Aleksey Kuznetsov( Guitarist)
Comments for Aleksey Kuznetsov
Biography Aleksey Kuznetsov
Conversations with Alexei Kuznetsov
(Issue 1 - Fall 2000)
Alexander Avduevskii: Those who are not familiar yet with your creativity, certainly heard your work in the orchestra of cinematography. What can be considered your "business card" N
. Alexey Kuznetsov: You know, the works were so many that I simply list the composer with whom I had to learn, or I was already familiar with them, and they asked me to participate in the music recording
. Much has been written with Andrei Petrov, for example, we worked with him during the recording of music for the film "Cruel Romance". Remember - "And finally I say:" and other songs. Sometimes I accompanied, sometimes two guitars.
Avduevskii: All "tsyganschinu" N
Kuznetsov: How would "tsyganschinu". Sometimes participated, and other guitarists, not only I. Sometimes called a gypsy band - famous gypsies, but we had to her, in addition, to make additional colors. And now such a common kitchen, we solved the problems accompanying singers, who articulated. It is not always an actress she sang, "And finally I say:" singing Valentina Ponomareva. Nikita Mikhalkov, though he sang. This is only one case. It is difficult to remember everything, and even more to list. From memory you can recall the theme of "The Seventeen Moments of Spring" which I wrote down. This is what we wrote in the House record on the street Kachalova, and conducted by changing Yuri Silantyev. I only later realized something to work when the movie came out and received a response. I saw him on TV and said to himself: "It's because I'm playing". With Michael Tariverdiev, God rest his soul, we also worked hard.
Also, remember, was the film "Mexico", with interesting melodies and Latin America, and we were playing there together with Alexei Ivanovich Yakushev, a remarkable guitarist, a real master. A lot of guitar going. Sometimes Sergei Nikitin worked on some points. There are twenty seconds and you need to create mood.
Play, and you shout "Stop, stop, Alex! In the hands do not fall!". The actor, who was withdrawn, as it plays and sings, but he keeps his hands on the fretboard properly. I looked, sounded on the idea in A minor, but it did not take it.
Supervisory person can detect the forgery. These contradictions are always interested me, and I tried to get in the hands and the music simultaneously, and I was invited, because I always come. This is when the music - a guitar and a hero. He took it and put it - and we must also imitate the sounds - kicks on deck, the rustling. It was a terribly interesting in the professional sense. It was an interesting job, but it should not bear the whole character of jazz.
Avduevskii: A jazz byloN
Kuznetsov: Well, if there was a scene in a restaurant, then a composer could write something relevant, or simply ask the harmony and the theme. And the result is a quiet restaurant jazz.
Avduevskii: your professional career began with tantsverandyN
Kuznetsov: Dancing in the garden Bauman was of such character: There was a mandatory repertoire - the tango, waltz, foxtrot. And specifically they did not play jazz, with the exception of some popular topics. But there we looked for a bit, tried to "tweak" harmony, alterations, or just change the rhythm.
Avduevskii: In times stilyazhnichestva, a surge of popularity of jazz, the main jazz instruments were probably the trumpet and saxophone, it was difficult to probivatsyaN
Kuznetsov: Yes, the guitar on stage I was almost never seen. Solo by itself, but an accompanying rarely. At that time there were few artists. My friend Nick GROMIN, with which we played a lot, started just before me. And when I went to tantsverandy for "artistic" stage, playing in DC at concerts or in between, where we crossed. I played on stage in a quartet Tikhonova, and he - in the foyer. Then we were introduced, and we agreed that necessarily have to cross, let's play. I was then more in the accompaniment, and Kolya - a voice. There were more famous quartets formula Tikhonov: clarinet, . guitar (which is more accompaniment), . accordion, . bass, . are multiplied - Eugene Vystavkin, . Vyacheslav Semyonov, . Nicholas Glubokova, . Eugene Vorobiev: In all the cities, they very quickly came, . it was very popular,
. But there's guitar, with the exception of some rhapsodies and fantasy, where there were some solo pieces, was accompanying instrument. Yes, and it was a simple, acoustic. Then it appeared Amplifiers.
Avduevskii: And when came "electricity".
