"One thing I’m thinking of now is that jazz music might show the world the meaning of a band working together, where everyone is equal, unlike in music with a strong frontman and the rest of the musicians as just employees. I’m not saying that’s a bad thing because there are amazing musicians and great shows in those cases, but the equality in a jazz band is something unique to me."

Dimitris Angelakis: Long Way (Jazz) Home

Greek native vibraphonist, composer, educator and Fulbright Alumni Dimitris Angelakis has been in the scene for over a decade, having collaborated with some of the international jazz scene’s most prominent musicians as a bandleader, sideman and guest soloist. Dimitris’ first influence was his father, an acclaimed Greek trumpet player / arranger, but he also considers NY-based vibraphonist Christos Rafalides and Philadelphia-based vibraphonist/founder of vibesworkshop, Tony Miceli as connections that significantly impacted his career. Before moving to the US in 2013 he was already an active musician in Europe collaborating with various classical and jazz ensembles / orchestras from Europe and the USA. His desire to flourish brought him to New York City to study privately with acclaimed jazz vibraphonist Christos Rafalides. At the same time, he enjoyed learning from Joe Locke, Ed Saindon, Larry Mackenna, and John Swana.    

(Dimitris Angelakis / Photo by Orfeas Lizardos)

Finishing his Master's Degree, Dimitris began to immerse himself as a vibraphonist in the international music scene. His passion to teach young and adult students has led Dimitris to collaborate with universities/schools and cultural organizations. His debut recording Long Way Home (2022) finding Angelakis in virtuosic form, playing original compositions and inventive arrangements in a burning quartet that foregrounds the magical blend of vibraphone and Fender Rhodes. Album includes inspirations from everyday life in Greece, such as "Patatas" also known as Murphy, "Ballad for Souvlaki (Only for you)", and "Johnny the Liar", as well as influences from my travels in China, Europe and America.

Interview by Michael Limnios

How has the music and especial Jazz music influenced your views of the world and the journeys you’ve taken?

Music has opened a new path for me ever since I was a kid, mainly because my father is a musician. He introduced me to the world of jazz and soul music by listening his cassette tapes he bought during his musical trips. Ever since then, I have wanted to create music on the spot rather than just reading it, although I recognize that reading music is an important skill for a musician, and I still practice it. However, being able to spontaneously create my own ideas has given me the freedom to take music in any direction I desire. It's similar to what a composer does, while still respecting musical traditions. I tend to use some elements of jazz in my life: for example, if I have a problem or need to find a solution, I draw from my practice and live performances to determine my next step, much like moving to the next chord in music. This helps me figure out how to improve a situation in life.

How do you describe your sound and music philosophy? Where does your creative drive come from?

My sound has evolved over time. It definitely comes from transcribing the masters like Milt Jackson, Bobby Hutcherson, and Joe Locke, among others. Additionally, two other players who have helped shape my sound are the vibraphonists Christos Rafalides and Tony Miceli. You could say my style is straight-ahead jazz with post-bop elements. This doesn’t mean that other styles of jazz and American music, such as Latin, funk, and more European influences, don't affect me. I like to incorporate many musical images into my playing and compositions. Perhaps my favorite style is jazz with a crossover attitude, blending various genres. This approach mainly comes from orchestral pieces by romantic and more modern classical composers. That’s why I tend to use improvisation in one section and then transition to a completely different, written part, much like the diverse textures and colors found in orchestral pieces.

My creative drive also comes from the environments where I have lived and traveled. I have lived and traveled in the US, Europe, and China. These experiences are reflected in my first personal album, "Long Way Home," where I draw inspiration mainly from Greece and everyday stories but express them in an American jazz style. In general, I like to express things that are happening in my life right now, so I can connect the musical information with the community I am living in.

"I miss the creativity in music. Sometimes, it feels like there's a gap between being truly creative and producing songs just to make money. Not in all cases, but in many. For example, if you listen to music from the past that isn't jazz, you'll hear amazing musicianship, vocals, lyrics, and production that really touch your soul. Nowadays, there are many songs that are only meant to be hits for a couple of months before they’re forgotten." (Dimitris Angelakis / Photo by Sergii Brylenko)

Why do you think that the Greek Jazz scene continues to generate such a devoted following?

Greece has created an interest for musicians, especially after 2000. Of course, before that, there were some amazing musicians who continue to be very important figures in the music community. However, after 2000, many clubs opened, and jazz was introduced into higher education. This gave musicians the opportunity to create new music, allowing people in Greece to discover new albums and experience live performances.

What moment changed your music life the most? What´s been the highlights in your life and career so far?

