Open
Up And Say
Interview by Wes Royer, September 2000
Face
it, there are too many instrumental guitar albums out there to count,
much less own them all. But usually, fans of this type of music usually
find something good on the majority of the albums they pick up. But
also, there are always some that do manage to stand out in the crowd.
Welcome Borislav Mitic's first album on Shrapnel Records. Mitic was
able to answer some of my questions about being a musician in Yugoslavia,
being a guitar player in general, and what's next...
Wes: Your new self–titled album is also your first on Shrapnel
and first to receive worldwide distribution. How does it feel to be
at this level now?
Borislav:
It feels good, no doubt about it. I wanted to do this and dreamed
of it since I started to play the guitar. I am really happy to have
had this opportunity to present myself, my playing, and my music to
a worldwide audience. Still, I feel that there is a lot yet to be
done and that this is just the beginning of things.
Wes: You lived in Yugoslavia for most of your life. Was it
hard being a musician there, or do you think that life there helped
make you who you are today?
Borislav:
Well, the life there certainly had a lot to do with who I am today!
I mean, all the experiences, the way you spend your time, the people
you meet, the things you see, it all makes a psychological imprint
on your mind and determines how your personality will develop. Being
a musician is hard everywhere, I guess. But a lot of it depends on
which cards you are dealt! Sometimes you can have an easier ride as
a musician than most folk do.
Anyway,
life in Yugoslavia was great, for musicians too, until 1991. So, I
would have to speak about life before and after 1991, but that would
lead to the story of the collapse of the Eastern block resulting in
a tragic faith of Yugoslavia as the only European nonaligned country
during the cold war, and the price it has paid because of that. But
let's get back to the music subject which is the only one I could
really speak about with certainty.
Concerning
the time before 1991, it was a great time for music. The music scene
in Yugoslavia was pretty much alive, open, and receptive to almost
any kind of music, and especially, rock. The main cultural influence,
in a way, was coming from Britain and America. And anything that someone
could hear on the radio in Los Angeles, London, or say Paris, was
hearable on the radio in Belgrade, Yugoslavia, too. So, anybody interested
in music or guitar was quite well informed; strangely, but sometimes
even better then a lot of western colleagues I find today. There was
always a lot of concerts. All the touring bands were passing through
Belgrade.
The best
example is that Dire Straits started off their "Brothers In Arms"
world tour in Yugoslavia. And in fact, that album was the most sold
album of all times in U.K. And guess which city and country it was
published in first? Belgrade, Yugoslavia, of course! Even their first
hit single, "Sultans Of Swing," was discovered much earlier
by Belgrade radio stations then London's.
I started
to play professionally somewhere in 1988. I collaborated with the
national radio/television company RTS for a few years as a songwriter
and a session guitarist. At the same time, I played with some cover
bands and also started to work on my own songs and with my own band.
I also worked as a studio musician adding guitar parts to the records
of many well known, as well as many less known, Yugoslavian bands
and singers. Around 1990, I had already recorded some of my first
demos (which were later to become a part of my solo album "Fantasy"),
succeeded to have a lot of radio play for them, and also appeared
frequently on television as a promising new artist. I was regarded
as a "guitar wonder." I also had a lot of live performances
including playing on stages in front of 30,000 people.
But as
all good things must end, then came the war, the sanctions, the crises,
which of course, took its toll on the music world, too. The music
scene changed completely overnight. It became almost completely folk
and disco/dance music oriented, not leaving much space for rock guitar.
Nevertheless in 1992, I decided to stick to my guns and to record
the material which would later become my "Fantasy" album.
"Fantasy" had to wait until 1996 to be published. But once
it did get published, it had a lot of radio and television play.
The song
"Forever" from that album was quite a hit and perhaps the
most played instrumental composition of all time in Yugoslavia! It
was played couple of times a day, every day on the most popular television
shows as a background music, four years in a row! Sadly, I never received
any royalties for that use, but that is how things can get sometimes,
I guess! I think that a lot of people in Yugoslavia don't even know
that it was my music because I was not even mentioned in the credits!
I even heard recently that there is a new television station which
is using almost exclusively my music from "Fantasy" as a
background for its shows. But there is nothing, or nobody, to really
complain to about it, since the national royalties collecting and
artistic rights protection association has been banned, as I heard
recently too! So it is not very cool, I guess.
But I
repeat, those who were lucky enough to be around before 1991 in Belgrade,
Yugoslavia, know that there wasn't and will never be a better place
or anything closely comparable to it for enjoyment of life on planet
Earth, ever!
Wes: If you had to name only three guitarists that influenced
your music the most, who would they be and why?
Borislav:
That is a tough one because there are so many guitarists whose playing
had a big influence on me. But if I had to chose three whose influence
is strongly present in my music and playing as it is on my Shrapnel
album, it would be Jimi Hendrix, Yngwie Malmsteen, and Mark Knopfler.
Yngwie was a great inspiration for many years, especially in the technical
aspect of playing. Then there is the subtlety, taste, and poetry in
the playing of Mark Knopfler, which I was always in awe of. And of
course there is the passion and directness of Jimi Hendrix, and the
shier magic of his playing and sound that captivated me from the first
moment I heard him.
There
are also a lot of other guitarists who I admire, like Mike Oldfield,
Eric Johnson, Steve Vai, Allan Holdsworth, Joe Satriani, Django Reinhardt,
Mike Stern, Wayne Krantz, Frank Gambale, Robben Ford, Danny Gatton,
Albert Lee, Eddie Van Halen, Richie Blackmore, Angus Young, Trevor
Rabin, Brian May, Gary Moore, Michael Schenker, Uli Roth, SRV, John
Scofield, John Mclaughlin, Al DiMeola, Carlos Santana, B.B. King,
Eric Clapton, Pat Metheny, Brett Garsed, Greg Howe, Jason Becker,
Ron Thal, Joe Pass, Tal Farlow, Wes Montgomery, Lenny Breau, to name
a few!
Wes: Are any of your family members music–oriented?
Borislav:
Actually they are not. I am the only one in my whole family who is
professionally into music. Though, I did hear once that my late great–grandfather
was one of the best pipe players in Southern Serbia!
Wes: Give me some insight into the creation of an instrumental
album. What are the differences between writing music with vocals
and without?
Borislav:
There is a similarity, because in instrumental guitar music, you have
to treat the guitar as a voice! The obvious difference are the lyrics,
which you don't have to think of with instrumentals, of course! It
is also hard to keep the interest of an average listener with instrumental
music. That is why you really have to put an extra effort in melody,
dynamics, and projection of emotion in the songs you are making. You
also have a little more freedom without vocals. For example, sometimes
you have to keep in mind certain limitations when you work with a
singer: the pitch and the key has to be adequate to their vocal range
and register.
Wes: Can you tell us a little bit about the influences for
each of the songs on the new album?
- "Sky
Rider" ... is inspired by classical music: the violin works
of composers such as Paganini, Bruch, and Mozart. The composition
associated me to an imaginary vision of a horseman galloping on
clouds, because of the rhythm and harmony. So, I decided to title
it "Sky Rider."
- "Chasing
A Dream" ... is influenced a lot by romantic violin concertos.
I also tried to have some fresh chromatic approach to connecting
arpeggios. The title is what a lot of guitarists, and other musicians
too, are doing when they let their fingers do the walk across the
neck of their guitar.
- "Mystic"
... has a lot of Balkan spirit. Our traditional music, Serbian,
has a lot of harmonic minor in it, so this comes very naturally
to me. The solos are kind of Borislav meets Yngwie and Hendrix.
The term "Mystic" is used for somebody who believes that
by prayer man can cleanse his spirit and bring himself closer to
the supreme force: God. There are also some who believe that such
a prayer can be transformed into music.
- "Waltz
Of Time" ... is another classically influenced composition
more oriented to the piano styles of composers such as Chopin, Liszt,
and Bethoveen. It tries to describe the paradox of the passing of
time from human perspective. Time: the ruler of our lives and the
biggest treasure we have; eternal, but at the same moment, nonexistent.
I thought that a waltz would do nicely.
- "Celtic
Legends" ... is a song presenting my Celtic music influences.
To me, it sounds like a musical description of a battle of two mythological
armies, especially the dueling solos at the end. There is also a
strong feeling of highland pride and romance in that song.
