there will be sadness, you call out, i'll look back, don't be sad, don't say goodbye, i 'll definitely come back, don't be sad, don't say goodbye, i 'll definitely come back. oh, alexey alexeevich, i can't help but admire your guitar techniques, as a guitarist i sometimes don't even understand how this is possible, in each verse there are some different strokes, very... you and alexander faraovich

delicately made this piece, well, here's the movie and alexey kuznetsov, it's your guitar that sounds in everyone's favorite picture of tatyana, it just happened, i actually didn't talk about it i knew, i just well, like, work is work, a cinematography orchestra, every day we come and record something interesting for films, but then the phone rang and i was asked to come to mikhail leonovich.

i now remember what guitar i recorded on, not on this one, well, it's not so important, the performance, as such, the mood, yes or at the beginning, it sounds, this is far from the only piece of music where we hear alexey kuznetsov's guitar, this is a cruel romance, a cruel romance would be. not only in this case, you can hear it in the movie determine, and according to composers, the guitar sounds and edison denisov, sofya gabaydulina, andrey petrov, andrey yakoshpay, murat magomedovich kozhlaev, these were all composers in the cinema, i was always in contact with them in the creative, and necessarily some piece, somewhere necessarily solos. was, and

all this is reflected in the work, in your life there were orchestras and small groups, that is , an officially working guitarist, i worked first in the pop-symphony orchestra of yuri vasilyevich selantyev on the radio, this is from the sixty-second year, to the seventy fourth, approximately so, then i worked in the cinematography orchestra until the ninety-second year, these are two large groups and a little bit exactly a year was also connected with... with a large group under the direction of muslim magamaev, there was such an opportunity to take part. we have a photo of the rhythm section, which, that's absolutely right, this is viktor borisovich dvoskin, the bass guitarist, but he is a double bass player, and i am nearby, and there a little to the left at the top, viktor yaponeshnikov is the drummer, and magamaev, he is on the right mogamaev, he is on the right, always always with us, this is also a pavilion. filming, like, well

, today, relatively speaking, this is klaudiya ivanovna shurzhenko, this is fate, it is so arranged that it happens like this, at the piano boris yakovlevich mandrus, her constant accompanist, ivan ivanovich livanov on the double bass, this is you for me, how old are you here, 19 years old, 19 years old i am with a guitar, with my dad's government-issued one, which was in the orchestra, and dad is downstairs looking at the notes, he already has his own.

and valentina tolkunova, i love this song very much and i am proud that we did this delicate with great love for the performers and the authors of this song, reading the work. trader from monday to the first. hello, what happened? it seems you arrived on time in the new season on the first.

there are already rumors in the city about this crime, wherever you go, they say everywhere, women are lured into a taxi and shot in the back. i wanted to ask you about your find. this knot seemed very massive, although it was quite easy to pick up. you are honored with great honor, moles, honor and trust of the reich. remember this. after the war, i was looking for son's comrades-in-arms, was interested in what was happening there at the end of the war, and anything could have happened there. if you don't have a photo? it's strange, where are they, were they here. lord, how similar he looks to my son, you are the only real witness, the only person he came to openly, well, major, the hunt has begun, confrontation, the premiere of the legendary book by yulian

semyonov. there is on a distant planet. a city of people in love, the stars shine for them in a special way, the sky for them is doves, white walls over the sea, white

peace, comfort, people don't quarrel, people don't argue, people like each other... sit down, be silent, everything will pass by itself and melt away, anger, sadness, will go away, let's sit down, be silent, i need words, we are guilty, and love is right. if you see that city, you will immediately forgive the offense , you will not offend me with an idle word, you will not insult me ​​with a sore one, the path

forever shines for us, the light of the white city. let them say that on our planet there is no such city. let's sit down, be silent, everything will pass by itself, and anger will melt away, sadness will go away, let's sit down, be silent, we are not needed. glory, we are guilty, and love is right,

let's sit down, let's be silent, i need words, we are guilty. and love is right, there is this city of people in love on earth. we continue our podcast melody of my life, my name is valery syutkin, today our guest is alexey alexeyevich kuznetsov, all episodes, including today's, you can watch on the website of the first channel. 1tv.ru. well, we continue to watch together the family

