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Birelio (June) 29, 2008 

ReginosPalp: 2 dalis (ReginosPalepe: Part 2)

Kur buvau dingus? (Where have I been?)

Namo praradimo pavojai i ariau (Losing your House)

Kas yra patriotas? (What is a patriot?)

Kaip veikia prezidento rinkim mechanizmas? (Electing a President)

 

 

Liepos (July) 24, 2006

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Birelio (June) 21, 2006

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Lina Macaitien

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alia arbata ir svorio metimas (Green Tea and Weight Loss)

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Smurtas namuose (Domestic Violence)

Paauglio klausimas (Teenager's Question)

Kaip atsiimti pinigus  (How to get Money Back)

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Diazas Lietuvoje (Jazz in Lithuania)

Geri dalykai Lietuvoje (Positive Things in Lithuania)

ventj ki ir kald puota

Gruodis (Dec) 7, 2005

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Viskas apie kalakut (All About Turkey)

Lapkritis (Nov) 10, 2005 

K reikia Padkos vent  (What Thanksgiving Means)

Pasirengimas Padkos Dienos pietums (Pot Luck Thanksgiving)

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Skaitytoj laikai Tinai (Reader's Letters to Tina)

alios kortels loterija (Green Card Lottery)

Klausimas apie alios Kortels loterij (Question about Green Card Lottery)

Kaip jauiasi gr gyventi Lietuv? (2) (Back Home in Lithuania)

Invalidas Lietuvoje iandien (An Invalid in Lithuania Today)

 


 

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Jazz in Lithuania

 

 ReginosPalepe.com talks with Lithuanian jazz musician Alvydas Jegelevicius.

 

Q: When did you first get interested in jazz?  What musicians and styles had the most influence on you?

 

A: When I was taking music lessons as a child I was taught to play violin.  I very often improvised on piano trying to recreate melodies I had heard.  A little later I acquired a few sheets of hand-written jazz music.  They were Sherring's Lullaby of Birdland, and the popular song Tenderly.  I still play them today.  As for the influences on me, I am not a musicologist.  I, as a musician and composer, am interested in real music that has authentic feelings.  Styles don't matter very much to me.

 

 

(Read full text in English)

 


Diazas Lietuvoje

Su Lietuvos kompozitoriumi, diazo muzikantu Alvydu Jegeleviiumi kalbasi Reginospalepe.com redaktoriai

 

Reginospalepe.com: Kada susidomjote diazu? Kokie konkrets muzikantai ar stiliai Jums turjo takos?    

Alvydas Jegeleviius: Dar vaik muzikos mokykloje, kur mokiausi groti smuiku, danai improvizuodavau pianinu ir i klausos atkurdavau girdtas melodijas. Tik ymiai vliau gavau ranka uraytas pirmas dvi jazzo temas. Tai Sherringo Lullaby of birthland ir populiari melodija Tenderly(autorius ?). Jas tebegroju ir iandien. O apie muzikant ir stili tak? Turiu prisipainti nesu muzikologas ar ukietjs melomanas. Mane, kaip muzikant ir kompozitori visada domina ir avi tikra muzika, dvelkianti tikrus, gilius jausmus, nepaisant muzikini krypi ar stili vairovs.    

Rp.: Pradjote groti diaz sovietiniais laikais. Diazas- tam tikra Amerikos muzikos forma; ar buvo sunku? Ir kelet odi apie Vilniaus jazz ?  

A.J.:  Tuometinje Taryb Sjungoje, o ir anksiau ia jazzas buvo visada mgiamas. Dar giliam pokary, tarybin ideologija kovodama su kapitalistinmis, buruazinmis atgyvenomis, buvo iplatinusi tokio turinio plakat tarybinis kalvis su pakeltu kju ruoiasi tvoti per saksofon ant priekalo. Viruj plakato uraas iandien groja jazz, ryt iduos tvyn. Rusikai Sevodnia on igrajet jazz, a zavtra rodinu prodast (surimuota). Bet, nepaisant to jazz,as gyvavo ir augo. Daugyb talenting muzikant jazze realizuodavo savo aranavimo, komponavimo sugebjimus, eksperimentuodavo, jungdami jazz ethno, folk dermes, motyvus. Didiausias trkumas buvo natos. Tais laikais jos buvo savotika kontrobanda. Muzikantai nepaprastai saugojo jas, o nusitrynus perrainjo i naujo. Vliau, atsiradus dauginimo aparatams, jau lengviau buvo galima gauti nat. Kai kas i to net bizn dar. Septintam, atuntam deimtmety pagausjo, nat, ra, plokteli, nors tais laikais sigyti populiari jazzo LP, reikjo pakloti nema sum rubli, kaip ir u blue jeansus. Kalbant apie jazz, dar reikia pabrti USA radio ir W.Cannoverio populiari laid, propagavusi paangi jazzo muzik tak. Tai, be abejons, takojo daugel jazzo muzikant atlikj, aranuotoj, kompozitori. Vilniuje rykesnis jazzo proveris vyko jau septintam deimtmety, kai talentingas muzikantas ir kompozitorius V.Ganelinas pradjo muzikuoti Vilniaus jazzo kavinje. Greitai kr jazzo trio su V. Tchekasinu ir V.Tarasovu (GT), kuris plaiai nuskambjo tuometinje Taryb Sjungoje, o greitai ir atstovavo tarybin jazz (kaip Taryb Sjungos ansamblis) usienio festivaliuose. Taigi Vilnius ir Vilniaus jazzas buvo ir yra stiprus jazzo forpostas Ryt Europoje. Daugyb talenting muzikant koncertuodami po pasaul, skelbia Lietuvos ir Vilniaus vard. Bet tai bt atskiras straipsnis studija.  

