Dimitri Vasilakis Jack Walrath.mp4

Ο Δημήτρης Βασιλάκης στο Culturenow.gr

Cleoπάρτα

Όταν είμαι σπίτι κοντά στην γυναίκα και τον γιο μου καταλαβαίνω λίγα αλλά όταν είμαι μακριά ακόμη λιγότερα για το μυστήριο της γυναικείας φύσης...

Ιστορικό-γεωγραφικά είμαι σε περιοδεία μεταξύ Σικάγου-Νέας Υόρκης-Abu Dhabi-Ζυρίχης, αλλά η σκηνή εκτυλίσσεται στη Νέα Υόρκη στο Jazz club Cleopatra’ s Needle...

Host η Γιαπωνέζα μπαργούμαν Yoshiko που τραγουδάει τζαζ τον ελεύθερο χρόνο της και επιμένει να μείνω να την ακούσω αργά Σάββατο βράδυ, πράγμα που κάνω γιατί συμπαθώ τις άσχημες και χοντρές Γιαπωνέζες είναι μειοψηφία, όντως καλή φωνή με ρομαντισμό και μυστήριο...

Μόλις έχω ηχογραφήσει το νέο μου άλμπουμ Across The Universe και εδικά χαρούμενος για το Four Women της Nina Simone, όπου έχω κάνει βαθιές τομές με ρηξικέλευθους πειραγμένους στίχους που δείχνουν πόσο συμπάσχω και καταλαβαίνω την γυναίκα κλπ...

Χαμένος στις σκέψεις μου με την προσοχή μου on stage ακούω την Yoshiko να μου λέει:

Hey Dimitri there are 3 beautiful women behind you that want to meet you...

Four Women...Three Women κοντά έπεσα...

Μια καυτή κοκκινομάλλα, μια dark haired gothic καλλονή και...ένας άντρας?! η κάτι τέτοιο...ντυμένος γυναίκα με super μίνι, φτιαγμένο μαλλί, τέλειο make up, που συστήνεται με βαθιά φωνή ως Ρεβέκκα...τα ‘χω λίγο χάσει αλλά προσπαθώ να το παίξω άνετος

Μιλάμε για τα πάντα jazz, life, art...

Συνειδητοποιώ ότι μιλώ για όλα με την κοκκινομάλλα, ο Ρεβέκκα (ευτυχώς) και η gothic (δυστυχώς) τίποτα ενώ με κερνάνε συνέχεια ποτά και με την δικαιολογία του καπνίσματος η red και ο Rebecka βγαίνουν κάνα δυο φορές έξω και μένω μόνος με την μουγγή θεά που κάνει abstract modern art πόσο abstract να είναι σκέφτομαι...

Στη σκηνή γίνεται παιχνίδι και όπου να ‘νοι θα ανέβω να jamάρω καθώς έχω τα connai από τον Theo τον Τζαμαϊκανό Άφρο Αμερικανό Έλληνα πιανίστα μου.

Να σου μπαίνουν μέσα η red hot με τον Ρεβέκκα από το 2ο τσιγάρο break, μόλις που έχω αρχίσει να μιλάω για την σχέση τζαζ με modern art και αρχίζουν να φιλιούνται με πάθος...τα χάνω πάλι...μου λέει η red συγνώμη δεν πιστεύω να σε πειράζει δεν μπορούμε να κρατηθούμε...από που να κρατηθώ εγώ σκέφτομαι και τότε με ανεβάζουν στην σκηνή να πω το Bye Bye Blackbird...

