The famous jazz pianist Sergei Zhilin was born in Moscow on October 23, 1966. Passion for playing the piano came to the boy in early childhood. This is not surprising, since the grandmother of little Serezha was a professional musician. The boy's parents expected their son to become a great academic performer.
Seryozha spent several hours a day at the instrument with great pleasure. But when the boy grew up a little, he began to be interested in the jazz direction. Upon learning of this, parents and grandmother were upset - in their opinion, jazz is not serious music.
Sergey grew up as a diversified guy, so in addition to music, he was attracted to cycling and football. Later, Sergei Zhilin began his studies at a military musical educational institution. Parents influenced the choice of the young man to a greater extent. As soon as it became known about his enrollment as an applicant, the guy changed his mind about enrolling. According to him, it was difficult for him to imagine himself in the role of an orchestra conductor or an ordinary military musician.
Few people know that the passion for aircraft modeling has become a decisive aspect in his life. After refusing to receive a military education, the young man began to actively collect models of various aircraft.
Along with aircraft modeling, Sergey studied at a special music school. However, he was forced to transfer to a regular educational institution due to poor progress. He received his secondary education at a local school, from which he graduated with a degree in Aircraft Electrician. Then followed military service, where the future famous jazz musician participated in a creative musical ensemble.
1982 was a decisive year in the musical career of Sergei Zhilin. During this period, he entered the studio of musical improvisation. At the same time, he created the Phonograph collective, in which Mikhail Stefanyuk became Sergey's creative partner.
In 1983, the duo performed at a jazz festival in Moscow, where they were highly acclaimed. "Phonograph" performed weekly on the stage of Vysotsky's bar. And in 1990, Zhilin took the position of music manager in one of the best hotels in Moscow.
In 1992, Sergei met the head of the Presidential Orchestra, with whom he began touring. And two years later he had a unique opportunity to play on the same stage with Bill Clinton. Another jazz musician, saxophonist Alexei Kozlov, also interviewed the former American president.
In 1995, after a long pause, the Phonograph duet went on tour. Zhilin begins to independently create arrangements, and already in 2005 the performer receives the title of People's Artist of Russia.
In addition to regular performances with concerts on the big stage, the musician often takes part in television shows. Throughout all the seasons of the Voice program, the musician plays as part of an accompanying orchestra.
Sergei Zhilin keeps this side of his life a secret. At the same time, there are some sources that indicate the presence of two marriages of Zhilin. The musician has a son from his first wife. The second wife for a long time was a soloist of the Phonograph group.
Sergei Zhilin is the head of the popular Phonograph group, famous in the USSR and not forgotten today.
Sergey was born on 10/23/66. in the capital of the Russian Federation. A decisive role in the artist's life was occupied by his grandmother, a violinist and pianist in the past. She dreamed of raising a performer of academic music. The boy's parents also adhered to this goal. The future star played the piano for the first time at the age of 2.5 years.
On the way to achieving the goal, the relatives forced the boy to study music diligently for 4-6 hours a day. Aspiring artists understand how much of a burden it is for musicians, not to mention children. At the first stages of his career, Sergei dreamed of being like Rachmaninov, Liszt and Grieg. However, he quickly changed his preference to jazz. Relatives accepted this decision as a protest.
Later, the boy dared to surprise them even more with his hobbies, going in for sports (in particular, aircraft modeling and football) and playing VIA.
The mother was against the new directions of her son's activities. She, like her grandmother, was an adherent of academic music, and insisted on entering the capital's military music school. Here, a young man was supposed to be made into a professional musician. Unlearn a guy in this institution, he would become an excellent conductor. But fearing that Sergei would have to part with new hobbies, including football, he refused his mother's offer.
After failing to enter the military music school, Sergei continued to engage in aircraft modeling, diligently attending the House of Pioneers, and competing with other children. As a result, he was awarded the main award in the Moscow championship among students of educational institutions. Zhilin was assigned the 3rd youth category. All this indicates that the guy has already decided on the choice of his main activity. But the guy's parents and grandmother did not allow him to become a designer.
Throughout the time, Sergei continued to study music, visiting the theater of a young Muscovite, participating in a vocal and instrumental ensemble and doing jazz.
The future celebrity was so devoted to his hobbies that he had no time to study at all. At the request of the school management, the parents were forced to transfer the child to another educational institution, where he also did not last long. At the end of the 8th grade, the young man applied to a vocational school, where he successfully completed the course of an electrician on aircraft equipment.
