Part of the content is temporarily available only in Greek
The four-page musical score in question contains the songs “Ochi mi mou les moro mou” (Don’t tell me no baby) with music by Aristos Triantafyllidis and lyrics by Aimilios Savvidis and “O macharagias” (The Maharaja) with music by Stavros Tzouanakos. The lyrics belong to Nikos Gkoumas, whose name is not mentioned on the musical score or on the labels of the records that include the song’s recordings in the 78 rpm discography.
On the monochrome cover, which features a photograph of S. Tzouanakos, the songs titles, creators, and publisher are listed. Also, beneath the creators’ names appear the phrases «Το μεγάλο σουξέ σε δίσκους Odeon» (The great hit on Odeon records) for “Ochi mi mou les moro mou”, and «Σε δίσκους Columbia» (On Columbia records) for the song “O macharagias”.
The musical text of the song “O macharagias” is included on the third page in a musical score with a two-staff system and is accompanied by the lyrics. At the beginning of the score is the indication “bouche fermée” and at the end the name “Ant. Varthalitis” is written. On the second page is included the musical score of the song “Ochi mi mou les moro mou”. The monochrome back cover contains an advertisement from the publisher for pianos.
In Greek historical discography, the song was first recorded on January 22, 1952, in Athens by Rena Stamou, Stavros Tzouanakos, Thanasis Giannopoulos, and Nikos Voulgaris with the accompaniment of a popular orchestra (Columbia C.G. 2898-1 – D.G. 6953). Twenty-five days later, on February 16, 1952, it was recorded again by Stavros Tzouanakos with a choir and popular orchestra (Columbia C.G. 2912-1 – D.G. 6964). That same year, the song was recorded in America by Eleni Bartseri and the George Strates orchestra (Liberty L 156-A), and by Jim Apostolou with an orchestra conducted by Andreas Pongis (Liberty L 153-B).
Among the later performances of the song, which still performed today in entertainment venues, worth noting are those by Aliki, with Greek lyrics and also English lyrics by I. Lowe (“O macharagias” Athens, 1967, RCA 45 rpm record 7RCAG-30 – 47g 670), and by Melina Kana, from the 1996 film “Acropol” directed and written by Pantelis Voulgaris (see here the related scene from the film).
The tune, however, can also be found in the Armenian repertoire recorded in America. Specifically, in 1952 the Armenian-American group Gomidas Band, formed in 1949 in Philadelphia, USA, by Hank Mardigian, recorded ten songs on 78 rpm records. Among them is “Inze Ilah” which is based on the tune under discussion (Gomidas Records MRR 324-A – 105-A). The singer is Alice Arzoomanian, accompanied by band members Hank Mardigian (saxophone, mandolin), George Mgrdichian (oud), Roupen Gureghian (clarinet), Roger Mgrdichian and George Terkanian (dumbeg and vocals). (For more about the Gomidas Band, see here.)
Five years later, in 1957, another Armenian-American group, the Armenian Jazz Sextet, adapted the song and recorded it in Detroit under the title “Pretty girl” (Kapp Records H9-OB-4241 – K-181), as a Melkonian and Beducci composition. The group consisted of Armenian-born musicians Eddie Arvanigian, Aram Manougian, Arthur Melkonian, Berge Minisian, Tom Minisian, and Cory Tosoian (see here). It is worth noting that on the reverse side of the record there is another recording related to the Greek speaking repertoire, “Harem Dance” (for more see here).
America, where four of the aforementioned recordings took place, was a microcosm of the globe: a "successful Babel". Naturally, a unique syncretism also dominated in the field of music. The birth, on the other hand, of discography, built a condition that favored debates and osmosis between the innumerable ethno-cultural groups that made up the population. These processes led to the re-imagining, the update and the renewal of old musical trends arriving in the United States and, at the same time, to their re-exportation to the "old worlds", thus setting up a uniquely multi-layered network. "National" repertoires live a new, parallel life, largely molded by discography, which attended to and "tuned" the overlapping relationships that had already developed in the "Old World". Repertoires communicated with each other once again; a familiar and already dynamic condition in Europe. The circulation of music was already a reality before the 20th century with theatrical and musical performances tours, but also with the networks of music publishing houses. Discography is not only embedded in this context, but also plays a key role in its transformation, providing important tools in understanding the relationships that developed between “national” repertoires. The result of this ongoing research is “Cosmopolitanism in Greek Historical Discography”.
