Alevtina polyakova dedication to billie holiday. "Solar Wind" by Alevtina Polyakova. Then there was probably a music school

On January 27, the presentation of the album took place in the Theater Hall of the House of Music "Open Strings"("Open strings", Butman music) Lebedev-Revnuk project(pianist Evgeny Lebedev, bassist Anton Revnyuk, drummer Ignat Kravtsov plus string quartet). A The 14th of February presented her debut album at the Alexey Kozlov Club "Paint Me"("Draw me", ArtBeat Music- not only as a trombonist (in this capacity she has been known for a long time), but also as a vocalist, and as a saxophonist, and as the leader of her own group Solar wind("Sunny wind").

The general impression of the two presentations: the generation of musicians who came to the big jazz scene in the mid-2000s, who are now about 30 (give or take a few years), are no longer just “looking for themselves” - these artists confidently declare themselves as a new force on Russian jazz scene, a force that will dominate Russian jazz in the coming decades. A characteristic feature: these artists do not seek to imitate the giants of the past, they almost do not bring the performance of standards to the big stage - although they are perfectly able to play standards and have remarkably studied the heritage of the titans of jazz. The new generation plays itself, its music, seeks and finds its own face in jazz art. This cannot but rejoice and inspires optimism.

Virtuoso piano playing Evgenia Lebedeva, honed by him over the years of study at the Russian Academy of Music. The Gnessins in Moscow and at Burkeley College in Boston are undoubtedly the dominant sound element Lebedev | Revnyuk project... But from the very first notes of the sound of this band, an unbiased listener immediately understands that without bass instruments Anton Revnyuk this ensemble would have sounded much less bright. Revnuk, one of the most experienced bass players of the capital's scene and one of the few musicians who is equally brilliant in both electric bass and acoustic double bass, not only fills the "lower floor" of the sound picture played by the ensemble - he creates the formative movement of the band's music organically linked with both virtuoso piano and nervously sharp drums Ignata Kravtsova, who over the last one and a half to two years has considerably evolved - and from a promising young drummer has turned into an experienced master, who is entrusted with the rhythmic organization of their music by several leading bands of the young Moscow jazz scene. Note that Kravtsov plays in both ensembles, which are discussed in this text.

Each of the four charming members of the string quartet, named in the concert advertisement “the quartet of the Moscow Conservatory soloists”, is an excellent musician, but in fairness it should be noted that the quartet plays an important but subordinate meaning in the sound fabric of Open Strings. Not, Asiya Abdrakhmanova(first violin), Svetlana Ramazanova(second fiddle), Antonina Popras(viola) and Irina Tsirul(cello; on the album, the cello parts were played by Alexandra Ramazanova) do not “fill the space”, as was customary in pop music of the last century - the parts of the string quartet are carefully inscribed into the overall sound picture and, in principle, the first violin and cello even play short but vivid solo micro-episodes; but this is not the main thing. The strings are not a "filler" for the sound panorama of this ensemble, but rather a counterweight or, rather, a balancer for the virtuoso, telepathically feeling each other's piano-bass link.

VIDEO:Lebedev | Revnyuk project- "About Summer" (Anton Revnyuk)

In principle, this mechanism worked in the same way in those plays where invited soloists were involved - representatives of the same circle and generation of musicians as the leaders of the project: the guitarist Alexander Papiy, saxophonist Andrey Krasilnikov, as well as a vocalist (and life partner of Evgenia Lebedev) Ksenia Lebedeva.

Among the material performed at the presentation were compositions by great masters (more precisely, one composition - “ El gaucho"Wayne Shorter), and plays tied to certain" world "(from the word world music) musical styles (" Broken Tango"Evgenia Lebedeva or Georgian song" Sait Medikhar"Performed by a guest soloist - vocalist Eteri Beriashvili, in recent months has become a real star on a national scale thanks to her participation in the television project "Voice").

But central to the repertoire Lebedev | Revnyuk project nevertheless belongs to the author's works of Evgeny Lebedev, in which the Russian principle is clearly and recognizably read, coming not so much from "popular folklore" as from a deep understanding of the Russian classical tradition. And this once again convincingly proves the thesis that musicians from Russia have something to rely on in their search for their own face on the world jazz scene - and that as a result of these searches, they may (and do!) but an organic, lively and convincing appeal to their own musical traditions. Practice shows that it is precisely those who rely on their own roots that have perspectives on the world stage, where they perfectly know how to distinguish what is learned from what is natural, and what is original from what is successfully copied.