Το jam είναι super η ώρα είναι 3 το πρωί την άλλη μέρα έχω ταξίδι και οι 3...γυναίκες με αποχαιρετούν bye bye ενώ εγώ έχω τζαμάρει στην σκηνή και όλη η προηγούμενη φάση σκάει σαν φούσκα μπρος στα μάτια μου...τι έγινε ρε παιδιά εδώ αναρωτιέμαι? και ο Αμερικάνο-Πολωνός τρομπετίστας που κάναμε κόντρες στο τελευταίο κομμάτι είπε: παίκτη όλο το μαγαζί είδε την φάση...τώρα που το λέει θυμάμαι κάτι εκφράσεις ελαφρού μειδιάματος μεταξύ των μουσικών που τα έπαιρνα ως αυτό το συνωμοτικό στιλάκι των cool cats που παίζουν γαμάτες  φράσεις...αυτοί οι δύο είναι ζευγάρι, έρχονται εδώ κάθε Σάββατο βράδυ και φτιάχνονται έτσι, εσύ φίλε έχασες την άλλη με την ελαφριά κατάθλιψη...

Ρε την abstract σκέφτομαι ήθελε λίγο mainstream treatment αλλά εγώ με τις μεταμοντέρνες μου εξάρσεις τα ‘κανα σαλάτα.

Άσε που σε λίγες ώρες θα πέταγα για Abu Dhabi σε μια καυτή κόλαση για τις μαυροφορεμένες ούτε gothic ούτε red ούτε abstract γυναίκες με έντονο βλέμμα που φτιάχνονται σε εμπορικά κέντρα...τελικός προορισμός Ελβετία όπου μια άλλη κοκκινομάλλα - που ‘φερνε σε Hanna Schygulla - κυβερνητική αξιολογητής, χορεύτρια και music performer μου εκμυστηρεύτηκε ότι μόλις χώρισε από τον μεγάλο της έρωτα την συνεργάτη της...και αν έχεις κάνει ποτέ τρίο την ρωτώ για να φανώ μέσα στα πράγματα...με κοιτά με απαξιωτικό βλέμμα και απαντά μα φυσικά για ποια με πέρασες...

Cleoπάρτα!

Dimi_Trees

Δημοσιεύτηκε στο ΒΗΜΑdonna No 108, 20/2/2011

Λυσηκρισία

Λυσηκρισία

Μόλις τελείωσα τον Καιν του Σαραμανγκού, λίγο πριν πεθάνει το ‘γραψε ο αθεόφοβος, όπου τα λέει ένα χεράκι στον θεό, αισθάνομαι ότι κάτι του ‘χει ξεφύγει, μάλλον θα το βρει εκεί που πήγε, φωτεινό κοφτερό μυαλό δεν τα μασάει...σκέπτομαι φωναχτά λύση για την κρίση να μην αγοράζουμε τίποτα για να χτυπήσουμε τις πολυεθνικές, τους μεταφορείς, τις ΔΕΚΟ, τον γείτονα και να πεθάνουμε μαζικά από ελλείψεις...αυτό θα δώσει στο σύστημα ένα γερό χτύπημα καθώς είναι αδύνατον να το διαχειριστεί...να ξυπνήσουμε όλοι καλύτερα λέω εγώ που ψηφίζουμε σαν πρόβατα, καταναλώνουμε σαν γαργαντούες, ρυπαίνουμε υλικά και πνευματικά και φορτίζουμε αρνητικά το περιβάλλον .

Η αφύπνιση, ο δρόμος προς τα μέσα και το δόσιμο προς τα έξω δεν μπορεί να οδηγηθεί από κανένα slaviour, πρέπει να τον κατανοήσει και βιώσει ο καθένας μας μέχρι τότε respect and love each other you mother f…rs

Dimi_Trees 24-1-2011 0:10

definίσιον

man spreads the word woman spreads the world...

slaviour = σωτήρρανος
collecdiva = κομμούνα
beasdiot = κρεκτήνος
ισχυλός = powerridge
powerfool = ισχηλίθιος
ομφελλός = jelly button
brutall = ψηλοκακός
συμβολιασμός = inkjection
πευτασκέρι = scouting star

διττά:


ανασκόρπιση
συνειδιττά
απορρόφτυση
ανοσίωση
αναληκτικά
λεοντόπαρδος
νοημαγικό
διάσχημος
οκνήρωας
τρόφχυμα
ιαμαντικά
φυληκό
άρνισχυς
γέθυρα
αναβάθμιξη
επιρβοή
ευτηχεία
κτηνοσκεπάσματα
βεβαιρώτημα
καυτόγραφο
ληστουργία
συντανισμός
ηλεκνησμός
φθωχρίωση
νικήττα (απόδοση του πανωλεθρίαμβος του Τζούμα)
motionlegs
ενερμητικό
ανάρπαστρο

a greeklish example = μαλάκass

"Across The Universe" album lyrics and line up

1. Ooh Child 6:57

(Stan Vincent)

Dimitri Vassilakis vocals/tenor sax/arrangement, Theo Hill piano, Essiet Okon Essiet bass, Sylvia Cuenca drums, Juliet Kelly vocals/backing vocals, Christos Rafalides vibraphone, George Kontrafouris hammond, Enrique “Kiki” Bu percussion

Ooh child things are gonna get easier

Ooh child things will get brighter

Ooh child things are gonna get easier

Ooh child things will get brighter

Someday we'll get it together and we'll get it undone

Someday when the world is much brighter

Someday we'll walk in the rays of a beautiful sun

Someday when the world is much lighter…

2. Deed I Do 3:29

(Walter Hirsch, Fred Rose)

Dimitri Vassilakis vocals/tenor sax/arrangement/backing vocals, Theo Hill piano, Essiet Okon Essiet bass, Sylvia Cuenca drums, Juliet Kelly vocals

Do I want you

Oh my do I

Honey deed I do

Do I need you

Oh my do I

Honey deed I do

I'm glad that I'm the one who found you

That's why I'm always hangin' round you (hangin’ around you)

Do I love you

Oh my do I

Honey deed I do

Babe deed I do

Honey deed I do

  

3. Nature Boy 5:14

(Eden Ahbez)

Dimitri Vassilakis vocals/soprano sax/arrangement, Theo Hill piano, Essiet Okon Essiet bass, Sylvia Cuenca drums, Kostis Christodoulou keys

There was a boy a very strange enchanted boy

They say he wandered very far very far over land and sea

A little shy and sad of eye but very wise was he

And then one day a magic day he passed my way

And as we spoke of many things fools and kings

This he said to me

The greatest thing you'll ever learn

Is just to love and be loved in return

Is just to love and be loved back in return

Is just to love and be loved back in return

There was a boy…

4. Fool On The Hill 4:09

(John Lennon, Paul McCartney)

Dimitri Vassilakis vocals/saxes/arrangement, Theo Hill piano, Essiet Okon Essiet bass, Sylvia Cuenca drums, Rex Richardson trumpets, Andonis Andreou trombones, George Kontrafouris hammond, George Priniotakis theremin, Enrique “Kiki” Bu percussion

Day after day alone on a hill
The man with the foolish grin is keepin’ perfectly still
Nobody wants to know him
They can see that he's just a fool
He never gives an answer but the

Foo-ool on the hill
Sees the sun going down
And the eyes in his head
See the world spinning round yeah

Well on his way his head in a cloud
The man of a thousand voices talking perfectly loud
Nobody ever hears him
Or the sound he appears to make
He never seems to notice but the

Foo-ool on the hill
Sees the sun going down
And the eyes in his head
See the world spinning round yeah

Day after day alone on a hill
The man with the foolish grin is keepin’ perfectly still
Nobody wants to know him
They can see that he's just a fool
He never gives an answer but the

Foo-ool on the hill
Sees the sun going down
And the eyes in his head
See the world spinning round yeah

Spinning round, spinning round, spinning round

etc…
 

5. Across The Universe 5:31

(John Lennon, Paul McCartney)

Dimitri Vassilakis vocals/soprano sax/arrangement, Theo Hill piano, Essiet Okon Essiet bass, Sylvia Cuenca drums, Kamaria Ousley vocals/backing vocals, Christos Rafalides vibraphone, George Kontrafouris hammond, Kostis Christodoulou keys

Words are flowing out like endless rain into a paper cup

They slither while they pass they slip away across the universe

Pools of sorrow waves of joy are drifting through my opened mind

Possessing and caressing me…

Aah a a a a e e eh o o oh…

Nothing’ s gonna change my world

(Nothing’s gonna change it)

