A Chat with Dmitrij Golovanov
Meeting our artistsA Chat with, Dimitrij
Golovanov, a jazz pianist in our festival
Dmitrij, is jazz a musical discipline or a way of life?
«It depends on one’s point of view, but for me, as a musician, it started as a musical discipline—a fun routine and activity—and later became a way of life, a philosophy, and even a kind of religion. There is a saying: “The more you give, the more you get,” which perfectly illustrates how I perceive jazz music now. I have devoted my life to jazz music, and in return, I have received a jazz life. Ultimately, a musical discipline centered on freedom and creativity also teaches us to respect discipline and order.»
Is the bohemian reputation of jazz musicians tied to alcohol and drugs just a legend, or is it part of the past?
I think it’s a stereotype, though it does have its foundation in the history of jazz. The life of a jazz musician was, and often still is, associated with nightlife, which can lead to bad habits. However, this is a very personal choice. In modern times, jazz music has become a form of art rather than merely entertainment. Ultimately, it is up to us to decide whether these bad habits remain in the past or continue to be associated with nightlife in the future.
Can jazz be studied in academies, or is it learned by playing with masters in bars and venues?
Both paths are essential. Academic study is a comprehensive tool for learning the language of jazz music. Yet, jazz performance requires more than just knowledge. Playing live, listening to, and learning from masters was the primary method of learning jazz in the early days of the genre, and it remains crucial for understanding the nuances of improvisation, jazz performance, and connecting with the audience..
«Jazz has an undeniable sensuality, with its rich harmonies and intimate grooves»
Is jazz the most sensual music? It’s often associated with the night—what do you think?
Jazz has an undeniable sensuality, with its rich harmonies and intimate grooves. Its association with the night reflects its origins in clubs and its ability to evoke deep emotions. However, as an art form, it is also versatile and capable of much more than merely expressing senses and emotions. As I mentioned before, for me, jazz is a kind of philosophy—multilayered and diverse.
Jazz was born in the U.S., but it has been deeply influenced by popular and classical music from other regions. Which influences do you consider the most significant?
Jazz was born in America, but it is the child of two parents: African-American musical traditions and European classical theory. It has many siblings and numerous modern successors as well. I am fascinated by the ever-evolving mixture of cultures in jazz and jazz-associated genres. Each influence adds a new dimension, making jazz a truly global art form.
Is there a chord you find the most expressive or the “coolest” in jazz?
There are several colours in jazz that reflect my taste more than the others, but they are much more than the chord. They are combination of rhythms, chords, modes and even specific tones in the melody. All of them I try to distill into my compositions
«For me, jazz is a language. If classical music is written literature, then jazz is a conversation»
Which figures, past and present, would you highlight among jazz pianists and vocalists/soloists?
It’s a very broad question that requires many names. My list of musicians I admire changes from time to time. However, if I had to choose one, it would be the pianist Michel Petrucciani. He was the first major influence on me and became one of the cornerstones of my jazz journey. His piano melodies have an incredible singing quality.
What characteristics must music have to be considered “jazzy”?
Many great minds of jazz have tried to describe what jazz truly is. As the president of the Lithuanian Jazz Union, I often ask myself the same question, though without reaching a definitive answer. Improvisation and live communication with stage partners are likely among the key elements. Of course, we can also define swing rhythms and complex harmonies as hallmarks of jazz. Nevertheless, my philosophy of jazz goes beyond its technical components. For me, jazz is a language. If classical music is written literature, then jazz is a conversation.
Which classical music fascinates you the most?
I love Baroque music. It shares many features with jazz, yet it is much “cleaner” and more transparent. Bach was a genius—the grandfather of jazz. Beethoven, Chopin, Ravel, and Debussy are just a few others worth mentioning. There were so many great minds and souls in music who were far ahead of their time. Recently, I began playing the music of the Lithuanian composer M.K. Čiurlionis, and the more I delve into his world, the more his genius fascinates me.
You collaborate with other musicians and genres. What do you think of flamenco and electronic music?
Despite many collaborations with different musicians, I have never played with flamenco performers. We often say jazz is expressive, but that’s only because we compare it to classical and popular music. Flamenco, on the other hand, is pure raw emotion, conveyed through a highly intricate language. It is undoubtedly one of my greatest inspirations in terms of expression. Electronic music, however, has a completely different “vibe” for me. I would like to explore it further to gain a clearer understanding of its essence.
How do you see the jazz scene in Spain? Who would you highlight?
I think jazz in Spain has deep-rooted traditions. People know how to play and enjoy jazz, and since these traditions are longstanding, there are world-class Spanish musicians. I wouldn’t want to highlight any specific names, but I would say that Lithuanian jazz is very different, both in terms of mood and color, as well as in the philosophy of jazz, so to speak.
In Lithuania, jazz occupies an important place in musical life, especially in Kaunas. What are the characteristics of Lithuanian jazz? Is there a national style, or does jazz depend more on individual interpreters?
The traditions of jazz in Lithuania are younger than in Spain. Since the Soviet occupation, we have had strong individuals who developed national jazz. Thanks to them, we now have a very unique direction in jazz, which could be described as “opposite.” Although we had some early jazz bands and big bands, the real jazz movement began with a freer, more purely improvised direction, which went in an “opposite” direction compared to the general history of jazz. We moved from free jazz through fusion to more traditional styles. As a result, many jazz musicians in Lithuania have knowledge and roots in free jazz. I would say that Lithuanian jazz is still in the process of developing its national taste and style.
Is this your first time performing in Granada province? Tell us about the recital you’re offering.
Yes, this is the first time I will visit Granada. For this solo concert, I am preparing a special program consisting of my original music and arranged compositions by Lithuanian composer and painter M.K. Čiurlionis. This may sound very eclectic, but in fact, it will be music that resonates with me and is unified by my taste.
Which city is the most “jazzy” in the world today, in 2024? And in Europe?
Probably, New York City remains the epicenter of jazz in the world, but any big city likely has its own jazz scene. The largest and wealthiest cities in Europe offer a lot for jazz listeners, although sometimes a small city can provide a more tight-knit and connected community or more meaningful and interesting events.
Which country would you choose to live in if you could work there?
I have never been to Japan, but I’ve heard that Japanese people love and respect jazz very much. I would choose to live there. And if it had to be in Europe, I would choose one of the Benelux or Scandinavian countries. It seems that jazz traditions and listener communities are well-developed there, which gives musicians more opportunities, freedom, and support in developing jazz as a form and language of art.
