2022  (ENGL)

I’m not in the habit of making a recap at the end of every year of what I’ve experienced, done, and achieved in 360+ days, but 2022 certainly deserved it. If we add to that the title of the first official BLOG text on my new website www.vladimirsamardzic.com, which will soon see the light of day, then that is even more reason for its creation.

Right after the New Year and Christmas holidays, I threw myself into recording the last two compositions for my solo album CATCHING THE WIND (SKC NS, 2022), which was already largely in the final stage of Vladimir Moritz’s audio mix. I recorded the tracks AFRICAN IN VIENNA and REMEMBERING SIENA in a duet with the great percussionist Andreja Krstić in Darko Varga’s studio in Futog (Serbia). For me, it had special importance because, for the first time, I found myself in a situation where I was recording original compositions for solo bass and percussion, audio and video in my own video production. In addition to just playing the bass guitar requiring extra concentration as the only melodic-harmonic instrument, the fact that I also was recording video added pressure. However, everything went great with a good atmosphere and homemade Darko’s rakija.

The previous year is also significant in that my bass guitar arsenal was enriched by two wonderful instruments. The first of them arrived right at the beginning of January straight from Seville, Spain. The Pedulla Pentabuzz is a five-string fretless bass guitar that I had the opportunity to try out as a student at Berklee College in Boston in 1997. Then I said to myself, one day I will have this instrument and here, after 25 years, that wish has finally come true. The flawless preservation of the guitar, the “Signature” level of quality, the incredible sound and feel, as well as the discontinuation of the PEDULLA company in 2019 are facts that made me, the new owner of this red fretless beauty, even happier.

THE FRAJLE is a unique female vocal instrumental from Novi Sad. I have had the good fortune to know my fellow citizens since long ago when a joint project was not yet in sight, but the talent was already present then. Our collaboration began on the studio albums “A and B Strana Ljubavi” and their first big concert in Lisinski in Zagreb (Croatia) in 2015. In 2022, we performed all over Serbia and Macedonia. I would like to single out two January concerts in the MTS Hall in Belgrade and a performance in the Heraklion Amphitheater in Bitola (North Macedonia). Sharing the stage with Nevena, Jelena and Natasha, as well as with my bandmates, Bane, Djole and Filip, is always an experience with lots of laughter, energy and wonderful musicianship.

Another fantastic instrument arrived straight from Venice, Italy in March. It is signed by Canadian bass guitar luthier George Furlanetto. The F BASS model BN5 arrived in excellent condition and instantly swept me off my feet. A unique sound production level with a lot of character, the tone of this guitar was soon noticed during my rehearsals with the RTS Big Band, as well as during the performance and recording at the Belgrade Spring 2022 festival in the MTS hall, which was broadcast live by RTS (Radio-Television of Serbia).

In addition to more than fun rehearsals with our most important jazz orchestra in the country and an excellent performance, I will also remember this festival because I had to cope with reading a musical medley of 12-sheet music without repetitions! After the concert, I said to myself: “Next time, a 12-inch tablet and a blue tooth foot pedal to turn pages!” There was a lot of stress about changing bass parts by hand and after that getting back into arrangement. Yes, at one point all my notes fell on the floor, but I just managed to quickly put them back and continue playing.

In April, I held two public classes. Postponed due to the coronavirus pandemic, the two-day seminar for Drummers and Bassists (BiB SEMINAR), which was designed in 2019 by my colleague, drummer, Berklee graduate Branko Popović and myself, was held on April 12-13 in Novi Sad at the Barka cultural station, EPK NS. I always look forward to these kinds of workshops because during two days of intensive work with the participants, at the end we really see the results and the improvement of each bass player and drummer. Immediately after that, on 14.04. I had a BASS MASTERCLASS in Kragujevac organized by Dom Omladine. I played along to the PLAY-A-LONG tracks from my album that don’t have a bass guitar on them and explained the concepts I used when writing the compositions. It was great.