Nothing’ s gonna change my world

(Nothing’s gonna change it)

Nothing’ s gonna change my world

(Nothing’s gonna change it)

Nothing’ s gonna change my world

Images of broken light which dance before me like a million eyes

They call me on and on across the universe

Thoughts meander like a restless wind inside a letterbox

They tumble blindly as they make their way across the universe

Aah a a a a e e eh o o oh…

Nothing’ s gonna change my world

(Nothing’s gonna change it)

Nothing’ s gonna change my world

(Nothing’s gonna change it)

Nothing’ s gonna change my world

(Nothing’s gonna change it)

Nothing’ s gonna change my world

Sounds of laughter shades of earth are ringing through my opened ears Inciting and inviting me…

Limitless undying love which shines around me like a million suns

And calls me on and on across the universe

Aah a a a a e e eh o o oh…

Nothing’ s gonna change my world

(Nothing’s gonna change it)

Something’ s gonna change my world

(Nothing’s gonna change it)

Nothing’ s gonna change my world

(Nothing’s gonna change it)

Something’ s got to change my world

(Nothing’s gonna change it)

Nothing’ s gonna change my world

(Nothing’s gonna change it - nothing’s gonna change it)

Something’ s got to change my world

(Nothing’s gonna change it)

Nothing’ s gonna change my world

(Nothing’s gonna change it - nothing’s gonna change it)

Something’ s got to change my world

(Nothing’s gonna change it)

Nothing’ s gonna change my world

Nothing’s gonna change

Nothing’s gonna (a a a ah) change my world

  

6. Time After Time 3:36

(Jules Styne, Sammy Cahn)

Dimitri Vassilakis vocals/soprano sax, Theo Hill piano, Essiet Okon Essiet bass, Sylvia Cuenca drums

Time after time I tell myself that I’m

So lucky to be lovin’ you

So lucky to be the one you run to see

In the evening when the day is through

I only know what I know

The passin’ years may show

You’ve kept my love so young so new

And time after time I tell myself that I’m

So lucky to be lovin’ you

(So lucky to be lovin’ you…aah)

7. Bye Bye Blackbird 4:46

(Ray Henderson, Mort Dixon)

Dimitri Vassilakis vocals/saxes/arrangement, Theo Hill piano, Essiet Okon Essiet bass, Sylvia Cuenca drums, Rex Richardson trumpets, Andonis Andreou trombones

Pack up all my cares and woes here I go swinging low

Bye bye blackbird

Where somebody waits for me sugar's sweet so is she

Bye bye blackbird

No one here can love or understand me

Only hard luck stories they all hand me

Make my bed and light the light

I'll arrive late tonight

Blackbird bye bye

(Blackbird…blackbird…tah rah hey hey

Blackbird bye bye…) 

8. God Bless The Child 6:32

(Arthur Herzog, Billy Holiday)

Dimitri Vassilakis vocals/tenor sax/arrangement, Theo Hill piano, Essiet Okon Essiet bass, Sylvia Cuenca drums, Kamaria Ousley vocals, George Kontrafouris hammond

(Shoobap doobap etc…)

Them that's got shall get

Them that's not shall lose

So the Bible said and it still is news

Your mama may have, and your papa may have

But God bless the child that’s got his own

That’s got his own…

Well the strong gets more

While the weak ones fade

Empty pockets don't never ever make the grade

Your mama may have (oh you mama may have)

Your papa may have (and your papa may have) but

God bless the child that’s got his own

That’s got his own…

Well money, you got lots of friends

Hanging around your door

Well when their comin’ you ain’t got no ends

They don't come around no more

Rich relations give

Crusts of bread and such

You can help yourself

But don’t take too much

(Ooh) mama may have (ooh)

And your papa may have (ooh) but

God bless the child that’s got it’s own

That’s got it’s own…

Ooh money, you've got lots of friends

Crowding around your door

When money’s gone and spending ends

No one comes round no more

Rich relations give

Crusts of bread and such

You can help yourself

But don’t take too much

(Ooh) your mama may have (oh your mama may have)

