[000:00:00;00] if a tear, 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. can you meet? this is me for those who want to come up. but there are such talents, colleagues, then in general you can not even be unwell. well, this is an appeal to catalentic people by and large, because we are cursed industries. here you have to be proactive and not be afraid that you will not be seen or understood if talented people notice. he is such a country that he notices out of talent. mostly. if you are engaged, so to speak, you are doing something, as a creative kind, so to speak , activity, then you will go away peppers, what do you like? if you love, you want to pass this love on to other people. and how to convey it, you need to say, if you need to meet a person, and

you want to, you must say that i i love, from where a person knows, convey, then emotion energy. well, when we met, but i met you when he was playing. i was kind of familiar with him. thirst many years ago. suddenly, a musician is playing, which i have not heard in america, which i have not heard anywhere in other countries, musicians, who now have every second. it's not just something learned, it's every second. creative oleg say a. at the age of 14-15, we went to the club then rostov, uh, and i say i saw it on stage. and if all this had not happened, you now you have a good idea of ​​jazz, russian, and the music industry in general. here, what would happen next if this meeting had not happened, you somehow didn’t even ask yourself this question, what would happen to me if i didn’t participate, uh, with igor and if i didn’t play, i he has now performed in the moscow jazz orchestra

as a super-choke pinocchio, that is. yeah, well, igor is just a very good person, because i love him very much, i respect him with great pleasure, i always want to communicate with him, play and play, play constantly and work in his team and say, here in your team, whoever you take. 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 are they also collected? there are still the best, probably, or you already have, well, in our country yes, but not everything is better, unfortunately, i can’t combine all the best, because the orchestra has 18 people. i'd love to invite it to be some new show where you can do anything. then i would invite you. you are a producer. when do you gather musicians, do you understand? yes? here we are also talking about music, we still

play music. we, we have certain forms in which we are trying to find something new to find a new form to take five tubes. well, that means we need to write one more part for the trumpeter for one more trombone. well, the symphony orchestra suggests, let's say there is some. how many violins are 100 people. it's just 120,120 people. can understand. yes, you know, on the other hand. well, there are wonderful musicians who play and make their own compositions, some of which do not play. but i would have something to do in the next century of jazz, because i'm sure that hmm, young very talented guys are coming to my shift. why should someone immediately take the baton and continue to do it, because it is clear that such work. she bears fruit. she gives pleasure to people who come to concerts. it's this new talent itself reveals. 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 is evgeny the godly anton chikurov eduard here are the bent musicians who work with me ilya morozov i am alexander long-haired. yes, i'm ivan akatov. these are all musicians who are in demand both as a soloist of my orchestra and as soloists of other orchestras. and as solo they have projects, so they have to go further, but i don't should be one on one person everything will end. i set an example, maybe, and i'm sure that oleg will take this baton, and then he will find some young talented guys. yes, he is growing , growing, he has a musical human 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, accommodating 50 regions, there can be so much experiment where young musicians can

you throw in 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 you can tell me oleg, igor is there, 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 play there with their national color. it is very yes, other other regions other republics. and it's you you come there, and there you have a synthesis taking place along with this, or just they were also carried out. for centuries of jazz, we also performed with this orchestra. i played together and so knives, which i support, which i made myself, connected with turin with turin music, where we just were, and we are always someone, especially for two hours, when the century was for us it was easy our even condition is to be with us in a big concert, where there were stars, jazz larisa dolina is exactly a fantasy. i'm not

bigger, there were also local guys, who are playing, who are the best from them were selected watched and played with. after that, we naturally give the opportunity to come to the festival that we do. well , now is such an interesting time, when few people can say for sure what the russian music industry is. i mean popular popular. just 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 little bit like this now is clearly like this. yes, yes, there is an opinion such a 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, on the basis of yakut music, make such music that the whole

