Russian jazz groups. Famous Russian jazz singers. Alexander Tsfasman: jazz as a profession

Modern Russian jazz is associated with female vocals. Find out who they are - famous Russian jazz singers, what they are famous for, why the public loves them.

Russian jazz singers

Anna Buturlina

Anna Buturlina is one of the most popular Russian jazz singers.

The girl not only sings in her own solo projects, but also works with the Russian State Symphony Cinematography Orchestra and the Oleg Lundstrem Jazz Orchestra.

After performing with the orchestra on May 7, 2015 at the UN General Assembly, the girl was noted by the famous composer Daniil Kramer, praising her as “jazz Valentina Tolkunova.”

Anna is a participant in Anatoly Kroll’s project “The First Ladies of Russian Jazz”

She works as a vocal teacher, writes music and records albums for children, sings in film soundtracks and even voices the vocal parts of movie and cartoon heroines.

The vocalist’s most striking works are the voice acting of Disney princesses Tiana (“The Princess and the Frog”) and Elsa (“Frozen”), as well as the Russian version of the song Let It Go from the second one, “Let It Go and Forget.”

Aset Samrailova (ASET)

Aset is an unusual vocalist who stands out among the artists of the Russian stage. Her tracks in Russian and English always receive high praise from the public and critics.

The girl performs music in many genres: soul, jazz, blues, urban romance, pop and R&B.

Aset became famous after participating in the famous TV show “Voice-2”, as well as thanks to “Big Jazz” and “Main Stage”.

Her voice can be heard on the soundtracks to the films “Pilgrimage to the Eternal City” and “Stone Head”. Children may recognize her from her voice work in the Disney cartoons “The Princess and the Frog,” “Fairies,” “Cars 2” and the film “High School Musical.”

Alina Rostotskaya

Alina Rostotskaya is one of the brightest representatives of jazz vocals in Moscow. After receiving the Grand Prix in 2009 best competition jazz vocalists in Moscow, Alina's popularity began to grow. A year later, the girl already sings in her own ensemble at the famous festival “Jazz in the Hermitage Garden”.

The vocalist participated in major events in many Scandinavian and Baltic countries, as well as Poland, Ukraine and Russia, and reached the finals of the “Big Jazz” show.

She stood out at the Latvian Riga Jazz Stage festival, receiving a special award from the famous Latvian composer and pianist Raimonds Pauls.

Alina Rostotskaya is a leader among Russian jazz musicians thanks to her hard work and talent - the girl sings, acts as a composer, arranger and even a poet.

“But you’re a woman”! – what is it and how to deal with it

Larisa Dolina

Not all famous Russian jazz singers sing exclusively in one genre. One of these is pop star Larisa Dolina. Being a native of Baku, at the age of 3 she moved with her parents to Odessa, where she began to master the piano. Then it begins musical path life-long. Later Larisa graduated from the Moscow Music College. Gnesins.

The Valley began performing and working separately in 1985.

At the same time, the vocalist created her first original program, “Long Jump,” and traveled throughout the USSR with solo concerts.

In 1996, the vocalist’s anniversary performance “Weather in the House” took place, where she performed her selected and favorite songs and presented the album of the same name, which became her calling card.

Elvira Trafova

The first vocalist of Russian jazz to receive the title of Honored Artist of Russia, main center attention in St. Petersburg circles for this musical style, - all this is about Elvira Trafova.

After graduating from the Leningrad Institute of Theater, Music and Cinema in 1972, the singer joined the Jazz Music Ensemble, becoming a soloist in it. That's when her jazz career began to take shape.

Elvira Trafova is recognized as the first lady of Russian jazz

In 1989, she began working at the St. Petersburg State Philharmonic of Jazz Music and still does not leave music scene. Elvira performs with Honored Artist of Russia Pyotr Kornev and his ensemble.

Yulia Kasyan

The talented jazz singer Yulia Kasyan was noticed at the Autumn Marathon competitions and the international competition in Yekaterinburg - she became a laureate of nominations.

From that moment on, the girl regularly performs in philharmonic societies and at jazz festivals together with the orchestra.

Bright, virtuoso and famous master Pianist Nikolai Sizov is a constant stage partner of Yulia Kasyan.

Sophie Okran

After studying at a music school in the Caucasus, Sophie moved to Krasnodar, where she began working at the Premiere Theater.

The singer was invited to the popular music group"Quarter". After her debut in the musical “Hair” in 1999, the vocalist began to be invited to collaborate and participate in projects by Russian performers, one of whom was Valery Meladze.

Sophie Ocran devotes a lot of time to working on screensavers for radio stations, which contributes to the wide recognition of her voice.

The vocalist also has her own program Natural Woman, with which she performed at festivals and music venues countries.

Thanks to the unique combination of African heat and Russian tender romance in the singer’s plastic, deep and complex-sounding voice, she is often called Russian.

Talented jazz vocalist Mariam Merabova was born in Yerevan. The girl began her musical journey at the age of 5 by studying at the main city music school. At an early age she moved to Moscow and studied first at school and then at the College. Gnessins in piano class.

Mariam Merabova on the show “The Voice”

The year 2000 was a turning point for Mariam Merabova: the vocalist recorded for the album of the jazz project “Miraif” and participated in the creation of the musical We will rock you.

The singer received an offer to teach at the School of Professional Creative Development from Alla Pugacheva.

Marina Volkova

Marina Volkova is a vocalist, teacher and composer. After receiving an academic music education, the singer discovered jazz.

The performance with Eve Cornelius became a “moment of truth” for Marina Volkova

Marina tried for a long time to understand what “swing” is. But just finding out was not enough, it is such a thing that needs to be felt. And the vocalist felt it herself, which is largely due to the songs of Michael Jackson and the American singer Sarah Vaughan.

In 2009, in Moscow, the girl sang with Eve Cornelius, one of the most famous jazz singers in the States. The singer herself notes this performance as a “moment of truth,” because Eve helped her put everything in order in her future career.

Sarah Vaughan's songs helped Marina understand what swing is.

In the same year, Marina participated in the First Moscow Jazz Vocalists Competition and became a composer and singer in the Perfect Me project. Marina combines the project with the creation of her own jazz quartet, Marina Volkova Jazz Band.

A new musical direction, called jazz, arose at the turn of the 19th and 20th centuries as a result of the fusion of European musical culture with African one. He is characterized by improvisation, expressiveness and a special type of rhythm.

At the very beginning of the twentieth century, new musical ensembles began to be created, called. They included wind instruments (trumpet, trombone clarinet), double bass, piano and percussion instruments.

Famous jazz players, thanks to their talent for improvisation and ability to subtly feel music, gave impetus to the formation of many musical directions. Jazz has become the primary source of many modern genres.

So, whose performance of jazz compositions made the listener's heart skip a beat in ecstasy?

Louis Armstrong

For many music connoisseurs, his name is associated with jazz. The musician's dazzling talent captivated him from the first minutes of his performance. Merging together with a musical instrument - a trumpet - he plunged his listeners into euphoria. Louis Armstrong went through a difficult journey from a nimble boy from a poor family to the famous King of Jazz.

Duke Ellington

Unstoppable creative personality. A composer whose music played with the modulations of many styles and experiments. The talented pianist, arranger, composer, and orchestra leader never tired of surprising with his innovation and originality.

His unique works were tested with great enthusiasm by the most famous orchestras of the time. It was Duke who came up with the idea of ​​using the human voice as an instrument. More than a thousand of his works, called by connoisseurs the “golden fund of jazz,” were recorded on 620 discs!

Ella Fitzgerald

The “First Lady of Jazz” had a unique voice with a wide range of three octaves. It is difficult to count the honorary awards of the talented American. Ella's 90 albums were distributed around the world in incredible numbers. It is hard to imagine! Over 50 years of creativity, about 40 million albums performed by her have been sold. Masterfully mastering the talent of improvisation, she easily worked in duets with other famous jazz performers.

Ray Charles

One of the most famous musicians, called "a true genius of jazz." 70 music albums sold around the world in numerous editions. He has 13 Grammy awards to his name. His compositions have been recorded by the Library of Congress. The popular magazine Rolling Stone ranked Ray Charles number 10 on its “Immortal List” of 100 great artists of all time.