- "Ballade
Pour Elle" ... "Ballad for her." The title says it
all.
- "Bird
Dance" ... is a composition influenced by Serbian traditional
violin music. It is also dedicated to my wife Marie, who I call
"Bird." This track is probably technically the most difficult
and challenging one on the album.
- "Light
Of 7" ... has a strong Indian music influence. It is also a
super–nova rocker. There is a bit of Hendrix and Vai in there
too. While recording it, I searched for the best and most appropriate
sound I could get out of my amp. I was tweaking the knobs without
looking at them, just using my ears to find that sweet–spot.
And when I finally looked at the setting on the amp after finding
the perfect sound for the song, I realized that all the knobs were
set on 7! I also played my Ibanez Jem 777 guitar on that one. With
all the sevens involved, it just had to be "Light of 7"!
According to some numerologists, the number seven has a special
meaning.
- "Southern
Wind" ... is influenced by Middle–Eastern music. That
kind of music is currently very popular in my country, so I just
mixed that with some rock–style guitar to hopefully offer
something fresh to the rock guitar world.
- "Fairytale's
End" ... is like a mainstream pop song with a strong emphasis
on melody. A lot of my Knopfler influences are coming through on
that one. I thought that it was perfect for closing the album. I
wanted to say, "When the music's over (on the CD ) it's like
closing a book of fairy tales."
Wes: Has anybody told you that the lead harmony in "Celtic
Legends" sounds very much like Yngwie Malmsteen?
Borislav:
No. Nobody has yet told me that they hear influence from that direction
on that song. Actually, all the harmonies on that song are in Celtic
style. And as far as the two dueling lead guitars in the end of the
song, I find them more my style, fusion oriented. But nevertheless,
there are some obvious, intentional nods to Yngwie on the album, but
on some other tracks, though.
Wes: Shrapnel releases primarily guitar instrumental albums,
and they carry a very strong reputation for this. Since their label
has such a narrow focus in the hardrock/metal world, do they promote
their releases as well as you would like them to? I ask only because
I hear that they don't promote their artists very well.
Borislav:
Well first of all, I would say that Shrapnel has a lot of positive
aspects, let alone their dedication to promote rock guitar and good
musicians. But of course, there are some things that I would like
them to do better. Their promotion is mainly putting an ad in some
guitar magazines and sending promo CDs to people on their mailing
list. Apart from that, you are left to your own devices! I guess that
I just had to settle for the saying, "Nothing is as good as we
would like it to be," or, "If the world was a perfect place."
So, I went out on my own, with the large help of my wife Marie, to
do that part which I was quite new to.
I succeeded to reach a lot of on–line media, and had reviews
and interviews presenting more closely my work to the audience.
I did
contact specialized U.S. guitar magazines, but they didn't show any
interest whatsoever in what I have to offer musically, as of now.
It seems that they are interested in some other kind of music which
doesn't seem to have much to do with the guitar, at least in my opinion.
I wouldn't
exactly agree that Shrapnel has a narrow focus in the hardrock/metal
world. On their label, they have finest examples of fusion in its
various forms like Greg Howe, Frank Gambale, Scott Henderson; hardrock
legends like Michael Schenker, UFO, Paul Gilbert, Glenn Hughes; not
to mention the tradition of presenting the brightest young talents
on the scene. One can also hear a lot of diversity just by checking
my album, for example. It covers a range from ethno, ambient, classical
to metal music. I would say it is quite a wide focus.
Wes: Your press release says the next album will have vocals. Any
idea who the other musicians will be?
Borislav:
I have some potential names, but nothing is definite yet. I am still
in the process of writing the music for it. So, there is still plenty
of time for defining the line–up. In any case, musically it
will surpass the previous one by far. It will be technically more
intense, but also with a greater variety of influences blended into
something new.
Wes: Anything else you would like to share with us?
Borislav:
Yes! I am re–releasing my "Fantasy" album which was
available only in Yugoslavia until now. It has been re–mastered,
so now it sounds exactly like I wanted it to sound in the first place!
Though it was recorded in 1992, it still sounds quite fresh. I guess
I had a lot of good things going on on that album to turn Mike Varney's
ears! It is the album that got me the Shrapnel contract. There is
some really, I must say, impressive neo–classical oriented guitar
work on it, but also some grooving rock stuff and some of the finest
ballads that I ever wrote. I would like to invite readers to my website
at www.geocities.com/borislav_mitic to hear what I am talking about!
In ending,
I would also like to add that I am grateful to everybody who has supported
my music. That really means a lot to me! Special thanks to you, Wes,
for your interest in this interview. And my warmest regards to all
the guitar loving audience around the world!
Guitar
Chef
BORISLAV MITIC - Travel In A New Maze - Interview by Matt Cafissi,
October 2000
Borislav ... how old are you?
I have been playing
guitar for 18 years but I'm still quite young (I was born on 28th
July
the same year Jimi Hendrix died)!
Tell
me about your last cd called "Fantasy" . This is a concept
, a concert ...Is it a new or old album ?
"Fantasy"
is my debut album which was published in 1996 only in Yugoslavia (my
homeland).
That is also the album that I sent to Mike Varney of Shrapnel Records
as my presentation while I was still in Yugoslavia and that album
lead to my contract with Shrapnel.
"Fantasy" is an instrumental guitar album featuring my arrangements
of some of my favorite classical pieces by Paganini, Bach, Handel.
There are also my own original compositions on that album which are
more hard rock/metal oriented and also a few electric and acoustic
ballads-which are maybe my strongest musical points.
In my opinion I displayed some of my technically most challenging
playing on "Fantasy". This 2000 re-release version is remastered
and the cover artwork is new. It's available through my WebPage (http://www.geocities.com/borislav_mitic)
and some online distributors like Guitar 9.
Why
your "Fantasy" is not distributed from Shrapnel?
The idea
to re-release it came to me because a lot of my fans were asking where
and how they could find and buy "Fantasy"-because they liked
my first Shrapnel album. So it's more like an "in between"
album between two Shrapnel albums made available for people who would
like to have my previous work. So that's why I did it on my own -at
least for now.
Perhaps it will appear on Shrapnel later on but I'm not 100% sure
about that.
In
your opinion , Mr Varney is ready for a new Neoclassical Invasion
or his a trender?
In my opinion
Mike Varney is a guy who is to be regarded as somebody who presented
to the world some of the best guitar talents. It all started when
he discovered Yngwie Malmsteen and brought him to US to record (Steeler)
and made Yngwie's introduction to the music world. That is exactly
the thing that ignited the "neoclassical instrumental guitar"
fire and opened the doors to many guitar talents that appeared after
that. Shrapnel always brought great and also- stylistically different
guitar players: Yngwie Malmsteen, Greg Howe, Jason Becker, Michael
Lee Firkins, Vinnie Moore, Ron Thal, Paul Gilbert, Marty Friedman,
Borislav Mitic,.
Shrapnel also has artists like: Frank Gambale, John Norum, Scott Henderson,
Michael Schenker, Jerry Goodmann, Steve Smith, Larry Coryell, Glenn
Hughes,.and many others recording for them. So Shrapnel were always
very diverse. And as far as "following Trends" - one just
has to look at the latest guitar magazines to realize that virtuoso
-guitar doesn't seem to be "in trend" right now (which is
something that I hope will change soon).
For
me Malmsteen is different from the other Neoclassical guitarist because
the others are mega fast but without the feeling and vibrato's Yngwie
...
Personally Yngwie
is one of my favorite players and a big influence but I guess it's
all a matter of taste. Every guitar player has something of his own
that is unique. So everybody is special in his own way. For me there
is usually something new and interesting to discover in almost anybody's
style. I personally find that the composition and the way a musician
is projecting his emotions through his music to the listener is the
most important. Speed in playing doesn't mean much if it's not accompanied
by a skillfully and tastefully crafted song. I also like music to
have a melodic quality to it. As for vibrato-it's a very personal
thing and it shows well how passionate and experienced the player
is. But it mainly shows the personality of a player. For example:
Yngwie Malmsteen, Santana, Django Reinhardt, Eric Clapton, Mike Oldfield,
Angus Young (AC/DC), B.B.King, Eric Johnson, SRV, or Steve Morse-all
have very different but great vibratos.
...
Next projects ?