And your papa may have (and your papa may have) but

God bless the child that’s got it’s own

That’s got it’s own…

(Shoobap doobap etc…)

  

9. Light My Fire 4:54

(Robbie Krieger, John Densmore, Jim Morrison, Ray Manzarek)

Dimitri Vassilakis vocals/soprano sax/arrangement, Theo Hill piano, Essiet Okon Essiet bass, Sylvia Cuenca drums, Juliet Kelly vocals, George Kontrafouris hammond, Kostis Christodoulou keys

(Aah pah poum tira houm paah pah poum tirah poum etc…)

You know that it would be untrue

You know that I would be a liar

If I was to say to you

Girl we couldn't get much higher

Come on baby light my fire

Come on baby light my fire

Time to set the night on fire

The time to hesitate is through

No time to wonder where we are

Girl now we could only lose

And our love becomes a funeral pyre

Come on baby light my fire

Come on baby light my fire

Time to set the night on fire

(Aah pah poum tira houm paah pah poum tirah poum etc…)

10. Four Women 7:00

(Nina Simone)

Dimitri Vassilakis vocals/saxes/arrangement, Theo Hill piano, Essiet Okon Essiet bass, Sylvia Cuenca drums, Kamaria Ousley vocals/backing vocals, George Kontrafouris hammond, Rex Richardson trumpets, Andonis Andreou trombones, Enrique “Kiki” Bu percussion

My skin is black my arms are long

My hair is woolly my back is strong

Strong enough to take the pain…

Inflicted again and again and again…

What do they call me…

My name is... (piano solo)

My skin is yellow my hair is long

Between two worlds I do belong

Strong enough to take the pain…

Inflicted again and again and again…

What do they call me…

My name is... (bass solo)

My skin is tanned my hair is fine

My arms invite you my mouth like wine

Strong enough to take the pain…

Inflicted again and again and again…

What do they call me…

My name is... (tenor sax solo)

My skin is brown my manner is tough

I’ll kill the first brother I see

My life has been rough

Strong enough to take the pain…

Inflicted again and again and again…

What do they call me…

My name is... (band solo)

(Four Women lyrics edited by Dimitri Vassilakis

A different solo - every time the song is played live - evokes each wo-man’s story, depending on the soloist’s spirit and mood…)

Dimi_Trees

October 2010

labyrinth saved as

Questions by Jim Betts Professor of Music at Monmouth College Illinois, regarding a project/research on my 2nd Candid album Daedalus Project-Labyrinth  
(Dimitri Vassilakis answers to Jim Betts questions)

What inspired you to select the story of the Cretan labyrinth as a concept for an album? Was there anything in particular that triggered the idea (a rereading of the story, a trip to Knossos, or some other event)?

The inspiration came from different sources. The myth has a very strong concept. Daedalus was a famous architect so the ideas of form, construction, mathematics, logic and creation where the fundamental force.

Icarus flight to freedom portrays more the individual artist in his pursue for personal and artistic freedom.

Ariadne and the Minotaur are very strong archetypal symbols and were expressed by the ritualistic and strong rhythmic element that both jazz and Balkan musics have.

Some relevant readings and influences have been James Joyce’s “Portrait Of An Artist” (Steven Daedalus character) and Ulysses.

 In those books Joyce tackles language to the edge.

Another hidden influence was Franz Kafka’s “The Burrow”.

Here we dig deep into the human thought process and existence.

Labyrinth becomes an idea or a way into the mind and perception. I tried to portray that by mixing the obvious with underlying hidden elements that need a lot of attention to come out but are manifested best by unconscious perception.

Other examples of literary influences are Jack Kerouac’s instant/spontaneous prose and Samuel Becket’s unbelievable stripping of language.

Do you feel your heritage, education, and cultural background gave you more understanding of the myth and encouraged your inspiration?

It is almost like it runs in the DNA, as once born in Greece one feels those myths are part of the collective human history.

Did the subjects of the titles influence your music, or were the titles selected to fit the music you had already written?

