[000:00:00;00] the best people in the world, at that time, who are also such pride, and from this pride you always have such tears of joy, as the famous hero said, so that's the same thing, we saw oleg and we both have such a trace, and then, of course , a musician who sings knows great music the history of music plays classics plays jazz plays knows folk songs sings in all languages ​​of the world, so it’s impossible to imagine him differently than i imagine it, which means you met. i'm just here to come to you to a living legend of jazz. you can get acquainted. can this be me for those who want to come up. but there are such talents, in general , you can not even be unwell. well, this is an appeal to talented people by and large , since we are damned industries. you have to be proactive and not be afraid that you will not be seen or understood if talented people notice, but in our country it is such a country that we

mostly notice talents in you. what do you do in a creative way, so to speak, activities, then you, firstly, you will reach you love, if you love, you want to convey this love to other people, but how to convey it must be said, if you need to meet a person, and you want you must tell him. i love you. how does a person know to convey this emotion energy. well, when we met, but i met you, the channel played. i was with him. well, kind of familiar. thirst many years ago. suddenly, a musician plays a musician who i have not heard in america, whom i have not heard anywhere in other countries, a musician who now has every second. it's not just something learned, it's every second. creative oleg tell a. well, at the age of 14-15 we went to the club, then rostov, i say, i saw on the stage. and if all this had not happened, you now have a good idea of ​​russian jazz in general in the music industry. here, what would happen next, if this meeting had not happened, you somehow

didn’t even ask yourself questions about it, what would happen to me if i didn’t participate, uh, if i didn’t play with igor, i he just performed in the moscow jazz orchestra, like cricket in pinocchio. well, igor is just very a good person, because i love him very much i love him, i respect him with great pleasure , i always want to communicate with him, play and play, play all the time and work in his team and they say, here in your team, don’t take anyone. here you are, when you imagine, this is the winner of all possible competitions, both on this side and on the other side of the ocean. in general, americans, when they hear they cry , they sob like children, that's all, they are on the same stage under your leadership. yes, there is another group. where also collected? here are the best ones, probably, or you already have everything, well, in our country. well, not everything is better, unfortunately, i can’t combine all the best, because the orchestra

involves 18 people. i'd love to invite it to be some new show where you can do anything. i would invite you there. you are a producer. when do you gather musicians, do you understand? well, here we are still talking about music, we still play music. we are we have certain forms in which we are trying to find something new to find a new form to take 5 tubes. well, we need one more to write a part for the trumpeter for one more trombone. well, a symphony orchestra suggests, let's say there are as many as 100 people there. it's just 120,120 people. can understand. yes, you understand, on the other hand, but there are wonderful musicians who play, make their own compositions, some who don’t play with me, but it would be something to do in the next century of jazz, because i ’m sure that they come. hmm, young people come to my shifts very talented guys shift. why should someone immediately take the baton and continue to do it, because that it is clear that such work. she bears

fruit. she gives pleasure to people who come to concerts. it is new talents that are revealed to themselves. they could have gone into classical music. these artists go anywhere, but they went to the music that i loved we made. so these talents are such as oleg neat, there evgeny the god anton chikurov eduard here are the dead musicians who work with me ilya morozov i am alexander long-haired, yes, and ivan akatov. these are all musicians who are in demand both as soloists of my orchestra and as soloists of other orchestras and as soloists they have projects, so they have to go further, but i should not end up alone on one person. i'm setting an example, maybe, and i'm sure that oleg will take this baton, he will then find some young talented guys. yes, he is growing, growing, he has a human musical experience, as for the creative industry, again, so that people understand this creative industry, where

absolutely everything is possible. and you have a continuation of the celebration of the centenary of jazz, accommodates 50 regions, there can be so many experiments where young musicians can throw you some new, completely unexpected solutions. we are absolutely looking for them, we are open, very very open. and besides, it’s not just me, i’m everything, i can’t do everything, but oleg can tell me, igor, there are some guys playing there. that's what i would like to do there. there are a lot of projects that are folk music folk music from musicians from tuva da jazz orchestra, tuva jazz benta. they are playing with their national colour. it is very yes, other other regions other republics. and it is you who come there, and there you have a synthesis taking place along with this, just that, too, was carried out. for centuries of jazz, we also performed with this orchestra. i played together and so korzhov, which i didn’t do myself, connected with turin with turin