Right
now I am working on compositions for my next album for Shrapnel scheduled
for 2001. Musically it will cover even more ground and present more
of my various influences than even the previous one did (ethno, metal,
blues, techno,.) blending it all into something new. I will also try
to push the technical side of playing further (but never neglecting
the melodic side). It should surpass everything I've done so far and
it should also include a few vocal oriented songs. Stay tuned for
that one! My best regards to you Matt and all the readers of this
interview!!!
EXP
Guitar
Interview March 2002 - ExpGuitar
1) Hi, Borislav. First at all, could you introduce
yourself to the French websurfer who didn't have the chance to know
you?
I am a guitar player and a recording artist for Shrapnel
records. I published one instrumental guitar solo album for Shrapnel
titled “Borislav Mitic”. I am originally coming from Yugoslavia
(where I recorded an album called “Fantasy”) but I live
in Canada now.
2) When did you begin to play guitar and what
are your roots or first influences?
I began to play when I was 11 years old. At first
I was trying to play Beatles and Shadows songs on a cheap acoustic
guitar. Soon after that I discovered Richie Blackmore, Angus Young,
Jimi Hendrix and Mark Knopfler - whose styles had a big impact on
me in those early years.
My big influence apart from Rock was also Blues music
and guitarists like Eric Clapton, Frank Marino, Santana, Alvin Lee,…
Few years after that I listened to anything that had guitar on it!
Pop, Funk, Reggae, Heavy Metal, Country,… I just tried to learn
as many things as I could. My ”heavy” side prevailed through
the years and I focused on people like Gary Moore, Edie Van Halen,
Michael Schenker,..which all led to Yngwie Malmsteen, Steve Vai, …and
of course (almost) anything that would come out for Shrapnel Records.
3) Could you tell us what was your guitaristic
way and explain us your career in Yugoslavia..., until your meeting
with Mike Varney
Well, my career started when I was 18 years old. I
recorded a demo song which was instrumental and influenced by classical
music (Nicolo Paganini caprice). That demo won a first place in a
radio talent competition show and that got me
introduced to some producers in the National Radio Production who
were impressed by my playing. I started some studio session work for
other bands and singers based on that reputation as well as writing
and recording some songs for radio show use (jingles,etc).
I formed a band which was called Fantasy later on.
I made a lot of radio, TV and live performances with them with my
original music. Some concerts that we played were in front of audiences
large as 10.000 people. In 1992 I recorded a solo album called “Fantasy”.
That album was published four years after being recorded (1996) due
to some troubled times my country was going through. I sent that record
to Mike Varney in 1997 and he called me back offering me to make records
for him. That's about it.
4) You now live in Montreal for reasons that
anybody could understand! You have recorded with Canadian musicians.
How did you meet them?
When I came to Montreal I started to ask around who
the best musicians in town were. Then I made some phone calls and
auditioned some of those musicians that were recommended to me. Jacques
Roy (bass) and Marc Bonneau (drums) were the ones I liked the best.
5) Your two famous album both have their own
styles which are very different. The first one (which was reissued)
takes its influences in rock and neo classical while the second one
(for Shrapnel records) seems to be with fewer shred and seems to be
more personal! Is it a new way?
There is a few years of distance between those two
albums. My style, approach and taste are always evolving so naturally
those albums sound different. I would be bored to repeat my self too
much. Actually I go so far that I sometimes pay attention not to repeat
a lick on the album that I played in some other song. How the music
will turn out also depends in which mood I am when composing and recording
too. State of mind will always reflect on the music. Choice of musical
direction plays a role also.
On “Fantasy” (1996/2000 reissue) I wanted
to display a technical aspect of my playing. I was very much influenced
by classical music at the time and especially by violin works of Nicolo
Paganini.
On “Borislav Mitic” album (Shrapnel) I
still used classical music as a source of inspiration but I also added
some ethno music like Indian, Celtic, Balkan, Middle Eastern.. I wanted
to create a sound completely of my own… Both of those albums
are “personal” but the Shrapnel one was a bit more “spiritually
oriented”. My next Shrapnel album(s) will be something very
different than both of those previous ones. I always search for some
new way.
6) On those albums did you improvise your
solos or did work the parts note by note?
On the Shrapnel “Borislav Mitic” album
all the solos were improvised and not only that but they were mostly
first or second takes! “Fantasy” album is a completely
different story - all the solos were worked out note for note. They
were like a composition “inside” a composition.
7) When you were younger, did you take lessons
or did you learn music by yourself?
I think that someone showed me few basic chords when
I started to play. After that I learned everything by myself taking
guitar parts down from records. I built a big record collection over
the years-thousands of vinyl LP's of rock, blues, jazz, classical,
metal, fusion, ethno,…music. Guitarists and musicians on those
records were my “teachers”. But there is one more reason
for being self taught - I could not find somebody in Belgrade at the
time to show me the things I wanted to learn so there wasn't much
choice but to do it on my own. We didn't have guitarists of that style
in Belgrade then.
8) Could you describe your guitar playing?
I am a rock guitar player who is including various
influences from other music genres such as classical, ethno, fusion
into a rock style to make it more “rich and fresh”. My
approach is very virtuoso oriented but still with a “vintage
feel” of traditional great rock guitarists before me. At least
I hope so…
9) Could you explain us your technique? Do
you play sweep picking or alternate picking?
I try to use all the techniques - when and where needed.
I play alternate picking but I also play sweep - picking, legato (pull-off/hammer-on),
tapping... Sometimes I even finger -pick (like Mark Knopfler). It
all depends which kind of sound I want to get. I use all of these
techniques when I play arpeggios and scales. That means that sometimes
I will alternate- pick an arpeggio which most people would sweep-pick
for example. Just to get a new and fresh sounding phrase.
10) When did you begin to work hard the guitar?
I always plated a lot but there was a period between
1984 and 1988 when I worked really extra hard.
11) How many hours did it take to get your
velocity and could you give us the secrets of your training and work-plan?
I never really kept the track of time but I played
whenever and wherever I could. There were days when I would wake up
and start to practice and when I would stop it would be night and
bed time again. When I was going to school I would sometimes take
the guitar with me and practice during the breaks between lessons.
There is no big secret… but the important thing is to be disciplined
in practicing and to listen to yourself objectively while playing.
12) Do you still practice intensively nowadays?
I do, but not as much as before. Still I have some
periods when I focus on certain things and work a lot to achieve what
I'm after.
13) Are you interested in others styles of
music like jazz, blues, latin,....
Definitely! I am doing quite well in a blues style
and I can say that I am more or less comfortable with many versions
of jazz. Although it's not apparent at first sight (if you listen
to my records) but I spent a lot of time analyzing various music -
and latin, blues and jazz are some of them. I studied a lot the styles
of jazz/fusion players like Frank Gambale, John Scofield, Mike Stern,
Allan Holdsworth, Pat Metheny, George Benson, Larry Carlton, John
Mclaughlin, Al DiMeola,…
and blues players like SRV, Eric Clapton, Duanne Allman, Ry Cooder,
B.B King, Robben Ford, etc. I was also very fond of Gypsy Jazz or
“Jazz Manouch” and Django Reinhardt. Perhaps some day
I will make a record which would display all these other sides of
my playing that I didn't show yet. That would be fun!
14) What books, methods or videos do you recommend
to our websurfers?
I never really went very far into books so I can't
recommend anything then perhaps some basic theory book. As far as
videos are concerned I would recommend Eric Johnson, Frank Gambale,
Vinnie Moore and John Scofield.
15) Which work-plan do you advise for young
guitarist who wants to improve his technique?
First of all I would advise him to be curious and
try to discover new things and think of new ideas all the time. When
practicing I would recommend practicing slow at first and concentrating
on good technique of both hands (specially the picking hand) and gradually
seeding-up later. Two hours a day of that at least. Practicing all
the techniques every day is something Paganini was recommending. Trying
to learn solos from records (NOT tabs) is a good ear training too.
Above all whenever you play try to play as best as you can no matter
if you are in your bed room or on stage and listen to yourself. And
always play honestly or as some would say - from the heart.
16) Do you know or did you already work with
French guitarist or musician?
I am in touch with some French musicians but I haven't
worked with anybody yet. There are some very good players in France
like Bireli Lagrene, Sylvain Luc, Patrick Rondat, etc.
17) What's are your projects, your last news?