If I need to single out one event from the year 2022, then it is definitely the publication of my second author’s release after 12 years since the release of the album Pannonia Project – The Bridge (M production, 2010). It is my first solo bass album, behind which I stand 100% as a musical artist and co-producer, and which was released in May by the Student Cultural Center from Novi Sad – Catching the Wind (SKC NS, 2022). Here I have to single out the most deserving person for the realization of this edition. This is my great friend and amazing drummer Dado Marinković. Not only did he masterfully play drums on 8 tracks, but he generously gave me his recording studio and was also the audio engineer. Dado The King! The second most important person is Vladimir Moritz, with whom I enjoyed doing post-production, who is responsible for the mix and mastering, for the excellent sound of the album, which everyone recognizes. I believe that this is just the beginning of our long-term cooperation.


The title track in the form of the first single/studio video directly contributed to my YouTube channel going from a few hundred followers to 1100 in a very short time!


The collaboration with Amira Medunjanin and the Vojvodina Symphony Orchestra within the project of promoting the album “For Him and Her”, which was started under the guise of December 2020, has a specific weight for me. It is a real pleasure to play surrounded by string instruments in such a quality orchestra. And a special experience is the performance of one or two tracks during the concert in a duet with Amira, when it’s just the two of us, just vocals and bass. December concerts in the packed big hall of the Serbian National Theater have already become a tradition.

The month of August was very interesting. I visited Guča (Serbia) for the first time in my life during the famous trumpet festival, but as a guest member of the RTS Big Band alongside my colleague Milan Pavković. The orchestra performed with a complete double rhythm section! An interesting and fun experience. I will remember August 24th because that day I performed live for the first time with my new project Vladimir Samardžić Trio, accompanied by two great Brazilians musicians, as part of the KRANJ JAZZ FEST (Slovenia). Guitarist Marco Antonio da Costa also participated in the recording of the first part of the album, while for drummer Matheus Jardim this was the first performance in this combination. The hospitality of the Grašić brothers (Grugur and Primož), organizers of the festival, was at a high level, and Kranj was adorable.

The official concert promotion of the Catching the Wind album took place on September 1, 2022, on the open stage behind the FACTORY in the new Cultural District of Novi Sad as part of the KALEIDOSCOPE CULTURE event, organized by the EPK NS and SKC NS. Long after the concert, as well as in the following days, I received positive evaluations from many visitors to the promotion. That evening, drummer Vladimir Kostadinović and I officially performed together for the first time, even though we have known and respected each other for so many years. His agreement to be part of my trio made me very happy.

In the same month, BASISTA magazine No. 7 was published with me on the cover page with a big interview and a special bass lesson. This is a great honor and it means a lot to me, especially considering who has been on the same page in previous issues. I’m glad that after the album was finished, many colleagues considered it absolutely justified that this issue is dedicated to yours trully, first of all, the editor of the edition, Milan Srdanović. I perceive it as a recognition of the quality of the published album.

By the end of the year, my band, the Vladimir Samardžić Trio, performed at jazz festivals in Vršac, Novi Sad and Valjevo, as well as in club venues in Kragujevac and Smederevo, and the concert was well received everywhere. After 5 years, I shared the stage again with an old friend, a great guitarist who also guested on the album, Nenad Gajin and enjoyed it to the max.

I gave a lot of interviews for various newspapers, web portals as well as live on TV stations. The quality of the album is also confirmed by numerous playlists on radio web stations in Europe, America and Asia, which contain some of the tracks from my release, as well as reviews that were published not only here, but also internationally, of which I would especially like to single out that of the famous jazz critic Adam Baruch:


The music from the album was used at the opening of the graphic exhibition of the famous Novi Sad artist and professor Uroš Nedeljković, and also as an illustration for the radio drama “Kugin vilajet” produced by RTV Vojvodina. The reactions of listeners who are not “musicians” by vocation are also important to me. Some of the comments I particularly like are that the album is listened to in its entirety in the car while going on a long journey, and people like to listen to it more than once, discovering new qualities with each new listen.

The month of October brought my premiere performance with the Jovan Milovanović Quartet in the Belgrade club Telma, which was packed. Great music, great friends and my fretless Pedulla Pentabuzz for the first time in jazz action.

November in Novi Sad was marked by a Sunday dedicated to the legendary Mitra Subotic Suba, which was organized in a wonderful way in the new cultural area of Novi Sad. On that occasion, I participated in two spontaneous jam sessions in “Suba’s room” and had the pleasure of playing music with the Brazilian percussionist Joao Parahyba, who was once one of Suba’s most important friends and collaborators in Brazil, in addition to our local participants.