of russia will listen to, and on the basis of turin music, he will also make sure that we start using these national motives in our music. yes, of course, try to move away a little from the west. well, the west is also in music. the basis is yes, yes, but to integrate our russian music as much as possible, 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, naturally, and maybe it will, let's say, it will be done or someone else will do it. well, this is such an open question , you remain, you understand the jazz industry, which at the moment now it has become it is small, it is very small, just like, in principle, jazz occupies a very small percentage in the world. from the point of view of a common family and show business. hmm, including

classical music, but many people didn’t remember before, but before , there weren’t even professional gas bands until 7:00, 1976. although there were jazz musicians. people played in restaurants, there were some clubs. but these were all conditional non-professionals. i play well, but not professionals, then the soviet union disappeared, many musicians left, because there was no work. well, those connections there are philharmonic, 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 do so so that our performance recording every moment

is very, very important for 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, such a kind of music as, for example, chanson, there is not very, uh, there is not. she is very popular. it is very popular, but the music is a little different, if this music is popular, then it is popular music. unpopular is unpopular music, but we'll see how it is possible with a simple guitar like this, an author's song is also a wonderful art form and also our own, of course, author's bases, but any song is author's. as the president of the russian authors' society, i'm telling you this, but we 're talking about quality now, about ensuring that the quality of the performance of the recording is throughout

the production. this is what nothing strives to play yakut music . who was born and even the business would also be smeared and and remember how the queen group , namely, combined from and mixed so many genres in one bohemian song, so we, of course, igor to this just in time for this kind. 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 need to learn how to write, keep learning. we also have gorgeous hits, which are also not. we have everything. do n't misunderstand me, but you also need to look further. yes that than we have bad songs the same any or even popular songs, which are all our stars from small two great good songs.

of course, it is necessary to make sure that 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 modern avant-garde music, for example. 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, and they have no limits, they have limits of their own inability to play. they just don't know how to play and pass it off as wishful thinking. yes, if you had no framework, that's what you did. and how can this program be impossible? wait here, here, equality is possible, but there is no wound. with a hole in your mouth, amazing,

larisochka, well, your song, i don’t call for how this song can be sung in a different way, even petya will be unreliable. they will come by minibuses. you're so into the genre deep and it’s true that you didn’t distort the soul of the orchestra anywhere, the arrangement is a cradle situation, and you held the baby very correctly, like a doctor, dear viewers, we reveal the talents of talented people. three chords new season on sunday on pervoi there are three outstanding people in the studio, which means the producer, who once already broke the mold, and in general, had a relationship with a tattoo

that tore the whole world. yes, igor mikhailovich butman the great, no doubt. like a new generation of roasts. yes? yes, you can say so, you can, and here i actually have a question, how a person who is not a musical person practically. this is how we will tear the world in the future. yes, that is, korea is tearing up the cape, for example, no matter how it sounds, korean korean popular music is tearing the world in groups. now the most popular. well, it was the first one. yes, of course, i yes, i know, here he is the first portal of this music, but i know, that is. genre call yes and bts is now itself yes the most popular e, mean translate musician. she i don't know this is always. it seems to me