album of alexey alexeyevich. oh, what an interesting photo. oh, you know, this will be completely new to some, because earlier a football match was played with live sound orchestra. this is 1945. oh, this is a very important photograph, i would say, this is the cafe - the blue bird, i

associate this with the 1965 festival in moscow, a jazz festival, this line-up, in this case, the one here, this is the corner of malaya dmitrievka, before chekhov street was, yes, yes, that's right, blue in a basement like this, this is us gathering there, behind the piano, unfortunately, vladimir kul, the pianist. vladimir smolenitsky on the double bass, vladimir maganet on the drums, and i on the guitar, here too. this is the line-up of the 1966 festival. what is unique, alexey alexeevich, the fact that blue birds was the first cafe i visited as a seventeen-year-old teenager, even before moscow and before space, it was blue, and here, look at the teaching staff, i would say so, in the center, this is tiit pauls from estonia, a wonderful guitarist, he is alive, god bless him, as they say,

next to me on the right, as it were, this is stanislav koshirin from yaroslavl, he is also alive and god bless him too, and i am on the left, this is a trio of guitars that very often played together, that is , this is a prediction of my program of guitar forms, they were already slowly gathering, this is that, this is this communication of guitarists. guitar world, jazz guitar world in our soviet times. alexey alexeevich, you as an absolute master of accompaniment, i know, have made a number of works that help young guitarists master the instrument, relying on your wonderful motto, alexey alexeevich has a motto, so as not to say too much, briefly so, this motto is so far, in this so far, restraint and an appeal to the fact that it is not necessary to play. many notes, the main thing is to do it with taste, precision,

precision is needed, how much guitar is needed in this piece, i can say, without relying on documents now, some of our photos, just that the accompanying guitar was clear to me from the very beginning, i had to be able to do this, because one of the recordings, i'm talking about jazz recordings that i heard on the radio...

this year marks 100 years since his birth, mikhail tanich is a poet who wrote his own folk songs for our people, that is, for you and me, he is absolutely

an unrivaled master of lightness, precision. and this is very vividly illustrated by the song, but what can i tell you about saccharin? well, what can i tell you about sakhalin? the weather on the island is normal, the surf has salted my vest. and i live at the very sunrise and the mail with transfers flies from the mainland to the very farthest reaches of the union, where i throw pebbles from the steep bank, the distant strait of laperuza, where i throw pebbles from

the steep bank. tokva spilled peruza, the clouds are low over sakhalin, but i get up over the hill early in the morning, show the sun to the fishermen, and send it to you on ekemanku, and mail with transfers, all from the mainland to the most distant harbor of the union, where i throw stones from the steep bank, the distant strait of laperroza, where i throw stones from the steep bank, the distant

strait of peruz. in the land where waves and winds argue, taciturn men live, about islands as if senera, to russia return from fishing, and mail, and mail with transfers flies from the mainland, to the most distant harbor of the union, where yashva. i throw stones from the steep bank, the distant strait of laperroza, where i throw stones from steep bank, distant strait of labiruza.

and the mail, with transfers, flies from the mainland to the farthest harbor of the union, where i throw pebbles from the steep bank, distant strait of labiruza, where i throw pebbles from... steep bank, distant strait of labiruza, well, what can i tell you about sakhalin, well, what can i tell you about sakhalin? this is

the melody of my life podcast, i am valery syutkin, today my guest is people's artist of russia, legendary jazz guitarist alexey kuznetsov. alexey alexeevich, thank you for the pleasure of performing music together, i am with i am pleased to ask you once again to pay attention to the screen, to comment on this photo. well, this is my long-standing, so to speak, musical friendship with nikolai gromin, my constant partner, with whom i played duet guitars, we recorded a record, django. written 10 years later and many different recordings, nikolai, it's just the guitar in jazz in practice, and my idea, which appeared