And one more, final review of the Catching the Wind release. Shortly after the release of my album on all digital platforms for music streaming, my friend from school days, Nenad Šimšić, who lives and works in Amsterdam as a sound designer and producer, contacted me with the desire to release my album in Dolby Atmos 3D format as well, because he really liked the music and production of the release itself. I confess that at that time I knew nothing at all about this format that is spreading in the world market. To our mutual satisfaction, we finished the first part of the album, extended play 1 (first 5 compositions), Catching the Wind EP1 by the end of the year and published it on all streaming services that support this format. The biggest ones are Tidal, Amazon Music and Apple Music. As far as I know, this is the first release of this kind of music format not only in Serbia, but also beyond. In order for the audio mix and mastering of music to be done with quality according to all DA standards, it must be mixed in a Dolby Atmos authorized and licensed music studio such as Nenad’s. In February 2023, the second part of the album in DA format, Catching the Wind EP2, will be released.


As a music editor on the first program of RTV Vojvodina radio, in charge of jazz music, I always try to promote first and foremost quality jazz releases from Serbia and the countries of the region from the former Yugoslavia. In the previous year, almost all the albums that reached me and were published in 2021 and 2022 found their place in my shows Jazz Kaleidoscope (Thursday 22.12-23.00) or Rendezvous with Music (Monday 18.05-19.00). Jovan Milovanović Quartet, Parussion Groupe Ensemble, Maya Misty Trio, Bojan Marjanović, Ivan Radivojević Quartet, Milena Jančurić, Filip Pavić, Sarajevo Jazz Guerilla, Elvis Stanić, Drama Quartet, EJO, Bosque, Dragan Ćalina Quartet, Robert Vrbančić. Mario Rašić, Zoran Majstorović, MING, Irena Blagojević. The exclusive 25-minute interview with one of the world’s biggest stars of the world music scene, Tunisian singer and lute player Dhafer Youssef, was really special, after all, just like his concert.

My bass guitar school www.vladabasslessons.com was active throughout the year, online and live without interruption, in accordance with other obligations, but I had to limit the number of students I work with once a week “1 on 1” to 10.

We have reached the very end of this first blog of mine, dedicated to the recapitulation of 2022. There is an unfinished project from last year that will still have to see the light of day during February 2023, if not earlier. It is about my new website www.vladimirsamardzic.com which is still “under construction”, but it is at the very end of its creation. I can’t wait to put it into circulation!

There are various plans in this new year, but let’s take it easy. It is not worth “catching the wind” at all costs, chasing numerous goals, and missing the life that happens to us every day.

Therefore, give yourself tasks and deadlines, but allow other unplanned things to happen, to interfere with your schedules and enrich your year at the price of delaying the planned a bit, moving it to later, and even changing it. Allow the unplanned and enjoy it!


Ja nemam običaj da na kraju svake godine pravim rekapitulaciju doživljenog, učinjenog, ostvarenog za 360 i kusur dana, ali je 2022. to sigurno zaslužila. Ako tome dodamo i titulu prvog zvaničnog BLOG teksta na mom novom web sajtu www.vladimirsamardzic.com koji će uskoro ugledati svetlost dana onda je to i razlog više za njegov nastanak.

2022. godine je počela radno. Odmah nakon novogodišnjih i Božićnih praznika, bacio sam se na snimanje poslednje dve kompozicije za svoj solo album CATCHING THE WIND (SKC NS, 2022) koji je već dobrim delom bio u završnoj fazi audio miksa Vladimira Moritza. Numere AFRICAN IN VIENNA i REMEBERING SIENA sam snimao u duetu sa sjajnim perkusionistom Andrejom Krstićem u studiju kod Darka Varge u Futogu. Za mene je ono imalo posebnu važnost jer sam se prvi put našao u situaciji da snimam autoske kompozicije za solo bas i perkusije, audio i video i to u sopstvenoj video produkciji. Pored toga što je samo sviranje bas gitare zahtevalo dodatnu koncentraciju kao jedinog melodijsko-harmonskog instrumenta, činjenica da snimam i video je napravila dodatni pritisak. No, uz dobru atmosferu i domaću Darkovu rakiju, snimanje je prošlo odlično.