Miles Davis

American trumpeter who has been compared to the artist Picasso. His music was highly influential in shaping the music of the 20th century. Davis represents the versatility of styles in jazz, the breadth of interests and accessibility for audiences of all ages.

Frank Sinatra

The famous jazz player came from a poor family, was short in stature and did not differ in any way in appearance. But he captivated the audience with his velvety baritone. The talented vocalist starred in musicals and dramatic films. Recipient of many awards and special awards. Won an Oscar for The House I Live In

Billie Holiday

A whole era in the development of jazz. The songs performed by the American singer acquired individuality and radiance, playing with tints of freshness and novelty. The life and work of “Lady Day” was short, but bright and unique.

Famous jazz musicians have enriched the art of music with sensual and soulful rhythms, expressiveness and freedom of improvisation.

As one of the most revered musical art forms in America, jazz laid the foundation for an entire industry, introducing the world to numerous brilliant composers, instrumentalists and vocalists and spawning a wide range of genres. 15 of the most influential jazz musicians are responsible for a global phenomenon that has occurred over the last century in the history of the genre.

Jazz developed in later years XIX century and at the beginning of the XX as a direction that combines classical European and American sounds with African folk motifs. The songs were performed with a syncopated rhythm, giving impetus to the development, and subsequently the formation of large orchestras to perform it. Music has made great strides from the days of ragtime to modern jazz.

The influence of West African musical culture is obvious in the kind of music that is written and how it is performed. Polyrhythm, improvisation and syncopation are what characterize jazz. Over the past century, this style has changed under the influence of contemporaries of the genre, who brought their ideas to the essence of improvisation. New directions began to appear - bebop, fusion, Latin American jazz, free jazz, funk, acid jazz, hard bop, smooth jazz, and so on.

15 Art Tatum

Art Tatum was a jazz pianist and virtuoso who was practically blind. He is known as one of the greatest pianists of all time, who changed the role of the piano in the jazz ensemble. Tatum turned to the stride style to create his own unique style of playing, adding swing rhythms and fantastic improvisations. His attitude towards jazz music radically changed the meaning of the piano in jazz as a musical instrument compared to its previous characteristics.

Tatum experimented with the harmonies of the melody, influencing the chord structure and expanding it. All this characterized the bebop style, which, as we know, would become popular ten years later, when the first recordings in this genre appeared. Critics also noted his impeccable playing technique - Art Tatum was able to play the most difficult passages with such ease and speed that it seemed that his fingers barely touched the black and white keys.

14 Thelonious Monk

Some of the most complex and varied sounds can be found in the repertoire of the pianist and composer, one of the most important representatives of the era of the emergence of bebop and its subsequent development. His very personality as an eccentric musician helped popularize jazz. Monk, always dressed in a suit, hat and sunglasses, openly expressed his free attitude to music of improvisation. He did not accept strict rules and formed his own approach to creating essays. Some of his most brilliant and famous works were Epistrophy, Blue Monk, Straight, No Chaser, I Mean You and Well, You Needn’t.

Monk's playing style was based on an innovative approach to improvisation. His works are distinguished by shock passages and sharp pauses. Quite often, during his performances, he would jump up from behind the piano and dance while the other band members continued to play the melody. Thelonious Monk remains one of the most influential jazz musicians in the history of the genre.

13 Charles Mingus

A recognized double bass virtuoso, composer and band leader, he was one of the most extraordinary musicians on the jazz scene. He developed a new musical style, combining gospel, hard bop, free jazz and classical music. Contemporaries called Mingus "the heir to Duke Ellington" for his fantastic ability to write works for small jazz ensembles. His compositions demonstrated the skill of playing by all members of the group, each of whom was also not just talented, but was characterized by a unique playing style.

Mingus carefully selected the musicians who made up his band. The legendary double bassist had a temper, and once even hit trombonist Jimmy Knepper in the face, knocking out his tooth. Mingus suffered from depressive disorder, but was not willing to let it affect him in any way. creative activity. Despite this disability, Charles Mingus is one of the most influential figures in jazz history.

12 Art Blakey

Art Blakey was a famous American drummer and bandleader who made waves in his drumming style and technique. He combined swing, blues, funk and hard bop - a style that is heard today in every modern jazz composition. Together with Max Roach and Kenny Clarke, he invented a new way of playing bebop on drums. For more than 30 years his band The Jazz Messengers gave a start to big jazz to many jazz artists: Benny Golson, Wayne Shorter, Clifford Brown, Curtis Fuller, Horace Silver, Freddie Hubbard, Keith Jarrett, etc.

The Jazz Ambassadors didn't just create phenomenal music, they were a kind of "musical testing ground" for young talented musicians, like the Miles Davis group. Art Blakey's style changed the very sound of jazz, becoming a new musical milestone.

11 Dizzy Gillespie

The jazz trumpeter, singer, composer and bandleader became a prominent figure in the times of bebop and modern jazz. His trumpet playing influenced the styles of Miles Davis, Clifford Brown and Fats Navarro. After his time in Cuba, upon his return to the United States, Gillespie was one of those musicians who actively promoted Afro-Cuban jazz. In addition to his inimitable performance on the characteristically curved trumpet, Gillespie could be identified by his horn-rimmed glasses and incredibly large cheeks while playing.

The great jazz improviser Dizzy Gillespie, as well as Art Tatum, innovated harmonies. Salt Peanuts and Goovin' High were rhythmically completely different from previous works. Remaining faithful to bebop throughout his career, Gillespie is remembered as one of jazz's most influential trumpeters.

10 Max Roach

The top ten of the 15 most influential jazz musicians in the history of the genre includes Max Roach, a drummer known as one of the pioneers of bebop. He, like few others, influenced modern drumming. Roach was a civil rights activist and even recorded the album We Insist! with Oscar Brown Jr. and Coleman Hawkins. – Freedom Now (“We insist! – Freedom now”), dedicated to the 100th anniversary of the signing of the Emancipation Proclamation.

9 Max Roach has an impeccable playing style, capable of performing extended solos throughout the entire concert. Absolutely any audience was delighted with his unsurpassed skill.

Lady Day is the favorite of millions. Billie Holiday wrote only a few songs, but when she sang, she captivated her voice from the first notes. Her performance is deep, personal and even intimate. Her style and intonation are inspired by the sound musical instruments that she had heard. Like almost all the musicians described above, she became the creator of a new, but already vocal style, based on long musical phrases and the tempo of their singing.

The famous Strange Fruit is the best not only in Billie Holiday’s career, but in the entire history of jazz due to the singer’s soulful performance. She was posthumously awarded prestigious awards and inducted into the Grammy Hall of Fame.

8 John Coltrane

The name of John Coltrane is associated with virtuoso playing technique, excellent talent for composing music and a passion for exploring new facets of the genre. On the threshold of the origins of hard bop, the saxophonist achieved enormous success and became one of the most influential musicians in the history of the genre. Coltrane's music had an edgy sound, and he played with great intensity and dedication. He was capable of both playing alone and improvising in an ensemble, creating solo parts of incredible length. Playing tenor and soprano saxophone, Coltrane was also able to create melodic compositions in the smooth jazz style.

John Coltrane is credited with rebooting bebop by incorporating modal harmonies. While remaining a major figure in the avant-garde, he was a very prolific composer and continued to release discs, recording about 50 albums as a band leader throughout his career.

7 Count Basie

A revolutionary pianist, organist, composer and bandleader, Count Basie led one of the most successful groups in jazz history. For 50 years, Count Basie Orchestra, including incredibly popular musicians such as Sweets Edison, Buck Clayton and Joe Williams, has earned a reputation as one of America's most sought-after big bands. Winner of nine Grammy awards, Count Basie instilled a love of orchestral sound in more than one generation of listeners.

Basie wrote many compositions that became jazz standards, such as April in Paris and One O'Clock Jump. Colleagues described him as tactful, modest and full of enthusiasm. Without Count Basie's orchestra in the history of jazz, the big band era would have sounded different and probably would not have been as influential as it became with this outstanding band leader.

6 Coleman Hawkins

The tenor saxophone is a symbol of bebop and all jazz music in general. And for that we can thank Coleman Hawkins. The innovations that Hawkins brought were vital to the development of bebop in the mid-forties. His contributions to the instrument's popularity may have shaped the future careers of John Coltrane and Dexter Gordon.