I am working on music for two Shrapnel albums for
next year. One should be instrumental and the other vocal. I am talking
with Chris Logan (a singer that sang on Michael Schenker's new album-“Be
Aware Of Scorpions”) about it but I am also considering some
other options too.
18) Will we have the chance to see you live
in France, soon?
Unfortunately there is no plan to perform in France
soon. I would really love to do that since France is one of my favorite
countries (and my wife's native land too). So I hope that I will play
in France sometime in the future.
19) Your the guest of the month on Exp::Guitar
website, did you prepare something to make us listen to ? And which
exercise would you like to propose?
The exercise is something related to what I spoke
earlier about my technique. This is regarding arpeggios. Most people
use sweep picking to play them -which is good of course- but I found
some other ways to play them which are opening different possibilities.
The idea is to take a four note arpeggio such as major7, dominant7,
minor7, etc and play it in a two
notes per a string grouping. By breaking it out like that you can
now be able to play those arpeggios using alternate picking (or pull
off/hammer on's). Being able to apply these techniques on arpeggios
is opening a whole new world of ways to phrase them in solos or compositions.
The song that you will listen is called “Chasing
A Dream” from the Shrapnel album “Borislav Mitic”.
It's describing my style, influences and abilities very well. It has
a sort of Metal meets Chopin feel. I hope you will like it!
20) Could you speak few words in French?
Oui. Mais, mon vocabulaire est pauvre maintenant. J'ai besoin
de travailler beaucoup mon Français. J'essayerai la prochaine
fois. Peut-etre une interview complete en Français pour l'annee
prochaine?
21) I let you conclude this interview. Do
not hesitate to make your own comments or personal reflections.
I would
just like to thank ESP guitars for their wonderful instruments and
to thank all my fans in France and around the world for their support.
Don't forget to visit my WebSite at http://www.borislavmitic.com and
God bless you all!
Muzika
Bosnia
Interview February 2002 - Muzika Bosnia
P:
Roden si u Beogradu i vec kao 11-togodišnjak si poceo svirati
gitaru. Šta te je motiviralo da se posvetiš baš tom
instrumentu?
O: Elektricna
gitara je za mene uvek bila simbol muzike i kulture našeg vremena.
Kao 11-togodišnjaku mi je izgledala kao nešto najatraktivnije
na svetu. Uostalom i cela prica o "Rock svetu" je izgledala
vrlo impresivno u danima moje rane mladosti. Meni licno to je bilo
kao otkrivanje nekog prelepog drugog sveta ili dimenzije.
Prvi bend s kojim sam takoreci otkrio rock muziku su bili The Beatles.
Vrlo brzo posle toga sam prešao na "tvrdu" svirku i
sastave kao Deep Purple, AC/DC, Iron Maiden ...Bio sam fasciniran
muzickim i gitarskim dostignucima velikih (stranih i domacih) gitarista
70-tih i 80-tih godina. Nacin na koji su oni svirali gitaru me je
motivisao i inspirisao da i ja poželim da dosegnem te "muzicke
visine" i takvu veštinu vladanja tim instrumentom.
P:
U tvojoj biografiji sam naišao na podatak da su ti pocetni uzori
bili Jimi Hendrix, Ritchie Blackmore, Mark Knopfler, Eddie Van Halen
... Sa druge strane, postoji podatak da si samouk u sviranju gitare
i da si vježbao po 10 sati dnevno. Nije li to bio teži nacin
da se savlada taj instrument? Da preformulišem pitanje - kakvi
su bili uslovi u vrijeme tvojih pocetaka da se mladi gitarista obrazuje
kroz školski sistem?
O: Verovatno
je bilo nekih uslova kad je klasicna gitara u pitanju. Ali što
se tice rock gitare, situacija nije bila sjajna. Bilo je vrlo malo
pravih informacija do kojih bi mladi gitarista mogao da dode što
se tice sviranja, instrumenata i muzicke opreme. Stratocaster je nama
npr. u to vreme izgledao kao svetsko cudo. Nije bilo muzickih škola
za rock ili jazz gitaru kao što ih ni danas nema u YU. Bilo je
nekih kurseva, ali to je sve bilo vrlo neozbiljno. Taj nedostatak
informacija mnogi su koristili da se prave pametni i promovišu
sebe i svoje mistifikacije. Primera je bezbroj, ali navešcu ovaj
koji se tice legende o "tonu iz prsta" (koja ima smisla,
ali su je mnogi shvatili na pogrešan nacin). Jedan poznati beogradski
muzicar je godinama prosipao u javnosti price (a i još uvek to
radi) o Jimi Hendrix-u kao o muzicaru koji nije voleo ni koristio
efekte
i tehnologiju vec je samo svojim sposobnostima (koje ja ne osporavam)
i prstima iz gitare izvlacio revolucionarne zvukove. A Hendrix je
u stvari saradivao sa Mr. Roger Mayer-om koji je bio oficir za "vojne
eksperimente sa zvukom i vibracijama" u British Admirality! Mr.
Mayer je pravio specijalne efekte samo za Jimi-ja (doduše nešto
pre toga je napravio par stvari za Jimmy Page-a i Jeff Beck-a) od
kojih je najpoznatiji - Octavia (modifikator frekvencije zvuka za
oktavu više). Jimi je imao modifikovane wah-wah-ove, fuzz pedale,
... i mnoge efekte Mr. Mayer-a koji još uvek nisu na tržištu
zato što su mnogi prototipovi napravljeni za Jimi-ja izgubljeni
posle njegove smrti. Hendrix je koristio i Uni-vibe koji je kombinacija
chorus, vibrato i phaser efekata - sve u jednom! Da ne govorimo tek
o studijskim manipulacijama Eddie Kramer-a (Hendrix-ov snimatelj)
"tape flanging", stereo panovanju eha i slicnim stvarima
koje su u ono vreme zvucale kao da Jimi dolazi sa Jupitera. Uživo,
Hendrix bi uvek na bini imao "samo": wah-wah, fuzz face
pedalu, octavia pedalu i uni vibe - sa dodatnom pedalom koja bi mu
menjala mnogobrojne funkcije. Znaci, sve što i dan danas prakticno
nije prevazideno i cija re-izdanja i varijacije koriste i danas razni
gitarski heroji npr. i Joe Satriani i Steve Vai i Mike Stern ... i
mnogi drugi. Cak je i elektronika u Jimi-jevim gitarama bila drukcija
od one kod obicnih Strat-ova, a magneti su bili modifikovani da imaju
vecu izlaznu snagu (to je radio izvesni Mr. Seymor Duncan koji je
kasnije osnovao poznatu, istoimenu, kompaniju magneta za gitare).
To je istina o Hendrix-ovom zvuku (što ne umanjuje njegovu velicinu
i kreativnost) za koji je najbolji primer u ovom "efektiranom"
izdanju pesma Machine Gun sa "Band of Gypsies" albuma jer
je tu koristio sve pomenute efekte. E, zamislite sad ovog našeg
"genija" i njegovu teoriju o Hendrix-ovom "tonu iz
prsta" kako iz sopstvenog neznanja dezinformiše citavu armiju
klinaca koji veruju u njegove reci jer nisu culi ništa drugo.
Na koliko stranputica takve stvari vode! To je bio taj problem nedostatka
pravih informacija o kom govorim. Primer koji sam naveo se ticao zvuka,
a o tehnici sviranja i pogrešnim mistifikacijama koje su se tek
tu raspredale necu ni da govorim.
U mojim ranim danima, nažalost, nije bilo gitariste u Beogradu
koji bi mogao da me uputi u tajne tehnika koje su me zanimale. To
bi verovatno skratilo silne sate "skidanja" da je bilo takvog.
Bilo je dobrih gitarista, ali nisu svirali stil koji je mene zanimao.