The musician tries to keep silent about his personal life, but he is ready to talk about creativity forever. He devotes a lot of time to "Phonograph", which is based on his duet with M. Stefanyuk. They first met when they entered the studio of musical improvisation. Events unfolded in 1982. At the end of their first year, they created a duet that reproduced classical songs and prepared modern arrangements in a traditional way.
The first performance took place in the 83rd year. Further performances led him to a meeting with Y. Saulsky, which allowed them to take part in the capital's festival. A year later, Zhilin was drafted into the army. He dedicated his leave to the game. In the same year, the team received the soloist Alla Sidorova.
1992 was a decisive year for Sergei. Then S. Ovsyannikov, head of the Presidential Orchestra, appeared in his life. The conductor often invited them to his concerts, which quickly attracted the attention of the public.
In 1994, Zhilin performed together with Bill Clinton, who chose the saxophone as an instrument. Sergei sat down at the piano. After several compositions, the former president of America highly appreciated the work of the Russian musician, recognizing him as one of the best.
In the 95th, the Phonograph group ceased its activities, its leader created a creative organization under the same brand. Later, he founded a recording studio, which today serves to create music albums by domestic artists.
In 2005, Zhilin was awarded the title of Honored Artist of the Russian Federation, and a year later he took part in the Two Stars program, from 2009 to 2014 he could be seen in the DoRe studio, and at the same time in the Voice project (2012 ), “Voice.Children” (since 2014).
Today, Zhilin successfully leads several jazz bands at once.
Why did Sergei have to change schools in order to finish 8th grade? The institution where the talented musician studied belonged to the Moscow Pedagogical Institute. Lenin. This determines the main reason against which the management paid much attention to Zhilin's academic performance.
Why is an artist interested in jazz from a young age? It's all about the records of one of the oldest Russian traditional jazz ensembles ("Leningrad Dixieland"). Playing them day after day, the boy decided that he simply had to devote himself to this direction. In his teenage years, he tried to reproduce the compositions he liked. When asked how successful the result was, he remains silent with a smile on his face.
Where did Sergey find his like-minded people? The artist's favorite place is the studio of the Youth Improvisation Service, created in the 60s, in the south of Moscow. Here, in 1982, he met jazz lovers and took part in music festivals.
When did Zhilin become famous? In 1995, Phonograph music was regularly played on radio and TV, and its leader became the host of his own musical project at the Yunost radio station, where he worked for 3 years.
Where else can you find the name of Zhilin? His name is displayed in the encyclopedia "Jazz. XX century".
Who is a member of the Phonograph group of companies? It includes several business areas: Event, Light&Sound, Records, JazzBand.
Zhilin Sergey Sergeevich (October 23, 1966, Moscow, RSFSR, USSR) - pianist, composer, arranger and conductor. Head of collectives united by the common name PHONOGRAPH: "Phonograph-Jazz-Trio", "Phonograph-Jazz-Quartet", "Phonograph-Jazz-Quintet", "Phonograph-Jazz-Sextet", "Phonograph-Dixie-Band", "Phonograph- Jazz Band", "Phonograph-Big Band", "Phonograph-Sympho-Jazz".
In 2005, Sergei Zhilin was awarded the title of Honored Artist of the Russian Federation.
In May 2007, Sergei Zhilin was the music director and chief conductor of the concert version of the rock opera Perfumer, with the participation of the Phonograph-Sympho-Jazz orchestra.
2008 was a jubilee year for Phonograph-Jazz-Band, in honor of which concerts were held at various concert venues with the participation of Russian pop stars.
Sergey Zhilin not only actively gives concerts and tours, but also records records - today he has 18 releases on various media: CD, VHS, DVD. These are both live recordings and studio works, where Sergey Zhilin realizes himself in various compositions: from solo improvisations and piano duets to dizzying jam sessions, with colleagues in jazz, blues and rock musicians.
In 1984, the Motherland demanded to pay her "honorable duty" - Sergei Zhilin was taken into the army.
After the course of the young fighter, which he took in the Uzbek Zarafshan, he was sent to Moscow, to the Song and Dance Ensemble of military construction units. In addition to rehearsals and concerts, which consisted mainly of songs and marches, there were other typical soldier's amusements in the form of washing walls and cleaning washbasins. But there were also layoffs. Therefore, rehearsals in the studio continued. The composition of the participants had changed by this time - the rhythm section was transformed, new guys came to replace the departed bassist and trombonist, those with whom Zhilin served together in the military ensemble. Vocals were added - Zhilin invited the best singer of the jazz studio Alla Sidorova. In the afternoon - service, in the evening - studio. At night Sergey made orchestrations. In addition to the official leave, of course, there were "AWOL".