The composition Body and Soul (1939) became the standard for tenor saxophone playing for many saxophonists. Other instrumentalists were also influenced by Hawkins: pianist Thelonious Monk, trumpeter Miles Davis, and drummer Max Roach. His ability for extraordinary improvisations led to the discovery of new jazz sides of the genre that were not touched upon by his contemporaries. This partly explains why the tenor saxophone has become an integral part of the modern jazz ensemble.

5 Benny Goodman

The top five 15 most influential jazz musicians in the history of the genre opens. The famous King of Swing led almost the most popular orchestra of the early 20th century. His 1938 Carnegie Hall concert is recognized as one of the most important live concerts in the history of American music. This show demonstrates the advent of the jazz era, the recognition of this genre as independent type

art.

4 Despite the fact that Benny Goodman was the lead singer of a large swing orchestra, he also participated in the development of bebop. His orchestra was one of the first to combine musicians of different races. Goodman was an outspoken opponent of the Jim Crow Law. He even canceled a tour of the Southern states in support of racial equality. Benny Goodman was an active figure and reformer not only in jazz, but also in popular music.

Miles Davis

3 One of the central jazz figures of the 20th century, Miles Davis, stood at the origins of many musical events and oversaw their development. He is credited with innovating the genres of bebop, hard bop, cool jazz, free jazz, fusion, funk and techno music. Constantly searching for a new musical style, he always achieved success and was surrounded by brilliant musicians, including John Coltrane, Cannoball Adderley, Keith Jarrett, JJ Johnson, Wayne Shorter and Chick Corea. During his lifetime, Davis was awarded 8 Grammy Awards and was inducted into the Rock and Roll Hall of Fame. Miles Davis was one of the most active and influential jazz musicians of the last century.

Charlie Parker quick game, pure sound and talent as an improviser had a significant influence on the musicians of that time and our contemporaries. As a composer, he changed the standards of jazz music writing. Charlie Parker became the musician who cultivated the idea that jazzmen were artists and intellectuals, and not just showmen. Many artists tried to copy Parker's style. His famous playing techniques can also be traced in the manner of many current beginning musicians, who take as a basis the composition Bird, which is consonant with the nickname of the alt-saccosophist.

2 Duke Ellington

He was a great pianist, composer and one of the most outstanding orchestra leaders. Although he is known as a pioneer of jazz, he excelled in other genres including gospel, blues, classical and popular music. Ellington is credited with bringing jazz to the forefront. separate species art. With countless awards and honors, the first great composer jazz has never stopped improving. He was an inspiration to subsequent generations of musicians, including Sonny Stitt, Oscar Peterson, Earl Hines, and Joe Pass. Duke Ellington remains a recognized genius of the jazz piano - instrumentalist and composer.

1 Louis Armstrong

Unquestionably the most influential jazz musician in the history of the genre, Satchmo is a trumpeter and singer from New Orleans. He is known as the creator of jazz, who played a key role in its development. The amazing abilities of this performer made it possible to elevate the trumpet into a solo jazz instrument. He is the first musician to sing in the scat style and popularize it. It was impossible not to recognize his low, “thundering” voice.

Armstrong's commitment to his own ideals influenced the work of Frank Sinatra and Bing Crosby, Miles Davis and Dizzy Gillespie. Louis Armstrong influenced not only jazz, but also the entire musical culture, giving the world a new genre, a unique style of singing and style of playing the trumpet.

The history of Soviet (after 1991 - Russian) jazz is not without originality and is different from the periodization of American and European jazz.

Music historians divide American jazz into three periods:

• traditional jazz, including New Orleans style (including Dixieland), Chicago style and swing - with late XIX V. until the 1940s;
• modern(modern jazz), including bebop, cool, progressive and hard-boy styles - from the early 40s. and until the end of the 50s. XX century;
• avant-garde(free jazz, modal style, fusion and free improvisation) - since the early 1960s.

It should be noted that the above indicates only the temporary boundaries of the transformation of a particular style or direction, although they all coexisted and continue to exist to this day.

With all due respect to Soviet jazz and its masters, one should honestly admit that Soviet jazz in the Soviet years was always secondary, based on those ideas that originally arose in the USA. And only after Russian jazz had come a long way, by the end of the 20th century. we can talk about the originality of jazz performed by Russian musicians. Using the wealth of jazz accumulated over a century, they are forging their own path.

The birth of jazz in Russia occurred a quarter of a century later than its overseas counterpart, and the period of archaic jazz that the Americans went through is not present at all in the history of Russian jazz. At that time, when young Russia had just heard a musical novelty, America was dancing with all its might to jazz, and there were so many orchestras that it was impossible to count their number. Jazz music conquered more and more audiences, countries and continents. The European public was much luckier. Already in the 1910s, and especially during the First World War (1914-1918), American musicians amazed the Old World with their art, and the recording industry also contributed to the spread of jazz music.

The birthday of Soviet jazz is considered to be October 1, 1922, when the “First Eccentric Jazz Band in the RSFSR” gave a concert in the Great Hall of the State Institute of Theater Arts. That's exactly how they spelled the word - jazz band. This orchestra was organized by a poet, translator, geographer, traveler and dancer Valentin Parnakh(1891-1951). In 1921, he returned to Russia from Paris, where he had lived since 1913 and was acquainted with outstanding artists, writers, and poets. It was in France that this extraordinary and highly educated man, slightly mysterious, who loved everything avant-garde, met the first jazz tourers from America and, fascinated by this music, decided to introduce Russian listeners to musical exoticism. The new orchestra required unusual instruments, and Parnakh brought to Moscow a banjo, sets of mutes for the trumpet, tomtom with foot pedal, cymbals and noise instruments. Parnakh, who was not a musician, had a utilitarian attitude towards jazz music. “He was attracted to this music by unusual, broken rhythms and new, as he said, “eccentric” dances,” this is how the famous writer, playwright, screenwriter Evgeniy Gabrilovich, who worked for some time as a pianist in the orchestra of Valentin Parnakh, later recalled.

Music, according to Parnach, should have been an accompaniment to plastic movements other than classical ballet. From the very beginning of the orchestra’s existence, the conductor argued that a jazz ensemble should be a “mime orchestra,” so in its current meaning it is difficult to fully call such an orchestra a jazz orchestra. Most likely it was a noise orchestra. Perhaps for this reason, jazz in Russia initially took root in the theatrical environment, and for three years the Parnach orchestra performed in performances staged by theater director Vsevolod Meyerhold. In addition, the orchestra sometimes took part in carnival celebrations and performed at the Press House, where the Moscow intelligentsia gathered. At the concert dedicated to the opening of the 5th Congress of the Comintern, the orchestra performed fragments from Darius Milhaud’s music for the ballet “Bull on the Roof” - a rather difficult composition to perform. The Parnakh Jazz Band was the first group invited to the State Academic Drama Theatre, but after some time the applied significance of the orchestra became of little satisfaction to the director, and Vsevolod Meyerhold was annoyed that as soon as the orchestra began to play, all the attention of the audience was focused on the musicians, and not for stage action. Despite the fact that the press noted the successful use of music to “manifest the dramatic rhythm, the beating pulse of the performance,” director Meyerhold lost interest in the orchestra, and the leader of the first jazz band in Russia, after great and noisy success, returned to poetry. Valentin Parnakh was the first author of articles on new music in Russia, even wrote poems about jazz. There are no recordings of the Parnakh ensemble, since recording appeared in the USSR only in 1927, when the group had already disbanded. By this time, much more professional performers had emerged in the country than “The first eccentric orchestra in the RSFSR - the Valentin Parnakh jazz band.” These were orchestras Teplitsky, Landsberg, Utesov, Tsfasman.