music, where we just weren’t, and we were always someone, especially for 2 hours, when the centuries was us, it was just our even condition to be with us in a big concert, where there were stars, jazz larisa dolina neat fantasy. i'm not bigger, there were just local guys there who play here, who were selected from them to watch and play with them. after that we, of course. we give the opportunity to come to the festival that we are doing. well, now is such an interesting time, when few people can say for sure what the russian music industry is. i mean popular popular. even 10-15 years ago , it was still possible to give an answer were, uh, some projects that gathered the best pop-artists now, uh, the situation is a bit like this. yes yes uh there is opinion is very. it seems to me that it is already widespread that a new music industry should arise, russian, which

will be based precisely on our best examples of national music. and the question is. who should do it? where should it come from, who should make such music on the basis of yakut music that the whole of russia will listen to, who will e on the basis of tuvan music, will also make sure that we start using these national motives in music in our own. yes, of course, try to move away a little from the west. well, the west is also in music. this is the basis, yes, yes, but to integrate our russian music as much as possible there, we have many nationalities and a lot of things can be integrated there. that's when we manage to make our russian music have its own face based on national motives. what do you think, but this is already over time. i think that someone will do it, of course, and maybe there, for example, we will do it or someone else will do it? this is such an open question you remain, you understand the jazz industry, which at the moment

now it's become. it's small, it's very small, just like, in principle, and in the world , jazz is a very small percentage, er, in terms of. in general, in a common family, there was a business. hmm, including classical music, but you still don’t remember many before, but before , there weren’t even professional gas bands up to 70, anything in 1976. although there were jazz and musicians people played in the restaurants there were some clubs. but these were all conditional non-professionals. well, they played, but not professionals, then many musicians left the soviet union, because they didn’t there was no work. well, those philharmonic connections there, now in 30 years a lot of great musicians have appeared , a lot of professional festivals have appeared, but why these festivals, because there is interest. why there is interest, because besides our guests who come great musicians from america from europe from asia where

our great musicians come from, that is, we now have to look at the wrong one. what to play yes, but how to play? how to make our the performance of the recording every moment is very very important to the russian chain of a musical work. many, of course, take the path of least resistance. and this is accepted by us. and what does it mean the least resistance, that is, well, let's look at ours at our popular music and even non -popular music, this kind of music, like let's say chanson, there is not very e no. she is very popular. it is very popular, but the music is a little different, if it is popular music, then it is popular music is not popular. this is an unpopular guy. but we let's see how much you can do with a simple guitar like this, an author's song is also a beautiful form of art and also ours

, of course, well, but the author's base, but any song is author's quality is about making quality recording performance throughout the production. that's what nothing strives to play yakut music. it 's great, it's wonderful, but you need to break off such a cover, make such a smear, past the notes, when the rolling stones and even business started too would smear and remember how the queen group , namely, were connected because of mixing so many heats in one song of the bohemian walkie-talkie. so we have, of course, igor to this just in time for this species. we see it shouldn't be if a bad song has a good wrap. this bad should be a good song should be done. so you have to learn how to write and keep learning. we

also have gorgeous hits, which are also not. we have everything. don't misunderstand me, but you also need to look further. why do we have bad songs in the same any or even ourselves popular songs that are all our stars from the young great good songs. how should we make these songs have? and its influence even on the rest, so to speak, an honest world. here's how we do it to break the patterns correctly. and how do you break them? if you don't know how to play, you know, some say, i play, for example, modern avant-garde music. i do not limit myself in anything. that is. when we play what aviation music is more or less, we sort of limit ourselves. we have limits, but they have no limits, they there are limits to their own inability to play. they simply do not know how to play and give out what they want, really. you didn't have a frame. here's what you would do. how can you not be

smart? wait right here right here need opportunities. there are three prominent people in the studio here, which means a producer who once already broke the mold, and in general, there was a tattoo that tore the whole world. yes, igor mikhailovich butman the great undoubtedly assembled a battery. like a new generation of roasts. yes? yes, you can say that, you can, and here i actually question, like a person who is not a musical person in practice. this is how we will tear the world in the future. yeah, i mean, uh, korea is tearing up k-pop like whatever it sounds like korean korean popular music is tearing up the world. yes yes now the most popular. well, it was the first time. yes, you

know, yes, of course, i know, he was the first to listen to this music, but i know, that is. this genre is plus 25, and bts is now the most popular er, so translate the musician. i don't know this is always the case. it seems to me that we study this, we take an example, we look, we find people, yes, trained by the proposed to write, similar to the manner with the use, for example, you just need this is all education, this is all. well, i studied, so to speak, uh, foreign at a music school. that's where the motor tells us about how he wrote music. we study contemporary composition. pilon tells us. zhmot wrote. so he uses such techniques such harmony. here you are, and she also has such harmony, and in the next thing, such an accordion, and now you write in the style of the body, as you sit writing together is called a composition.

