Fighter biography

In a creative alliance with Andrei Makarevich, he participated in the creation of such famous projects as “jazz transformations”, “Creole Tango” and “Yiddish Jazz”. It is there that many musicians of the ECM Records label are written. We decided to talk about this unique record, as well as about the creative and personal biography of Eugene of Eugene. The main style of compositions is not only and not so much traditional jazz.

In my opinion, he is closer to the classics and style of Cool Jazz, which is cultivated by the ECM Records label. Of the tools, piano, double bass and drums are involved. It is so diverse, rich in positive and negative emotions, where there is a place for both sadness and experiences, but sadness should be bright! And the music is good. I appreciate classical academic music, modern jazz, traditional jazz and old jazz and even Dixyland!

But all this should be honest, sincere and love should be in everything. I must say that we have an absolutely musical family - dad was a conductor, mom taught music all her life. The house always sounded music, including jazz, we had a large collection of jazz records. I listened to these notes and more and more fell in love with jazz. But as such, I do not have a jazz education, I have an academic musical one.

I graduated from the Kazan Conservatory in the piano class, and in the same year I made my debut as a jazz pianist with a solo program at the Kazan Dzhazovo Crossroads. In the same year, he received a special prize of the Polish Jazz Academy at the Jazz Uniors contest in Krakow. In fact, since the beginning of the X I acted as part of my own trio, engaged in organizational activities, invited to Kazan to joint performances of such stars as David Goloshchekin, Igor Butman, Arkady Schilkloper, Daniil Kramer, Nikolai Panov, Andrei Kondakov in became the producer of the jazz festival in Saratov.

And he came to Moscow by an already held musician, quite an adult person in the year and immediately joined in an active musical jazz life. We very quickly met with Andrei Makarevich and from this acquaintance has grown up with a large creative cooperation. This is not to say that I came to the capital as a completely new and unfamiliar environment - I had many musician friends here, whom I invited to speeches in Kazan.

And in many ways I was helped by acquaintance with Igor Butman, with whom we played together in the orchestra. When I had my jazz trio, I wrote compositions for him.

And having moved to Moscow, he began to actively create music for cinema and theatrical productions. It’s difficult to recall everything, but just as an example - I wrote music for the series “Apostle”, for several series of “Kamenskaya”, for the film “Point”, for the performances of “locust” and “Mad Money” theater. I am trying and I can’t understand where that line is broken when you turned from a classic pianist into a jazz artist and composer.

By the way, I am deeply sure that the classical musical education would not hurt the jazz musicians. And in the same way, it is useful for academicians to have jazz improvisation skills. Because today, jazz as an area of ​​musical art is actively developing, many genre branches appear, new bright names arise. And on this path, many musicians with a classic academic education can find themselves today, he reads poetry on stage, and I respond to him with musical phrases and we have a conversation in this way.

This is the original form of stage action, and it is very interesting to me, like everything new and unexpected. Here to build forecasts is a ungrateful business, for that they are “transformations” in order to change unpredictably. I do not have many of them, but these are very good and close people to me.