They were already known as "Phonograph" when Yuri Saulsky came to the next spring studio festival. After the festival, for the bands that Yuri Sergeevich noted, they arranged an audition. The best, including Phonograph, were invited to the Moscow Jazz Festival in 1986.
Performing on the same stage with such outstanding ensembles as the orchestras of Anatoly Kroll and Oleg Lundstrem was, of course, an event for beginners, however, the impression was slightly spoiled by the reaction of the public - no, they were received well, but not at all like in the studio - there the audience always greeted the "Phonograph" standing up! After this concert, there was another performance at the Moscow Autumn, annually organized by the Union of Composers. And they seemed to play well, and the audience reacted well. But an article appeared in the press, the tone of which was not so much negative, but somehow condescending - but isn't it too early, they say, for Phonograph to enter the "adult" scene? Terribly upset. But thought...
It was in 1992 - after a pop competition in Yalta, which seemed to have ended so successfully for Phonograph and for its soloist Alla Sidorova, Sergey realized: the work of a producer and administrator, as well as others - such boring, but absolutely necessary organizational matters you have to deal with it yourself.
At the competition, Sergey met the artistic director and chief conductor of the Presidential Orchestra of the Russian Federation Pavel Ovsyannikov. The young musician interested Ovsyannikov in the high level of playing, the ability to work with any musical material, the ability to quickly and efficiently make arrangements. Pavel Borisovich began to invite the pianist on tour with his orchestra. And once, in 1994, he invited me to a "high-level meeting" - to a reception in honor of US President Bill Clinton's visit to Russia. Knowing that Clinton is a good saxophonist, one could assume that he would want to play. And so it happened. Sergei Zhilin and Bill Clinton performed "Summertime" together, then "My Funny Valentine". Sergei was very worried, but everything turned out great. Clinton thanked his musical partner, and US Secretary of State Warren Christopher asked, "where does the guy get American sadness" - where, they say, did he learn to feel and play American music like that? Sergei replied that he simply loves jazz - and for a long time.
Sergei Zhilin really liked Clinton - charismatic and charming, with impeccable manners. Since then, the title of "the pianist who played jazz with the American president" has been firmly attached to Sergei Zhilin. Then there was a speech at a reception hosted by the Mayor of Moscow in honor of Liza Minnelli, an acquaintance with Tom Jones, numerous performances with the brightest Russian stars. Ovsyannikov invited Zhilin to join his orchestra. The offer, of course, was tempting - an interesting job, a stable salary. But then you would have to forget about your team, your business. And Sergey again chose Phonograph.
The largest and most prestigious European jazz festival has been taking place for more than forty years in the Swiss resort town of Montreux on the shores of Lake Geneva. Having started as a purely jazz festival, today the Montreux festival covers almost all relevant genres in its programs - from rock and blues to hip-hop and ethnic music.
The Phonograph had four concerts in Montreux. Already after the first performance, the organizers, having assessed the class of the Russian musicians, changed the hall - to a more spacious one. And they even began to sell tickets for the third performance (although usually admission to the concerts of the “off” program is free for the public).
Montreux has a unique atmosphere during the festival. This is a huge music bazaar where jazzmen from all over the world gather. Therefore, despite the fatigue, the Phonograph musicians took part in the night jam after their concerts.
The famous jazz pianist Sergei Zhilin was born in Moscow on October 23, 1966. Passion for playing the piano came to the boy in early childhood. This is not surprising, since the grandmother of little Serezha was a professional musician. The boy's parents expected their son to become a great academic performer.
Seryozha spent several hours a day at the instrument with great pleasure. But when the boy grew up a little, he began to be interested in the jazz direction. Upon learning of this, parents and grandmother were upset - in their opinion, jazz is not serious music.
Sergey grew up as a diversified guy, so in addition to music, he was attracted to cycling and football. Later, Sergei Zhilin began his studies at a military musical educational institution. Parents influenced the choice of the young man to a greater extent. As soon as it became known about his enrollment as an applicant, the guy changed his mind about enrolling. According to him, it was difficult for him to imagine himself in the role of a conductor or an ordinary military musician.
