the fate of Greece and their families and friends there during World War II.

Amalia retired in the early 1960s. Chicago's redevelopment efforts had removed the heart of Greektown to make way for the University of Illinois Chicago campus, and Amalia's home
and the restaurants and clubs she sang in were destroyed. Diamond had moved to Florida in
1960 and opened the New Hellas restaurant in Tarpon Springs, close to where the sponge boats docked. Amalia followed in 1974, moving to New Port Richie, just north of the docks.
Amalia died in 1979. Her obituary did not mention that she was a singer, that one of the most fluid and evocative of Greek voices had been stilled.

Amalia lived and sang with great passion. Though her repertoire was very traditional she made her songs her own by comments and ad libs while singing, by changing words, and by using songs to show what was happening in her life. She wrote "Elenitsa Mou" when she was baptized, taking the baptismal name Eleni, and she wrote and sang "Diamontoula Mou" for her daughter Diamond. Unlike her contemporaries Marika Papagika and Coula Antonopoulos, she did not sing much of the world of hash, manges and rebetes- most of her recorded songs are about love.

In her long experience singing for live audiences in the small clubs she developed a very personal and intimate style. She understood and exploited the subtleties of the electric microphone from its first years in the recording medium to bring a palpable closeness and immediacy to her recordings.

Remarkable within ordinary circumstances, her story is almost incredible when her own background is considered. Uprooted and cast to sea on a floating skyscraper to make her way in a boisterous and challenging world, she responded with an indomitable, creative and generous spirit that is still left in her songs.

David Soffa, Berkeley, 2002
Amalia Hanim and her Daughter
-The Most Famous Singers of Americas Entertainment World

47777 ???
By Hikmet Feridun Es

That night there was an important reason for the big crowd to gather in this tavern: Istanbuli Amalia and her daughter Diamond were visiting Detroit. For years, the mother and daughter have been America;s most well known singers singing in Turkish. Amalia Hanim, in particular, has been living in the U.S. for a long time as a Mistengette in alaturka. The Amalia-Diamond duo also dances the ciftetelli very lively. In America, there is no one better than them in alaturka dancing.

The mother and daughter appeared on the stage to great applause. Both were dressed in crimson red. Their shoes and handkerchiefs were of a matching color. They wore red Mexican combs. Amalia Hanim, who has made her fame for so many years through her records and singing on stage, nevertheless looked only a little bit different than her daughter in terms of her age. One who did not know them would have a hard time believing they were mother and daughter. They started singing and dancing. Perhaps they may have picked it on purpose, the first song they sang was Anasini istermem, kizini da ver bana! 40;I do not want her mom, give me her daughter too;. As Amalia Hanim sang the chorus, one could hear men shouting at the stage in Greek accent ;Who said that? Who said that;

Amelya Hanim is indeed more lively and flirtatious than her daughter as she dances, undulating her body, her eyes half closed. Since her legs too are very beautiful like a Mistengette, she does not miss any opportunity to do figures that cause her skirt to lift way up in the air. Since our songs had never been popular in America, she adapted them, sometimes unrecognizably, to their taste. Though her first records were released 25 years ago, she is still very fresh after 25-30 years.

Arnalia Hanim;s family was originally from Janina. She was born in Istanbul. She sang in Kadikoy and at the Yoriganci Gardens in Harbiye, then she went to Syria. She worked as a singer there. Syria, Egypt, and then one day she found herself in New York. She opened several casinos and a big gambling casino, she made a lot of money. Then she spent all her money. For the money she made, she says, gesturing with her right hand, ;It came from here;, and then continues gesturing with her left hand;and went there; She finishes what she was saying in English which she started in Turkish and then continues in Greek ;

That is, she means I do not care. And finally the mother and the daughter leaping onto the stage start singing flirtatious songs head to head and bouncing and rocking on their feet. In the past there used to be postcards for lovers. I remember those while I watch them.

The most famous personages of the entertainment world are here. In America there is a very popular custom that everyone follows in this kind of alaturka music tavern. Every customer, man or woman, enraptured by the ciftetelli and saz, leaps up and starts dancing. And boy do they dance! There is nothing unusual about this. But what is unusual is one who stands up and takes his wallet out as his first dance figure. He throws a few dollars on the floor. And only then he starts dancing. He loses himself dancing.

The music ends. But instead of sitting down he takes his wallet out again. This time with even greater passion he throws a handful of money on the floor. The music starts again, the dancing again ... Sometimes there are so many people who get up to dance ciftetelli that they, women and men, dance all together by forming a chain with handkerchiefs folded between their fingers. The singers who sing while dancing with them wipe off the beads of sweat that run down the men;s foreheads with colorful and scented little handkerchiefs.