the siberian mont is also here we create, so to speak, in the school class. and we take what is popular with us. there this polarity comes here, talents, young people, they say, write in this style. and now apply this is a huge job, and the goal and this goal should sometime. well, it will work, when it works, not two people will appear or not one person will overtake five, that is, you have not calmed down. you don't rest on lavra of course not. i am leading to this. as a matter of fact , in korea what happened yes, such people gathered there here are eight people, which means korean producers. they made the technology they took the swedish composers, uh, young young talented guys, yes, that is, they did not go to uh, because there are no festivals there. here they could not find oleg neatly there.

they take very small e, they train children of 8 years old and then let them out. in these bts teams, for example, this is a product . approximately, is it possible for us to have such an option, when such smart people gather, so it launches a conveyor in which talented children and maybe not very talented ones find themselves and we have a new music industry, for example, like this, well, in general, in general, i talked with one of our well-known producers on this topic and one of my ideas was. let's get together. here are well-known producers, composers, let's get together and discuss how we can surprise the world, invite everyone, but we don't. well, someone is in control. yes, we are all experienced. all sorts of unknowns. well, everyone knows their unknowns. i know my unknown jazz musicians who are now growing up already. was in the summer, when i showed oleg neatly

on the phone to wynton marsales, he also began to cry. yes, and immediately invited oleg na to a speech in america, the same thing, everyone can bring their unknown and also get together and discuss this topic for discussion topics for discussion. what to do next, so that the whole world listens to us but here we are in jazz, i know how to make popularity better than american jazz. here we have sometimes sometimes better. but although there is something to strive for. you know , when it was my anniversary, oleg played and sang to her there strained the valley pressed the orchestra of mars trumpeters with them, of course, there at all, that's not even a drummer, not even a double bass player. i'm not saying, he's our best. well, yes, they don't have guitarists like we do. saxophonists yes, there are no guitars, they have a good super. yes, we played with them. at first we

were worried, but when we played already in st. petersburg , we relaxed a little, so we played well. but yes, this is a brilliant musicians, a brilliant orchestra. what to do to play better than they just do i need a couple more hours. what they rehearse each and, but it is possible and she fattening we were interesting. here's the thing about jazz. i love jazz very much, i will calm him down. i find it as a balance in myself, but from a visual point of view, we are now people who have seen a lot. people have already seen a lot all over the world, they already need it right away, and in order to include several feelings, jazz and ballet are compatible ballerina on stage. well it started. well, by the way, there is such a thing, right? something is something irka also did some garbage. there is also a project was. yes, we had an attempt. we don't

leave her with boris eifon to do this for jazz, he did it, he did it with gershin's music. he really wanted to make gershin's music, yes, but i wanted to, but at first he wanted to do it with my music, but we just didn't succeed. why, because the music that we have recorded, it did not quite fit. no, not quite suitable for some. well, for dramaturgy, everything that i wanted to offer, maybe it’s natural to write some new music, but we haven’t reached it yet. no, it's all jazz, connects with everything. i myself am looking for new forms. that's because a new viewer. he same new these began. we have to understand what is behind 100 years of russian jazz. right now, we have a huge audience, especially in russia, we have a sufficient number of jazz musicians traveling around the country, performing at the philharmonic, gathering completely in jazz clubs. jazz musicians are appearing on television , right now our industry

is developing very dynamically and young musicians are appearing, who also fill, then a space that goes into our veterans or tare art, because this animal is elitist, but it is elitist in terms of music art itself, but it has now appeared for everyone. eh, the category of people is very e by me. in general, even respected in what sense? uh, because they are not afraid to talk about it, they say, uh, what are you all singing in english, what are you not singing in russian. and this applies to all jazz, rock. here's how you feel about this phenomenon, in general, you've probably already encountered i have encountered this many times, moreover. but i'm not in russian, i'm not afraid of anything and not in russian 5 not in english and in english , even i understand all the different ones, i even make soviet programs, of course, and it is from