Few people know that the passion for aircraft modeling has become a decisive aspect in his life. After refusing to receive a military education, the young man began to actively collect models of various aircraft.
Along with aircraft modeling, Sergey studied at a special music school. However, he was forced to transfer to a regular educational institution due to poor progress. He received his secondary education at a local school, from which he graduated with a degree in Aircraft Electrician. Then followed military service, where the future famous jazz musician participated in a creative musical ensemble.
1982 was a decisive year in the musical career of Sergei Zhilin. During this period, he entered the studio of musical improvisation. At the same time, he created the Phonograph collective, in which Mikhail Stefanyuk became Sergey's creative partner.
In 1983, the duo performed at a jazz festival in Moscow, where they were highly acclaimed. "Phonograph" performed weekly on the stage of Vysotsky's bar. And in 1990, Zhilin took the position of music manager in one of the best hotels in Moscow.
In 1992, Sergei met the head of the Presidential Orchestra, with whom he began touring. And two years later he had a unique opportunity to play on the same stage with Bill Clinton. Another jazz musician, a saxophonist, also interviewed the former American president.
In 1995, after a long pause, the Phonograph duet went on tour. Zhilin begins to independently create arrangements, and already in 2005 the performer receives the title of People's Artist of Russia.
In addition to regular performances with concerts on the big stage, the musician often takes part in television shows. Throughout all the seasons of the Voice program, the musician plays as part of an accompanying orchestra.
Sergei Zhilin keeps this side of his life a secret. At the same time, there are some sources that indicate the presence of two marriages of Zhilin. The musician has a son from his first wife. The second wife for a long time was a soloist of the Phonograph group.
We bring to your attention a list.
Sergei Zhilin. The combination of first and last name may not be familiar to everyone. Sergey Sergeyevich? Here is a completely different matter! It’s not just that every week on Channel One they thank him ten times a night. It remains only to find out why. After all, until now, little is known about the head of the Phonograph orchestra, without which not a single rating television program can do today.
- Sergey, people don't know much about you yet...
And thank God.
- But I already learned the name and patronymic. Did it stick to you - "Sergei Sergeyich"?
It all started with Andrei Boltenko, he was the director of the first "Two Stars". Usually we addressed each other simply: Sergey - Andrey, Sergey - Andrey. But one day at the studio, he said over the speakerphone: “Sergei Sergeyich ...” - I responded. One time, two, three. And so it went.
You said: little is known, and thank God. But it is clear that time will improve this. We climbed into the box - do not blame me.
We appear there, after all, not with the creative product that is the main one for us. We provide musical accompaniment of this or that program, without being the main characters. And at our jazz concerts I often joke: “If in the Voice project or in the Two Stars program you saw a general shot on which the back of my head flickers, and you heard what we do in these TV shows, then today you don’t have anything like that. see and not hear. Although the audience that comes to our concerts knows this very well ...
ABOUT HOW THEY WERE KICKED OUT OF SCHOOL AND PREPARED TO BE MILITARY CONDUCTORS
- As far as we know, at one time you were expelled from the Central Music School. For what?
I was motivated by the fact that at the translation exam I made one mistake in the etude and an inaccuracy in Bach. But I think it's undeserved. I played Prokofiev's "Delusion" and Grieg's concerto well. Of course, I was worried at the first works, but then I came to my senses and played the second half of the program in one breath. And they said: I didn’t learn Bach and the etudes, “Obsession” and Grieg played rudely. And the only one out of 45 people was expelled. At the same time, I know that many of my classmates are not involved in music at all now: one has an investment business, the other has a factory for the production of workwear. Some, however, work in orchestras: one with Spivakov, the other was in the Virtuosi and remained in Spain, but these are string players. Not a single graduate has a career as a solo pianist, except for Stas Bunin, whom I have not heard anything about for a long time. And no one has their own orchestra.
- Feels like the resentment is still there...
Now there is no resentment. I was offended then - I literally cried. For me, school was everything. Although I allowed myself a lot there.
- So it seemed that you could be expelled only for some disciplinary sins.
I told you about the official version of my exclusion. And there was another reason. After all, it had to be thought out: to bring models of aircraft to the Central Music School at the Conservatory! You have to think about music. And then the planes... Besides, we actively played football, Cossack robbers.
- Well, it's all cute children's pranks. Not for drinking!