But when the saz stops they stop holding hands for a moment, and some take their wallets out, some their purses, and throw dollar bills on the floor or to the front of the stage, and again the music and again the dance ... In other words, those enraptured pay as if they are buying tickets for each and every dance they are going to bounce and dance with.

Like gamblers those who dance once can not hold themselves back ever again. it is not an uncommon scene to see someone who dances a second dance, a third dance and then a fifth and soon empties his pockets and wallets, and even throws his ring to the saz. And there is no one who does not get excited and get up to dance. For them they left a small opening in the middle. Sometimes it is so crowded there that people dancing bump into each other.

One fat man passed me by, appeared in the crowd, threw bills that were in the shape of balls all crumpled in his hand. Amalya Hanim and her daughter picked these up. They unfolded them and put them into a basket.

At this, I said with a smile to a local next to me ;Here one should be a singer or musician; He answered;Once Iraqis and Syrians came here, 24 of them. They were wearing white tuxedos. Wearing curious fezzes on their heads. They would come to the stage rather showily, men and women too. The Syrians here made a good name for themselves. They spent a lot of money!

I asked whether the fat guy who had since been paying and dancing was rich. They said ;he is a worker at the Ford factory. He can speak Turkish well. He is from somewhere around Syria ;He got his weekly pay today; Outside, the sun was rising. The poor guy was worn down by hopping and belly dancing. He was saying ;I will drink a cup of tea and then go directly to work;

That is, he was going to go to the factory after his tremendous tiredness. And he would tell his friends ;I had so much fun last night;


": 47777 Apr 2 2014, 10:46 AM
Rosa Eskenazi Glyko Mou Kanarini

": 47777 Apr 12 2014, 09:50 AM
Ελβίρα Κάκκη {Elvira Kakki}
(1900-1987) was a Greek singer of rembetika, of Spanish Jewish origin.

She was born on 11th November 1900 in Kavala; her maiden name was Benmagior. In 1919 she married Emilios Kakkos and settled in Drama, where her husband owned two cinemas. These were also used for concerts by artists such as Μαρίκα Κοτοπούλη and Βασίλης Λογοθετίδης, and other Northern Greek talent. Somehow Kakki met Βασίλης Τσιτσάνης, and began performing and recording. Apart from Tsitsanis songs, she recorded material by Σπύρου Περιστέρη, such as Μάτια μου μεγάλα
Το πήρα πια απόφαση. = =Νεβά μανές Ελβίρα Κάκκη
Σύνθεση Περιστέρης 1937
Στίχοι Μίνως Μάτσας
Το πήρα πια απόφαση σ' ένα βουνό να ζήσω εκεί η φθίσις μ' έκανε το μνήμα μου να κτίσω.
Δίσκος ODEON Ελλάδος GA-7045

and tsitsanis

Μαντήλι χρυσοκεντημένο του συνθέτη Βασίλη Τσιτσάνη (δίσκος Odeon G.A. 1990).
Ελβίρα Κάκκη -Μαντήλι χρυσοκεντημένο

Πικρός θα 'ναι ο πόνος μου του συνθέτη Βασίλη Τσιτσάνη (δίσκος Odeon G.A. 1990).

Ο μύλος της Κονδύλως του συνθέτη Δημήτρη Περδικόπουλου (δίσκος Odeon G.A. 1989 και ανατύπωση Decca 31142).
Ο μύλος της Κονδύλως Ελβίρα Κάκκη - Περδικόπουλος Δημήτρης

Her husband died in 1940.
When war broke out, Kakki and her children moved to Thessaloniki and, worried about the Nazis intentions towards the Jews, acquired false papers. Having moved several times within the city, the family eventually fled into the countryside where she became a member of the Greek resistance organissation ΕΑΜ (Εθνικό Απελευθερωτικό Μέτωπο the Greek Liberation Front). Her two older children, Ζακ and Κάρμεν, joined ΕΛΑΣ (Ελληνικός Λαϊκός Απελευθερωτικός Στρατός Greek Peoples Liberation Army), which was the military wing of ΕΑΜ. They went into the mountains as members of combat units. Her two younger sons, Αλβέρτος and Φρεντ, joined the youth wing, ΕΠΟΝ (Ενιαία Πανελλαδική Οργάνωση Νέων United Panhellenic Organisation of Youth), and took part in several operations, such as helping escaped members of the Allied armed forces get to Turkey via Skiathos and Skyros.