Ja sam zato ucio da sviram skidajuci tj. uceci sola i fraze mojih
omiljenih gitarista sa ploca. To je bio duži i teži, ali
i jedini moguci put. T ada još uopšte nije bilo video lekcija,
tablatura i strane gitarske literature. U pocetku sam radio na stilovima
gitarista kao sto su Jimi Hendrix, Mark Knopfler, Eric Clapton, Angus
Young, Ritchie Blackmore,
Stevie Ray Vaughan, Carlos Santana, da bih izgradio potpuniju i autenticnu
tradicionalnu "starinsku osnovu" ... da bih se kasnije fokusirao
na gitariste kao Eddie Van Halen, Gary Moore, Michael Schenker, Mike
Oldfield, Frank Marino, Albert Lee ? koji su imali malo intenzivniji
i moderniji tehnicki pristup. Interesovao me je rock, blues, country,
jazz, funk, pop ... svaki postojeci nacin sviranja gitare. Zanimala
me je raznovrsnost svih stilova. Od domacih gitarista, osim svima
znanih legendi kao što su Vlatko Stefanovski i R. M. Tocak, cenio
sam i radove pokojnog Rajka Kojica (prvi gitarista grupe Riblja Corba,
koji je bio jedan od najvecih YU gitarskih talenata), Dragana Gužvana
(Atomsko Sklonište),
Seada Lipovace (Divlje Jagode), Vidoje Božinovica Džindžera
(Rok Mašina, Riblja Corba), Gorana Bregovica (rano Bijelo Dugme)
i drugih ... Toliko o domacoj sceni. Pravi muzicko/ gitarski preokret
je nastupio pojavom Švedskog gitariste, Yngwie Malmsteen-a na
svetskoj rock sceni koga je otkrio americki producent Mike Varney
(predsednik Shrapnel Records). Yngwie-jeva tehnika je ceo gitarski
svet ostavila bez daha i okrenula naglavacke. Svi su morali da pocnu
"ponovo da uce da sviraju". Zatim su se pojavili Steve Vai,
Joe Satriani, Paul Gilbert, Jason Becker ... i drugi virtuozi gitare
koji su instrumentu dodali dotad nezamislivu dimenziju i tehnicki
napredak. Inspirisan njihovim radom, vežbao bih nekad i po 10
sati dnevno da bih dostigao taj nivo i savladao tehnike sviranja kao
staccato, legato, sweeping, tapping ... U stvari, želja mi je
bila da jednog dana cak i nadmašim svoje uzore ako bude moguce.
Pomenuo bih još i nekoliko impresivnih gitarista koje izuzetno
cenim i koji su donekle ostavili traga u mom sviranju a to su John
McLaughlin, Al Di Meola, Allan Holdsworth, Eric Johnsona, Frank Gambale,
B. B. King, John Scofield, Robben Ford, Larry Carlton,
Pat Martino, Bireli Lagrene, George Benson, Pat Metheny i Brett Garsed.
P: Kažu da si stekao reputaciju Wunderkind-a i da si
se pojavljivao kao gostujuci gitarista u nastupima mnogih klupskih
bendova. Pobijedio si 1988. godine na takmicenju mladih talenata što
ti je donijelo saradnju sa nacionalnom televizijom. Od 1988. do 1992.
si komponovao pjesme za razne radio predstave što ti je omogucilo
priznanje od strane jugoslovenskih muzickih krugova kao jednog od
najboljih gitarista u zemlji. Koliko (samo)odricanja je bilo potrebno
da se sve to postigne?
O: Pa,
meni u to vreme ništa što bi doprinelo napredovanju mog
sviranja ili karijere nije izgledalo kao odricanje jer je upravo muzika
bila to nešto što sam najviše voleo. Dakle - rad iz
ljubavi i potpuna posvecenost instrumentu! Što se nastupa tice
- kraj 80-tih i pocetak 90-tih je bilo vreme vrlo pogodno za rock
svirku. Hard rock i heavy metal su bili vrlo popularni pa je bilo
dosta mladih bendova tog pravca, a i dosta mesta za svirku. Tome je
doprinosio i popularni radio program Hit 202 koji je vodio i još
uvek vodi legenda BG rock-a, Vlada Jankovic - Jet kao i Zajecarske
gitarijade
(na kojim sam nekoliko puta bio specijalni gost) i slicne manifestacije.
Bilo je i nekog takmicarskog duha medu bendovima u stilu "ko
ce bolje" što je omogucilo nekim boljim mladim sviracima
da budu zapaženi. Ja sam bio jedan od tih. Moj demo snimak iz
1989. je pobedio jednim glasanjem slušalaca prvog radio programa
(prezentacija mladih talenata) i to je bila moja karta za ulazak u
svet studijskog rada.
P:
Tvoja diskografija je zvanicno zapocela izdavanjem albuma za jugoslovensko
tržište, Fantasy, za ITMM, 1996. godine. Možeš
li posjetiteljima web site-a MBB, koji nisu imali prilike cuti taj
materijal, ukratko opisati stil i atmosferu pjesama koje si stavio
na taj album?
O: Dakle,
kao što sam vec rekao, pojava generacije novih gitar-heroja je
dala elektricnoj gitari novi polet. Tehnicka ogranicenja su bila srušena
kao i stara pravila. Elektricna gitara je pocela da dobija potencijal
ozbiljnog instrumenta. Ja sam inspiraciju u to vreme tražio i
nalazio u delima kompozitora klasicne muzike kao što su Niccolo
Paganini, Bach, Beethoven, Mozart, Chopin, Liszt, Mendelsohn, Vivaldi
... Posebno me je zanimao Paganini. Pokušavao sam da primenim
njegovo savršenstvo sviranja violine na gitaru.
To mi
je bio cilj - da proširim mogucnosti elektricne gitare na nivo
violine. Pošto sam pocetkom 90-tih cesto bio u ulozi studijskog
gitariste za druge, poželeo sam da napravim jedno svoje izdanje
bez kompromisa koje bi u pravom svetlu prikazalo moje sviracke i kompozitorske
sposobnosti. Tako sam 1992. ušao u studio sa materijalom koji
ce ciniti moj album "Fantasy". Album je bio instrumentalan.
Polovina je bila sacinjena od mojih aranžmana i varijacija na
neka dela klasicne muzike (Paganini, Bach, Handel ...), a druga polovina
od mojih hard rock orijentisanih originalnih kompozicija.
Zbog YU ratova i svega što je išlo s tim, taj moj album
je morao da saceka 1996. da bude objavljen. Bio je cesto emitovan
nakon objavljivanja u medijima pogotovo kao "muzicka pratnja"
raznim popularnim emisijama. Posebno se izdvojila i bila zapažena
balada "Forever."
P: Težeci internacionalnoj karijeri, što je razumljivo,
poslao si primjerak svog albuma Fantasy, Mike Varney-u, predsjedniku
i osnivacu Americke kompanije Shrapnel Records, koji je u tebi otkrio
veliki gitarski talenat. Ubrzo ti je ponuden ugovor za snimanje za
ovu kompaniju. Tvoj prvi album za Shrapnel Records dobio je ime "Borislav
Mitic" i izašao je marta 1999. godine. Na snimcima su te
pratili studijski muzicari iz Quebec-a. Možeš li nam ukratko
predstaviti materijal sa tog albuma?
O: Pa,
ja sam u suštini uvek težio Jugoslovenskoj, a ne svetskoj
karijeri, ali u jednom trenutku sam osetio da stvari ne idu u željenom
pravcu što se tice moje karijere u YU. Rešio sam tada da
pošaljem svoj album vlasniku Shrapnel Records, Mike Varney-ju,
koji je otkrio i Yngwie Malmsteen-a, Paul Gilbert-a, Marty Friedman-a,
Vinnie Moore-a, Greg Howe-a ... i još neke virtuoze i okušam
srecu u tom pravcu. Ispostavilo se da je on bio zainteresovan i ponudio
mi je ugovor što je rezultiralo mojim prvim internacionalnim
izdanjem. Taj album, "Borislav Mitic", se po svemu razlikovao
od "Fantasy" - od izbora zvuka, pa do pristupa snimanju.
Kompozicije su ovog puta sve originalne. Iako je i dalje prisutna
inspirisanost klasikom, pojavljuju se i neki drugi elementi kao etno
uticaji Balkanske, Indijske i Keltske muzike. Zvuk gitare je na momente
više okrenut nekim mojim korenima kao što su Hendrix ili
Blackmore, mada su Yngwie, Eric Johnson ili Joe Satriani i dalje prisutni
kao glavni uticaji. Želja mi je bila da spojim moderni pristup
sviranja sa "dušom" starije generacije gitarista. Pokušao
sam i, mislim, uspeo da napravim balans izmedu tehnike i melodicnosti
sve u korist što boljeg kvaliteta mog Shrapnel debi albuma.
