Anatoly GERASIMOV

Born in Moscow (1945), in jazz since 1962, played in the most famous jazz compositions of that period (orchestras Anatoly Kroll, Yuri Saulsky, Boris Rychkov, Eddie Rosner, etc.). He emigrated from the USSR in 1973, settled in New York, played in the orchestras of Duke Ellington, Thad Jones / Mel Lewis, worked with Jaco Pastorius, Chet Baker, John Scofield, Elvin Jones and others.
In the 80-ies. many lived in Europe, finally settled in Paris in 1993. Collaborated with Peter Hemmilom, Carlos Nascimento, a lot of work for film and television.
Since 1995, Mr.. frequent visitor to Russia, then actually moved to Moscow (in 1997. Russia regained his citizenship that is selected by the Soviet Union two decades ago). His LP "As Time Flies" was released by "Melody" (1991), . He participated in recording the album "Tenant Summits" project "and tail Auktsion" (SNC, . 1995), . summer of 1997 brought the release of his first solo CD in Russia - "Far Away", . SB Recording Studio (Novosibirsk),
. This album was recorded in Novosibirsk, with a band of bassist Peter "п?п?я?я€я?я?я?пЎ" Rzhanitsina.
Constantly working with his own ensemble (Yuri Died - keyboards, Anton Revnyuk - bass guitar, Dmitry Sevastyanov - drums), with whom during the year (April 1997 - April 1998) recorded the album "Yes!" (sound - Olga Moshkova).
The album was released in autumn 1998 at the Moscow label Boheme Music.
More Album

Not in the fire burn
Aurora

In the spring of 2000. album of the new project with the participation of Anatolia - a group of "Ritual Dance" (keyboardists Vyacheslav Gorsky and Sergey Manukyan, who lives in St. Petersburg Cuban percussionist Joel Gonzales himself Anatoly).
. In the spring of 1998 with the ensemble participated in the festival memory of Sergei Kuriokhin (New York) and the festival "Jazz Province-98" (Kursk, Orel, Tula)
. Continuing acts in Moscow clubs, participates in the Russian jazz festivals (Jazz province-99 "," La Boheme-jazz-99 ", Moscow Jazz Festival '99 ...)
. Laureate of the Moscow Association of Jazz Journalists Dzhaz'Uho-97 "in the category" Master of the Year.

. Alex Batashev, from an article on the envelope, LP "As Time Flies" (Melody, 1991):

. ... Moskvich Anatoly Gerasimov, though he graduated muzykalku on clarinet, the instrument of a prescribed school abandoned, beloved saxophone mastered himself, and it is difficult to give, and, of course, he had his own professional performing problem
. Like now, I see him jam in a cafe seshn "Youth", shifting from foot to foot on the stage, throughout his musical soul longing to play, but were pressed back our provincial, more sparse, but snobby jazz Olympus. It was then, probably, high colleagues and dubbed it the nickname "Mu-Mu", which kept him up to the upper floors of his career.
. He already "smelled gunpowder jazz" and a Kroll in Tula, . and in Saulsky in SIV-66, . and in Moscow volatile ansamblikah, . from the saxophone he tried except by viola, . but the first success came to him, . when the Moscow festival "Jazz 68" he played in the most gentle flute solo in his composition "White Snow",
. "Everyone was fascinated poetic Gerasimov," - said the only review of the glorious festival, was published in a newspaper.
. In the late 60's began to appear in Moscow jazz clubs (which at that time called the jazz cafe) - "Blue Bird", . "Rhythm", . PECHORA, . in these institutions Gerasimov certainly appeared, . that with someone to play, . but for almost no pay, . and Toll podhalturival at the MoMA (the Moscow Association of music ensembles, . official office restaurant groups - Ed.), . going from tavern to tavern, . anywhere for a long time without stopping,
. Once Saulsky called him in his orchestra, and Toll was gone and asked his friend polabat for him, and he apparently took to drink in his joy, and when Tolia returned, he discovered that dismissed for absenteeism.
. - Why do you often change rabotuN - asked HR.
. - I do not me - I was a saxophonist, and stayed.
. - What you ulybaetesN - asked superiors.
. - And that I, plakatN - said Mu-Mu.
. He became a typical Moscow jazzman, ready to play in any ensemble or orchestra, and in any style from traditional to avant-garde
. He was busy and constantly uncovered new facets. I remember once on the radio sounded a whole program Tolya's compositions and arrangements performed by the Orchestra Yuri Saulsky - it was so fresh, talented, interesting. And if beckoning something ahead, it is easily removed from the place. Placing it under his arm soprano with flute, he could pull up in another city is an interesting jazz festival or just to jam seshn.
. In the early 70's came to us two of the best American band - Ellington and the Jones-Lewis, and Toll went after them, not leave them playing together whenever possible, gave them their scores, something took over, he studied
. But business, like many jazz musicians, not walked, and one day, Anatoly Gerasimov, Russian, unmarried, non-partisan, went into the synagogue, came up with a Jewish grandmother, but instead of Tel Aviv flew to New York. "