After the war the family moved to the U.S. and settled on the West Coast. Kakki died in Mountain View, California in 1987.


her nick name was Elvira de Hidalgo - 47777-during the war and / or in papers


some records used it.
" Ρεμπέτικα & Λαϊκά "
7 ΠΙΚΡΟΣ ΕΙΝΑΙ Ο ΠΟΝΟΣ ΜΟΥ - Ελβίρα ντε Ιντάλγκο

any how
in the Biography about tsitsanis, the autor was convinced that - Ελβίρα ντε Ιντάλγκο = Callas teacher Elvira De Hidalgo
famous Spanish opera soprano who had settled in Greece

two persons!.
Callas teacher Elvira De Hidalgo sings Barba Yannis Kanata

": 47777 May 20 2014, 03:30 PM
Αρχείο Ελληνικής Δισκογραφίας


": 47777 May 27 2014, 06:54 PM

": 47777 Jun 4 2014, 07:36 PM
Βαμβακαρης- vamvakaris- bouzuki-Μπουζούκι

first ? bouzuki commercial recording

According to Stellakis Perpiniades, Salonikies was in agreement with the others in charge of the recordings at Columbia (Tdntas, Nikobiou, and Misal-lidis) that the market was ready for the first bouzouki recording in 1933. However, the owner of the company, Themistokles Lambrepulos, did not dare take the chance due to the bad connotation of the bouzouki in Greek society in general. Thus, the first bouzouki recording, featuring Yeargos Batis, was done in secret and without the accept of Lambropulos. However, the record was not released. The recording with Batis took place three months before the record with Markos Vamvakaris on bouzouki was released by Odeon. Not until after the second record with the bouzouki had entered the market, this time with Yiovan-Tsails, was the record with Skis finally released. (Cf. Hat-zidUlis (no year): 22-24). It should be noted that I have not been able to identify which record by Yiovan-Tsatis this information refers to, hence, the LP 'Yiovan Tsatis', AF 97, contains no reissues of songs dated earlier than 1935 according to the cover notes. The dating of Vamvakiris first record differs according to the available sources. S. Perpiniadis (see above), K. Rilkunas (Shorans 1974: 31), and S. Keromftis (Kunadis, "Stenos Keromftisto xeklnima", Tetradio, Jan. 1975: 4, as quoted by Gauntlett 1985: 88, n. 140) all have 1933. Martin Schwartz has 1933-34 (cover notes on 'Greek Oriental', Folklyric Records 9033). Vamvakaris himself gave a wide range of datings to different interviewers: 1934 to Kunadis ("Mia anekdoti sinentefici to Marku Vamvakari", Tetrddio, Aug. 1974: 18, as quoted by Gauntlett 1985: 88, n. 140), 1934-5 to Gauntlett in an interview from 1972 (Gauntlett 1985: 88, n. 140), and 1935-6 to Angela Kail (Kail 1973: 147). Gauntlett proposes to take "c. 1934" as a compromise solution (p. 88, n. 140). However, if Vamvakaris' first record was the first Greek record to present the bouzouki, then 0 teket-zfs (Parlophone 21707), featuring Zaharfas Kasimatis on the bouzouki, is the proof that it was indeed recorded before 1934 as 0 teketzfs appears in the January 1934 Parlophone Catalog (ref. handwritten copy of Parlophone Catalogs in the Folk Music Archives in Athens).

lisbet torp

": 47777 Sep 23 2014, 07:09 PM
Yiannis Halikias - Jack Gregory Also known as Johnny Otis. Ioannis Halikias ΧΑΛΙΚΙΑΣ ΙΩΑΝΝΗΣ
Τζακ Γκρέγκορυ

the first true bouzouki solo was recorded by Ioannis Halikias,in New York, in January 1932
solo bouzouki 47777

Jack Gregory was a Greek/American bouzouki virtuoso. His 1932 "Minore tou Teke" was the first popular bouzouki recording, and was a tremendous influence on the music being recorded in Greece.
[ after -- vamvakaris made his move in greece ] 47777

Rumour has it that he learned to play bouzouki against his father's wishes, tutored in the ways of the mangas by his uncle. When he moved to America he made a few recordings but became disillusioned by the record company and refused to record anymore. He found he had signed an exclusive contract with the company for thirty years!

There's talk of Halikias running an underground hashish joint in the 30's and being involved in other shady activities, living the life of a mangas in America. Many famous musicians would visit Halikias when they were in New York, and there are unpublished recordings of Halikias with them.


rast to teke


mystirio the mystery
see also
Rast Zeybek (Tanburi Cemil Bey) - D. Trkan & S. Sinopoulos Rast Zeybek (Tanburi Cemil

": 47777 Mar 13 2018, 10:10 PM
Μάρκος Βαμβακάρης

": 47777 Mar 14 2018, 10:39 PM

": 47777 Mar 15 2018, 10:04 PM
Γιάννη Παπαϊωάννου

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": 47777 Jun 22 2018, 09:34 PM
Σωτηρία Μπέλλου Sotiria Bellou


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