At the end of the 1920s. in the USSR there were enthusiasts, musicians appeared who played what was “heard of,” which somehow came from the jazz Mecca, from America, where large swing orchestras began to appear at that time. In 1926 in Moscow, a graduate of the conservatory and a brilliant virtuoso pianist Alexander Tsfasman(1906-1971) organized “AMA-jazz” (under the cooperative music publishing house of the Association of Moscow Authors). This was the first professional jazz orchestra in Soviet Russia. The musicians performed compositions by the director himself, his arrangements of American plays and the first musical opuses of Soviet composers who wrote music in a new genre for them. The orchestra performed successfully on the stages of large restaurants and in the foyers of major cinemas. Next to the name of Alexander Tsfasman, you can repeatedly repeat the word “first”. In 1928, the orchestra performed on the radio - for the first time, Soviet jazz sounded on the air, and then the first recordings of jazz music appeared (“Hallelujah” by Vincent Youmans and “Seminole” by Harry Warren). Alexander Tsfasman was the author of the first jazz radio broadcast in our country. In 1937, recordings of Tsfasman’s works were made: “On a Long Journey,” “On the Seashore,” “Unsuccessful Date” (suffice it to remember the lines: “We were both there: I was at the pharmacy, and I was looking for you at the cinema, So, that means tomorrow - in the same place, at the same hour! "). Tsfasman’s adaptation of the Polish tango, popularly known as “The Tired Sun,” enjoyed continued success. In 1936, A. Tsfasman's orchestra was recognized as the best in showing jazz orchestras. Essentially, it could be called a jazz festival, which was organized by the Moscow Club of Art Masters.

In 1939, Tsfasman's orchestra was invited to work on the All-Union Radio, and during the Great Patriotic War, the orchestra's musicians went to the front. Concerts took place in the front line and on the front line, in forest clearings and in dugouts. At that time they were fulfilled Soviet songs: “Dark Night”, “Dugout”, “My Beloved”. Music helped the fighters a short time to take a break from the terrible everyday life of war, helped me remember my home, my family, my loved ones. It was hard to work in military hospitals, but here, too, the musicians brought the joy of meeting real art. But the main work for the orchestra remained work on the radio, performances at factories, factories and recruiting stations.

Tsfasman's wonderful orchestra, consisting of talented jazz musicians, existed until 1946.

In 1947-1952 Tsfasman headed the symphonic jazz of the Hermitage variety theater. During a difficult time for jazz (these were the 1950s), during the “ cold war"with the USA and the West, when publications discrediting and discrediting jazz began to appear in the Soviet press, the orchestra leader worked on the concert stage as a jazz pianist. Then the maestro assembled an instrumental quartet for studio work, whose hits were included in the collection of Soviet music:

“Happy Evening”, “Waiting”, “Always with You”. The romances and popular songs of Alexander Tsfasman, music for plays and films are known and loved.

In 2000, Tsfasman’s album “Burnt Sun” was released as part of the “Jazz Anthology” series, recorded on CD, including the composer’s best instrumental and vocal pieces. G. Skorokhodov wrote about Tsfasman in the book “Soviet Pop Stars” (1986). A. N. Batashev, the author of one of the most authoritative publications - “Soviet Jazz” (1972) - spoke in his book about the life and work of Alexander Tsfasman. In 2006, the book “Alexander Tsfasman: Corypheus of Soviet Jazz” was published by doctor of philosophy, writer and musicologist A. N. Golubev.

Simultaneously with Tsfasman’s “AMA-jazz” in Moscow, in 1927 a jazz group arose in Leningrad. It was "The first concert jazz band" pianist Leopold Teplitsky(1890-1965). Even earlier, in 1926, Teplitsky visited New York and Philadelphia, where he was sent by the People's Commissariat for Education. The purpose of the trip was to study music for illustrations for silent films. For several months the musician absorbed all the rhythms of new music and studied with American jazzmen. Returning to Russia, L. Teplitsky organized an orchestra of professional musicians (teachers from conservatories, music schools), who, unfortunately, did not feel the jazz specificity of the music they performed. The musicians, who always played only from notes, could not imagine that the same melody could be played in a new way every time, i.e. there was no question of improvisation. Teplitsky's merit can be considered that for the first time the musicians performed in concert halls, and although the sound of the orchestra was far from a true jazz band, it was no longer the eccentric art of Valentin Parnach's noise orchestra. The repertoire of Leopold Teplitsky's orchestra consisted of plays by American authors (the conductor brought priceless luggage to his homeland - a pile of jazz records and a whole folder of orchestra arrangements Paul Whiteman). Jazz band Teplitsky did not last long, only a few months, but during this short time the musicians introduced listeners to modern American dance music and wonderful Broadway melodies. After 1929, the fate of Leopold Teplitsky developed dramatically: arrest on a false denunciation, condemnation by the NKVD troika to ten years in the camps, construction of the White Sea-Baltic Canal. After his imprisonment, Leopold Yakovlevich was forced to settle in Petrozavodsk (“such people” were not allowed into Leningrad). The musical past was not forgotten. Teplitsky organized a symphony orchestra in Karelia, taught at the conservatory, wrote music, and hosted radio broadcasts. Since 2004, the international jazz festival “Stars and We” (organized in 1986 in Petrozavodsk) has been named after the pioneer of Russian jazz Leopold Teplitsky.

Music criticism of the late 1920s. could not appreciate the new cultural phenomenon. Here is an excerpt from that time from a characteristic review of jazz: “As a means of caricature and parody... as a rough, but biting and piquant rhythmic and timbral apparatus, suitable for dance music and for cheap “musical underpaintings” in theatrical use, a jazz band has its own reason. Beyond these limits, its artistic significance is small."

The Russian Association of Proletarian Musicians (RAPM) also added fuel to the fire, which affirmed the “proletarian line” in music, rejecting everything that did not correspond to their, often dogmatic, views on art. In 1928, an article entitled “On the Music of the Fat People” by the famous Soviet writer Maxim Gorky appeared in the Pravda newspaper. It was an angry pamphlet denouncing the “world of predators” and the “power of the fat.” The proletarian writer lived at that time in Italy, on the island of Capri, and was most likely familiar with the so-called “restaurant music,” which was far from genuine jazz. Some meticulous jazz historians claim that the writer was simply “sick and tired” of the foxtrots that Gorky’s unlucky stepson was constantly performing on the ground floor of the villa. One way or another, the statement of the proletarian writer was immediately picked up by the leaders of RAPM. And for a long time jazz in our country was called “the music of the fat,” not knowing who was the true author of jazz music, in what disenfranchised layers of American society it was born.

Despite the difficult critical atmosphere, jazz continued to develop in the USSR. There were many people who treated jazz as an art. One could say about them that they had an “innate sense of jazz,” which cannot be developed through exercise: it is either there or it is not. As the composer said Gia Kancheli(born 1935), “this feeling cannot be imposed, it is useless to teach it, because there is something primordial, natural here.”

In Leningrad, in the apartment of a student at the Agricultural Institute Heinrich Terpilovsky(1908-1989) in the late 1920s. There was a home jazz club where amateur musicians listened to jazz, argued a lot and passionately about new music, and sought to comprehend the complexity of jazz as an artistic phenomenon. The young musicians were so passionate about jazz ideas that they soon formed an ensemble that created the jazz repertoire for the first time. The ensemble was called the "Leningrad Jazz Chapel", whose musical directors were Georgy Landsberg(1904-1938) and Boris Krupyshev. Landsberg back in the 1920s. lived in Czechoslovakia, where George’s father worked at the trade mission. The young man studied at the Prague Polytechnic Institute, studied sports, foreign languages ​​and music. It was in Prague that Landsberg heard American jazz - the “Chocolate Guys” Sam Wooding. Prague has always been a musical city: jazz orchestras and ensembles were already familiar with the overseas novelty. So Georgy Landsberg, having returned to his homeland, was already “armed” with more than a dozen jazz standards and wrote most of the arrangements himself. They helped him N. Minkh And S. Kagan. An atmosphere of creative competition reigned in the group: the musicians offered their own arrangements, each proposal was hotly discussed. Rehearsal process, sometimes, interested young musicians even more than the performances themselves. The “Jazz Capella” performed works not only foreign composers, but also original plays by Soviet authors: “Jazz Suite” by A. Zhivotov, the lyrical play “I’m Alone” by N. Minha, “Jazz Fever” by G. Terpilovsky. Even in the Leningrad press, approving reviews appeared about the ensemble, noting the excellent performers who played harmoniously, rhythmically firmly and dynamically. The Leningrad Jazz Capella successfully toured in Moscow, Murmansk, Petrozavodsk, and organized “review” concerts, introducing listeners to “cultural chamber-type jazz.” The repertoire was selected very carefully, taking into account concert activities, but “academicism” did not bring commercial success, the audience was not ready to listen to difficult music. Theater and club administrators quickly lost interest in the ensemble, and the musicians began to move to other orchestras. Georgy Landsberg worked with several musicians at the Astoria restaurant, where already at the dawn of Russian jazz jam sessions were held with foreign jazzmen who arrived in the city on cruise ships.