that we study this, we take an example, we look, we find people, yes, the trainees are offered to write, similar manner with the use of, let's say, you just need this is all education is all here. well, i studied, so to speak, e foreign music school. that's where the conservatories tell us about how he wrote music. we study contemporary composition. we are told the pylon. zhmot wrote. so he uses such techniques, such harmony , these things he has such harmony, and in the next thing, such an accordion, and now you write in the style of the body. all you do is sit and write. i have a composition called. siberian monk also here we create, so to speak in class school. and we take what is popular with us there, this popular here comes, 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 is determined by five, that is, you are not calm. you don't rest on lavra of course. well, of course not. i'm going to this i'm going to say in korea what happened yes , such people gathered there. yes, you are going about eight people, which means korean producers. they did the technology they took the swedish composers er, young young talented guys, yes, that is, they did not go to er, because there are no festivals there. here they could not find oleg neatly there. they take very young children, 8 years old, train them and then let them out. in these bts teams, for example, this is a product like this, 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, it is clear that there are all sorts of unknowns, but everyone knows their unknowns. i know my unknown jazz musicians who are already involved he was an olek, 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 person and also get together and discuss this topic for discussion , a topic 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 but we sometimes sometimes better. but although there is something to strive for. you know, here we are, when i think, the anniversary was played and sang to her there larisa alexander came, pri- valley pressed the orchestra. they have mars trumpeters, of course, they are there at all, that's not even a drummer. not even a sample double bass player. i'm not saying it's better. well, yes, they don't have guitarists like we do. saxophonists yes , there are no guitars, saxophonists, they have a good one, yes, and we played with them. at first we were worried, but when we were already playing in st. petersburg, we relaxed a little, so we played well, but yes, these are brilliant musicians, a brilliant orchestra. what to do in order to play better than they just need to practice for a couple of hours more. than they rehearse each and every one, but it can really be fattening, we were

interesting. here's the thing about jazz. i love jazz very much, i calm him down. i find its balance in myself from a visual point of view. we are now people are watching us a lot. people have already seen a lot all over the world, they already need it right away, but in order to turn on several senses of jazz, and dance compatible ballerinas have begun. well, by the way, there is something like that. yes, something is something irka also did some garbage. there was also a project. yes, we had an attempt. me we don't leave with boris eifon to do this for jazz, he did it, he did it with gershin's music. he really wanted to use gershin. yes, i wanted to, but at first he wanted to 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, everything is jazz, connects with everything. i'm looking for it myself new forms. that's because a new viewer. he 's new. very much we must understand that for 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 philharmonic societies, gathering completely in jazz clubs. jazz musicians appear on television. right now, everything is developing very dynamically in our industry and young musicians are appearing who also fill the space that goes into our veterans or tar art, because he is elitist, but he is elitist in terms of the music of the art itself, but he is for everyone now appeared on the

category of people 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. that's how you feel about this phenomenon, in general, probably already faced. i have come across this on numerous occasions. but i'm nothing not in russian, i'm not afraid of anything, and not in russian go not in english and in indian. i listen too. i even make soviet programs, of course, and it is from our songs that jazz arrangements are made, that is, with igor, they also did this and will continue to do it 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 everything, so to speak the motives we improvise, by the way, come from american music, yes, mostly. 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. we don’t pinch anything, and when boris godunov is sung in russian in skala, how we feel about it, we have a positive attitude, it ’s great, that’s why, of course, we are looking for us we published a collection of jazz e standards russian composers of course, we played the program of both dunayevsky and the winged one. and gladkova and we play all these compositions of ours, which are better than the golden sun, which we perform to receive more applause than any jazz standard in the whole world, wherever

we play in ireland in india, the united states of america, we can provide evidence. we have composers now. oh, of course, maxim the composers who are still performing as vocalists have also stopped singing in english. he lies down, the solo program plays, so he sings both folk songs and cossack-kazakh songs, folklore folklore, the krasnodar forter sing the kuban uh, you can ask for something. oh, capella i can catch it very

cool was it? oh yes, i will become girls. ay, thanks to olya, what kind of ending, by the way, suddenly i had such a question. 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 of jazz 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 it so that they don’t, just a jazz interpretation of any kind of musical structure, but they learn it all by heart, and i try to fight it and many even talented girls who even drank with us. i say

improvise. you don't need to study. she says i learned to improvise. you don't need 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 music. you are a talented person, according to no, she learns everything and gives out. yes, that's it. and when you sing already learned, no, it's completely different. it can be well written, maybe, well done, but if you play it every day, 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, probably for the peasants to play, and they choose the first composition themselves. and then no back then there was only one composition. and so they played. i watch him play. well, the man is playing. well, great. 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 easy, 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 here in a new education. i have in i mean, this part could be, when in the new, i mean in the new millennium, when they give children the opportunity in basic education to start an experiment. yes, this is definitely necessary improvisation - 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 you were there as a child, everything is fine. well, well, well, in childhood no well, as a child, my dad forced me