Prethodna godina je značajna i po tome što su moj arsenal bas gitara obogatila dva predivna instrumenta. Prvi od njih je stigao odmah početkom januara pravo iz Sevilje u Španiji. Pedulla Pentabuzz je petožičana bas gitara bez pragova koju sam imao prilike da probam još kao student na Berklee koledžu u Bostonu 1997. godine. Tada sam rekao sebi, jednog dana ću imati ovaj instrument i eto, nakon 25 godina, ta želja mi se konačno ostvarila. Besprekorna očuvanost gitare, „Siganture“ nivo kvaliteta,  neverovatan zvuk i osećaj, kao i prestanak sa radom kompanije PEDULLA 2019. su činjenice koje su mene, novog vlasnika ove crvene fretless lepotice učininile još srećnijim.

The Frajle su jedinstveni ženski vokalno-instrumentlani sastav na ovim prostorima. Imam tu sreću da moje sugrađanke poznajem još od davnih dana kada zajednički projekat još nije ni bio na vidiku, ali je talenat već tada bio prisutan. Naša saradnja je počela na studijskim albumima „A i B Strana Ljubavi“, kao i na njihovom prvom velikom koncertu u Lisinskom u Zagrebu 2015. godine.  2022. godine smo nastupali širom Srbije i Makedonije gde bih posebno izdvojio dva januarska koncerta u MTS dvorani (Dom Sindikata) u Beogradu kao i nastup u Heraklion amfiteatru u Bitoli (Severna Makedonija). Deliti binu sa Nevenom, Jelenom i Natašom kao i sa drugarima u bendu, Banetom, Đoletom i Filipom je uvek doživljaj sa puno smeha, energije i divnog muziciranja.

Pravo iz Venecije u martu mesecu do mene je stigao i drugi fantastičan instrument. Njega potpisuje kanadski graditelj bas gitara George Furlanetto. Fbass model BN5 je došao u odličnom stanju i momentalno me oborio sa nogu. Poseban produkcijski iznivelisan, ali prodoran, sa puno karaktera, ton ove gitare je ubrzo bio zapažen i tokom mojih proba sa RTS Big Bandom kao i tokom nastupa i snimanja na festivalu Beogradsko Proleće 2022 u MTS dvorani koje je dirktno prenosio RTS.

Pored više nego zabavnih proba sa našim najznačajnijim jazz orkestrom u zemlji i odličnog nastupa, ovaj festival ću pamtiti i po tome što sam morao da se izborim sa čitanjem muzičkog medlija od 12 notnih stranica bez repeticija! Posle koncerta sam reakao sebi: “Sledeći put, tablet od 12“ i blue tooth nožna pedala za promenu stanica!” Dosta je bilo stresa oko okretanja partirura rukom i vraćanja u aranžman. Da, u jednom trenutku su mi sve note pale na pod, ali samo uspeo brzo da ih vratim nazad i da nastavim da sviram.

U aprilu mesecu sam održao dva javna časa. Odloženi zbog pandemije korona virusom dvodnevni seminar za Bubnjare i Basiste (BiB seminar), koji smo 2019. godine osmislili moj kolega, bubnjar, Berklee diplomac Branko Popović i ja, realizovali smo 12-13 aprila u Novom Sadu u kulturnoj stanici Barka, pod pokroviteljstvom Fondacije 2022, EPK NS. Uvek se radujem ovakvim radionicama jer tokom dva dana intenzivnog rada sa polaznicima na kraju zaista vidimo rezultate i poboljšanje kog svakog basiste i bubnjara. Odmah nakon toga, 14.04. sam u Kragujevcu imao Bass Masterclass u organizaciji Doma Omladine. Svirao sam uz matrice numera sa mog albuma na kojima nema bas gitare i objašnjavao koncepte koje sam koristio pri pisanju kompozicija. Bilo je odlično.