In 1930, many of G. Landsberg's musicians moved to the more successful orchestra of Leonid Utesov, and Landsberg dissolved his orchestra and worked for some time as an engineer (the education received at the Polytechnic Institute came in handy). The Jazz Capella as a concert group was revived again with the arrival of the talented pianist and arranger Simon Kagan, and when G. Landsberg reappeared in the ensemble in 1934, the Capella sounded in a new way. The pianist made arrangements for Bond with brilliant creativity Leonid Andreevich Diederichs(1907-?). He made instrumental arrangements of songs by Soviet composers, creatively enriching each score. The original instrumental plays by L. Diederichs are also known - “Puma” and “Under the Roofs of Paris”. Big success The team brought tours throughout the Soviet Union, which lasted ten months. In 1935, the contract with Leningrad Radio, whose staff orchestra was the Jazz Capella, expired. The musicians scattered again to other orchestras. In 1938, G. Landsberg was arrested, accused of espionage and executed (rehabilitated in 1956). The choir ceased to exist, but remained in the history of music as one of the first professional groups that contributed to the development of Soviet jazz, performing works by Russian authors. Georgy Landsberg was a wonderful teacher who trained wonderful musicians who later worked in pop and jazz orchestras.

Jazz, as we know, is improvisational music. In Russia in the 20-30s. XX century there were few musicians skilled in spontaneous solo improvisation. Records from those years are presented mainly big orchestras, whose musicians played their parts from notes, including solo “improvisations”. Instrumental pieces were rare; accompaniment to vocalists predominated. For example, Tea Jazz, organized in 1929. Leonid Utesov(1895-1982) and trumpet soloist of the Maly Opera Theater orchestra Yakov Skomorovsky(1889-1955), was a prime example of such an orchestra. And in its name it contained a decoding: theatrical jazz. Suffice it to recall the comedy “Jolly Fellows” by Grigory Alexandrov, where the main roles were played by Lyubov Orlova, Leonid Utesov and his famous orchestra. After 1934, when the “jazz comedy” (as the director first defined the genre of his film) was watched by the whole country, the popularity of film actor Leonid Utesov became incredible. Leonid Osipovich has acted in films before, but in “Jolly Fellows” he is rustic main character- shepherd Kostya Potekhin - was understandable to the general public: he sang beautiful songs, inspiredly written by composer I. O. Dunaevsky, joked rudely, and performed typical Hollywood stunts. All this delighted the public, although few people knew that this style of film had long been invented in Hollywood. Director Grigory Alexandrov just needs to transfer it to Soviet soil.

In the 1930s The name "Thea-jazz" became extremely popular. Enterprising artists often assigned this name to their orchestras for purely commercial purposes, but they were far from truly theater performances orchestra of Leonid Utesov, who sought to create musical revues, held together by a single stage action. Such theatricalization favorably distinguished Utesov’s entertaining orchestra from the instrumental nature of the orchestras of L. Teplitsky and G. Landsberg, and was more understandable to the Soviet public. Moreover, for joint creativity Leonid Utesov attracted famous and talented Soviet songwriters, such as Isaac Dunaevsky, brothers Dmitriy And Daniil Pokrassy, ​​Konstantin Listov, Matvey Blanter, Evgeniy Zharkovsky. The songs sounded in the orchestra's programs, beautifully arranged, became extremely popular and popularly loved.

Leonid Utesov's orchestra had excellent musicians who had to learn new musical genre. Subsequently, Tea Jazz artists created domestic stage and jazz. Among them was Nikolay Minkh(1912-1982). He was a wonderful pianist who went through “his own unforgettable universities,” as the musician himself recalled, side by side with Isaac Dunaevsky. This experience then helped Minkha lead the orchestra at the Moscow Variety Theater, and in the 1960s. engage in composing activities, create musical comedies and operettas.

A feature of Soviet jazz of the 1930-1940s. It can be considered that jazz at that time was “song jazz” and was associated, rather, with a type of orchestra in which saxophones and drums were indispensable participants, in addition to the main instruments. They used to say about the musicians of such orchestras that “they play jazz,” not jazz. The song form that was given great importance, perhaps, was the form, the path that opened jazz music to millions of listeners. But still, this music - song, dance, heterogeneous and hybrid - was far from real American jazz. And it couldn’t take root in Russia in its “pure form.” Even Leonid Osipovich Utesov himself argued that genuine early American jazz was alien and incomprehensible music for the majority of the Soviet public. Leonid Utesov - a man of theater, vaudeville, a fan of synthetic action - combined theater with jazz, and jazz with theater. This is how “Jazz on the Turn” and “Music Store” appeared - cheerful programs that surprisingly combined music and humor. Composer I. O. Dunaevsky sometimes wittily arranged not only folk and popular songs: thus, the orchestra’s program included “jazzed” “Song of the Indian Guest” from the opera “Sadko”, “Song of the Duke” from “Rigoletto”, jazz fantasy “Eugene” Onegin."

The famous jazz historian A. N. Batashev writes in his book “Soviet Jazz”: “By the mid-30s, in the concert practice of L. Utesov, the foundations of a genre were laid, built on domestic musical and poetic material, synthesizing individual elements of foreign theatrical performances, pop and jazz. This genre, first called “theatrical jazz,” and later, after the war, simply “ pop music“, over the years, he developed more and more and lived according to his own laws.”

A special page in the life of the orchestra under the direction of Utesov was the years of the Great Patriotic War. In the shortest possible time, the program “Beat the Enemy!” was prepared, with which the musicians performed in the Hermitage garden, at train stations for soldiers leaving for the front, in the outback - in the Urals and Siberia, then the artists’ performances took place in the active army, in the front-line zone . During the war, artists were both musicians and fighters. Many groups went to the front as part of large concert teams. The popular jazz orchestras of Alexander Tsfasman, Boris Karamyshev, Klavdia Shulzhenko, Boris Rensky, Alexander Varlamov, Dmitry Pokrass, and Isaac Dunaevsky visited many fronts. Often, musicians at the front had to work on the construction of military fortifications, directly participate in military operations and... die.

The famous Soviet composer Vano Muradeli, who returned from a trip to the front, testified: “The interest of our soldiers and commanders in culture, art, and music in particular is very great. Performing groups, ensembles, and jazz working for the front enjoy great love from them.” Now none of the critics who had previously expressed doubt about the significance of jazz music asked the question “Do we need jazz?” The artists not only supported morale with their art, but also raised funds for the construction of aircraft and tanks. The Utesovsky plane “Jolly Fellows” was famous at the front. Leonid Utesov was an outstanding master of the Soviet stage, a favorite of many generations of Soviet listeners, who knew how to “fuse” himself with a song. That’s what he called his autobiographical book, “With a Song Through Life,” published in 1961. And in 1982, Yu. A. Dmitriev wrote the book “Leonid Utesov,” which tells about the famous band leader, singer and actor.

One can, of course, argue that the orchestras of that time cannot be fully considered jazz, since while playing from notes, the musicians were deprived of the opportunity to improvise, which is a violation of the most important principle of jazz music. But jazz music cannot always be improvisational, because every orchestra musician cannot improvise, neglecting his part. The Duke Ellington Orchestra, for example, often performed pieces in which the solo parts were written from beginning to end by the author. But no one would ever think that it wasn’t jazz! And many such examples can be given, because belonging to jazz is also determined by the unique nature of the musical performing language, its intonation and rhythmic features.

1930s in the USSR there were years of unprecedented growth in all areas of life of the Soviet people. During the years of the first five-year plans, the enthusiasm of the people was great: new cities, plants, factories were built, railways were laid. This socialist optimism, unknown to the whole world, required its own musical “design”, new moods, new songs. Artistic life in the USSR has always been under the close attention of the country's party leadership. In 1932, it was decided to liquidate RAPM and form a single Union of Soviet Composers. The resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the restructuring of literary and artistic organizations” allowed for a number of organizational measures to be taken regarding mass genres, including jazz music. 1930s in the USSR played an important role in the development of Soviet jazz. The musicians made attempts to create their own and original repertoire, but the main task for them at that time was to master the skill of jazz performance: the ability to build elementary jazz phrases that allow improvisation, maintaining rhythmic continuity in group and solo playing - everything that makes up real jazz, even if it is written down on notes.