our songs that jazz arrangements, that is, with igor and this is exactly what we have done and will continue to do and repeatedly and will never stop . well, we had programs that we did. we sang our war songs. we've done arrangements of them, we've combined some american songs with russian ones. at the moment. we really jazz music and all, so to speak, the motives for which we improvise, by the way, came from american music, yes, basically. but when they say, let's say that jazz is not our art, i want to know about musicals, this is our art, and opera is our art. and when the italian opera is sung in italian, nothing bothers us, and when boris godunov is sung in russian in a caress, how do we feel about this topic, we have a positive attitude, therefore, of course, we are looking for us we have published

a collection of jazz e russian standards composers of course, we played the program of going to naevsky and winged. both gladkova and we play all these compositions of ours, which are better than the golden sun, which we perform receives more applause. what any jazz standard all over the world, wherever we play thailand in india united states of america we can show proof we have a composer now. oh, of course, maxim was. there are wonderful composers in english, who play among the writers of the program, so he also sings folk songs and cossacks - kazakh cossack songs

folklore folklore, krasnodar forter sing kuban uh, you can ask for something. oh capella i can catch it very cool was given to the girls. thanks olya, what is the ending? yes? that's just, by the way, suddenly i have a question such arose. i often sit on the jury at children's competitions

, and when children start singing jazz, they learn it. it is clear that they are teaching him. they don’t feel it, maybe this feeling should come with age, in general, like a jazz school, that is, a child comes. he wants win the competition, so not everywhere and not always , not in every genre. and here is the question for the new shift, which will come and synthesize it, because for them this technology is a technique. yes, say that when the real feeling comes, because it may not come, you see, this is where we mix. again, two people understand there is talent, they have feelings, because when there is a competition, everyone wants to win the competition. uh-huh . therefore, if you have a competition, let's say the piano. you must learn everything well. that's right and then you win, it's better that way you have learned everything, you interpret best of all. you win a jazz competition.

children, mothers, fathers, teachers are afraid to lose, so they memorize in such a way that they are not this, just a jazz interpretation of any kind of musical structure, but they learn it all by heart. i am trying to fight this and even many talented girls who even drank with us. i say improvise. you don't need to be taught she says i learned improvisation not much. better. you can sing to you this one, this excitement of creativity at the moment of fulfillment will come to you, you will understand. you know you play the piano. you know your husband's music. you are a talented person. no, she learns everything and gives out from this buzz in it. yes, that's how, and when you sing it's already very different. it can be well written , maybe, well done, which means that you play it every day, then it disappears. here is the charm of jazz music. why do we love? i when the first competition, when i was in rostov-on-don, i see that we have two compositions to play

a man and they choose the first composition themselves. and then no, then there was generally one composition, and now they are playing. i watch him play. well, the man is playing. well, great. i think, wow, and then i say, and you play there, well, some kind of jazz standard there, he starts playing and the kurlyk kurlyk. well, that is, jazz, it's a continuous creative must be not only jazz, music is creativity. this is life all the time. it’s just that when they really lead, there is such a tatyana chernigovskaya who says that children definitely need music, and she develops and expands this, and at the same time, in a new education. i mean, there could be this part, when in the new, i mean in the new millennium, when they give children the opportunity in basic education to start experimenting. here it is definitely necessary to improvise - this is not some kind of something, it comes out of the hands, yes. this is how we talk. we've set the topic. we start

talking to her, if we have enough to say so, well, i don’t know the knowledge there, according to the vocabulary. you know, sometimes i want to say, but i don’t have the strength. and how was it for you? in childhood is good too. well, well, as a child no, well, as a child, my dad forced me to play jazz. here i have such a question. in general , to force a child not from under pressure, but to create an opportunity for him to study. if there is any there was a story. tell me, i had a different story with me. i had to study classical, not jazz, from under the ceiling, because i just spent more time on jazz than on classics at the beginning at the beginning of my period, and then i already understood somewhere from the age of 18, when i started preparing for the competition in novosibirsk, i think i thought that i definitely need the classics, because not a single jazz musician can do without a classical education. that is, such an adult understanding has come, in general, i

have already begun to relate to this in an adult way, and everything, and. why is this the biggest thing? why i used to spend more time on jazz and only studied classical for 2 hours and only two hours of classical, please, otherwise i studied jazz in this one. i was constantly working out. here you go jazz all day long. and now it's like yes, and now it's completely both. you said, dad, you said no, but no, i became engaged. i just listened to jazz. i really wanted to play the drums, and so my dad played the drums at home, there were some, but he played there at weddings there, well, in the afternoon as an engineer he played at weddings in the evening. and drum was at home. i used to play all the time, when i was five and six years old. i already played there with emil dmitrov , there was some kind of other such, so that what kind of records were there leningrad selena i played the drums with them all, then they invited me a girl to write to teach not the piano well, she taught me the piano, we moved there half a year later. a cheerful village in leningrad, the new district is so sleeping, and she