The titles are relevant to the music, some were composed before and they triggered the myth idea, most were composed later reflecting on the names and symbols.

Did you have any problems getting a culturally diverse group of musicians to understand your vision, or were you more interested in the perspectives they brought to the performance?

The idea behind this was to create a Daedalus Project Band to construct this Labyrinth album.

It was vital to be diverse, as I had to make a strong point of my Greek/Mediterranean/Balkan heritage that can collaborate with different jazz styles and cultures.

You are right on the other point yes I was very much interested in their perspectives; their different approaches sounds and influences.

I knew all of them and had played before with all but in different settings.

I chose a New York rhythm section with a heavy swinging drummer like Ralph Peterson and a more European style bass player with smoother sound and great melodic soloing as Marc Johnson.

Dave Liebman brought the high energy Coltrane approach with an extremely developed chromatic language

Greek pianists George Kontrafouris and Emmanuel Saridakis contrasted each other; the first being very much into the modern jazz idiom; while the second being more adventurous in the areas of atonality and experimenting with odd times, rhythms and accents.

Most suitable is the work of Theodosii Spassov who is primarily a traditional player, but has infused his style with jazz elements and was perfect for this project.

Andy Sheppard a good friend and great stylist on the soprano saxophone brought a European more open sound to the project and finally Jamey Haddad is the perfect example of a rare musician who is a master in both idioms, jazz and ethnic musics.

Since this album, have you returned to Greek mythological sources for new compositions? (For example, I noticed the 2009 “Apollo and the Muses” tour on your performance list.)

On the Apollo & The Muses tour with subtitle “Steam Of Life” I composed music loosely connected with Greek influences, more like chamber music for saxophone and piano with jazz elements.

The idea is to accompany the Duncan movements; that of course are very Greek influenced from the postures of the ancient Greek statues; with something that has flow, form and rhythmic interest.

The dancers were very traditionally Duncan and although jazz is not the 1^st choice for those choreographies, the collaboration proved a very fruitful one and music that came out of this could be potentially a new album.

The Greek elements here are clarity, flow, high energy at points, also very simple-like and serene at others, trying to focus on the Apollo-god and how he can be light and harmony in music.

If you were speaking to a group of teachers of Greek history and mythology (some of whom know little about music), what would be the most important things you would want them to know about yourself and your art?

First of all to realize that jazz is a universal language.

I can go anywhere in the planet and play with other jazz musicians, not speaking a word to each other and make a jazz standard heard in a new and fresh way, as each one will contribute in his solos and accompaniment with his style, groove, feel, time, ideas and sound.

There is very strong symbolism in the ancient myths and history that can also be the source of inspiration of such an expressive and “democratic” art form as jazz.

Going back to ancient times the scientific foundation for music was laid down by Pythagoras.

The relationship between the notes and their intervals is the basic vocabulary of music and the ancient Greek modes are used extensively in jazz.

The terms swing and blues are very strong in the jazz tradition and almost evident in anything a jazz musician would play even if one infuses ethnic elements.

The same can be said about Greek traditional music that has beauty and power of expression and goes back a long way bringing ancient wisdom and knowledge.

The odd times and rhythms and how they are used for dance and the modes and scales and how they produce tension and release are similar to the terms swing=rhythm and blues=scale/mode. The secret is on the “feel” and that only a master musician regardless of the idiom can produce.

I have also studied byzantine music that you can compare with spirituals, whereas a part of a more modern branch of Greek music: rebetika is compared with the early blues.

Being a Greek musician today doesn’t exclude me from the American or the west European jazz community and on the other hand Greek elements such as rhythms, scales, modes, sounds and articulations can be integrated into modern jazz without making it predictably “ethnic”.

They should appreciate jazz even if it does sound “Greek” some times as it’s an art form about each individual player’s life story.

To develop one’s personal sound is the utmost goal in jazz and makes this art form all the more honest and true.

Finally I see myself as an artist in a holistic way, trying to elevate both spirit and body with regular training, running, biking, focusing on meditation and balance.