In 1934, Moscow posters invited spectators to a concert by Alexander Varlamov’s jazz orchestra.

Alexander Vladimirovich Varlamov born in 1904 in Simbirsk (now Ulyanovsk). The Varlamov family was famous. Alexander Vladimirovich’s great-grandfather was a composer, a classic of Russian romance (“The Red Sundress,” “A Blizzard is Blowing Along the Street,” “Don’t Wake Her at Dawn,” “The Lonely Sail Is White”). The mother of the future orchestra leader was a famous opera singer, his father was a lawyer. Parents took care of musical education son, especially since the young man was very capable, and the desire to become a professional musician did not leave young talent all the years of study: first at the music school, then at GITIS and at the famous Gnesinka. Already in student years Varlamov watched the revue “The Chocolate Boys” by Sam Wooding, which made an indelible impression on the student. Varlamov, having received an excellent musical education, decided to organize an ensemble similar to the “Hot Seven” ensemble familiar from records and radio broadcasts. Louis Armstrong. The orchestra was also a “guiding star” for Varlamov Duke Ellington which delighted the Russian musician. The young composer-conductor carefully selected musicians and repertoire for his orchestra. Five years have passed since Varlamov graduated from Gnesinka, and the jazz orchestra at Central house The Red Army was created. It was an instrumental orchestra that, like many orchestras of that time, did not gravitate toward theatrical jazz. The expressiveness of the music was achieved through beautiful melodies and arrangements. This is how the plays were born: “At the Carnival”, “Dixie Lee”, “Evening Goes”, “Life is Full of Happiness”, “Blue Moon”, “Sweet Su”. Varlamov translated some American jazz standards into Russian and sang himself. The musician did not have outstanding vocal abilities, but sometimes he allowed himself to be recorded on records, performing songs melodically precise and convincing in content.

In 1937-1939 Varlamov’s career was quite successful: the musician first led the septet (“Seven”), then was the chief conductor of the jazz orchestra of the All-Union Radio Committee, in 1940-1941 gg. - chief conductor State Jazz Orchestra of the USSR. However, when the war began, many of the orchestra's musicians were drafted to the front. Varlamov did not give up. He organized from among the musicians released from military service, and former wounded, unusual (one might say strange) "Melody Orchestra": three violins, viola, cello, saxophone and two pianos. The musicians performed with great success in the Hermitage, Metropol, in military units and hospitals. Varlamov was a patriot. The musician donated his own money savings for the construction of the Soviet Composer tank.

Hard times in the history of our country have affected the destinies of millions of talented, successful and famous people. Composer-conductor Alexander Varlamov did not escape a cruel fate either. 1943 When the musicians were rehearsing George Gershwin’s famous “Rhapsody in Blue,” the head of the Melody Orchestra was arrested. The reason was the denunciation of the cellist, who reported that Varlamov often listens to foreign radio broadcasts, allegedly waiting for the Germans to arrive, etc. The authorities believed this scoundrel, and Varlamov was first sent to logging, in the Northern Urals, where he worked for the eight years he was sentenced to. A great outlet for the prisoners was the orchestra, assembled from musicians and singers of the camp, who were just as slandered as the leader of this group. This extraordinary orchestra brought great joy to all nine camp sites. After serving his sentence, Alexander Vladimirovich hoped to return to Moscow. But there was still an exile to Kazakhstan, where the musician worked in small towns: he taught children and youth music, and composed works for the Russian drama theater. Only in 1956 g., after rehabilitation, Varlamov was able to return to Moscow, and immediately became involved in active creative life, composing music for films (animated films: “The Wonder Woman”, “Puck! Puck!”, “The Fox and the Beaver”, etc.), drama theaters, pop orchestras, television productions, in 1990 , shortly before the death of Varlamov, the last record with recordings of jazz and symphonic jazz music of the wonderful composer and conductor was released.

But let's go back to the pre-war years, when Soviet republics several jazz orchestras arose at once, in 1939 was organized State Jazz of the USSR. It was a prototype of future pop-symphony orchestras, the repertoire of which consisted of transcriptions classical works for big symphonic jazz. The “serious” repertoire was created by the orchestra director Victor Knushevitsky (1906-1974). For State jazz of the USSR, who performed mainly on the radio, composers wrote I. O. Dunaevsky, Y. Milyutin, M. Blanter, A. Tsfasman and others. On Leningrad radio in 1939 Mr. Nikolai Minkh organized a jazz orchestra.

Other union republics did not lag behind. In Baku, Tofik Guliyev created State Jazz Orchestra of the Azerbaijan SSR. A similar orchestra appeared in Armenia under the direction of Artemy Ayvazyan. Their own republican orchestras appeared in the Moldavian SSR and Ukraine. One of the famous allied jazz orchestras was a group from Western Belarus led by a first-class trumpeter, violinist, and composer Eddie Rosner.

Eddie (Adolph) Ignatievich Rosner(1910-1976) was born in Germany, into a Polish family, and studied violin at the Berlin Conservatory. I mastered the pipe on my own. His idols were the famous Louis Armstrong, Harry James, Bunny Berigan. Having received an excellent musical education, Eddie played for some time in one of the European orchestras, then organized his own band in Poland. When did the second one begin? World War, the orchestra had to save itself from fascist reprisals, since most of the musicians were Jews, and jazz in fascist Germany was banned as "non-Aryan art". So the musicians found refuge in Soviet Belarus. For the next two years, the band successfully toured in Moscow, Leningrad, and during the war - at the fronts and in the rear. Eddie Rosner, who was called “white Armstrong” in his youth, was a talented artist who knew how to win over audiences with his skill, charm, smile, and cheerfulness. Rosner the musician, according to the master Russian stage Yuri Saulsky,“had a true jazz base and taste.” The hits of the program enjoyed great success among listeners: “Caravan” by Tizol - Ellington, “St. Louis Blues” by William Handy, “Serenade” by Toselli, “Tales of the Vienna Woods” by Johann Strauss, Rosner’s song “Still Water”, “Cowboy Song”, "Mandolin, Guitar and Bass" by Albert Harris. During the war years, the repertoire of orchestras began to use plays by the Allies more often: American and English authors. Many gramophone records appeared with recordings of domestic and foreign instrumental pieces. Many orchestras performed music from the American film “Sun Valley Serenade”, in which the famous big band of Glenn Miller starred.

In 1946, when persecution began against jazz, when jazzmen were accused of cosmopolitanism and the band was dissolved, Eddie Rosner decided to return to Poland. But he was charged with treason and sent to Magadan. From 1946 to 1953, trumpet virtuoso Eddie Rosner was in the Gulag. The local authorities instructed the musician to form an orchestra of prisoners. So eight long years passed. After his release and rehabilitation, Rosner again led a big band in Moscow, but he played the trumpet less and less: the scurvy suffered during the camp years was taking its toll. But the popularity of the orchestra was great: Rosner’s songs enjoyed constant success, the musicians starred in the popular film “Carnival Night” in 1957. In the 1960s the orchestra featured musicians who would later become the color and glory of Russian jazz: multi-instrumentalist David Goloshchekin, trumpeter Konstantin Nosov, saxophonist Gennady Golshtein. Excellent arrangements for the band were written Vitaly Dolgov And Alexey Mazhukov,

which, according to Rosner, arranged as well as the Americans. The maestro himself was aware of what was happening in world jazz and strove to include the best examples of real jazz in his programs, for which Rosner was repeatedly reproached in the press for his disdain for the Soviet repertoire. In 1973, Eddie Rosner returned to his homeland, West Berlin. But the career of a musician in Germany did not work out: the artist was no longer young, was not known to anyone, and could not find a job in his specialty. For some time he worked as an entertainer in a theater and as a head waiter in a hotel. In 1976, the musician passed away. In memory of the wonderful trumpeter, band leader, composer and talented director of his programs in 1993 in Moscow, in concert hall“Russia”, there was a wonderful show “In the Company of Eddie Rosner”. In the same year, 1993, Yu. Tseitlin’s book “The Rise and Fall of the Great Trumpeter Eddie Rosner” was published. The documentary novel by Dmitry Dragilev, released in 2011, “Eddie Rosner: Let’s screw up jazz, cholera is clear!” tells about the jazz virtuoso, a real showman, a man with a complex adventurous character and a difficult fate!