Ako treba jedan događaj da izdvojim iz 2022. godine onda je to definitivno objavljivanje mog drugog autorskog izdanja nakon 12 godina od izlaska albuma Pannonia Project – The Bridge (M production, 2010). U pitanju je moj prvi solo bass album iza koga stojim 100% kao muzički umetnik i koproducent, a koji je u maju mesecu objavio Studentski kulturni centar iz Novog Sada – Catching the Wind (SKC NS, 2022). Ovde moram da izdvojim najzaslužniju osobu za realizaciju ovog izdanja. To je moj veliki prijatelj i vanserijski bubnjar Dado Marinković. Ne samo što je maestralno odsvirao bubnjeve na 8 kompozicija, već mi je velikodušno ustupio svoj studio za snimanje i pri tome bio i audio inženjer. Dado Care! Druga najvažnija osoba je Vladimir Moritz sa kojim sam uživao radiiti postprodukciju, koji je odgovoran za mix i mastering, za odličan zvuk albuma, koji svi prepoznaju. Verujem da je ovo samo početak naše dugogodišnje saradnje.


Naslovna numera u vidu prvog singla/studijskog video spota je direktno doprinela da za veoma kratko vreme moj YouTube kanal od par stotina pratilaca pređe brojku od 1100!


Saradnja sa Amirom Medunjanin i Vojvođanskim simfonijskim orkestrom u okviru projekta promocije albuma “For Him and Her” koji je započet pod maskama decembra 2020, ima za mene specifičnu težinu. Uživanje je zaista svirati okružen gudačkim instrumentima u ovako kvalitetnom orkestru. A poseban doživljaj je izvođenje jedne ili dve numere tokom koncerta u duetu sa Amirom, kada smo sami nas dvoje, samo vokal i bas. Decembarski koncerti u prepunoj velikoj sali Srpskog narodnog pozorišta su postali već tradicija.

Mesec avgust je bio veoma interesantan. Prvi put u životu sam posetio Guču tokom čuvenog festival trube, ali kao gostujući član RTS Big Benda pored kolege Milana Pavkovića. Orkestar je nastupao sa kompletnom duplom ritam sekcijom! Zanimljivo i zabavno iskustvo. 24. avgust ću pamtiti po tome što sam toga dana u okviru KRANJ JAZZ FESTa (Slovenija) nastupio prvi put uživo sa svojim novim projektom Vladimir Samardžić Trio, u pratnji dvojice brazilaca. Gitarista Marco Antonio da Costa je učestvovao i u snimanju prvog dela albuma dok je za bubnjara Matheusa Jardima ovo bio prvi nastup u ovoj kombinaciji. Gostoprimstvo braće Grašić (Grugur i Primož) je bilo na visokom nivou, a Kranj presladak.

Zvanična koncertna promocija albuma Catching the Wind se dogodila 01.septembra 2022. na otvorenoj bini iza FABRIKE u novoj Kulturnoj oblasti Novog Sada u sklopu manifestacije KALEIDOSKOP KULTURE, a u organizaciji Fondacije 2022/EPK NS i SKC NS. Dugo nakon održanog koncerta, kao i narednih dana sam dobijao pozitivne ocene od mnogobrojih posetilaca promocije. Te večeri smo inače bubnjar Vladimir Kostadinović i ja prvi put zvanično nastupali zajedno iako se poznajemo i uvažavamo toliko godina. Njegov pristanak da bude deo mog trija me je veoma obradovao.

Istog meseca izašao je iz štampe magazin BASISTA br.7 sa mojom naslovnicom, velikim intervjuom i specijalnom bas lekcijom. Ovo je velika čast i mnogo mi znači, posebno imajući u vidu ko se sve pre mene našao na istom mestu. Drago mi je što su mnoge kolege nakon presušavanja albuma smatrale apsolutno opravdanim da ovaj broj bude posvećen mojoj malenkosti, na prvom mestu urednik izdanja, Milan Srdanović. Hvala svima koji misle da to zaslužujem.

Moj sastav, Vladimir Samardžić Trio je do kraja godine nastupio na jazz festivalima u Vršcu, Novom Sadu i Valjevu kao i u klubskim prostorima u Kragujevcu i Smederevu i svuda je svirka primljena odlično. Posle 5 godina, ponovo sam delio binu sa starim prijateljem, sjajnim gitaristom koji je i gostovao na albumu, Nenadom Gajinom i maksimalno uživao.

