Master of jazz flute invented unprecedented and talked about mutually beneficial creative alliance younger and older musicians. As part of the Sixteenth International Festival "Jazz Province-2011" visited Voronezh ensemble "Cadence" and German Lukyanov. The room was not empty seats. And after the concert, jazz connoisseurs Lukyanov came with words of thanks: "I have it, I liked it", "Thank you for your work." Before leaving Voronezh German Lukyanov spoke to journalists. German Lukyanov spoke with journalists - Herman K., you always have a variety of instruments (trumpet, flugelhorn, alto). How come such a thought? - Jazz musicians - the people are very curious. We were looking for new sounds from ages looking. Immediately after the Dixieland a guitar, electric guitar, soprano saxophone appeared, which was not used in jazz arsenal. Appeared vibraphone, electronic organ and so on. All this is being introduced gradually. It is an eternal game of the new sounds. And so I went to the Alto. - Your teacher at the Moscow Conservatory was Aram Khachaturian. And he was a teacher? - This is a moderately innovative composer who had a great talent. He knew that I was happy to jazz, I knew trumpeter. I wrote a concerto for trumpet and orchestra, but it was formal responses. Generally, winter garden and experience provided was useful, it was not very fruitful for me. All I did then, I did next to the walls of the conservatory and in addition to teaching, who have developed it. - About your products say they have to say a special composition by you that you have the author's handwriting. Where to get your inspiration? - From the air, the fact that I love music. To have its own style and their sound in the orchestra - this is a very complicated and important task. About the "Cadence" said we had our sound. We can learn about sound, not to know our products. - Herman K., perhaps out of curiosity to want to learn a new instrument? Or some people? - Maybe when I'm 90 years old, osvoyu. Although you almost suspect, now trying another tool - I had designed himself. If you know the recorder, it has a pipe and a series of holes. I cut the hole and let the pipe, and connect the two recorders - a tenor and a soprano. It was a lot of work, I drove it. In the end, it's flute two tribes ... And one day, perhaps, you will hear the sound of the flute unprecedented. I say, "Why did you do that?" But it has the peculiarity first, visible her glissando well, and that in itself is a very special color. And for what? Yes, out of interest. All have the same interest, of which jazz musicians of all children probe. - This year, to celebrate the 75th Anniversary. How many years have you been in jazz? - Seriously, from 20 years Speaking of great progress, it was a trio who traded in 1966. I - on the flugelhorn, Leonid Siskin - piano, Vladimir Vasilkov - drums. Without bass what. Not typical for jazz music Tsfasman Alexander was president of the jury of the Moscow Festival. He applauded standing. We have 5 diplomas together. No longer the case - as the best ensemble, as the best composition and each instrumentalist as best of his instrument. That was the picture. It was my composition "Peasant Wedding". It sounded bright, stylish, and it Tsfasman captured. Then I showed myself as a composer. German Lukyanov and ensemble "Cadence" - critics praised Mitropolsky you that you look good. Maybe the secret is that you are working with the young? - Accurate - deal with children and will be forever young! (Laughs) - It was not a desire to leave the Jazz, and in a different direction? - No, I have not experienced such fluctuations. I understand that not make a lot of jazz. Miles Davis to earn much, but it has changed a little orthodox jazz and began flirting with rock, with the youth. To listen to music, we should at least a musical ear. And to hear jazz, you also need a very good rhythm, because the essence and the essence of jazz - it's a game of rhythm, this juggling beats. If it is not happy and excited, then the concert is not necessary hear the beautiful sound and in a symphony orchestra and the opera can. But go to the people to a jazz concert, and they get the joy and emotions that can give intense rhythm. - We heard you criticize the musicians after the concert. And when in 1970 she worked with Muslim Magomayev, he was strict? - What does this have for jazz? He was not as serious as it is described. Magomayev was very enthusiastic performance - not drunk the day before the concert, and then not, and to act as sort of incidental. - She collected the young team. In order to convey the experience? - When collecting a harem of young women, there is another problem - laughter. - And here experienced players often turn to the young for several reasons. One of them - the instinct of our experience, another reason to share - to earn well: you can pay less. The third reason - young with an interest an experienced artist because he secrets that must not know anywhere else. Therefore we obtain mutual benefits. Experienced old young artist, he uses her temper, passion, heat, desire benefit of learning something new. And young people have an interest to get up to a skill that house, rubbing calluses on his hands, not to get win. In addition, the artist has a name. He can do concerts, he has credibility. Although my musicians are not the same young people, 1-5 children, the second - married for the third time. In Pushkin's time, they would already be older than. - ... And the audience did, and now is not very far advanced ... - Do not complain! Although the audience, and the truth is different. Americans developed, for example as a rumor! When asking the Washington Metro: "Who play the piano?" 5.7 people react. We will go up, if you're lucky. They have more music schools, choirs and orchestras. We played in a jazz college Butman, and before us, the boys were 15-18 years old, sprawling - they have complete freedom. We played my song "Tea for Two" and standing ovations. They knew everything - the intricacies of harmony arrangements. Because they are accustomed. - What advise young musicians? - My musician Sasha says - to learn and listen to music. And because of this, I have a word game that goes an aphorism aphorism is a wise saying. Lenin - learn, learn, learn. I'm paraphrasing - Learning to learn. We must first understand that you subject one, and then refined in the task. It is necessary to find out a method and an algorithm for success. And the people who find this method are improved, and become champions. But others - unfortunately. It is necessary to find an algorithm and a method that can lead to success! - And what shall you do before the problem when you started? - First, it was necessary to understand what jazz. The center will be 42 in Fifth Avenue, New York, and we - the province. Paris and Berlin - the province. But the province can come up with something ... but of course it is easier in the area of incomparable points, so it helps to digest collective intelligence, collective communication, the complex tasks. And the task was a difficult - to understand the laws of jazz music in order to understand the momentum. We were brought up - studied at the conservatory - but especially jazz harmony, not to mention the rhythm, it's hard to reach us. Information was very scarce. At this time, if you get an American record, it was a miracle. And of course it was in the sense to understand. Of course, if I lived in America, I would be faster on their feet. Now young people are growing faster. They are closer to the essence of jazz laws, to move, and they have everything. Rusty is now much easier. Ivan Tolstoy, "News Showbiz NEWSmusic.ru» photos
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