Rp.: Trumpai apie Js, kaip muzikanto keli ? Kas paskatino pasirinkti instrumentu piano? Ar grojate kitokiais?  

A.J.: Minjau vaikystje grojau smuiku. Vliau, tarnaudamas rus armijoje (1968 1970), kaip tik per ekoslovakijos vykius sdjau karinj bazj ir mokiausi skambinti gitara. Tuo metu plaiai skambjoBeatles dainos, pacifistiniai J.Lenono tekstai, lozungai. Ne tik hipius, bet ir daugel muzikant avjo ir trauk ios idjos. Pasaulis budo, nors skausmingai ir ltai, bet ita muzika, kaip ir jazzas tada ir buvo ta kontrabandin neuiaupiama, ta pagrindin jga adinanti (budinanti) ir laisvinanti pasaul. Atsipraau, kad negaliu kalbt tik apie save, nes labai svarbus ir laikmeio fonas, kuriame mes augome... Taigi, a ?.. Po tarnybos rus armijoje, viskas klostsi nuosekliai, pagal tuometin laikmet. Atuntas deimtmetis rock grup Aisiai.Joje buvau solo gitaristas, vadovas. Vliau buvau pakviestas profesionali scen, Vilniaus valstybin filharmonij, kurioje prajau beveik visas muzikines grandis nuo instrumentalisto, vokalisto, aranuotojo iki ansamblio vadovo, kompozitoriaus. Todl pianinas buvo vis laik privalomas, vis laik alia. Dar grojau gitaromis, bgnais, iilgine fleita. Bedirbdamas filharmonijoje (tai pagr. t laik Lietuvos koncertin organizacija, tuo metu vienijusi vairiausio anro atlikjus, ansamblius, orkestrus) mokiausi muzikos college (tuometin J.Tallat-Kelpos auktesnioji muz. M-la, kaip technikumas, o dabar koncervatorija. ) Ten besimokydami, laisvu laiku danai jazzuodavom. I ia ijo daug garsi muzikant, kompozitori. Vliau pradjau rayti muzik Lietuvos LRT synfojazzo orkestrui, kuris tapo pagrindinis mano krini (dain, pjesi) propaguotojas iki dabar. Dar vliau baigiau koncervatorij (dabar Muzikos Akademija), buvau priimtas Lietuvos Kompozitori Sjung. Jazz groti pradjau garsioje Vilniaus jazzo kavinje Neringa 1979 m. Taigi, su pertraukomis iki dabar vis tebegroju. Dar turiu pabrti svarb dalyk. Nesu akademinis pianistas atlikjas. Mano pianizmas atsirado i poreikio kurti, aranuoti, perfrazuoti ir kitaip interpretuoti vairius tradicinio jazzo, bei kit autori originalius krinius. Taigi esu tiesiog emocingas atlikjas interpretatorius, inprovizatorius, iekantis kitoki spalv muzikoje, o kiekvienam kurianiam muzikantui pianino klaviatra tai neisenkantis odynas, archyvas, jei norit ir vairiausi spalv palet...    

Rp.: Ar turite galimyb pasirodyti kitose alyse arba groti su usienio muzikantais? Kaip tai veikia Js- muzikanto- augim?  

A.J.: Dabar, laisvoj Lietuvoj atsivr ymiai platesns galimybs ir muzikantams, taiau vis didesn tak ir svarb gauna vakar pasaulio darbo stilius menagementas, produceavimas, rinkos iekojimas ir studijavimas ir visa kita... Taigi, turiu prisipainti, kaip kompozitorius ir pianistas dar neturiu savo prodiuserio, nors, kaip muzikos tetrui, kinui autorius, galiau pakankamai udirbti ir sau ir prodiuseriui, nes esu kompozitorius melodistas, o tai labai svarbu... Gal kakas perskaits Js straipsn interviu, susidoms manim?.. Tada OK, einam kartu...  

Rp.: Daugiausiai grojate lietuviams ar turistams? Ar lietuviai mgsta diaz?  

