At dawn on March 21, 1970, Manolis Chiotis passed away. That is, the same day as his birthday, since he was born on March 21, 1921 in Thessaloniki to Nafplion parents.
An interview of Chiotis in 1968
In November 2008, the 4th issue of the "Oasis" magazine included a long tribute by the folk song researcher Vangelis Arnautakis to Manolis Chiotis, as well as a CD entitled "Manolis Chiotis - His last songs / His last interview", with twelve from his last recordings, made between 1968-1970 and two songs recorded shortly after his death.
Along with the songs on the CD there is also a 22-minute sound document with excerpts from one of the last interviews of the popular composer with Tassos Koutsothanasis, which took place in July 1968, shortly after his return from America, where he stayed for four years.
There Manolis Chiotis refers to his beginnings as a guitarist in the band of Kostas Bezos, in the famous "Minore tou teke" by Ioannis Halikias (or Halkia or Jack Grigoriou), in his qualities as a composer and soloist of the bouzouki and in his great successes, in the role of Markos Vamvakaris and Vassilis Tsitsanis in folk song, to Mikis Theodorakis, but also to Stelios Kazantzidis.
This document was one of several treasures that Oasis magazine offered in its 19th issue to their music friends. More followed with the signature of Koutsothanasis and more. The latter was closely associated with great artists of our song, such as Stelios Kazantzidis, Akis Panou, Chiotis, etc. while the presence in music journalism, especially in the 60s and 70s, supported the song, even contributing to the prominence of important artists.
The site ogdoo.gr published this rare document, which you can enjoy below.
Chiotis and the bouzouki
As we read on rebetiko.gr:
In 1936 he comes to Athens. He made his first appearance for a few days at "Pagonia" (at the corner of Sokratos and Agios Konstantinos) next to Stratos Payoumtzis.
After appearances that lasted a few days (with Giorgos Derebeis or Sofer, etc.) he appeared as a professional at "Dasos", at the end of 1936, next to Stratos, and with an orchestra consisting of bouzouki, santouri, guitar and violin.
At the same time, Stratos took him to "Columbia" where, still a child (16 years old), he signed a contract as "leading treble organ". For many years he was Columbia's main performer.
Shortly, in 1937-38, he also recorded his first song "Giati den les o "Nai" (To hryma dono to logariazo)" with the inimitable Stratos Payoumtzis. Top classic rebetiko, one of the best. Manolis' great success, which became an unrepeatable success when the record was made.
As the years pass, the singing successes of Manolis Chiotis keep multiplying. Until his big lucky moment arrives and he composes the greatest success of his successes. "Pasatembo", on lyrics by the unforgettable Christos Giannakopoulos. With this song he established himself in Greece as a great composer of folk music.
- Thus, even when Chiotis learns the perfect guitar and this harmonious instrument ceases to have any secrets for him, he finds interest in another instrument that he was playing at that time:In the immortal bouzouki with its sweet voice and unique sighs .
But even with the bouzouki our great composer is not completely satisfied. The instrument is good, but it has very limited voices that do not allow it to create harmonious chords for the songs that Chiotis composes in his development, which may be folk, rebetika, but they are very refined and his melodies are original!
So, wringing his head, he brings down an inspiration. And he immediately runs to the best Piraeus bouzouki maker to tell him:
- Why do bouzoukis only have three double master strings?
- This is how it has been since the old days, my Manolaki!!
- But I came here to order you to make me a bouzouki with four double strings, but it should be the same as the other three-string bouzoukis that my other colleagues play.
- Are you crazy my Manoli? the organist amazes him. Does it become an eight-string bouzouki? I have never heard such a thing before!
- It will be heard now, the composer insists. So whether it's possible or not, we'll make it and it will be a thousand times better than the three-string bouzoukis you've been making so far.
So, wanting the Vlach and not wanting the painter, the instrument maker sets to work and carves for the master bouzouki Chiotis a bouzouki exactly as he wants it. And when Chiotis takes it ready in his hands he asks him:
- How much does the month have today master?
- March twenty one, my child. But why do you ask?
- To remember this date...
- So?
- Yes, today, March 21, the first four-string bouzouki was born! On March 21 every year I will celebrate his birthday!!
And true:The day was significant. Because on March 21 every year Spring begins!
(Note:Of course, trichord lovers and tetrachord charmers have a completely opposite opinion. But that is another matter. Also, the four-chord and five-chord bouzoukis and bouzouki instruments (the so-called erivans) definitely existed before M. Chiotis. Chiotis simply he established, he did not discover it. Probably the Chiotis-instrument-maker verse myth mentioned above and recorded by N. Routsos is fictional).
The unforgettable and unrepeatable composer of our folk music, falls head over heels for the new bouzouki he has invented and tirelessly tire himself not only to become a master performer on it as well, but also to discover the rules of his playing to facilitate his colleagues of what they would like to know. And he quickly succeeds in this second artistic feat as well. The four-string (actually eight-string) bouzouki begins to be requested and played by bouzouki players, who for many years struggled in vain with the (difficult) three-string bouzoukis that, unfortunately (according to N. Routsos), are still in use on stages and in companies.
And M. Chiotis, with his invention, became the reason for the rebette musicians to be divided into two conflicting categories:The "three-string" and the "four-string". And each faction supports its preference with many arguments! There are more "three-chord" people who accuse the "four-chord" of not being a genuine bouzouki.
However, the real reason they blame it - it is said by several people - is because the four-string bouzouki, in order to be played somewhat in advance, requires great musical talent and "Chiot" skill which is very difficult for anyone to acquire.
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