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> rembetika rebetika, performers
47777
פורסם ב: Jan 8 2014, 06:03 PM
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hi
markos vamvakaris
Μάρκος Βαμβακάρης
Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 1.
https://www.youtube.com/watch?v=gM11FUvZJa0

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 2.
https://www.youtube.com/watch?v=r4mtSvbWO4Y

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 3.
https://www.youtube.com/watch?v=_jplJcTUUIM

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 4.
https://www.youtube.com/watch?v=38CU_anfWSE

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 5.
https://www.youtube.com/watch?v=-MnuSLi6EdM

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 6.
https://www.youtube.com/watch?v=Z7ZG3JLbFXA

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 7.
https://www.youtube.com/watch?v=QvA0Lfk1rfE
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47777
פורסם ב: Jan 8 2014, 06:06 PM
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כמעט מכור
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קבוצה: חברי פורום איליוס
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תאריך הצטרפות: 14-September 09



hi

tsitsanis vasilis biography
-Βιογραφία Βασίλη Τσιτσάνη
Βιογραφία Βασίλη Τσιτσάνη - μέρος 1
https://www.youtube.com/watch?v=ENBjrBMZg5M...497DF9633E9CC6B
Βιογραφία Βασίλη Τσιτσάνη - μέρος 2
https://www.youtube.com/watch?v=aL7Xi5-5_nI...497DF9633E9CC6B
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47777
פורסם ב: Jan 8 2014, 06:15 PM
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כמעט מכור
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קבוצה: חברי פורום איליוס
הודעות: 284
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תאריך הצטרפות: 14-September 09



hi
amalia baka-amalia vaka
aμαλία βάκα
was known as Kyria Amalia
http://en.wikipedia.org/wiki/Amalia_Bakas

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.

http://en.wikipedia.org/wiki/Romaniote_Jews

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

http://maviboncuk.blogspot.co.il/2004/05/amalia-baka.html



http://www.rembetiko.gr/forums/showthread.php?t=17441
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;

end
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47777
פורסם ב: Apr 2 2014, 10:46 AM
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Rosa Eskenazi Glyko Mou Kanarini

https://www.youtube.com/watch?v=nt-iCkpsYUI
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47777
פורסם ב: Apr 12 2014, 09:50 AM
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כמעט מכור
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קבוצה: חברי פורום איליוס
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תאריך הצטרפות: 14-September 09



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”

http://www.youtube.com/watch?v=M_CQYq2RC2E
ΜΑΤΙΑ ΜΟΥ ΜΕΓΑΛΑ ΕΛΒΙΡΑ ΚΑΚΗ
and
“Το πήρα πια απόφαση”. = =Νεβά μανές Ελβίρα Κάκκη
https://www.youtube.com/watch?v=N7p-MxOZj3Y
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
https://www.youtube.com/watch?v=Lr6l5BcAFco

«Πικρός θα 'ναι ο πόνος μου» του συνθέτη Βασίλη Τσιτσάνη (δίσκος Odeon G.A. 1990).
ΠΙΚΡΟΣ ΕΙΝΑΙ Ο ΠΟΝΟΣ ΜΟΥ ΕΛΒΙΡΑ ΚΑΚΗ
https://www.youtube.com/watch?v=EtWh0H6BgCU

«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
https://www.youtube.com/watch?v=SZMlrmJGhK8

Her husband died in 1940.
When war broke out, Kakki and her children moved to Thessaloniki and, worried about the Nazi’s 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 People’s 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.

more

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

25. ΕΛΒΙΡΑ ΝΤΕ ΙΝΤΑΛΓΚΟ (ELVIRA DE HIDALGO): Ελβίρα Κάκκη
http://greeksurnames.blogspot.co.il/2010/1...og-post_17.html

some records used it.
see
" 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!.

https://www.youtube.com/watch?v=zj5YkcupImE
Callas teacher Elvira De Hidalgo sings Barba Yannis Kanata

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47777
פורסם ב: May 20 2014, 03:30 PM
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כמעט מכור
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קבוצה: חברי פורום איליוס
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תאריך הצטרפות: 14-September 09



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47777
פורסם ב: May 27 2014, 06:54 PM
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כמעט מכור
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קבוצה: חברי פורום איליוס
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תאריך הצטרפות: 14-September 09



ΜΑΡΚΟΣ ΒΑΜΒΑΚΑΡΗΣ.-ΓΙΑΝΝΗΣ ΠΑΠΑΙΩΑΝΝΟΥ

https://www.youtube.com/watch?v=hM2Cm5L8pzg

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47777
פורסם ב: Jun 4 2014, 07:36 PM
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כמעט מכור
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קבוצה: חברי פורום איליוס
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תאריך הצטרפות: 14-September 09



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 Keromftis—to 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





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47777
פורסם ב: Sep 23 2014, 07:09 PM
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כמעט מכור
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קבוצה: חברי פורום איליוס
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תאריך הצטרפות: 14-September 09



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
see https://www.youtube.com/watch?v=MzlXw1ZOl-c

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.

http://rebetiko-walrus.blog.co.uk/2012/03/...egory-13342055/

https://el-gr.facebook.com/pages/Jack-Halik...133891123347459



TO MINORE TOU TEKE
http://youtu.be/eeWOiib2g7Q


rast to teke
http://youtu.be/JY7iHPE0xRc

MOURMOURIKO ZEIMBEKIKO
http://youtu.be/BuzRHwzXLkE


mystirio the mystery
http://youtu.be/qkP2I44CO-w
see also
https://www.youtube.com/watch?v=1Yey0bpzYQE
Rast Zeybek (Tanburi Cemil Bey) - D. Trkan & S. Sinopoulos Rast Zeybek (Tanburi Cemil


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47777
פורסם ב: Mar 13 2018, 10:10 PM
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