refused to come here, and he refused thank god, and then later my father spoke for a while, jazz beni goodman charlie parker gennady goldstein josi weinstein. these musicians were then a rumble for the whole of leningrad. therefore, these are the teacher above me, who i later got into, gennady says that he was all the time. legend soviet glory. god still lives legends of soviet jazz, an outstanding musician , arranger, composer at that moment , who played oleg and his leaders and vadim, people of the century-old orchestra einstein, in general, you need to infect, you need to infect, you will get good music. it is necessary to infect jazzmen to be graduating, but to be a brilliant musician is an absolutely good musician. maybe just a musician, any musician is a genius, 100 years of russian jazz, and october was celebrated. and now let's celebrate a little more. uh,

2023. that's a good thing, but ahead the next 100 years, which is lacking in russian jazz. uh, what to pay attention to for the first 10 years, at least for years with the support that we receive and all the creative industries in our country receive. at the moment, we are working quite closely in the field of education. and it's not just us, if the camps in samara are going through , plus, of course, tavria is going through. that's all, it's coming. there is a huge support, so we just need to work, and now we all believe that there can be success people see successful jazz musicians on television oleg neat. sergey is there, the brand is peter vostokov. kondakov the guys in st. petersburg are ours there to crush golovoschekiny and other young people appear here, in principle , we now have everything, we have a portion, there is support at the local level yes guber and the ministry of culture has appeared an incentive now

it is clear that even young people that goes they have a choice. where to go go classical pianist or go. i don't know how to go to moscow state university to become an engineer. where are you, you can earn money. you can be a professional jazz musician. now i can not help but ask the jazz musician, this is a wealthy man. well, of course, we are solid middle class solid middle class so, i don't know, for example, i consider myself a wealthy person. i don’t know how, in general, from the point of view of finance , it is said that we are now talking about the fact that young people are now very much needed, how can this be. that is, if you are in demand, respectively, you have. well, last year we officially had 170 concerts with me. almost the same for the musicians of my orchestra and my committee of ours almost the same most. well, we don't play for free. therefore,

we have financial stability. i 'll tell you what the musicians. some make very good money. and this is not the limit. there are jazz musicians, ours. well, we also focus on the greatest musicians for us, the same wynton marsales, so to speak, is both a musical and human idol, as a public figure, he was one of the 25 most influential people in america according to. well, according to the magazine of secrets, well, it's already great playing music, if we stayed , it might be influential in america itself man one of the most why a jazz musician in russia can not be influenced. and what if you outline your mission as a jazz musician for the next century? i just love. i can't be you have i don't think i don't sit i don't think. so what do

girls do nice. my mission is to make people happier, so they would like to know, i say that if there are some things happening in the world, it means that they have not been finalized. somewhere something was not finished. something left people unsatisfied. i remember one wonderful jazz singer and pianist shirley horn sang. in america, i was at a festival where i performed, then i sat listening. she left. we are already an elderly woman who came out playing in white gloves. she sang and the entire first row. we all took hands, just not well, people there. well, as if someone knew there on the right, on the left they sat by the hands, and now they listened. here, this is some kind of divine musical revelation. well, nothing was bright. she just sang and this timbre of the voice is all together. and it was great and we want to do it so that people leave,

satisfied with a sullen smile, they exchanged impressions. dear friends, dear friends on this optimistic note, by the way, opinion. unfortunately, we are forced to end our broadcast. today they were with us. igor butman people's artist jazzman oleg akuratov is a star of modern russian jazz without a doubt. i am sure that the best thing you can do now after this broadcast is to turn on oleg's recordings, listen to him and igor butman's orchestra. this is wonderful elena kiper, we say goodbye to new and night airs. we we wish you happiness happiness in this

big world. hey like the sun. that's jazz for you. hello dear friends. this is an anthropology podcast on the first, hosted by dmitry brov, we are making this broadcast specifically for the male part of the population. and you know what will be female, too, let them look, it will be with them sports such stimulates such sports, anger, too, these gypsies demolish the heads of russian peasants all their lives. look why jacqueline hello now dear friends, we will listen to jazz in gypsy. to understand how it is so listen, national melismas are called vocal ornaments, but with jazzy rhythms it is fantastic. let's start for starters, because we're going to say jacqueline

please, all of you who speak gypsy. the rune