Dao sam puno intervjua za razne novine, web portale kao i uživo na TV stanicama. Kvalitet albuma potvrdjuju i mnogobrojne playliste na radio web stanicama Evrope, Amerike i Azije koje sadržavaju neku od numera sa mog izdanja kao i recenzije koje su objavljene ne samo ovde, već i u instranstvu od kojih bi posebno izdvojio onu poznatog jazz kritičara Adama Barucha:


Muzika sa albuma je korišćena na otvaranaju izložbe grafika poznatog novosadskog umetnika i profesora Uroša Nedeljkovića,  aIi i kao ilustracija za radio dramu “Kugin vilajet“ u produkciji RTV Vojvodine. Važne su mi i reakcije slušalaca koji nisu “muzičari” po vokaciji. Neki od meni posebno dragih komentara su da se album u celosti sluša u autu dok se ide na duži put kao i ga ljudi rado preslušavaju više puta otkrivajući svakim novim slušanjem neke nove kvalitete.

Oktobar mesec je doneo moj premijerni nastup sa Jovan Milovanović Qvartetom u beogradskom klubu Telma, koji je bio prepun. Divna muzika, veliki prijatelji i moj fretless Pedulla Pentabuzz prvi put u jazz akciji.

Novembar u Novom sadu bio obeležen nedeljom posvećenom legendarnom Mitru Subotiću Subi koja je organizovana na divan način u novoj kultirnoj oblasti Novog Sada. Tom prilikom sam učestvovao na dva spontana džem sešna u “Subinoj sobi” i imao zadovljstvo da pored naših domaćih učesnika muziciram i sa brazilskim perkusionistom Joao Parahybom koji je svojevremeno bio jedan od najznačajnijih Subinih prijatelja i saradnika u Brazilu.

I još jedan, poslednji osvrt na izdanje Catching the Wind. Ubrzo nakon objavljivanja mog albuma na svim digitalnim platformama za streaming muzike, javio mi se moj prijatelj iz školskih dana Nenad Šimšić, koji živi i radi u Amsterdamu kao dizajner vzuka i producent, sa željom da objavimo moj album i u Dolby Atmos 3D formatu, jer mu se mnogo dopala muzika i produkcija samog izdanja. Priznajem da tada uopšte nisam znao ništa o tom novom novom muzičkom formatu koji se širi svetskim tržištem. Na obostrano zadovoljstvo smo prvi deo albuma, extended play 1 (prvih 5 kompozicija), Catching the Wind EP1 završili do kraja godine i objavili na svim streaming servisima koji podržavaju ovaj format. Najveći su Tidal, Amazon music i Apple Music. Koliko je meni poznato, ovo je prvo izdanje ovakvog muzičkog formata ne samo u Srbiji, već i šire. Da bi audio mix i mastering muzike mogli da se urade kvalitetno po svim DA standardima, ona se mora miksati u Dolby Atmos ovlašćenom i licenciranom muzičkom studiju kakav je upravo Nenadov. Tokom januara-februara meseca 2023. godine izlazi i drugi deo albuma u DA formatu, Catching the Wind EP2.


Kao muzički urednik na prvom program radija RTV Vojvodine, zadužen za jazz muziku, uvek se trudim da promovišem na prvom mestu kvalitetna jazz izdanja koja dolaze iz Srbije i zemalja regiona sa područija bivše Jugoslavije. Prethodne godine gotovo svi albumi koji su stigli do mene, a objavljeni su 2021. i 2022. su našli svoje mesto u emisijama Jazz Kaleidoskop (četvrtak 22.12-23.00) ili Randevu sa muzikom (ponedeljak 18.05-19.00). Jovan Milovanović Quartet, Parussion Groupe Ensemble, Maya Misty Trio, Bojan Marjanović, Ivan Radivojević Quartet, Milena Jančurić, Filip Pavić, Sarajevo Jazz Guerilla, Elvis Stanić, Drama Quartet, EJO, Bosque, Dragan Ćalina Quartet, Robert Vrbančić. Mario Rašić, Zoran Majstorović, MING, Irena Blagojević. Ekskluzivni intervju sa jednom od najvećih svetskih zvezda world music scene, tuniskim pevačem i lautistom Daferom Jusefom u trajanju od 25 minuta je bio zaista poseban, uostalom kao i njegov koncert.