It is difficult to create a good jazz orchestra, but it is even more difficult to maintain it for decades. The longevity of such an orchestra depends, first of all, on the originality of the leader - a person and musician in love with music. A legendary jazzman can be called the composer, band leader, leader of the world's oldest jazz orchestra, listed in the Guinness Book of Records, Oleg Lundstrem.

Oleg Leonidovich Lundstrem(1916-2005) was born in Chita, in the family of physics teacher Leonid Frantsevich Lundstrem, a Russified Swede. The parents of the future musician worked on the CER (Chinese-Eastern Railway, connecting Chita and Vladivostok through Chinese territory). For some time, the family lived in Harbin, where a large and diverse Russian diaspora gathered. Both Soviet citizens and Russian emigrants lived here. The Lundström family always loved music: his father played the piano and his mother sang. The children were also introduced to music, but they decided to give the children a “strong” education: both sons studied at the Commercial School. Oleg Lundstrem's first acquaintance with jazz occurred in 1932, when the teenager bought a record of the Duke Ellington orchestra's recording of "Dear Old South" (Dear Old Southland). Oleg Leonidovich later recalled: “This record played the role of a detonator. She literally changed my whole life. I discovered a previously unfamiliar musical universe.”

At the Harbin Polytechnic Institute, where he received higher education the future patriarch of Soviet jazz, there were many like-minded friends who wanted to play their favorite music. Thus, a combo of nine Russian students was created, who played at evenings, on dance floors, festive balls, and sometimes the group performed on local radio. The musicians learned to “take” popular jazz pieces from records, made arrangements of Soviet songs, primarily by I. Dunaevsky, although Oleg Lundstrem later recalled that it was always unclear to him why the melodies of George Gershwin were ideal for jazz, but the songs of Soviet composers were not. Most of the members of Lundström's first orchestra were not professional musicians; they received technical education, but were so passionate about jazz that they firmly decided to study only this music. Gradually the group became famous: they worked in dance halls in Shanghai, toured in Hong Kong, Indochina, and Ceylon. The leader of the orchestra, Oleg Lundstrem, began to be called the “King of Jazz of the Far East.”

When did the Great Patriotic War, young people - Soviet citizens - applied to the Red Army, but the consul announced that for now musicians were more needed in China. It was a difficult time for orchestra members: there was little work, the public did not want to have fun and dance, and inflation overtook the economy. Only in 1947 did the musicians receive permission to return to the USSR, but not to Moscow, as they wanted, but to Kazan (the Moscow authorities were afraid that the “Shanghaians” might be recruited spies). At first there was a decision to create a jazz orchestra of the Tatar Autonomous Soviet Socialist Republic, but the next year, 1948, the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks “On the opera “The Great Friendship” by Muradeli” was issued, condemning formalism in music. The Resolution called the opera, which Stalin did not like, “a vicious anti-artistic work”, “fed by the influence of decadent Western European and American music.” And the musicians of Lundstrem’s orchestra were asked to “wait with jazz.”

But it’s never too late to learn! And Oleg Lundstrem entered the Kazan Conservatory in the class of composition and conducting. During their studies, the musicians managed to perform in Kazan, record on the radio, gaining a reputation as the best swing orchestra. Twelve Tatar folk songs, which Lundstrem brilliantly arranged “to jazz,” were especially highly appreciated. They learned about Lundstrem and his “secret big band” in Moscow. In 1956, the jazzmen arrived in Moscow with the same “Chinese” lineup and became the Rosconcert orchestra. Over the many years of its existence, the composition of the orchestra has changed. In the 1950s “shone”: tenor saxophonist Igor Lundstrem, trumpeters Alexey Kotikov And Innokenty Gorbuntsov, double bass player Alexander Gravis, drummer Zinovy ​​Khazankin. Soloists in the 1960s. there were young improvising musicians: saxophonists Georgy Garanyan And Alexey Zubov, trombonist Konstantin Bakholdin, pianist Nikolay Kapustin. Later, in the 1970s, the orchestra was replenished with saxophonists Gennady Golshtein, Roman Kunsman, Stanislav Grigoriev.

Oleg Lundstrem's orchestra led an active touring and concert life, forced to take into account the tastes of a wide audience who perceived jazz as an entertaining, song and dance art. Therefore, in the 1960-1970s. The team included not only jazz musicians and singers, but also pop artists. Oleg Lundstrem's orchestra always prepared two programs: a popular song and entertainment program (for residents of the outback) and an instrumental jazz program, which had enormous success in Moscow, Leningrad and large cities of the Union, where the public was already familiar with the art of jazz.

The orchestra's instrumental program consisted of classic jazz pieces (from the repertoire of the big bands of Count Basie and Glenn Miller, Duke Ellington), as well as works written by members of the group and maestro Lundström himself. These were “Fantasy about Moscow”, “Fantasy on the themes of Tsfasman’s songs”, “Spring is coming” - a jazz miniature based on a song by Isaac Dunaevsky. In musical suites and fantasies - works of large form - soloist musicians could show their skills. It was real instrumental jazz. And the young jazzmen, who will then form the flower of Russian jazz, - Igor Yakushenko, Anatoly Kroll, Georgy Garanyan- composed their works inventively and with great taste. Oleg Lundstrem also “discovered” talented vocalists who performed pop songs. The orchestra sang at different times Maya Kristalinskaya, Gyuli Chokheli, Valery Obodzinsky, Irina Otieva. And although the song material was impeccable, the focus was always on the big band and its instrumental soloists.

Over the several decades of the orchestra’s existence, many Russian musicians have gone through Oleg Lundstrem’s musical “university”, the list of which would take more than one page, but the band would not sound so professional if not for the work of one of the best arrangers - Vitaly Dolgova(1937-2007). Critic G. Dolotkazin wrote about the master’s work: “V. Dolgov’s style does not repeat the traditional interpretation of a large orchestra divided into sections (trumpets, trombones, saxophones), between which there are constantly dialogues and roll calls. V. Dolgov is characterized by the principle of end-to-end development of material. In each individual episode of the play, he finds a characteristic orchestral texture and original timbre combinations. V. Dolgov often uses polyphonic techniques, superimposing layers of orchestral sonorities. All this gives his arrangements harmony and integrity.”

By the end of the 1970s, when a stable jazz audience was developing in Russia, festivals began to be held, Oleg Lundstrem abandoned pop numbers and devoted himself entirely to jazz. The maestro himself composed music for the orchestra: “Mirage”, “Interlude”, “Humoresque”, “March Foxtrot”, “Impromptu”, “Lilac Blooms”, “Bukhara Ornament”, “In the Mountains of Georgia”. It should be noted that to this day the Oleg Lundstrem Memorial Orchestra performs works composed by the master of Russian jazz with great success. In the 1970s Composers who gravitated towards jazz appeared in the USSR: Arno Babajanyan, Kara Karaev, Andrey Eshpai, Murad Kazhlaev, Igor Yakushenko. Their works were also performed by the Lundström Orchestra. The musicians often toured abroad and performed at domestic and foreign jazz festivals: “Tallinn-67”, “Jazz Jamboree-72” in Warsaw, “Prague-78” and “Prague-86”, “Sofia-86”, “ Jazz in Duketown-88" in the Netherlands, "Grenoble-90" in France, at the Duke Ellington Memorial Festival in Washington in 1991. Over the forty years of its existence, Oleg Lundstrem's orchestra has visited more than three hundred cities in our country and dozens of foreign countries. It is gratifying to note that the famous group often recorded on records: “Oleg Lundstrem’s Orchestra”, two albums united under the same title “In Memory of Musicians” (dedicated to Glenn Miller and Duke Ellington), “In Our Time”, “In Rich Colors”, etc.

Batashev A. N. Soviet jazz. Historical sketch. P. 43.

Publications in the Music section

They were the first to play jazz

Jazz was given to the musical world by the meeting of two cultures - European and African. On an international wave in the early 20s of the twentieth century, the musical movement burst into the Land of the Soviets. We remember the performers who were the first to play jazz in the USSR.