Kuznetsov: First of all, it was a home electricity - receiver "World". The first sensor I bought from the Hungarians. At the fashion show in Hungary came to an accompanying ensemble, in my opinion, they were called "Baloch Quintet", and I saw that their guitarist was a pickup. After the speech, I went immediately to the scene, began to persuade it: In general, after the tour, he sold it to me.
This was my first pickup and set it directly into an outlet guitars. And this pickup I attached to Gibson in 1911, that bought my dad. And through the receiver "World" I played. Then we amplifiers have ordered from the masters. I remember there was a Misha Timokhin, he made them. They were such small boxes, the lamps of course, and it was they built vibrato. As I said Sylantyev when asked to include vibrato: "Alex, turn on the jim-jams".
But before that, was a receiver "World". Resounded it mildly, velvety. And then my father brought them Germany's guitar "Mikma" - it is also in the "World". And then he had already done to order a pilot power, and he in the orchestra Silantyeva played through it, such as "Dance of Aegina" Khachaturian. That was such a course of events. But, returning to tantsverande, that's when we mastered jazz and began to understand how this play. And from the blues, which we then took off, was born "at Basman Street Blues"
. Avduevskii: And when you become "electric", it became easier probitsyaN
. Kuznetsov: The orchestra Silantyeva, in 1960, I had already played the "electricity", I had a power Vox, who ordered the radio
. A large box, a very powerful. I gave a completely new color. This guitar was lost, playing even two guitars: Vassily Ryskov in the 1950's played with my father in two guitars. They had two guitars jazz "Harmony-Cremona", jazz, but the acoustic, even without a cutout. So, they just overlap each other to be heard. And when I came in 1962, the guitar was already strong enough. But, of course, it is also not always been jazz: But the songs come across have solo pieces. I played mostly for the orchestra, yield heat, so as not covered.
Avduevskii: Volume does not remove prosiliN
Kuznetsov: They say sometimes that gromkovato, but I wanted to highlight the "nine" with the plus that was hooked, and I was "quiet, quiet". I played like one big guitar for the whole orchestra. This texture has evolved in my understanding of how the orchestra sounds, which I often bear on the guitar. The guitar sounds like an orchestra. Each string - this orchestral group.
Avduevskii: Need not be lost on a shared canvas, probably taught to allocate the necessary accents.
Kuznetsov: Yes, but sometimes on the record is unclear, there is a guitar or not - sounds orchestra, so sound worked. But I was not really hurt, because all this time I was playing a jazz parallel. Began with the house. I heard my father playing all these "six" and "nine", Latin American rhythms. It was fun, tasty rhythmically. And I was drawn to: drums. I started as a drummer!
Avduevskii: The neighbors were insanely happy:
Kuznetsov: We lived in a huge old house on Basman, where nothing was heard. In the next room a bit as well - nothing. I'm still happy to sit down for the installation!
Avduevskii: And what went on gitaruN Due to the fact that the installation did not go out into the yard to show off devochkamiN
Kuznetsov: (Laughs) Yes, guitar, lighter and pokompaktnee. At school I made the quartet - two accordion, guitar and drums. At first only a small drum (from the Pioneer room), then we have gotten and the big drum. Then there was more plastic, stretched skin. And then our drummer came Leningrad plant - it was something such no one was. And when appeared a snare drum with plastic, rather with a kind of plastic - it was a king: And we were playing jazz in the red corner.
Avduevskii: Where did the rare Gibson not pomniteN
Kuznetsov: Already it is not. Pope to somebody bought. On the street I can not stand it, and only one father allowed me to bring it to school performance.
Avduevskii: A present-day instrumentN
Kuznetsov: When I was still a guitar, her life's circumstances had to sell: In our house lived ceremonies Olitskaya Alexander, and he was a collector of guitars. He barely played, and as they hung. And one was very large, with a great body, similar to the Guild. We came with his father, agreed to buy. A long time I played on it until three years ago did not have to part with it. Then there were different guitars: The main thing for me was that there was a big case, or feeling is not something. Some of these tools were not very high quality, but that's the feeling it was all.
