— You recently released cover versions of several modern hit songs. Is that something you really wanted to do, or did you just follow the general trend?
— Normally, people make covers like this when they want to gain some fame for themselves. Perhaps, subconsciously I had these thoughts too, but I really wanted to do it just for myself. If you like a song, why not give it a totally different sound? I just wanted to hear them played in my style. Now I enjoy listening to them.
— What are your further goals?
— I just make music that I like, and it's a never-ending process. As soon as I come to the end of one musical project, I already have another one coming my way. One could say that I'm moving in small steps, because each project like this is a new goal.
Speaking about greater aspirations, of course, I want as many people as possible to know about me. I want to be invited to festivals more often. (Laughs). I'd love to have more stage performances.
— You went to the Koktebel Jazz Party-2014. What do you think about it?
— It was great! First, it was my first time on the sea as an adult. The venue is excellent. The weather was great. I haven't seen such festivals in Russia before. I also met many interesting musicians.
I'd love to go back there with my projects, a trio or a duo with Arkady Kornev, a stunningly talented drummer, certainly, one of the best.
— What's your take on the current Russian musical scene?
— I'm pleased to see more and more good, strong and creative musicians, but there are still plenty of people out there who shouldn't play music.
— Whom do you have in mind?
— The people who don't realize that they are just going from one note to another without putting their hearts in. The most disappointing thing is that they will most likely never realize this. I know only a few people who have come to realize it. They either did their best to change their approach and put their heart and soul into it, or they just quit playing. Musicians must constantly work on themselves.
I think that freedom of speech and action is understood by our performers too literally, and they sometimes do the wrong thing walking on stage for solo concerts without ever realizing what they are doing. It's very unfortunate that this is happening.
— How can this problem be addressed then?
— I honestly don't know. Maybe jam sessions could help, where musicians go on stage and in one or another way gain some experience, but it's not a cure-all, all the more so since we have virtually no honest jams.
— But if someone is giving concerts for a long time, doesn't that mean there's a demand?
— You're right. These musicians live in a world of their own that is populated by their friends or similarly mediocre performers. Unfortunately, these people are brazenly walking into the world of music without realizing what they are doing.
Sometimes, a good musician can apply for a certain position that pays a certain amount of money, but a mediocre musician might snatch this position up by asking for less money. However, this is more typical in the pop music industry, where high-level musicians are not appreciated as much as in jazz.
Of course, there are exceptions. For example, the recent album by Grigory Leps was recorded with the participation of such great musicians as Fyodor Dosumov, Anton Davidyants and Chris Coleman. But this is something that doesn't happen too often.
— Have you ever thought of going to New York or Los Angeles and try your hand out there?
— I'd love to go to Los Angeles. Still can't make up my mind. But why not? No harm in trying. Maybe, some time.
— Do you agree with the statement, "To become a true jazz musician, you need to stay in New York for a while?"
— No, that's a stereotype. We have some excellent jazz musicians in Russia, and they are great at what they do without ever going to New York. They would be tough competition for US musicians in terms of musical thinking, technique and so on. However, almost all of our jazz instrumentalists and vocalists have problems with rhythm and timing. Most likely, they somehow misinterpret it and that's why they fail at it. They have no drive at all. Time waits for no one; it flows uninterruptedly and it's constantly in swift motion. If someone has a sense of rhythm or timing, they can feel with their bodies how the flow of this rhythm or timing is moving, and can become part of it, like water becomes part of an ocean current. At this point, music starts turning listeners on. I know very few musicians among my colleagues who own it. Again, I'll have to repeat names such as Anton Davidyants, Arkady Kornev and Fyodor Dosumov, because these musicians are well aware of and can feel the thing I just mentioned.
Getting back to your question. For example, sitting at home, listening to music and practicing did it for me. Now, I totally understand what jazz is made of, down to its smallest details. This is something that you can't just learn. So, let's get rid of stereotypes.
— Which musicians, living or dead, would you like to play with?
— That would be Dave Weckl and Michael Jackson. Herbie Hancock, too. There was a time when we almost played together… I'd love to play with my father, if he resumed his percussion activities. Unfortunately, he stopped playing music in the early 1990s, although he used to be a famous drummer in his time.
All of these people, including my father, have one thing in common: they have influenced me a lot and taught me to be myself in music.