VIDEO:Lebedev | Revnyuk project - « No Tears "(Evgeny Lebedev)

A year and a half ago, mentioning the name "", "Jazz.Ru" specified - "trombonist". After all, it was so: Alevtina really was a soloist of the Moscow Jazz Orchestra of Igor Butman, played the trombone and, in principle, was perceived precisely as a trombonist, and an excellent trombonist is not an attraction "a girl plays a trombone", as it sometimes happens, but really serious master. Then Polyakova had her own ensemble called "Sunny wind", And there it became clear that Alevtina sings, and each time more interesting and more confident (she sang recently and, as she told in an interview with our deputy editor-in-chief Anna Filipyeva for 4/5 of the paper" Jazz.Ru " year, still just learning this art). And in 2014 Alevtina left the Butman Orchestra, Solar Wind became her main concert and tour project, and the composition of the ensemble stabilized - double bass player Makar Novikov, pianist and drummer Ignat Kravtsov.

The concert on February 14 was the long-awaited Moscow presentation of Alevtina Polyakova's debut album: « Paint me » ("Draw Me") was actually released by the label ArtBeat Music in the "tour version" (that is, in a cardboard sleeve) at the beginning of November last year, for Alevtina's big tour of Russia (Yekaterinburg, Ufa, Orenburg, Krasnodar and other cities), but it was for the Moscow presentation that the "collection" option - numbered copies of the album in thick boxes typical for ArtBeat design, and at the same time a new edition of the "economy" version was printed in cardboard envelopes, but with a new cover design.

At the concert "Solar Wind" sounded like a strong, well-played, well-feeling line-up. The undoubted leadership of Alevtina Polyakova is perfectly supported by the work of the ensemble: does she play the trombone (which, unfortunately, in the current program of the ensemble does not happen too often: Alevtina is very keen on the opportunities that open up before her to sing her own author's material, gives herself to the vocals selflessly and for a long time, but here's how the trombonist rarely shows herself offensively - it's a pity she plays this difficult instrument well!), sings or plays the saxophone (in recent months she has been actively restoring her skills in playing her first instrument - the soprano saxophone), the ensemble holds her tenaciously, confidently and maintains reliably.

This applies not only to Makar Novikov, one of the best double bass players of the current Moscow stage (and, by the way, Alevtina's life partner). Ignat Kravtsov, two years after moving from Yekaterinburg, has rapidly increased his skills and is now one of the most demanded Moscow drummers of his generation, together with Makar, forms a reliable basis of this ensemble, but the most curious role belongs to the pianist Artyom Tretyakov. Your correspondent has been observing this promising musician not so long ago: after all, the pianist from Magnitogorsk only graduated from the Russian Academy of Music. Gnesins, and at first it was necessary to hear him mainly in the context of jazz competitions. But even there he showed himself as an uncompromising improviser who would better replay the established regulations, but would show all his author's ideas, even if the context for these ideas was not the most advantageous for him.

As for the "Solar Wind", here the context is most beneficial for the pianist: after all, in the laconic sound structure of the instrumental quartet, where the solo instrument (saxophone or trombone) is also revealed quite rarely - only in his own solos, - Tretyakov's piano (or electronic keyboards, which does not happen so often) occupies almost the entire middle and upper floors of the harmonic and melodic fabric of the ensemble and has a significant space for expressing their ideas, really unbanal and bright.

The general bias in the current program of "Solar Wind" is more of a song than an instrumental one: Alevtina Polyakova enthusiastically explores the possibilities of presenting song material and does it with such a sincere, at times naive, but captivatingly organic artistry, something consciously, or not quite - shows himself to be a mature (trombone) or promising (saxophone) instrumentalist somewhat less than he might want. But it still depends on who! There was a full house that evening in the club, the audience was predominantly youth (which in the attached video is well recognized by the rumble of cross-talk of happy life, positive-minded young people, which no one in life had time to tell that music in general is so unusual for a young audience of Moscow clubs. it is better to listen in silence, if only out of respect for the artists), and Alevtina's song material was received with great enthusiasm - and her trombone playing may have been less missed than if the audience had only jazz connoisseurs.

Bright stage presentation and infectious involvement in music with a head, completely, without a trace - probably this factor most of all convinces that in the future Alevtina Polyakova's solo projects can be destined for a happy stage life, a warm welcome and distribution among a wider audience than the tight circle of jazz lovers alone. The ability of a jazz artist to appeal to a wide audience and be heard is expensive, and Alevtina has this ability in full.

VIDEO: Alevtina Polyakova and "Solar Wind" - "Draw Me" (Alevtina Polyakova)
video provided by artists

On July 4 and 5, St. Petersburg hosted the XI annual international festival "Petrojazz" - one of the main summer events of 2015, which became a real holiday for the entire city. This year, for the first time, the festival was held in the very center of St. Petersburg - on Ostrovsky Square. Residents and guests of the northern capital were delighted with two stages, 18 hours of amazing music, 40 bands from around the world, improvised jams and master classes.

