Lukyanov Herman

Born in Leningrad on Aug. 23, 1936, Mr.. in a military family Seaman. My mother was a pianist, had a higher musical education, was also poet and a translator.
. In the age of 12 Herman Lukyanov first heard jazz records - it was a record at 78 rpm, . on one side of which was written the play "The Sound of Jazz" by the orchestra Alexander Tsfasman, . on the other - "Sweet-su" ( "Sweet Sue") Orchestra Alexander Varlamov,
. Later, listening to a lot of jazz records, and at seventeen entered the evening music school trumpet. After three years he studied at the composition department of the Leningrad Conservatory in the class of Vadim Salmanov, in 1957 transferred to the Moscow State Conservatory, where he graduated in 1961. composition class of Aram Khachaturian. As a thesis presented Concerto for Trumpet and Orchestra
. In those years shaped his reputation in the Moscow jazz world as a musician of high quality, but not very "friendly" (it was connected with the fact that he played a very unusual and "uncomfortable" at the time, and with his personal characteristics)
. Already in the early 60's Lukyanov refuses pipes, replacing it with a flugelhorn (he returned to the tube only in 1989, although still mostly played on flugelhorn). One of his first recordings - the album septet Boris Rychkov - George Garanian - Andrei Zubov in 1960, which is one of his own compositions.
. 1962 - a trio with Mikhail Terentyev (piano), Alfred Grigorovich (bass), addressed the 1 st Jazz Festival at the cafe "Youth" in Moscow
. The first trio Lukyanova already had an unusual composition - flugelhorn, double bass and piano. The game was unusual trio. Musicologist Arkady Petrov in the article about Lukyanov, published in 1987. in the book "Soviet jazz. Issues, events, masters', described the trio: "The band performed the unusual music, in which it was difficult to understand: who soloist, and who accompanies ... In the musical fabric - continuous breaks, and shift changes, little dense texture, a lot of "air" and space. So in 1962, did not play anybody ". Leading jazz critic Leonard Fezer world, who came when the Soviet Union with Benny Goodman Orchestra, written about Lukyanov: "His music is at the forefront of world jazz."
In 1965, Mr.. Herman Lukyanov organized a new trio, now with shock, but without a contrabass - Leonid Siskin (piano) and Vladimir Vasil'kov (drums). In music Luk'yanova these years - recognizably Russian intonation, he - one of the first local jazz musicians, introduced intonation and melodic language of the Russian musical folklore in the stylistic system of modern-jazz 60-x. He himself had read described the idea of the trio: "Without the bass music became clear, melodic design - very clean. True, the band's sound was tougher - it is more graphic than painting. I offered to organize a drummer playing in a new way: to stop mechanically beat rhythm to his game and whatever relief, to create interesting designs, often use a rest, which clearly "seeing" a pattern flugelhorn and piano.
. Trio Herman Lukyanov had unusual success in the 3 rd Moscow Jazz Festival in Moscow (1966)
. It was awarded five degrees of the festival, noted as the best ensemble, which plays the best composer and best performer. In 1967, the trio took part in filming the movie "Seven notes in the silence" on the Lenfilm "(in the movie sounded composition Herman Lukyanov" Prayer ", . of ideological reasons on the record "Melodies" "Jazz 67" renamed to "hubble-bubble"),
. In the late 60's of the trio changed - it appeared Igor Bril (piano) and Mikhail Kudryashov (drums). In addition, in 1971. Lukyanov recorded a duet with Igor Brill (and how flyugelgornist, and as a pianist).
In 1969-73 Herman Lukyanov was the lead singer of pop-Union Radio Orchestra under Vadim Lyudvikovsky. However Lyudvikovsky and saxophonist Andrew teeth in 1972. Lukyanov a few times, made a jazz orchestra of the Czechoslovak Radio (recorded in the same year entered the Czechoslovak firm of Panton). In the next few years Lukyanov organized ensembles of varying size - from quartet to septet, and even a nonet (9 musicians) and detsimeta (10 musicians).
From 1974 to 1976 - a soloist and conductor of the orchestra of the Azerbaijan SSR under Muslim Magomayev.
In January 1978 creates an ensemble of "Cadence". In typical style Luk'yanova name combines the musical term for, in particular, improvisational box (which the composer left to the Executive) and the abbreviation of the words "Chamber Jazz Ensemble. The principle on which the ensemble was built, was in timbre Diversity - being a small lineup (septet), "Cadence" has a timbre and expressive possibilities of big band. Both saxophonist (Nikolai Panov and Yuri Yurenkov) also played the flute, trombone (Boris Rukingluz) - on the tube, he Lukyanov - on flugelhorn, piano, tsugfleyte, altgorne. In different years (ensemble lasted until 1990) in "Cadence", . besides the above, . played: Michael Okun (piano), . Valery Kutsinsky, . Michael Smola, . Konstantin Babenko (bass), . Valery Kaplun, . Stanislav Stephanie (drums), . Vadim Ahmetgareev (trombone) and others,
. Music "Cadence" - one of the most complex and sophisticated achievements of Soviet jazz 70-80's. Lukyanov composer makes extensive use of complex dimensions, unusual methods of arrangements, unusual timbre combinations, innovative songwriting techniques - chromatic, almost atonality, dodekafoniyu.
"Cadence" a lot of touring throughout the country (in Svay its ugliness Soviet philharmonic touring system sometimes gave an opportunity to tour the chamber, non-profit collectives such as "Cadence"). The ensemble performed at festivals Jazz Jamboree (Warsaw, 1984), North Sea Jazz Festival (The Hague, 1984), etc.
. Discography "Cadence" has four LP, issued by the Soviet monopoly of the record "Submit": Ivan the Fool "(1982)," The Way to Olympus "(1984)," What snow Spring "(1986)," Sign of the blues "(1989)
. All of them at the beginning of 1999. reprinted Moscow jazz label Boheme Music on CD (four vinyl albums fit on two CD). More albums ...>>>>
In the early 90's changed the economic situation is no longer allowed to Herman Lukyanov contain a large part. "Cadence" gradually ceased to exist, replaced the first quartet, and in 1990. - A trio with drummer Ivan "Vano" Avaliani and pianist Lev Kushnir. The new trio of drummers Lukyanov (instead Avaliani in the trio for some time worked Dmitry Sevastyanov) played at Herman constructed experimental shock installation, . the basis of which - the big African drum, . brought specially for Luk'yanova from Uganda,
. In recent years, Lukyanov regularly works with young pianist Yakov Okun (son of Michael Okun, who worked in "Cadence"). In 1998. Lukyanov created a quartet, the fourth member of which - usually someone from the youngest club saxophone Moscow (15-year-old prodigy, tenor Dmitry Mospan or 19-year-old Sergei sopranist Golovnya). Since 1999. of finalizing Sergei head and a new drummer - Peter Talalay of the "green wave" Alexander Oseychuk.

Herman Lukyanov - not only a musician, and one of his incarnation - poetry. At the International Festival of vers libre, he won the second prize, and several of his poems published in anthologies of Russian vers libre "Time X". He works in the technique of "free poetry", denying the "conventional" verse as in music denies free jazz.