to play jazz under duress. here i have such a question. in general, to force a child not from under the stick, 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 work with the classics, not jazz, because i just spent more time on jazz than on the classics at the beginning at the beginning of my period, and then i already understood where something from the age of eighteen that when i started to prepare for the competition in novosibirsk, then, 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 why i used to spend more time on jazz and 2 hours of only classical and still only 2 hours of classical, please, i was constantly studying. ah here is the entire day only jazz. 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 drums. and so to me the main drum houses were some, but he played there at weddings there. well, during the day the engineer was playing at the wedding in the evening and the 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 , he was kind of like that. in general, what kind of records were there leningrad selenium, i played drums with them all, then they invited me a girl who wrote to teach not the piano, but 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 or he refused thank god, and then later my father spoke for a while, jazz beni goodman charlie parker gennady goldstein joseph weinstein. these are the musicians who then gremelina 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, outstanding musician the arranger was the composer at that moment, who played the oleguster and the water and vadim lyudkov's orchestra einstein in general, you need to infect you need to infect you will get good music. one must infect one must be a brilliant musician an absolutely good musician. maybe just a musician, any musician is a genius, in his own way 100 years of russian jazz, but october was celebrated. and now let's celebrate a little more. uh, 2023. so this is a good thing, but the next 100 years are ahead, which is lacking in russian jazz. uh, what to look for attention for the first 10 years, at least with the support that we receive and receive all the creative industries in our country 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 on 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 guys in st. petersburg our goloschekins and other young people appear there. well, we have, in principle , we have everything now, we have a sponsor, we have support at the local level yes guber and the ministry of culture has an incentive now it is clear that even the young people who go there have a choice. where to go go classical pianist or go. i don’t know about going 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

person. well, of course, we are solid middle class solid middle class. well, i don't know, i, for one, consider myself a wealthy person. i don't know about it in terms of finances. i mean, we are now talking about the fact that young people are now very much needed for this, yes, that is, if you are in demand, respectively, you, well, last year we officially had 170 concerts with me. the musicians of my orchestra and my committee are practically the same. almost the same. well, we didn't play for free. therefore, we have financial stability. i i'll tell you that 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, this 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 mystery magazine, well, he already plays music very well, if marsales can be in america himself an influential person one of the most why can't a jazz musician in russia be influenced. and if you designate your mission as a jazz musician for the next century? i don't have any mission. i just love. i can't be you have a mission. 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. no, something was not finished,

people left something unsatisfied. i remember one wonderful jazz singer and pianist shirley horn singing. in america, i was at a festival where i performed, then i sat and listened. she went out. we are already an elderly woman who came out playing with gloves. she sang and the entire first row. we all took hands, just not well, there are people. it was as if we knew there was someone on the right, on the left we were sitting by the hands, and now we were listening. 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 happy with a smile and share their impressions. dear friends, dear friends , on this optimistic note, unfortunately, 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. it's wonderful in the pockets of elena kiper, we say goodbye to new and night airs. we wish you happiness, everything in this big world is now for you. hey like the sun. that's jazz for you. hello with you podcast burn with fire and his presenter denis gorelov today our conversation about the series of the current repertoire, which are of the greatest interest to the general public. it so happened that

from time to time i will call series films and pictures simply, because the series is a long word and does not really fit on the tongue . uh, especially since we don't have some fundamental tradition of endless series, like santa barbara or a beautiful nanny, uh, all our stories fit into 8 or 12 episodes and sequels. still quite rare, mostly used in comedy. and so the word picture or film is quite applicable for a long time, i was engaged in film criticism of theatrical distribution. however, it has already become quite clear that these films came out mainly from the national. interest is not discussed anywhere, except for school breaks, and the last time in my life school breaks were in 1984, and therefore i prefer to focus on an adult audience. she