. б? Alexey Batashev, 1991

. Fragments of an interview with Anatoly Gerasimov
. Radio Perspective ", May 1997, the program" Jam Club "(the leading - Konstantin Volkov, further - TOR)

. HF: How it happened - people came from some of Russia, where jazz, as it were even gone, and suddenly time - and begins to play in the orchestra of Duke EllintonaN
. AG: We met when they were in Russia ..
. In my opinion, a year before I left ... or dvaN
HF: In the 71-m ...
AH: ... And somehow kept in touch - then send me postcards, this and that ... and when I left, I sent a postcard to someone ... Mercer!
HF: Son DyukaN
AG: Yes ... The fact that I'm in Italy. And they were in Italy, it turned out that they were looking for me. And then I came to New York, but somehow I did not want to impose themselves. And then I accidentally came about purely Rockafeller Center, and I see - is Duke. To approach - not podoytiN say "hello" N PozdorovatsyaN Well, I went over and ... he remembered me. He said: "Oh, here we are playing in the Rainbow Room. Come!
HF: And you prishliN
AG: And I came. The day. I played. They say to me: Well, we'll call you. I said: here everyone says, "we'll call you" ... But for some reason they are called!
HF: How did it happen that you prefer to be ... tamN
AG: It happened very suddenly and unexpectedly. We all wanted to go somewhere, to see this and that ... people were leaving at that time mainly in Israel ... and suddenly one day the postman comes and brings me a call to Israel. And I thought ... I do not remember two days or the day ... and decided to apply to the Visa Office. At first I refused, I went the next day - and I have all adopted. And somewhere in the three months I went. Everything happened so suddenly that I did not have time to think ... In Tel Aviv I, of course, was not allowed because I am not a Jew. I was in Rome ...
KV: Like many in those years ...
AG: And then in New York.
KW: And how to entry into the New York sreduN
AG: I began to walk - there, here ... Met many of those who was in Moscow from Orchestra Thad Jones - Mel Lewis, someone else, someone rang the bell, went to a club, another club ... even went to work for the second month ...
. HF: How long this period vrastaniyaN
. AG: Somewhere in the year, even less ..
. But it was a difficult time. Somewhere in the second month, I thought: where did I popalN ..
HF: What caused such a sharp reaktsiyuN
AG: The atmosphere, way of life. Still, all strange ... I lived in a house in Greenwich Village, where the toilet was in the yard ... that is not on the court, of course - on the landing. I was very surprised, I thought - in America, this should not be. Bath stood in the kitchen ...
HF: What do you do there is to life zarabatyvaliN
AG: I tried music. Not always been able to ... Taught. In New Jersey, in Jersey City was so ... not even a music school, but something like the House of Culture ... I was there taught music to children, adults ... somewhere in the six months. Generally, I earn more compositions, arrangements ... writing music for film, for the theater. For example, recorded the music for the documentary ... We call it - popular science ... film about the use of solar energy. There I was playing John Scofield on guitar. In the late 70's, in the 80's it was easy to take account of good musicians. So I began to consider himself more a composer than a musician.
HF: Then you do a lot to live in Europe, notably in Paris.
AG: Yes. I stood at the train station in Hamburg and saw a train to Paris. The American - I have an American passport - no visa is required, I thought: why do not I go to ParizhN Went ... and as a result spent three years. There, I've been playing with musicians of different ethnic: Brazilian, African. Only there the weather is very bad ... "