during our, so to speak, connection, to make such a small document, printed, if you can call it it, from the practice of jazz guitarist, i worked on him, came up with something, he exists, as such, he can be found, but... playing two guitars is a wonderful resource, these are two orchestras that intertwine, at first nikolai was a soloist at the very beginning and i was only an accompanist, then we crossed paths properly, when we met at the steel , we began to work out all this, i apologize for the word, in the kitchen, just polishing, delving into each other, finally he began to accompany and solo, and i can accompany and solo, we change, we... we we continue to look at the album of alexey

alexeevich kuznetsov, this is a festival photo from 1968, a festival of youth ensembles, like this trio, i play, ivan vassenin on the double bass, he unfortunately died in a fire in the rossiya hotel in the seventies, there was a big fire. alyosha, that was then, it still exists, and it is sometimes played somewhere in schools, there was already a compositional moment, yes, this was sixty- eighth year, in sixty-seventh year, a year earlier, i also played in a trio with anatoly sobolev and igor levin, there was also my author's blues wind-up toys, it is also now played in my program and so on, this is our trio of the sixty-eighth

year, the next photo, this, and this is the same, yes, a repetition, only different angles, a different angle, also 68, jazz 68, here i have a guitar here b swedish, i think i voiced it on it, moments, yes, this is it sounds. further on the album, well, this is us returning to the orchestra of cinematography, a wonderful friendship, i already mentioned the collaboration with the composer murad magometovich kozhlaev, here he is there, as it were conducting us, andrey chernashov, the orchestra's soloist, behind the drums, alexey splotovsky on the bass guitar, unfortunately you can't see the pianist igor nazoruk here, he's next to us here, and i'm in the middle, this is already with gibson, this is already seventy-third year somewhere. this is a commonwealth, it has passed through many years and still remains, and we are always in touch with murat magomedovich. alexey alexeevich, it's a

pleasure to talk to you. you know, your intelligence, it is heard in music, only you can help to open up like that vocalists. in any case, if it weren't for you, i definitely wouldn't have touched the legacy of the 50s-60s, i think it would have been. well, you know, how sometimes they perform well, but still it's a restaurant, thanks to you, it's art, because it's a completely different musical mood, it's in my confidential sipa, that's what i call my tempo, it resonated, there's some kind of chemistry, so you're an absolute wizard of your favorite business, i don't even want to say the word craft, but just your favorite business, because your life... it's the embodiment dreams: you dreamed of being a guitarist and became and are a guitarist with a very large

capital letter, a real guitar wizard, people's artist of russia, alexey alekseevich kuznetsov was a guest of our podcast melody of my life. thank you, dear viewers, you can see all the podcasts on the website of the first channel 1tv.ru. alexey alekseev kuznetsov, valery syudkin and light jazz, thank you, i just work as a wizard, eduard kolmanovsky, based on the poems of ashanin. goodbye, until we meet again. i fly to different lands, who knows where we are tomorrow we will be, i bring rain to the desert. i

give the sun to good people, why, my friend , because i did not learn life from textbooks, i just work, i just work as a wizard, a wizard, you walk, walk through january. it's cold, tracks like ellipsis, do you want me to talk to you, give you my hand and the path will become shorter, why, my friend, because i did not learn life from textbooks, i just work, i just work as a wizard, a wizard. not

to spare anything for a friend, to think a little about others too, that's my simple magic, maybe you can help me with it, why my friend, because i didn't learn life from textbooks, i just... work, i just work as a wizard, a wizard, why my friend, because i didn't learn life

. i just work as a wizard, i just work as a wizard, a wizard. i'm so white and fluffy, said snow, an avalanche, descending on a mountain village. hello, today we gathered our thoughts on a very serious topic: humor laughter. greetings to you, dear friends, andrey knyshev, writer, director, satirist, gavriil gordeev, media manager, actor, producer.

that i deliberately did not say that it is yours , it will not work any other way, i must admit, phrase, but i am correcting myself, yes, a wonderful phrase about snow, you know, why i chose it, it seems to me, it is those facets that i... would like to touch upon humor, yes, a serious facet, it contains in itself, and how will you answer the question, what is a sense of humor, to analyze what is a sense of humor, well , let this be done, probably, by some scientists, psychologists, some somatics, i do not know, but you can metaphorically answer, i do not insist on an academic definition, we, thank god, are in such a free philosophical space, and not a university audience, in this

case, i don’t know, for how many years... i have been related, as they say, to this feeling, but i have never come up with a formulation in general, some associative phrases , that if a person does not have a sense of humor, then he should at least have a feeling that he does not have a sense of humor, yes, but i say again, this is some kind of completely elusive a substance that helps us, so to speak, some kind of navigation in this space.