The main event of the festival was the performance of "Aarhus Jazz Orchestra" from Denmark - one of the best big bands in Scandinavia. A pleasant surprise was the fiery rock 'n' roll from the Dutch "Jazz Connection", the passionate and powerful blues from the Muscovites "Dynamic James", performing with the soloist from the USA Thomas Stwalley. The famous Petersburg vibraphone player Alexei Chizhik performed his own versions of works by Tchaikovsky, Mozart and Verdi in jazz arrangement. And the charming singer, saxophonist, trombonist and composer Alevtina Polyakova again presented her project "Solar Wind", this time with a completely new album, recorded in New York.

On July 5, within the framework of the Petrojazz festival, Alevtina Polyakova held a master class on jazz vocal and trombone at the Nevsky 24 art salon.

Alevtina Polyakova is a bright, jazz musician who is a virtuoso master of both jazz vocals and by no means a female jazz instrument - the trombone. For some time, being a soloist of the Moscow Jazz Orchestra conducted by Igor Butman, she quickly conquered the sophisticated jazz audience. She is not afraid to experiment and surprise. She improvised on the same stage with the masters of world jazz: Herbie Hancock, Wayne Shorter, Dee Dee Bridgewater, Vinnie Colaiuta, Terrence Blanchard, Kyoko Matsui, Jaycee Jones, etc. Polyakova managed to perform at such jazz festivals as Montre Jazz Festival (Switzerland), Umbria Jazz (Italy), JazzJuan (France), played in the famous clubs Porgy & Bess (Austria) and Village Underground (USA).
In 2013, she was personally invited by Herbie Hancock to Istanbul to participate in the gala concert dedicated to the International Jazz Day. However, her energy is enough for solo work: now she is simultaneously working on her own vocal project, not forgetting about her masterly trombone. Her music has everything - from her favorite jazz standards to Russian folklore and modern African-American sound!

Official Vkontakte group: https://vk.com/alevtinajazz
Official Facebook group: https://www.facebook.com/alevtinajazz

It is rather difficult to retell what is happening at the master class within the framework of the blog. Here, just, the saying “it is better to see once…” comes to mind. They talked a lot about vocals. And how great it was right here, on the spot, to hear the subtlest, but such strikingly different shades of Alevtina's vocals - swing, ballade, folk singing ... And, of course, the improvisations on the trombone won my heart - just as light, unconstrained as well as her vocals.

I must say that Alevtina, by herself, is quite calm and easy to communicate. I was slightly surprised by her regret that I had not brought my trombone to the master class. This girl lives in jazz and is ready to sing and play anytime, anywhere. And I promised that I would be better prepared for our next meeting.

Once again, I really want to express my deep gratitude to Alevtina Polyakova and the guys who created the evening with her for the interesting time spent and a wonderful master class. As a trombonist, unfortunately far from jazz, I learned something new for myself. The communication turned out to be easy and informative. And, of course, I was deeply impressed by Alevtina's vocals. Too bad I couldn't stay for the evening show and jam. Hopefully next time it will turn out even more interesting. Moreover, Alevtina promised to improvise together!

March 13, 2014

Alevtina Polyakova- the only jazz vocalist in Russia who plays the trombone. She worked with Anatoly Kroll and Igor Butman, she is known abroad, she is applauded by connoisseurs and the most hardened cynics. She has her own recognizable style, and not only musical. She goes on stage in costumes that she invents herself: ethnic turbans, elegant skirts and dresses.

But most importantly, she has her own solo project with the bright name "Solar Wind", which very accurately conveys what she is doing. The band recently recorded their first album in New York. We hope that after reading our interview with Alevtina Polyakova, you will also feel the breath of this magical wind ...

Alevtina, why is the combination "woman and trombone" so rare? Is it about some physiological peculiarities?

The trombone is a very powerful instrument. And it's really not that easy to play on it, even on the saxophone it is much easier to do it. The trombone is sometimes called a "wind violin": there are no buttons on it, each note must be played with a certain position of the lips. With him, as in singing, you need to keep everything on the pressure, on the breath. When playing the trombone, individual muscle groups work very intensively.

- Do I need to specially train them, do some exercises?

No, nothing is needed. It is only important to play almost every day. The trombone is like a sport: if you don't exercise regularly, the form goes away very quickly.

- Where exactly can you train? Surely not in an ordinary Moscow apartment?

I am lucky, I live in an apartment that is specially equipped for a musician. There is a separate soundproofing room where you can play even at three in the morning - nothing will be heard.

- Let's go back a little ... How did you get into this profession at all?

It probably all started when I was still in my mother's belly ( laughs). She is a musician herself, an accompanist, and I "performed" with her. For me, there was never a question "who to be" - I always knew that I was a musician, and that was all.

- Do you remember your first performance?

I remember. I was three and a half years old. Mom took me to the stage and offered to perform the song in front of a full audience. I was not worried at all: I calmly went out, sang everything, “started” the audience, they applauded me.