Valentin Parnakh with his son Alexander. Photo: jazz.ru

Valentin Parnakh. Photo: mkrf.ru

“Valentin Parnach’s first eccentric jazz band orchestra in the RSFSR” debuted on stage in October 1922. It was not just a premiere, but a premiere of a new musical direction. The collective, revolutionary for the music of that time, was brought together by a poet, musician and choreographer who lived in Europe for six years. Parnach heard jazz in a Parisian cafe in 1921 and was shocked by this innovative musical movement. He returned to Soviet Union with a set of instruments for a jazz band. We only rehearsed for a month.

On the day of the premiere, the future writer and screenwriter Evgeniy Gabrilovich, actor and artist Alexander Kostomolotsky, Mechislav Kaprovich and Sergei Tizengaisen gathered on the stage of the Central College of Theater Arts - the current GITIS. Gabrilovich was sitting at the piano: he played well by ear. Kostomolotsky played drums, Kaprovich played saxophone, Tiesengeisen played double bass and foot drum. The double bass players still beat the rhythm with their feet, the musicians decided.

At the first concerts, Valentin Parnakh told the audience about the musical direction and that jazz is a combination of traditions from different continents and cultures into one “international fusion.” Practical part the lectures were received with enthusiasm. Including Vsevolod Meyerhold, who was not slow in inviting Parnakh to assemble a jazz band for his performance. Popular foxtrots and shimmy were performed in the performances “The Generous Cuckold” and “D.E.” Energetic music came in handy even at the May Day demonstration in 1923. “For the first time, a jazz band participated in state celebrations, which has never happened in the West before!”- the Soviet press trumpeted.

Alexander Tsfasman: jazz as a profession

Alexander Tsfasman. Photo: orangesong.ru

Alexander Tsfasman. Photo: muzperekrestok.ru

The works of Franz Liszt, Heinrich Neuhaus and Dmitry Shostakovich coexisted harmoniously with jazz melodies in the work of Alexander Tsfasman. While still a student at the Moscow Conservatory, from which the musician later graduated with a gold medal, he created the first professional jazz group in Moscow - “AMA-jazz”. The orchestra's first performance took place in 1927 at the Artistic Club. The team immediately received an invitation from one of the most fashionable venues at that time - the Hermitage Garden. In the same year, jazz first appeared on Soviet radio. And it was performed by Tsfasman’s musicians.

“The tired sun tenderly said goodbye to the sea” sounded in 1937 from a record recorded by Alexander Tsfasman’s ensemble under the name “Moscow Guys”.

For the first time in the Union, the famous tango by the Polish composer Jerzy Petersbursky “Last Sunday” to the words of the poet Joseph Alwek was heard in jazz adaptation. The first to sing about the tender farewell of the sun and sea was the soloist of the Tsfasman jazz ensemble Pavel Mikhailov. WITH light hand Another recording from the same disc - about an unsuccessful date - became an all-time hit among musicians. “So that means tomorrow, in the same place, at the same hour.”, - the whole country sang after the jazz ensemble.

“Those who have ever listened to A. Tsfasman play will forever remember the art of this virtuoso pianist. His dazzling pianism, combining expression and grace, had a magical effect on the listener.”

Alexander Medvedev, musicologist

Although Alexander Tsfasman was involved in a jazz ensemble, he did not abandon his solo program and performed as a pianist and composer. Together with Dmitry Shostakovich, Tsfasman worked on the music for the epic film “Meeting on the Elbe”, and then, at the request of the composer, performed his music for the film “The Unforgettable 1919”. He also became the author of jazz music, which was heard in the famous play “Under the rustle of your eyelashes” by the puppet theater of Sergei Obraztsov.

Leopold Teplitsky. Classics with a jazz twist

Leopold Teplitsky. Photo: history.kantele.ru

Leopold Teplitsky conducted symphony orchestras at silent film shows in the St. Petersburg Hermitage and Lux ​​cinemas while still studying at the conservatory. In 1926, the People's Commissariat sent the young musician to Philadelphia to perform at International exhibition. In America, Teplitsky heard symphonic jazz - the music of this direction was performed by the Paul Whiteman Orchestra.

When Leopold Teplitsky returned to the USSR, he organized the “First Concert Jazz Band” of professional musicians. The classics - the music of Giuseppe Verdi and Charles Gounod - were heard in a jazz arrangement. A jazz band played and works by contemporary American authors - George Gershwin, Irving Berlin. This is how Leopold Teplitsky found himself at the forefront of professional Leningrad jazz in the 1930s. Leonid Utesov called him “the first Russian musician to show jazz playing.”

The jazzmen's first performance took place in 1927. The concert was preceded by a lecture “The Jazz Band and the Music of the Future” by musicologist and composer Joseph Schillinger. The music, unusual for those years, and the soloist aroused particular interest among the public - pop and jazz singer from Mexico Coretti Arle-Tietz performed with the musicians. The success of the team did not last long: in 1930, Leopold Teplitsky was arrested and convicted of espionage. He was released two years later, but Teplitsky did not stay in Leningrad - he moved to Petrozavodsk.

Since 1933, the musician worked as the chief conductor of the Karelian Symphony Orchestra, but did not leave jazz - he played with the academic orchestra and the jazz program. Teplitsky also performed with his new group in Leningrad - as part of the Ten Days of Karelian Art. In 1936, with the participation of the musician, new team"Kantele", for which Teplitsky wrote "Karelian Prelude". The ensemble won the First All-Union Radio Festival of Folk Art in 1936. Leopold Teplitsky remained to live in Petrozavodsk. The “Stars and Us” jazz music festival is dedicated to the memory of the famous jazzman.

Leonid Utesov. "Song Jazz"

Leonid Utesov. Photo: music-fantasy.ru

Leonid Utesov. Photo: mp3stunes.com

A high-profile premiere at the turn of the 1930s was “Thea Jazz” by Leonid Utesov. The fashionable musical direction, with the light hand of the famous pop artist, who dropped out of commercial school for the sake of music, acquired the scale of a theatrical performance. Utesov became interested in jazz during a trip to Paris, where the Ted Lewis Orchestra amazed the Soviet musician with its “theatricalization” in the best traditions of music hall.

These impressions were embodied in the creation of “Thea Jazz”. Utesov turned to the virtuoso trumpet player, academic musician Yakov Skomorovsky, who also found the idea of ​​a jazz orchestra interesting. Gathering musicians from Leningrad theaters, Tea Jazz performed on the stage of the Leningrad Maly Opera Theater in 1929. This was the first composition of the group, which did not work for long and soon moved to the Leningrad Radio in the “Concert Jazz Orchestra”.

Utesov recruited a new cast of “Thea-jazz” - the musicians staged entire performances. One of them - “Music Store” - later formed the basis of the famous film, the first Soviet musical comedy. Grigory Alexandrov’s film “Jolly Fellows” with Lyubov Orlova in the title role was released in 1934. She became popular not only at home, but also abroad. became inspired by jazz music in 1933 when he heard Duke Ellington's "Dear Old South." Impressed, Lundström wrote out the arrangement, assembled a band, and sat down at the piano himself. Two years later, the musician conquered Shanghai, where he lived at that moment. So I decided further fate: Abroad, Lundström studied simultaneously at a polytechnic institute and a music college. His orchestra played jazz classics and music of Soviet composers in jazz arrangements. The press called Lundström “the king of jazz of the Far East.”

In 1947, the musicians decided to move to the Soviet Union - to in full force, with families. Everyone settled in Kazan and studied at the Conservatory here. However, a year later, a resolution of the CPSU Central Committee was issued, condemning “formalism in music.” The team returned to their homeland to become the state jazz group of the Tatar Autonomous Soviet Socialist Republic, but the musicians were assigned to Opera theatre and cinema orchestras. Together they performed only at rare one-off concerts.

“A deep penetration into the nature of jazz performance, into its classical traditions, on the one hand, and the desire to contribute to this genre, using national folklore, by creating and performing original jazz works and arrangements, on the other, is the orchestra’s credo.”

Oleg Lundstrem

Only the thaw brought jazz back to the stage. In the year of its 60th anniversary, Oleg Lundstrem's orchestra entered the Guinness Book of Records as the world's oldest continuously existing jazz orchestra. The musician also had a chance to meet the author of that same “Dear Old South” when Duke Ellington came to Moscow in the 1970s. Oleg Lundstrem kept the record all his life, which gave him a love for jazz.