P: Moramo spomenuti da si na zahtjev svojih mnogobrojnih obožavatelja
ponovo izdao svoj prvenac, album Fantasy, septembra 2000. godine.
Ovih dana radiš na svom drugom albumu za Shrapnel Records. Da
li si završio taj album i za kada se planira njegov izlazak na
tržište? Po cemu se on razlikuje od prethodnih albuma?
O: Da,
Fantasy je reizdat 2000. samo za fanove koji ne mogu da dodu do YU
izdanja i dostupan je preko mog web site-a. Moj novi, Shrapnel album,
trenutno je u fazi pripreme. Razlikovace se od prethodnih po tome
što ce biti vokalan, tj. sa pevanjem. Pevac bi trebalo da bude
jedan novi talentovani momak po imenu Chris Logan koji je upravo uradio
turneju i novi album Michael Schenker Group. Muzicki stil ce biti
malo kompleksniji, a gitarska sola ce biti mnogo žešca nego
ikad pre!
P:
Kako ocjenjuješ poziciju heavy metal muzike u svijetu? Da li
je ona još uvijek na vrhu, da li zvijezda njene slave zalazi
ili ...?
O: Heavy
metal muzika sigurno više nije na pozicijama na kojima je bila
pre pada Berlinskog Zida. Cak mislim da je najnovija generacija publike
na zapadu potpuno zaboravila pravi rock. Oni uglavnom slušaju
neke mutirane varijante muzike koje nemaju veze sa izvornim predstavnicima
hard rock-a ili bilo cega. Prava publika i dalje postoji, ali velike
korporacije koje kontrolišu muzicke medije onemogucuju ravnopravnu
prezentaciju svih izvodaca cime bi omogucili publici da bira šta
joj se dopada, a šta ne. Umesto toga, uvedena je neka vrsta diktature.
A to šta se diktira, meni se ne dopada nimalo ... Ne vidim, npr.
šta Courtney Love ili Kid Rock imaju da traže na naslovnoj
strani casopisa kao Guitar Player? Ali to je razlog više da se
bude još uporniji u pravljenju dobre muzike!
P: Cuo sam mišljenja da su se današnji predvodnici
svjetske muzicke scene suviše udaljili od svoje publike.
Publika je, bar onaj dio njih koji se amaterski bavi muzikom, uvijek
težila tome da oponaša svoje idole.
Danas je tehnika sviranja poprimila takve razmjere da je reprodukcija
nekih pjesama postala nedostižna za mnoge, takozvane obicne smrtnike.
Šta ti misliš o ovome?
O: Ne
znam o kojim predvodnicima se radi, ali ja mislim da muzicari i izvodaci
moraju da budu na višem muzickom nivou od publike jer ako ne
bi bili onda ih ne bi bilo interesantno ni slušati ni gledati.
Ali ako se neko udalji toliko mnogo da postane nerazumljiv publici,
to isto može biti problem. Mislim da je važno uspostaviti
ravnotežu izmedu krajnosti. Ruku na srce i pored svih muzickih
i umetnickih aspiracija sviraca, mora se priznati da publika ipak
samo želi da se dobro provede i zabavi!
P:
Da li nastupaš uživo, imaš li svoj stalni band i ko
su njegovi clanovi?
O: Da,
imam nastupe uživo, ali ne i stalnu postavu benda do sad. U stvari,
planiram da ove godine stavim akcenat na taj aspekt solo nastupa posle
izlaska novog albuma. Trenutno pravim postavu za studio i za "Live"
potrebe za 2002. godinu.
P: Kaniš li dolaziti u stari kraj i održati neki
koncert?
O: Jako bih voleo da se to desi u što skorijoj buducnosti. Za
sada nije bilo neke inicijative ili velikog interesovanja od strane
promotera iz YU, nažalost, koji organizuju koncerte. Dobijam
doduše jako puno pošte i podrške od fanova iz ex-YU,
a pogotovo iz BiH. To mi je jako drago jer znaci da iako nisam tamo,
deo publike je zainteresovan i prati moj rad.
Ipak, nadam se da ce do 2003 neki nastupi biti moguci.
P: Poznato mi je da svoje ogromno iskustvo sviranja gitare
prenosiš na mlade kroz školu gitare. Možeš li
nam ukratko opisati tvoj program rada sa mladim gitaristima i kada,
u kojoj fazi, možeš osjetiti da je neko talentiran za taj
instrument ili ne?
O: Ranije
sam držao školu gitare u Beogradu, ali danas nemam vremena
za takve stvari. Ipak ako ponekad naletim na nekog za kog procenim
da poseduje talenat koji obecava, spreman sam da ukažem na neke
"precice". Da li je neko talentovan ili ne, vidi se u par
sekundi bez obzira na nivo. Suštinu nekog mog programa su cinili
osvrt na harmoniju i teoriju (u granicama koliko je to potrebno rock
sviracu), kao i pregled gitarskih stilova u poslednjih 50 godina sa
posebnom analizom najvažnijih predstavnika. Zatim, proucavanje
raznih tehnika uz adekvatne vežbe vezane za skale, arpeda itd,
a zatim fraziranje i improvizacija.
P: Šta bi, kao generalni savjet, mogao poruciti mladim gitaristima
koji vrijedno rade kod svojih kuca, a nemaju priliku da se usavršavaju
pod vodstvom nekog vrhunskog muzicara?
O: Najvažnija
stvar bi bila da stalno istražuju i pronalaze novi muzicki materijal
za slušanje. Neophodno je skupljati što je više moguce
informacija pa cak i o nekim stilovima koji isprva izgledaju nezanimljivo.
Bitno je izvuci ono što je najvažnije i u samoj srži
nekog pravca. Na taj nacin se stvara neka vrsta "muzickog recnika"
u glavi što jako obogacuje sviranje jer ono dolazi i iz glave,
a ne samo iz prstiju.
Pozdravi
svim citaocima i hvala MBB na ovom intervju-u!
Gitara
Interview by Mladen Radakovic, August 2000
for Gitara
Avgustovski intervju: Borislav Mitic
Dakle,
da bismo predstavili Borislava Mitica siroj YU rock publici,
najbolje je poceti pricu sa nekoliko biografskih detalja:
Rodjen 1970 u Beogradu, poceo da se bavi muzikom 1982 inspirisan Beatles-ima.
Potom su uticaj u tvom umetnickom razvoju imali Deep Purple, AC/DC,Iron
Maiden posle kojih uzima elektricnu gitaru u ruke. Dalja inspiracija
su Hendrix, Blackmore, Clapton, Knopfler, Gary Moore, Van Halen,Yngwie
Malmsteen, Steve Vai, Joe Satriani, ...
Izdao
je cetiri albuma:
1) Borislav Mitic St. - Shrapnel Records, 1999
2) Scream until Yu like it - RockExpress Records, 2000
3) Okean - City Records, Beograd, 1997
4) Fantasy - ITMM, Beograd, 1996
1. Kako bi ti definisao specificnost zvuka tvojih pesama i
sta ti je predstavljalo inspiraciju kada si ih smisljao?
Moja
muzika (predstavljena na albumu koji sam snimio za “Shrapnel
Records”) je prozeta uticajima klasicne i rok muzike ali isto
tako i uticajima nekih etno muzika kao sto su na primer :indijska,
keltska; blisko-istocna i slovenska(balkanska). Naravno tu je prisutan
i uticaj bluza i dzeza ali ne u “tipicnoj” formi. Zeleo
sam da spojim najbolje iz svih tih”svetova”i stvorim muziku
koja bi bila sviracki i aranzmanski vrlo slozena ali isto tako i vrlo
“ljudska” i emotivna (posto je osecanje-”emocija”
sustina muzike i umetnosti uopste). Inspiraciju sam nalazio u svojim
zivotnim iskustvima kao i u svemu sto sam naucio od svojih ”muzickih
uzora” do sada.
2.Da li prizvuk i asocijacija klasicne muzike u tvojim pesmama sa
elektricnom gitarom poticu iz nekog tvog minulog muzickog skolovanja?
-Ne.Ja
nikada nisam isao u muzicku skolu ali zato sam “sam prosao”
kroz klasicnu muziku. U jednom momentu svog razvojnog puta na gitari
dosao sam do neke vrste krajnje granice bar sto se rok muzike tice.
