Written by Sotiris Bekas
The second part of Petroloukas Chalkias‘s collaboration with Vasilis Kostas is an album that deserves praise for its creators because it indicates what should happen to preserve and experiment with a musical tradition in new directions.
For Petroloukas Chalkias, the most significant virtuoso of the Epirotic clarinet who is still alive, many analyses have been written, and he has been praised in various ways, rightfully so. However, we would like to emphasize a perhaps less obvious perspective on the significance of his artistic contribution to this particular album, both as a musician himself and as a collaborator with a much younger musician.
Petroloukas Chalkias, just before entering the 10th decade of his life, remains a vibrant and active musician, who has a keen interest in listening to musical approaches that can capture his interest. Moreover, he is not hesitant to experiment and venture into the recording field. While offering his vast experience, he also eagerly awaits the response and ideas of his younger collaborator. In other words, he maintains enthusiasm and passion for music at very high levels, and anyone who has the opportunity to hear him at a panegyric (folk festival) in Epirus during the summer will experience his authentic musical essence. His sound remains the same as always, his phrases are classic, and he still seems to enjoy it.
On the other hand, attempting a musical collaboration with such a musical “colossus” is not the simplest thing in the world. Because when you ask for it, you must be aware of the situation and the level of expertise required for such an endeavor. And when and if the collaboration begins, you must be prepared. Not just believing or thinking that you are ready, but actually being ready. This means being humble enough to listen to your highly experienced colleague and having done a lot of preparation so that the result emerges as a well-crafted dialogue, two musicians who know what they have to say, how to say it, and are willing to propose some innovations, with care, both in terms of the musical tradition and the audience.
Vasilis Kostas achieved the above already once, creating a sensation with “The Soul of Epirus” in 2019. Still, the repetition, not as a mannerism but as a continuation, adds extra value. What ultimately remains is a recording that has already secured its place in the space and time of this particular music, and we hope that everything goes well, so it may become a trilogy (at least).
In “The Soul of Epirus vol. II,” Petroloukas entrusts some well-known melodies from his repertoire, such as “Frasia,” “Kleftes Veltsistini,” “Ilios kai palaia Itia,” but the point that may stand out for its technical and interpretive uniqueness is the favorite but not frequently sung recently, “Kato stin Ayia Marina.” We also recommend paying attention to “Agiothodoritiko Kagkeli,” “Driminitsa,” and the composition by Vasilis Kostas, “I Foni tou Galaziou.” Finally, it’s worth noting the participation of the great Kostas Tzimas in the singing of the songs. Tzimas is one of the last remaining singers and musicians of the generation that lived and carried these songs in the depths of their souls, through mud and fire, for decades, until they achieved their current well-deserved recognition.
The musicians who played on the album:
Petroloukas Chalkias (clarinet), Vasilis Kostas (lute), Kostas Tzimas (voice), Thanasis Vollas (lute), Petros Papageorgiou (percussion), Vangelis Koumtzis (violin).
The recording took place at Sierra Studio, with sound engineers Giorgos Karyotis and Alexandros Chrisidis. The mixing was done by Giannis Baxevanis, and mastering by Christos Zorbas.
Check more here
https://thesoulofepirus.bandcamp.com/album/the-soul-of-epirus-vol-ii
