Grammy-inspiring music?
At times, we’re inexplicably reserved in our judgment of Greek musicians. Theodore Kerkezos is among the world’s most significant saxophonists, but who knows about it? His fame is restricted to jazz and classical music aficionados. Quietly but steadily, Kerkezos has achieved enviable repute on the European circuit. A regular soloist at major concert halls, he has worked with orchestras the caliber of the London Philharmonic or the Berlin Symphony Orchestra. Courtesy of the musician’s fame and efforts, the major record label Naxos launched its «Greek Classics» series last October with an album featuring works by Theodorakis, Skalkottas, Antoniou, Alexiadis, Tenidis and Hadjidakis. The material was performed by the Thessaloniki State Orchestra with Myronas Michailidis at the podium and Kerkezos as the album’s soloist. The CD generated rave reviews in esteemed international music publications, including Gramophone, Fanfare USA, American Record Guide, as well as considerable sales. Furthermore, just weeks ago, the artist was informed that his album was being hotly tipped for two nominations at the next Grammy awards in the Best New Album and Best Musician categories. How did the idea of an album with work by Greek composers come about? The idea to record an album of [work by] Greek composers emerged many years ago, when well-known and lesser-known composers began composing for me. Their respect for my art prompted me to go for a lot more than just perfect execution. I wanted these works and their renditions to be documented and distributed through either album releases by an international label or publication in printed form, once again by a major and respected publishing house. When did the plan start rolling? In August 2004, just before the release of my second album at Naxos, I had a discussion with the Naxos label’s executive producer about the release of an exclusively Greek album, with work by some of my country’s most significant composers. He wondered and asked, «Do you have symphony orchestras in Greece?» before proposing that «We’d better record with one of ours.» At the end of the discussion, we ended up deciding to wait and see how my album, which was due for release in a few weeks time, would do before discussing the idea again. The album, whose content included compositions by Dimitris Dragatakis, proved a bigger success than the first album, so I reminded the label’s chief of the conversation we’d had. He said, «Let’s proceed, but it would be very bad for you to mar what’s begun successfully for you.» Had you agreed to work with the Thessaloniki State Orchestra from the beginning? No. My intention was to work with the Athens State Orchestra. Because of an old friendship and collaboration with Aris Garoufalis (a former artistic director at the Athens State Orchestra), I suggested the aforementioned project to him and he said, excitedly, «At long last, let’s make a serious step abroad.» He immediately organized for me to play with the Athens State Orchestra in March, 2005, as a sign of recognition of my career abroad. The initiative filled me with great joy. It should be noted at this point that from 1990 until today, it was the first offer I had received – straight from the board without any intervention from anybody else – to perform as a soloist with the Athens State Orchestra. Over a period of 17 years, I’ve played with the Athens State Orchestra three times, but unfortunately somebody needed to intervene on all three occasions. Everything was going well, but then Garoufalis resigned and Byron Fidetzis (current artistic director) took over. Unfortunately, I wasn’t able to enjoy the one and only offer made by the Athens State Orchestra. I don’t know why, but Fidetzis canceled both the performance and the album. A blessing in disguise? Fortunately, the rejected performance took place five months later with the Berlin Symphony Orchestra at a packed Herod Atticus Theater. At this point, I’d like to thank the Athens Festival for its invitation. Feeling embittered, once again, by the Athens State Orchestra’s neglect, as well as insulted by its offer to play as a member of the orchestra at its provincial performances, I found out that some Greek with an open mind – finally – was arriving from Germany to take over the Thessaloniki State Orchestra. Following a very brief discussion with Myronas Michailidis (the new arrival), we began working on the album. We performed virtually all of the album’s material at a concert on June 22, 2005. and I sent a recording of it to the Naxos label’s executive, noting that I’d selected Greece’s leading orchestra and masterpieces for saxophone and orchestra. Charmed and pleasantly surprised by the performance, which hadn’t been edited, we agreed on both an album and the «Greek Classics» series. Have you had any contact with the Culture Ministry regarding the promotion of your possible Grammy nomination? So far, the efforts I’ve made to see people – from relative ministries – who could help have not been successful. But I’m hoping. I’m not asking for financial support. The kind of support I’m after is simple and doesn’t cost money, and I know exactly how the case can be handled, as long as one of the managers listens to me. I don’t want to represent the country alone on yet another occasion, as has been the case in the past. I don’t know how beneficial it is for Greece to export and promote the pop singers only, and whatever is linked with bouzouki, souvlaki, and so on.