Logican nastavak (inspirisan primerom nekih drugih muzicara) je bio
utapanje u okean “klasicne muzike“. Proveo sam nekoliko
godina u proucavanju tehnika, stilova i kompozicija najvecih majstora
“klasike” (slusajuci ploce i CD-ove) kao sto su to :npr.:
Paganini, Bach, Mozart, Chopin, Liszt,... i jos veliki broj drugih.Zeleo
sam da obogatim svoj sviracki stil i unapredim svoje kompozitorske
sposobnosti. Klasicna muzika je bila ogroman izvor informacija i inspiracije.Zelja
mi je bila da prevedem “jezik” violine na “jezik”
Elektricne Gitare i da tako priblizim rok publici jednu “riznicu
lepote” kakva je klasicna muzika.Takodje sam zeleo (i postigao-
nadam se) da srusim tehnicke granice sviranja el.gitare i da podignem
stepen virtuoznosti i ekspresivnosti skoro do savrsenstva nivoa violine.
3. Gde trenutno zivis?
Trenutno
zivim i radim u Kanadi,Montrealu. (od 1998)
4. Da li radis nesto u zivotu sem bavljenja muzikom?
Profesionalno
se bavim jedino muzikom. A pored muzike imam mnogo drugih interesovanja
kao sto su Religija (Hriscanstvo), Istorija, Umetnost uopste (volim
da crtam i slikam mada ovih dana nemam puno vremena za to!). Od sportova
volim : trcanje, streljastvo...
5. Imas li namere da se vracas u Beograd?
Svakako!!!
Ja sebe prvenstveno smatram (mozda i jedino) Beogradjaninom i zaista
jako ,jako volim svoj grad. To sam izmedju ostalog napisao i na omotu
svojih CD-a (“Fantasy”sam posvetio Beogradu a text na
CD-u za Shrapnel glasi: ”I come from Belgrade, the capital of
Serbia a country lying on the crossroads of East and West. It is also
a meeting place of various religions and cultures whose influences
left a mark on the music I make. My desire was to take you on a mystical
guitar journey through this diverse world that I drew my inspiration
from. I hope that the journey will be a pleasant one and that you
will find moments of bliss on it.”) a tako se inace i predstavljam
u stranim medijima. Jedini razlog mog privremenog “dislociranja
“iz Beograda je profesionalni! Ali to je bilo neophodno da bi
gitarska rok publika sirom sveta cula napokon i za nekog iz Beograda
(tj.iz nase zemlje)! Na to sam vrlo ponosan!!!
6. Gde tvoji ljubitelji mogu da te vide i cuju?
Za sada
ne planiram neke koncertne nastupe ili turneju jer mislim da jos nije
vreme za to.Voleo bih da u blizoj buducnosti budem u mogucnosti da
nastupim u Jugoslaviji i bolje se predstavim nasoj publici...Ali za
sada jedini nacin da me cuju oni kojima se dopada moja muzika je preko
CD-a.A da me vide (i cuju) na mom Webpage-u: http://www.geocities.com/borislav_mitic
Tamo isto mogu naci i dosta informacija o meni kao i clanke iz stranih
medija (i gitarskih sajtova) koji govore o mom “Shrapnel”
albumu.
7. Kazi nam nesto o izdavackoj kuci Shrapnel Records za koju
si snimio poslednji album.
To je
najpoznatija americka izdavacka kuca-specijalizovana za gitarsku (instrumentalnu)
muziku.Njen osnivac i predsednik je Mike Varney legendarni gitarski
“guru”i lovac na gitarske talente.Osnovani su negde pocetkom
osamdesetih. Mike Varney je otkrio takve gitarske velicine (koji su
snimali albume za Shrapnel Records) kao sto su: Yngwie Malmsteen,
Paul Gilbert (Mr.Big), Marty Friedman (Megadeth), Jason Becker(David
Lee Roth band), Vinnie Moore, Tony Mcalpine, Greg Howe, Richie Kotzen
(Poison),...i Borislav Mitic. Izmedju ostalih za Shrapnel trenutno
snimaju (ili su objavili albume)Frank Gambale (Chick Corea), Scott
Henderson (Tribal Tech), Larry Coryell, John Norum(Europe),Neil Schon
(Journey),Allan Holdsworth, Joe Lynn Turner(ex pevac Rainbow), Glen
Hughes (Deep Purple), Michael Schenker (UFO,Scorpions,MSG)... a na
nekim “Shrapnel” projektima su ucestvovali i npr.: Steve
Lucather (Toto), Jerry Goodmann (Mahavishnu Orchestra), Steve Vai
(Steve Vai, Whitesnake, David Lee Roth, PIL, Alcatrazz, Frank Zappa)...
8. Kako si uspeo da snimis album za Shrapnel Records?
U mom
slucaju -jednostavno... Poslao sam im neke svoje snimke i Mike Varney
me je nazvao cim ih je cuo. Za mene je to bilo prijatno iznenadjenje
jer znam da mnogo gitarista sirom sveta pokusava isto (saljuci svoje
snimke). Shrapnel Records dobijaju stotine snimaka raznih gitarista
svake nedelje. Medju svom tom konkurencijom njima se eto dopalo to
sto ja radim.
9. Da li si upoznao neke poznate muzicare u svojoj novoj izdavakoj
kuci?
Pa imao
sam na primer ponudu pevaca grupe UFO Phil Mogg-a da se prikljucim
reoformljenom bendu i zamenim legendarnog Michael Schenker-a (UFO,
Scorpions, MSG)ali na zalost obaveze oko mog albuma su se isprecile
toj saradnji. Upoznao sam Greg Howe-a (isto snima za Shrapnel) koji
je trenutno gitarista Enrike Inglezijasa, pa Jennifer Batten gitaristkinju
Michael Jacksona, u kontaktu sam sa Patrick Rondatom poznatim francuskim
gitaristom koji je radio sa Jean-Michel Jarre-om (album Chronologie),
John Petrucci-a (Dream Theater), John Scofield-a... a imao sam i tu
cast da upoznam i jednog najvecih svetskih gitarskih imena- cuvenog
Steve Vai-a.
10. Kako si ucio da sviras gitaru?
Ja sam
prakticno samouk. Najbolji “profesor” mi je bio- gramofon.
Poceo sam sa nekim stvarima kao sto su to The Beatles npr. Kasnije
sam se orijentisao vise ka bluzu i roku da bih na kraju otisao u klasiku
i dzez (donekle). Skidao bih stvari ”po sluhu” sa snimaka
svojih omiljenih gitarista i pamtio te fraze trudeci se da ih “razvijem”
dalje na neki -“moj nacin“.
11. Koliko je vezbe potrebno da bi se dostigla virtuoznost
koju ti prikazujes?
Potrebno
je dosta ozbiljnog vezbanja i istinske posvecenosti gitari i muzici
da bi se postigli ovakvi rezultati. Dosta toga je i stvar ”licnog
afiniteta”... na primer gradja sake, duzina prstiju kao i njihova
snaga i fleksibilnost imaju znacajnog udela- mada ne presudnog. Po
meni najvaznija je kolicina ljubavi i strasti koju neko ulaze u svoje
sviranje... Od svega toga kao i od sluha i neke doze urodjenog talenta
zavisi da li ce nekom trebati 10 godina vezbanja od 12 sati dnevno
ili ce doci do “zeljenog cilja” za 3 godine sa po 4 sata
dnevno,...ali,neko mozda i nikad... Ja sam u svojim pocecima nekako
“stalno” bio sa gitarom. Trudio sam se da naucim sto vise
- sto raznovrsnijih stilova i tehnika sviranja. Bio sam “zaljubljen”
u gitaru.
12. Mozes li da preporucis pocetnicima nacin na koji da vezbaju
i na sta da usmere svoju paznju?
Prvo,
dobar muzicar mora da bude -dobar slusalac. Vazno je ne ogranicavati
sebe nego uvek imati “otvoren vidik”. Treba biti radoznao,istrazivati
nove stvari, stalno traziti i nalaziti nesto novo (u sebi ili drugima)...
Kad se vezba jako je vazno ”realno “ slusati sebe jer
tako je najlakse i najbolje...-stalno korigovati samog sebe! Kad je
potrebno uvezbati nesto tehnicki tesko-najbolje je prvo to dooobro
uvezbati u “sporijem” tempu pa zatim “ubrzavati”.