Moja škola bas gitare www.vladabasslessons.com je tokom čitave godine bila aktivna, bez prekida online i uživo, u skladu sa drugim obavezama, ali sam broj polaznika sa kojim radim jednom nedeljno “1na1“ morao da ograničim na 10.

Stigli smo i do samog kraja ovog mog prvog bloga, posvećenog rekapitulaciji 2022. godine. Tu se nalazi jedan nezavšeni projekat iz prošle godine koji će ipak morati da ugleda svetlost dana tokom februara 2023, ako ne ranije. U pitanju je moja nova web stranica www.vladimirsamardzic.com koja je i dalje “under construction”, ali je pri samom kraju kreiranja. Jedva čekam da je pustim u opticaj!

Postoje razni planovi u ovoj novoj godini, ali idemo lagano. Ne vredi “hvatati vetar” po svaku cenu, juriti za mnogobrojnim ciljlevima, a propušati život koji nam se dešava svakodnevno.

Zato, dajte sebi zadatke i rokove, ali dozvolite da se i druge neplanirane stvari dogode, da se umešaju u vaše rasporede i da vam obogate godinu po cenu da se planirano malo odloži, pomeri za kasnije, pa i promeni. Dozvolite neplanirano i uživajte u tome!



Vladimir Samardzic

In my future blog posts, I will convey my thoughts about many current events from my professional and private life. About events from the past that had great significance and influence on me, about people, places, about music.

There will also be a place for texts that will represent my attitude, seeing certain topics, products, situations when it comes to dealing with music through the activities of performers, music authors and lecturers.

Being a professional musician in the XXI century is very interesting, but above all challenging. Today, hardly any musical artist, performer, composer has the privilege of being able to exclusively write and/or perform music. This has become the unattainable dream of many around the world, and probably only the most popular with large incomes can afford such “professional comfort”.

The vast majority is forced to master and perform many other skills and jobs in order to make playing music profitable and become a full-time job. From music business and marketing jobs through audio and video production to various skills in the field of digital technologies and social networks.

In my blog posts, I will give you personal experiences and thoughts about how I perceive my position and role as a professional musician in the XXI century with all the advantages and obstacles that the new era has brought. What I have learned, how it benefits me and what I am currently working on.

I hope that what you are about to read will be helpful to you. I also hope that you will share with me your experiences and thoughts regarding a certain topic.

Sincerely yours,
Vladimir Samardzic

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Vladimir Samardzic

U njima ću vam prenositi svoja razmišljanja o mnogim aktuelnim dešavanjima iz mog profesionalnog, ali i privatnog života. O događajima iz prošlosti koji su imali veliki značaj i uticaj na mene o ljudima, mestima, o muzici.

Tu će biti mesta i za tekstove koji će predstavljati moj stav, vidjenje odredjenih tema, proizvoda, situacija kada je u pitanju bavljenje muzikom kroz aktivnosti izvođača, autora muzike i predavača.

Biti profesionalni muzičar u XXI veku je veoma interesantno, ali pre svega izazovno. Danas, retko koji muzički umetnik, izvođač, kompozitor ima tu privilegiju da može da se isključivo bavi pisanjem i/ili izvođenjem muzike. To je postao nedostižan san mnogih širom sveta, a verovatno samo oni najpopulariniji sa velikim prihodima mogu sebi da priušte takav “profesionalni komfor”.

Velika većina je prinuđena da savlada i obavlja mnoge druge veštine i poslove da bi bavljenje muzikom bilo isplativo i da bi moglo da postane stalni posao. Od menadžerskih i marketinških poslova preko audio i video produkcije do raznih veština iz oblasti digitalnih tehnologija I sociajlnih mreža.

U svojim blog tekstovima iznosiću vam lična iskustva i razmišljanja o tome kako ja doživljavam svoju poziciju i ulogu profesionalnog muzičar u XXI veku sa svim prednostima i preprekama koje je novo vreme donelo. Šta sam novo naučio, kako mi to koristi i na čemu trenutno radim.

Nadam se da će vam ono što ćete pročitati biti od pomoći. Isto tako se nadam da ćete mi preneti vaša iskustva i razmišljanja u vezi sa određenom temom.

Srdačno vaš,

Vladimir Samardžić

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