By the way, I also learned this at school. And discipline - yes, perhaps, was lame. Then, in the classroom, I was inattentive, in general subjects I studied, to put it mildly, average. Probably just tortured the teachers. Not so long ago, I held an open lesson at the Central Music School and met with those who once taught me. We recalled that then, 35 years ago, it was considered bad manners to play jazz, pop or rock during breaks. And one of my teachers, Ekaterina Alekseevna, said: “Yes, I remember who stood up for you: the director, me and your teacher. And everyone else did not miss the opportunity to speak out: they say, during the breaks, Zhilin allows himself to play unformatted material.
- What are you playing?
Well, "Space" was then well-known, "Zodiac". They tried to play something from popular music, Duke Ellington's Caravan. In general, what they could pick up, they played.
Yes, my mom thought so. When I was expelled from the 8th grade, she gave the documents to the military music school. Came there - and there is a real army! There was practically no talk of music at all. After college, there was a direct road to the faculty of military conductors at the conservatory - my mother wanted me to get a higher education. But when I saw that the concept of music there is very peculiar, I immediately took the documents.
- Are you crazy?
It is possible to say so. I called my mother, I said: no, this is impossible. And she again let's think what to do next. I found a general education school - a class was recruited there, which, instead of educational and industrial practice, studied music, and this was considered a kind of preparatory course for further admission to the Pedagogical University named after. Lenin, respectively, to the faculty of music teachers. I went there once, played Chopin's scherzo. It immediately became clear that my level is higher than that of my classmates, which means that I have no need to go to these courses. But in general education subjects, the requirements were quite serious. And if in the Central Music School, where they turned a blind eye to many things, I was good, then in a regular school I immediately became lagging behind. With my studies, I spoiled their indicators ...
- Have you been expelled from there?
Yes. They called to the director, they said: something needs to be done, let's try in a vocational school. They brought me to the nearest one, I saw what was happening there, I think: a nightmare, God forbid! And I began to decide what to do next ... In parallel, I played in two ensembles, one of which was just based in vocational schools. I called the head, I say: they send me to the school - is it possible to visit you? He was delighted, promised to find out everything: I immediately realized that if I studied at their vocational school, then I definitely would not leave the ensemble. In the end, they took me. And then the vocational school was already at the mailbox, that is, do not Help the Dumb One Get Settled, but still a higher level. I studied as an electrician for aircraft equipment. Of course, I played more than studied, but purely technically I was savvy, because I was engaged in aircraft modeling.
During this time, didn't you have a feeling, a fear that music might leave your life and you would have to follow some other path?
No. The only thing - I did not understand that this could become not only a serious creative hobby, but also a good job ...
ABOUT JAMING WITH CLINTON AND FIGHTING SHOW BUSINESS
- You became famous 20 years ago when you played a duet with Bill Clinton himself...
Yes. And no one knew whether he would play or not. Let's just say it was planned. The saxophone was prepared, they brought me...
- And why you?
At that time, I communicated quite closely and was friends with Pavel Ovsyannikov. And he determined that it would be me.
Yes, it's a serious event. Did your hands shake?
Of course I was worried. And suddenly some topic will be offered, which I don’t know. The first was Summertime - everyone knows it, of course. And the second one is My Funny Valentine. That is, he chose quite popular things.
- After that, as they say, the nickname The Pianist who played with Clinton stuck to you ...
I haven't heard that. Playing with Clinton is, of course, a very serious event. For a man, but not for a musician. It would be an event for a musician if I played with Chick Corea or Oscar Peterson.
- And how did you get on television?
We started to play in TV programs a very long time ago. At first it was the Khazanov vs. NTV project, where we played the same role that the Fruits group now plays in Evening Urgant - they played beats, screensavers. We were noticed there. Then, when the first show "Dancing with the Stars" appeared, they called there. The following year they made "Two Stars". And so it went.
- You dived headlong into the muddy waters of show business. And how do you like its representatives? Many disappointments?
No, people are like people, everyone has their pros and cons. Quite often I communicate with Vova Presnyakov, Lenya Agutin, Sanya Marshal, Kolya Noskov. These are my peers, but there are also older comrades - Iosif Kobzon, Lev Leshchenko ... In general, show business is not a hindrance to human relations. Moreover, I see no reason to somehow show off - I calmly go about my business. The only thing is that I have professional foundations. And if, God forbid, someone tries to encroach on them, then I answer harshly.
- That is, there were such attempts?