Potrebno je i uvek “vracati se nazad” tj. ponovo prouciti
stvari i stilove koje mislimo da smo vec savladali!Neverovatno je
koliko na taj nacin covek otkrije koliko razlicito “danas“
cuje neke stvari nego sto ih je cuo pre “nekoliko godina“.
Tehnicki gledano “pravilna postavka” leve i desne ruke
su takodje znacajne. Trzanje desnom rukom treba da bude “iz
zgloba” a ne iz ”lakta”. Zglob leve sake ne treba
da bude suvise iskosen a lakat iste ruke ne treba drzati predaleko
od tela. Gitaru treba drzati u predelu stomaka- bilo da sedimo ili
stojimo. Obavezno treba vezbati i “stojeci” -kao da ste
na bini. Na kraju treba nauciti sto vise fraza, skala, arpedja i akorada
i stilova gde bi se sve to moglo upotrebiti. Ukus treba uvek da bude
na prvom mestu... Treba u principu vezbati sve tehnike svaki dan...
Treba biti uporan... kao i znati da nikada nema “kraja”
ucenju i da uvek ima neceg sto jos ne znamo i sto je ispred nas.I
najvaznije od svega -treba uvek svirati iz srca!!! Jos bih preporucio
slusanje i “skidanje”drugih instrumenata osim gitare kao
sto su to violina,klavir, saksofon, sitar,... To moze jako da prosiri
gitarski ”recnik” i donese svezinu zvuka.
13. Da li postoji neka skola gitare na internetu koju bi ti preporucio
pocetnicima?
Znam
da se moze naci dosta raznih transkripcija na nekim sajtovima,...
ali nisam siguran da postoji neka ”skola “ koju bih mogao
posebno da preporucim. Doduse ja sam poceo da pisem rubriku za casopis
“Muzicar” (koji je pokrenuo Rockexpress) koja je u stvari-
moja skola gitare a nameravam da napravim nesto slicno i na svom Webpageu
(kao i na sajtu koji je jos u pripremi) uskoro.
14. Gde si nastupao?
Imao
sam dosta nastupa u Yugoslaviji -od kojih su neki zabelezeni i na
video traci kao npr.Hit Decenije (PGP-RTS), Zajecarskim Gitarijadama
(koje su kao i HIT 202 bile u organizaciji naseg legendarnog “rok-promotera”
i mog prijatelja-Vlade Jankovica Dzeta koji je uvek imao “uvo”
za dobru svirku)... a bilo je tu i mnogo manjih klupskih nastupa.
Pomenucu i poslednji koncert na kome sam ucestvovao 1998 nedelju dana
pre odlaska iz Beograda- ”Instru-Mental Forces” (ciji
sam bio clan i jedan od osnivaca) u Atelje-u 212. Ideja je bila da
se promovise instrumentalna muzika u YU kao i njeni kompozitori (stari
i novi) kao i dobra svirka -izmedju ostalog. Po meni -to je bio muzicki
dogadjaj decenije. Koncert je snimalo i nekoliko velikih domacih TV
“kuca” ali mislim da do dan- danas jos uvek nazalost nije
emitovan. Iza tog projekta ostala je kompilacija ”Okean”
(City Records)na kojoj je i moja kompozicija “Forever”
(sa albuma Fantasy) koja se godinama “vrtela” kao “background”
u nekim od najgledanijih TV i najslusanijih radio emisija.
15. Koji je po tebi, do sada, tvoj najveci uspeh u muzici?
Mislim
da je to nesumnjivo objavljivanje albuma za Shrapnel Records i time
ostvarenje mog sna da uspem da “upisem” svoje ime u knjigu
svetskih gitarskih virtuoza.
16. Mozes li da izdvojis nekoliko imena gitarista koji su
ti danas idoli?
Draza
mi je rec “uzori”... Ima zaista toliko ljudi koje bih
mogao da navedem da je tesko suziti izbor na samo nekoliko.Ali evo
da izdvojim neka imena...: Jimi Hendrix, Mike Oldfield, Mark Knopfler,
Stevie Ray Vaughan, Yngwie Malmsteen, Steve Vai, Joe Satriani, Eric
Johnson, John Mclaughlin, Django Reinhardt, Mike Stern,Pat Metheny,
Al DiMeola, Allan Holdsworth, John Scofield, B.B.King, Eric Clapton,
Brett Garsed, Trevor Rabin, Eddie Van Halen, Wayne Krantz, Lenny Breau,
Brian May, Michael Schenker, Gary Moore, Richie Blackmore, Uli Jon
Roth, Greg Howe, Angus Young, Frank Gambale, Wes Montgomery, Joe Pass,
Robben Ford, Larry Carlton, Danny Gatton, Steve Morse, Albert Lee,
Frank Marino, George Benson, Tal Farlow , Brian Setzer, Edge, Jimmy
Page, Jeff Beck, Dave Gilmour, Jason Becker, Ry Cooder i... Carlos
Santana!!! To bi bio moj “najuzi” izbor gitarista cije
sviranje mi predstavlja inspiraciju...a ako bih morao da odaberem
samo jednog onda bi to bio - Jimi Hendrix! On mi je bio jedan od prvih
uzora. Tako da danas posle 17 godina sviranja kao da sam napravio
- “pun krug” i vratio se svojim muzickim “korenima”!
U Hendrixovom sviranju je na neki nacin spojeno skoro sve najbolje
sto se tice el.gitare. Neprevazidjen ton, sjajne kompozicije, odlicna
tehnika, vrhunska ekspresivnost, uzvisena emocija, neobuzdana energija
i strast, inventivnost, spontanost u improvizacijama kao i “inovatorstvo
zvuka”. On je na mnogo nacina i zapoceo i zavrsio “knjigu“-
Elektricna Gitara! I danas - kad cujem njegov album ”Band of
Gypsys” (npr) moram da priznam da se do dana danasnjeg nije
culo nista bolje od toga-sto se el. gitare tice!
17. Tvoji planovi za buducnost? Snimas li novi album? Nastupas
li negde?
Nameravam
da napravim jos dosta dobre muzike i da i dalje nastavim da napredujem
u gitari i muzici. Trenutno radim na pripremi tj. komponovanju materijala
za novi album (za Shrapnel Records) koji ce nadam se prevazici sve
sto sam do sada snimio i pokriti jos siri spektar stilova!
18. Sta mislis o ovom sajtu - www.gitara.co.yu?
Mislim
da je sjajno sto ovaj sajt postoji! Nadam se da ce nastaviti i napredovati
u trendu kojim je i poceo! Bilo mi je veliko zadovoljstvo da dam ovaj
intervju-u svakom slucaju...
Puno
pozdrava svim citaocima!!! - Borislav Mitic
Music
Box
Interview by KarolG - January 2001
Music Box (In Slovakian)
1) What kind of stuff do you prepare for next album?
The next Shrapnel album (for 2001) will probably include
instrumental and vocal songs. The music will be more ”heavy”
and the playing will be more intense than ever before. I have a lot
of new licks, ideas and sounds to play… I expect it to be my
best work so far!
2) Have you found the right musicians for that?
The line-up for the new album is not defined as of
yet, although I do have some idea about who is going to sing on it…I
can’t say anything more about that right now. I will say more
in time on my WebPage.
3) How about living in Canada?
The winters
are very cold and long!!! It’s nice if you like snow…
4)
What was surprising in music for you for the last couple of months?
Well,
it’s a nice surprise that I see Yngwie’s return to the
scene in USA. I hope that it is a beginning of a new “surprising”
resurrection of an era of good music and musicians! Uli Jon Roth made
also an amazing album “Transcendental Sky Guitar”. Apart
from that it’s (still) surprising for me how Angus Young (AC/DC)
moves and plays on stage… It was also good to see someone like
Carlos Santana showing everybody that it’s still the Electric
Guitar that rules the music world!
5) Does your wife support you in music?
Marie is very supportive and is helping me in a lot
of things regarding my music career (for example she is the creator
and in charge of my WebPage, etc…). She has a lot of strength
and energy and I find it admirable and inspiring.
6) Will you play some live shows?
I hope so. I will really try to make it possible to
go and play live in support of my new Shrapnel album and meet my fans
in 2001…
I wish all the best in the New Year 2001
to the readers of music.box and all my fans!!!
Borislav Mitic