A.J.: Taip, taip, taip... Bet vis pirma visada groju monms, o tik po to -amerikieiams, pranczams, britams, danams... Skirtumas tiktai toks kai groji jazzo klube, ar koncert salj tai viena, o jei restorane, jazzo kavinj tai jau kita. Tad, tu praktikai dirbi paslaug sferoj ir turi sukurti tinkam nuotaik monms. Lietuvoj jazzo muzika tikrai populiari, bet visada gyvas muzikavimas (live) sutraukia ymiai daugiau mgj, fan. Todl tokie populiars jazzo festivaliai Lietuvos miestuose Vilniuj, Kaune, Klaipdoj, kur daugiausia profesionali jazzo muzikant. Pripainkit trij milijon tautai, trys kasmetiniai jazzo festivaliai ir daugyb koncert su geriausiomis pasaulio jazzo vaigdmis tai spdinga, tai tikrai nemaai k pasako. inoma, dar yra mada, snobizmas, nepasvertas, kartligikas azartas, kai fetiizuojama tai, kas sunkiai suvokiama... Tikri jazzo mgjai intelektuals mons. Jie supranta ir jauia ne tik muzik, bet ir modern -dail, literatr, o jazzas visada kakas daugiau nei paprasiausia fraz -pa, paba, pa... To apibdinti nemanoma, reikia pajausti...

 


(Lithuanian Text)

 

Jazz in Lithuania

 

 ReginosPalepe.com talks with Lithuanian jazz musician Alvydas Jegelevicius.

 

Q: When did you first get interested in jazz?  What musicians and styles had the most influence on you?

 

A: When I was taking music lessons as a child I was taught to play violin.  I very often improvised on piano trying to recreate melodies I had heard.  A little later I acquired a few sheets of hand-written jazz music.  They were Sherring's Lullaby of Birdland, and the popular song Tenderly.  I still play them today.  As for the influences on me, I am not a musicologist.  I, as a musician and composer, am interested in real music that has authentic feelings.  Styles don't matter very much to me.

 

 

Q: You started to play jazz in Soviet times.  Jazz is a very American music.  Was that difficult for you?

 

A: At this time in the Soviet Union, and even earlier, jazz had its fans.  After WWII Soviet ideology fought against capitalistic bourgeois "trash" and published posters of a Soviet blacksmith preparing to crush a saxophone on his anvil.  At the top of this poster it said "Today he plays jazz, tomorrow he will sell out his country."  In spite of this, jazz survived and even grew in popularity.  Many talented jazz musicians created compositions using elements of traditional and folk music.  The biggest problem was the difficulty of getting sheet music.  They were like some kind of contraband.  Musicians carefully saved them, and when they were getting worn, they copied them out by hand.  Later, when copying machines came along, it was easier.  Some people even made a business out of it.  In the seventies and eighties, there was more sheet music as well as records and tapes, but they were very expensive just like blue jeans.

 

US radio had a lot of influence on musicians and composers at this time.  In Vilnius, jazz exploded in the seventies when talented musician and composer V. Ganelin started to play in Vilnius Jazz Cafe.  He formed a trio with V. Tchekasin and V. Tarasov.  They were noticed by the whole Soviet Union.  They soon started representing the Soviet Union at foreign jazz festivals. Vilnius was a pioneer of jazz in eastern Europe.  

 

Q: Tell us briefly about your career as a musician.  Why did you choose piano?  Do you play any other instruments?

 

A: I played violin as a child.  Later while serving in the Russian army, during the events in Czechoslovakia I sat in the military base and learned to play guitar.  At this time Beatles songs were popular along with other pacifist songs.  Not only hippies, but musicians were attracted by  these ideas.  The world was waking up painfully and slowly and this music, like jazz, was forbidden, but it still became a powerful force in changing the world

 

In the eighties I played solo guitar and directed the rock group Aisciai.  Later I was invited to perform on the professional stage.  I went through all different positions from instrumentalist and vocalist to director of the ensemble and composer.  All this time the piano was necessary and always nearby.  I also played different kinds of guitars, as well as drums and flute.  I studied music in college.  Later I started to write music for the Lithuanian sympho-jazz orchestra.  They still play my music today.

 

I started to play jazz at the then-famous cafe Neringa in Vilnius in 1979.  With a few breaks, I have played professionally ever since.

 

Q: Do you have the opportunity to play in other countries or with musicians from abroad?  How does this influence your growth as a musician?

 

A: In independent Lithuania there is much more opportunity for musicians, but at the same time there is more influence from the western business-oriented approach to music.  I still don't have a producer or manager, but I don't have any doubts that I would make enough for myself and them.  Maybe somebody will read this interview and be interested.  

 

Q: Do you mostly play for Lithuanians or tourists?  Do Lithuanians like jazz?

 

A: First I play for people, and only after that for Americans, French or Danes.  It is one thing to play in a jazz club or concert hall, and another to play in a restaurant or jazz cafe where you need to create a specific atmosphere for people.

 

In Lithuania jazz music is really popular, but when you perform live you always get more fans.  Jazz festivals are very popular here.  Just think, we have a country of three million with three major jazz festivals each year, where we hear the best artists from around the world.  Real jazz fans are intellectual people.  They understand and feel, not only music but art and literature.  Jazz is something more than just the simple melody.  I cannot define it.  You need to feel it.

 

 

 

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