Such situations happen, but, fortunately, not so often. I now remember one incident that happened a long time ago, we were just beginning to cooperate with Philip Kirkorov. So he had a music director. He invited me, he said: I want to add a brass band, could you? .. "Yes, - I answer, - of course." I think: now we will come, they will give us notes, we will see, we will try to play. We arrive - it's not like for a brass band, there are no notes at all. For nobody!
- How do they play?
They explain and remember each other on the fingers - that's all!
- Is it aerobatics or, conversely, the height of unprofessionalism?
This is complete unprofessionalism! When I saw this, my hair stood on end. I immediately went to Philip on emotions to tell about it. He was busy with some story of his own, did not understand what I was talking about, and thank God. Well, I started to deal with all this. And what's the deal? In order for us to write wind parts, we had to write all the rest first. We took their phonograms, wrote the score, then added wind instruments there ...
- So you are faced with the realities of Russian show business. Where everything is visible, because the people are already grabbing ...
No, not everything and not everyone by eye. They just play the same pieces for many years. They have long been remembered, learned. If there are any new songs, they are just as quickly memorized. That is, they do not need these notes. And they all played well. But the fact is that if there is a replacement of a musician, then it is simply impossible to introduce a new one. How is this done? They give him a soundtrack, they say: shoot your part and teach. But that is also wrong. At first I tried to fight it. And then I realized: why? I'd rather put things in order.
- By the way, about Kirkorov. They say about you that you look like him.
Well, yes. When they stop near me, bulging their eyes: “Oh, you look like someone!”, I immediately say: “Like Philip Kirkorov.” - “Oh, no, no, well, not Philip ...” I assure you: “Yes, exactly Philip!”
In "Two Stars" you also had vocal experience. Perhaps you experienced a culture shock? Still, your voice is not singing, hoarse ...
Drunk, smoky?.. Of course, I've never done vocals. Therefore, when they offered to participate in a duet, I was quite surprised. Took a night to think - and agreed. Still, this is a very interesting creative experience.
- You sang with Angelica Varum. Is it true that she had a choice between Gorbachev, Bashmet and you?
Yes. She has a good relationship with Mikhail Sergeevich, and I think he could agree. Apparently, he was just busy or decided that due to his age it would be difficult. And Yuri Abramovich, probably, the tour schedule did not work out ...
- That is, you were chosen according to the residual principle?
I do not know this. I can only say that everything was very good for us.
Have time to prepare. Often we get the material quite late, we have to spend all our time on it. For example, in the French "Voice", in order to go on the air in February, they begin to prepare from the summer. And we, in order to leave in September, - from the end of August. This means that we do everything three times faster, which is why extreme situations arise.
- The real extreme was when you fell into the orchestra pit.
Not in the orchestra, but - yes, fell. This happened at the time of setting up the lighting equipment. I went to meet the director to clarify whether they brought me the correct layout. And the stage was constructed in such a way that there was an empty space between the place where the orchestra was sitting and the place where the vocalists were standing. I stepped into this space. The next year, four more people fell there, even one contestant. And thank God that at the end of the second season they changed the design, now this pit is not there.
In general, it is dangerous for you to fall, you are two meters tall. Because of this, more comic or tragic situations arise in life?
No, nothing comical. Only back problems. Well, there are often low ceilings. Low cars? I try not to ride in them.
With you there was a program "So far, everyone is at home." Only my aunt was at home. Is this your whole family? In general, tell us about your marital status.
I am still convinced that personal life should remain private. I have a good marital status. I immediately remembered one joke. Do you know what Boris Frumkin, my colleague, who has only officially been married six times, says? So he says: "Two wives ago ..."
- Okay, if you don't talk about the personal, let's finish about the creative. Is there anything else to strive for?
Of course. Constantly improve, come up with something new. Ahead is a serious project with Danya Kozlovsky - there will be concerts in St. Petersburg, then at the Bolshoi Theater. Danya sings songs by Frank Sinatra, Samuel Davis Jr. very well. Now he is working with our teacher, very hard. In general, a very talented, persistent guy ... Then we have our own solo concert in the House of Music. Then the performance with the program "Tchaikovsky in Jazz", a program dedicated to Oscar Peterson ...
- Well, what about something global? Get a Grammy, for example?
They are nominated not by themselves - companies are nominated. Once we tried to do this through Melodiya, but there this idea was accepted without enthusiasm and eventually forgotten. And of course, that would be great. There is something to strive for...
Dmitry Melman,
Photo from the archive of S. Zhilin
