— Is jazz an American music?
— Jazz is and will always be an American music, but the beautiful thing about it is that it is able to include and adapt other cultures of the world. Anyone is able to play jazz, but it is a music that is derived from the American culture.
Today, to learn to play jazz, you don't have to go to New York. Listening to recordings and playing along is a big part of playing this music. Also playing with others who challenge you is essential.
Anyone can learn to play anywhere and take it in any direction, but to play in New York is another level. It's not for everyone; but if you're striving to be one of the best, New York is the place to become one because it will push one to their potential.
— Can you share it with us?
— It took me years of hard work to achieve something. When I first came to New York, I didn't have much money and absolutely no guidance or connections. I was on my own when it came to improving my playing, making a name for myself, releasing albums and other nuances. Eventually I enrolled in school where I was able to concentrate on the next steps.
— Did you encounter a lot of failure before becoming successful?
— There are invariably lots of failures in life, especially when you are trying to do great things. However, I don't focus on failures because they are not important. With music, like anything else, there are always things that aren't going to turn out the way you expected — but the point is to keep going.
My biggest success is that I am able to make a living playing music and to do what was the dream of my life: to play with my favorite musicians, such as Jimmy Heath. By the way, I play his saxophone now. At one point, I was looking for a certain model, the Selmer Mark VI. He found out about it and suggested that I could buy his. Mr. Heath knew that he no longer needed the saxophone, while it would benefit me greatly. I am very thankful to have found my horn and that it has such a wonderful connection to my mentor.
— How has the New York jazz scene changed in your opinion?
— It's changed a lot. Today jazz is divided into different styles. Each musician is trying to create something new, to change the genre in which he plays and to find a new sound. But jazz's famous energy is still there.
— What's your take on the Russian jazz scene?
— Even though I have been to Russia a couple of times, I can't say that I know a lot about Russian musicians. Igor Butman is the first name that comes to my mind. When I first discovered him, both Russian and American band members told me stories of how great of a musician he is and what a successful ambassador he has been with his bands.
During my first trip to Russia, I performed at the Tchaikovsky Concert Hall, an incredibly beautiful place. The audience gave us a warm welcome. Whenever we went to a restaurant, waiters always took me for a Russian. Each time I popped into a cafe to grab something, the staff thought I was Russian. It was interesting to see how they got upset or surprised when I told them that I didn't speak Russian and was from the United States. Overall, it was fun.
— Do you prefer to perform solo or with your group?
— With the group. When I play with someone new, I have to adapt, which is can either be great or uncomfortable. As for my group, we've been playing together for quite a while. I chose each one of them myself based on my preferences, because their technique and sound have to be 100 percent compatible with the idea behind the group. This has made it possible for us to achieve our most ambitious goals.
Importantly, my music is complex, and it is difficult to sight-read. Even if someone can sight read it, the presentation of the material may not be correct. When I'm writing, I have a sound in my mind already, so, during rehearsal, musicians must demonstrate the right tone, technique, presentation etc.
The personality is also important. I need to be comfortable and at ease when I work with my musicians. So my group is my everything.