The four-page musical score in question contains the songs “Ochi mi mou les moro mou” (Don’t tell me no baby) with music by Aristos Triantafyllidis and lyrics by Aimilios Savvidis and “O macharagias” (The Maharaja) with music by Stavros Tzouanakos. The lyrics belong to Nikos Gkoumas, whose name is not mentioned on the musical score or on the labels of the records that include the song’s recordings in the 78 rpm discography.
On the monochrome cover, which features a photograph of S. Tzouanakos, the songs titles, creators, and publisher are listed. Also, beneath the creators’ names appear the phrases «Το μεγάλο σουξέ σε δίσκους Odeon» (The great hit on Odeon records) for “Ochi mi mou les moro mou”, and «Σε δίσκους Columbia» (On Columbia records) for the song “O macharagias”.
The musical text of the song “O macharagias” is included on the third page in a musical score with a two-staff system and is accompanied by the lyrics. At the beginning of the score is the indication “bouche fermée” and at the end the name “Ant. Varthalitis” is written. On the second page is included the musical score of the song “Ochi mi mou les moro mou”. The monochrome back cover contains an advertisement from the publisher for pianos.
In Greek historical discography, the song was first recorded on January 22, 1952, in Athens by Rena Stamou, Stavros Tzouanakos, Thanasis Giannopoulos, and Nikos Voulgaris with the accompaniment of a popular orchestra (Columbia C.G. 2898-1 – D.G. 6953). Twenty-five days later, on February 16, 1952, it was recorded again by Stavros Tzouanakos with a choir and popular orchestra (Columbia C.G. 2912-1 – D.G. 6964). That same year, the song was recorded in America by Eleni Bartseri and the George Strates orchestra (Liberty L 156-A), and by Jim Apostolou with an orchestra conducted by Andreas Pongis (Liberty L 153-B).
Among the later performances of the song, which still performed today in entertainment venues, worth noting are those by Aliki, with Greek lyrics and also English lyrics by I. Lowe (“O macharagias” Athens, 1967, RCA 45 rpm record 7RCAG-30 – 47g 670), and by Melina Kana, from the 1996 film “Acropol” directed and written by Pantelis Voulgaris (see here the related scene from the film).
The tune, however, can also be found in the Armenian repertoire recorded in America. Specifically, in 1952 the Armenian-American group Gomidas Band, formed in 1949 in Philadelphia, USA, by Hank Mardigian, recorded ten songs on 78 rpm records. Among them is “Inze Ilah” which is based on the tune under discussion (Gomidas Records MRR 324-A – 105-A). The singer is Alice Arzoomanian, accompanied by band members Hank Mardigian (saxophone, mandolin), George Mgrdichian (oud), Roupen Gureghian (clarinet), Roger Mgrdichian and George Terkanian (dumbeg and vocals). (For more about the Gomidas Band, see here.)
Five years later, in 1957, another Armenian-American group, the Armenian Jazz Sextet, adapted the song and recorded it in Detroit under the title “Pretty girl” (Kapp Records H9-OB-4241 – K-181), as a Melkonian and Beducci composition. The group consisted of Armenian-born musicians Eddie Arvanigian, Aram Manougian, Arthur Melkonian, Berge Minisian, Tom Minisian, and Cory Tosoian (see here). It is worth noting that on the reverse side of the record there is another recording related to the Greek speaking repertoire, “Harem Dance” (for more see here).
America, where four of the aforementioned recordings took place, was a microcosm of the globe: a "successful Babel". Naturally, a unique syncretism also dominated in the field of music. The birth, on the other hand, of discography, built a condition that favored debates and osmosis between the innumerable ethno-cultural groups that made up the population. These processes led to the re-imagining, the update and the renewal of old musical trends arriving in the United States and, at the same time, to their re-exportation to the "old worlds", thus setting up a uniquely multi-layered network. "National" repertoires live a new, parallel life, largely molded by discography, which attended to and "tuned" the overlapping relationships that had already developed in the "Old World". Repertoires communicated with each other once again; a familiar and already dynamic condition in Europe. The circulation of music was already a reality before the 20th century with theatrical and musical performances tours, but also with the networks of music publishing houses. Discography is not only embedded in this context, but also plays a key role in its transformation, providing important tools in understanding the relationships that developed between “national” repertoires. The result of this ongoing research is “Cosmopolitanism in Greek Historical Discography”.
© 2019 KOUNADIS ARCHIVE