For sure, one unforgettable highlight was when I first listened to James Brown, Nina Simone, Otis Redding, and others around the age of six. The energy and soul of their music ignited something in me that has stayed ever since. Another profound moment was starting lessons with Tony Miceli and Christos Rafalides; they opened huge doors for me and expanded my musical horizons. Later, meeting vibraphonist Joe Locke was also incredibly pivotal. I am deeply grateful for these three incredible mentors! Living and studying in Philadelphia as a Fulbright scholar was an extraordinary experience. All the theory I had learned came to life in an unbelievably fun and sometimes stressful way because I was surrounded by so many talented players. The inspiration and lessons I got from them are treasures I always carry with me.

Another major highlight in my life was the year I spent in China. It was a time of profound self-discovery, making me realize who I am and what I need to work on within myself. It was both a fascinating and challenging period, but I emerged from it changed for the better, or at least committed to becoming better.

In my career, the moments that stand out are the times I’ve played music around Europe and the US with amazing colleagues. Each performance has been a step forward, making me a better musician and deepening my love for the craft.

"Music has opened a new path for me ever since I was a kid, mainly because my father is a musician. He introduced me to the world of jazz and soul music by listening his cassette tapes he bought during his musical trips. Ever since then, I have wanted to create music on the spot rather than just reading it, although I recognize that reading music is an important skill for a musician, and I still practice it." (Dimitris Angelakis having collaborated with some of the international jazz scene’s most prominent musicians as a bandleader, sideman and guest soloist/ Photo by Sergii Brylenko)

What do you miss most nowadays from the music of the past? What are your hopes and fears for the future of?

I miss the creativity in music. Sometimes, it feels like there's a gap between being truly creative and producing songs just to make money. Not in all cases, but in many. For example, if you listen to music from the past that isn't jazz, you'll hear amazing musicianship, vocals, lyrics, and production that really touch your soul. Nowadays, there are many songs that are only meant to be hits for a couple of months before they’re forgotten.

My hopes for music are still alive because there are so many musicians producing great work. However, my fear is that there won’t be enough festivals and club gigs to sustain jazz musicians, which could hinder their ability to continue creating and making a living.

What is the impact of Jazz music on the socio-cultural implications? How do you want the music to affect people?

I’m not exactly sure how jazz music should affect people, but one thing I want is to be able to connect with the audience. The great vibraphonist Bobby Hutcherson once said that if you make people cry with your music, it means you’ve communicated with them. Maybe it’s a higher purpose to let the music show the audience how they could feel. Right now, I can’t think of another way music could affect people. Many artists, like Nina Simone, express the suppression of Black people in America, and it’s really important to have such artists.

One thing I’m thinking of now is that jazz music might show the world the meaning of a band working together, where everyone is equal, unlike in music with a strong frontman and the rest of the musicians as just employees. I’m not saying that’s a bad thing because there are amazing musicians and great shows in those cases, but the equality in a jazz band is something unique to me.

"Greece has created an interest for musicians, especially after 2000. Of course, before that, there were some amazing musicians who continue to be very important figures in the music community. However, after 2000, many clubs opened, and jazz was introduced into higher education. This gave musicians the opportunity to create new music, allowing people in Greece to discover new albums and experience live performances." (Dimitris Angelakis Greek native vibraphonist, composer, educator and Fulbright Alumni Dimitris Angelakis / Photo by Orfeas Lizardos)

What are some of the most important lessons you have learned from your experience in the music paths?

It’s very important to continue pursuing and growing in something you love. It’s like the relationship between a child and a parent: you never stop loving, caring, and providing everything needed for them to become independent individuals. It’s similar in jazz.

There are definitely ups and downs, and moments when I don’t feel inspired, but when creativity strikes, everything else fades away, and I can fully immerse myself in the moment. And, of course, that requires practice. That’s why I’ve started exploring meditation exercises by pianist Kenny Werner, as well as other meditation techniques including therapy. I’ve found that they help a lot. I’m still on this journey, so I don’t have all the answers yet, but it feels right in many ways.

Are there any similarities between the Jazz and the genres of local (Greek) folk music and traditional forms?

I’d like to start by mentioning some of my favorite Greek composers who have blended traditional Greek music with European contemporary orchestral music: Nikos Skalkottas and Kostas Giannidis. Kostas Giannidis, in particular, has created amazing works that mix Greek folk with jazz music. The way they integrate these elements feels as if they were always meant to be combined, yet when you listen to each element separately, the differences become evident. These composers truly made it happen. There are definitely similarities between jazz and Greek folk music. For one, both can make you want to dance. Syncopation and polyrhythms are central to both styles, creating rhythmic complexity that encourages movement and self-expression through music.

Dimitris Angelakis - Home

(Photo: Dimitris Angelakis)