in ancient greek comedy and tragedy, then, well , in essence, comedy is philosophy, comedy motivates to think and to reason and due to comedy, due to paradox, due to the possibility of looking even within the framework of a short skit at the same problem from the other side, this is a very philosophical concept, philosophy and humor are really companions, but polar companions with some kind of movement and dialogue emerging from contradiction.

it is also interesting to pay attention to at what age, at what moment from a child, from a little one, this uncle emerged, yes, who does not have, who carries his own monument in his pocket, and periodically takes it out to look at it with admiration, yes, well, in general, the genre itself, really, to talk about these near-neristic things, to talk about it seriously, to analyze, and even so ungrateful in general. without the ability to laugh at yourself, uh, it is impossible, uh, including to become a humorist, that is, you can as much as you like -

to be a satirist, yeah, let's not point fingers, but no, no, well it's not a direct line, it's very clear, but there is a difference, that a satirist is a deeply eroded person who can laugh, find something to laugh at, find paradoxes and so on, and a comedian, he can first of all, uh , he may be less eroded, he may be less educated and so on, but he can laugh at himself correctly, which is much closer to the audience, which at one time or another listens to him, well, look, and since we are still trying to steer some kind of serious conversation, because in fact, well, it is clear that it is important there... to be able to be ironic about yourself, maybe laugh, but on the other hand, one smart priest once told me, never take yourself seriously, but take seriously what you do, yes, that's how to catch that line, well, about yourself, when

you take it seriously, it's too much, it's the path to megalomania, when you take a matter seriously, you begin, even to a humorous matter, you begin professionally, that's it the guest in red says interesting things, that is, in full... how do you turn it, because well, how can you not take yourself seriously, at the same time you are responsible for, by and large, it is clear to whom for your soul, for your life path, and so on, so you need to take yourself seriously on the other hand, that is, everything , how do you turn it, what are we talking about, yes , and sometimes take seriously what you do -

and the joy that we bring to people, yes, and how they coexist with each other and one without the other, that's if there, yes, the apostle paul says: always rejoice, but this does not mean endlessly laugh, so you can dig even deeper, it is clear where i quote: woe to you who laugh now, for you will mourn and weep, and now, perhaps refers to the current now. and maybe in general all this is not

a godly thing, and you should not laugh at all, who has what path, in general, or like an ostrich head in the sand, yeah, that's it or be in constant despondency, all very deep, serious questions, really, it depends on where we dig under whom, i will continue without quotes , i will continue without quotes, let's, let's all citation, you see i trained. self-irony, at least a little, yes, coach, here is such a moment, that as if, laughter is a tool that gives the opportunity to try joy, here if it is not always possible uh to understand sincerely and feel the joy that is necessary, it is necessary to experience, yes, unfortunately, sometimes we need to somehow make us laugh and give us a sample of joy, but this does not mean that we should deceive ourselves, that this is what it is. all the joy that can be, but this feeling, it is as if,

thanks to laughter, you begin to touch the right mood, to the right perception of life and worldview, even if you look so deeply, here too, of course, joy is one thing, unbridled joy is another thing, laughter and so on, that is, this can also be from one extreme to another, but at the same time without sometimes, when you... deep in despondency sometimes, to pull you out of this despondency, you need to give you a sample of this joy, like well, to make you laugh, maybe some very simple one, it can be simple, it can be strange, but it just makes you laugh would pull out of the state and make it clear what is really in reality, that is, and based on this we can reason that laughter and humor, it often brings us down to earth, as if showing exactly...

hello, on air news in the studio sergey tugushev, at the beginning of the release, briefly, about the main thing. the militants' armored vehicles are destroyed from the air, the enemy personnel are eliminated with the help of artillery. our military is displacing ukrainian formations from the kursk region.