And Gibson Super-400 CES 1977, he is not my personal. He was acquired by Orchestra of Cinematography, and I played on it. And when I went there, I asked that I gave him to play until I'm able to play.
On this guitar I played a long time. He came into the orchestra as the time in 1977, is a real dzhazovik, very comfortable, wide - an instrument of high class.
I played on it for as long as the frets not come into disrepair and now it will be restored. He came straight from the crack, and he could be sent back, but then it was 1977 and I was not sure that I will get it back or a new tool, so I decided not to send. Then the master crack closed up. But still this is an excellent tool.
And while he is not restored, I'm playing in Russia instrument made under an order two masters. Vyacheslav Latyshev the casing, and Valery Gulyaev - Vulture. It is made in the same vein as Super 400.
Avduevskii: A difference estN
Kuznetsov: At the top is not spruce, and cedar. Side and rear wavy maple, and on several other Gibson. And so very similar. More importantly, one pickup (Bartolini) and it hinged. (At Gibson are two of them, but I still use only the front, he is the gentlest, most jazz). Therefore, the upper deck has not been blocked and vibrate freely. I have to play it just like on the acoustic.
Avduevskii: Super 400 also sounds great unconnected.
Kuznetsov: Yes, but still, the upper deck chokes all sensors, handles. And it must breathe and exhale. And the Russian tembrblok - a pen and everything else I do on the amplifier.
Avduevskii: A power you kakoyN
Kuznetsov: Once I had a Roland Jazz Chorus 50 - beautiful tone. I wanted to get pomoschnee but did not reach. So I sold it, and I have a transistor Jazz Chorus ST-100, it has a built-in chorus. And there is one Fender Twin - tube. I try to sound was round. The strings are usually 0.12, they were mostly D'Addario, tried GHS, now I have D'Aquisto. Recently, Paul Bollenback gave me my subscription Fender. One tried to put the strings 0.13 - good, solid sound, but his fingers already difficult, when trying to play fast. Now I'm playing on the strings "Tomastic", 0.12 - Model George Benson (he himself, the truth is even at 0.15). Still want to learn 0.13.
Avduevskii: A treatment you use often, here on the play "Blue Coral" you have:
Kuznetsov: flanger! The only time I tried. It seemed to me that if the coral, it should splash.
Avduevskii: Get even jazz-rock, some urbanistically.
Kuznetsov: Jazz-rock was somehow passed me, just such a result has turned. There was still the case, I would say nonsense. We recorded we Kramer and Garanyanom. I asked a sound engineer on one play include chorus. At that time I had with him was not the chorus, so they are in the mixer it added. Add anything to add, but forgot to turn off, and it turned out that almost all the material with chorus. I did not even guess. Then, when everything and wound up, rang Garanyan and said: "Alexei, have you got there sounds so cool!". And so it was, but I do not plan. Chorus In fact, you can turn to krasochki, lightweight, not very fast, and I put reverb on dvoechku only. In general, I do not like effects, there was no room for experimentation, and besides, I prefer the most natural sounding. I plan to put on a "Russian" guitar more and piezoelectric transducers and both signals mixed.
Avduevskii: Which do you prefer mediators.
Kuznetsov: Dunlop, 2mm hard, "drop". Hands are asked such a feeling, and Dunlop are still pleasant to the touch. Now I do not want to change anything, I want to head that something was. It would seem that you can think of in the mainstream, but I want something to bring their. It is better to play more in a duet, trio, quartet: I love to accompany.
Avduevskii: What would encourage ostalnyhN
Kuznetsov: Yes, few people who can "take over". It is necessary to shake them sometimes to just play well without overclocking. This problem. But should be worked on, but about a little bit forgotten. And I'm looking for a rhythm section, I hope, find that would work smoothly, rhythmically with a beautiful sound
. Avduevskii: The "Blue coral" in "All The Thing You're" is the moment when the keys evenly, rinse, and you with drummer seamlessly "chop" syncope completely across
Kuznetsov: Yes, if it happened by itself, one breath. When this happens - it's great. Still, I helped that I played the drums, and I can play the guitar and drums for the same. I think the first is the rhythm, then it falls harmony and afterwards - melody.