- Then, probably, there was a music school?

Yes, several. I tried to play the piano, the violin, and then I discovered the saxophone ...

- When did the trombone appear?

It so happened that I studied classical saxophone in Oryol, but still aspired to jazz. So I came to Moscow to enter the State College of Jazz Music. I passed the exam well, the admissions committee liked everything, but I was told the unpleasant news: "We would like to take you, but we have no more places."

I was upset, I had already folded the saxophone, and then Sergei Konstantinovich Ryazantsev, the head of the department, said to me: "Alevtina, have you ever played the trombone?" I answer: "Well, I dabbled, tried it somehow." And he told me: “If you dabbled, maybe you would like to enter our trombone? You already have a saxophone - there will be another trombone. " And I agreed. And that's how it all began. Then I entered Gnesinka - it was an excellent school for me, including in terms of writing music and arranging, then - Anatoly Kroll's big band ...

- How did you meet Igor Butman?

At the concert of the "Academic Band" under the direction of Anatoly Kroll. After a while Igor Butman's managers called me and offered to play in his orchestra. I was very happy!

- How does it feel to work with Igor Butman?

- Very interesting! He is an incredibly creative person, constantly coming up with something new. At the same time, despite the star status, he is very pleasant to talk to, simple. This is generally a feature of jazz musicians: no matter how recognized masters they are, they remain themselves, ordinary people. And I really like it.

- At what point did you decide to follow your own path, leaving the Butman orchestra?

A few months ago, I started working closely on my project. Before that, I was already actively writing songs myself. I wrote the first song a year and a half ago. It was the song "Solar wind", and that's how I decided to name my solo project. I came to the conclusion that it was time to move on, on my own path. I have something to say to the viewer. In addition, a group of young talented musicians has formed around me. For example, Evgeny Lebedev is a wonderful musician with his own unique perspective, it is very interesting for me to work with him. We recently had a new drummer, Ignat Kravtsov, who brought even more sun to our "Solar Wind". And, of course, we have Makar Novikov, a young but already very famous double bass player who has worked with many Russian and foreign stars.

But Makar Novikov is not only a talented colleague ... Your creative union is also a family one. How do you manage to combine one with the other?

- In a creative union, the most important thing is to give freedom to each other and listen to the opinion of the partner. As they say, one head is good, but two are even better. This is very good for a project like ours, it helps to take a broader view of things, gives new impulses. In jazz, like nowhere else, dialogue is very important, musicians constantly interact, complement each other.

- What does it mean to be a woman in jazz?

This is very exciting, even if it is not yet completely familiar for our country. I think that now the "age of women" has come, when we can be realized in any profession. True, if we talk about the great jazz vocalists, almost all of them had a very difficult fate. Perhaps this is due to the jazz specifics. When you constantly sing sad songs, you become so "ingrained" into a tragic image that you automatically transfer it to your real life.

- What is the life of a jazz performer in general?

- For me, this is a complete immersion in the profession. I not only play an instrument and am a vocalist, I write poetry and music, and I try to do it not like a hogwash, but thoughtfully, sincerely. I have very strict requirements for myself, I am a perfectionist, so the creative process takes a lot of time. Also, I am now mainly involved in organizing concerts, because it is very difficult to find managers in Russia. It's kind of hard with managers in jazz.

- Why?

Do not even know. Maybe people need to get closer to pop music because it's easier to sell. And in general, this is a very hard work, it requires the presence of something extraordinary in a person, a special instinct. He himself must be well versed in this music, and it is not so easy.

-By the way, is there in principle such a thing as Russian jazz?

- I recently wrote two jazz songs in Russian. Perhaps, if one follows classical jazz standards, this is not entirely correct. But at the same time, you can pick up such words, such chords that the song will sound incredibly beautiful. I think we are very lucky that our language is Russian. With its help, a lot can be conveyed in a very voluminous and subtle way.

In addition, when I communicate with foreign art managers, I often hear something like the following: “Why do we need your Russian American jazz? We can invite guys from America who will do it perfectly! Bring Russian jazz, with your intonations, with your tunes! Bring jazz with your Russian face - that's what we're interested in! "

I am also interested in this now ... It seems to me that with our Russian musical culture we have enormous privileges and have fully deserved the right to have our own face, the world face of Russian jazz.

- Many people don't like jazz because they just don't understand it. Can you learn to understand jazz?

Perhaps, to develop a taste for jazz, you should start with singers such as Billie Holiday, Sarah Vaughn, Ella Fitzgerald. And gradually "deepen", switch to instrumental music. The "highlight" of jazz is the ability to improvise, this is music "here and now", every time it sounds in a new way. In my opinion, to learn to understand jazz you need to go to jazz concerts, listen to jazz live! This is live music! Absolutely all my acquaintances who did not like jazz at all, having come to a live jazz concert, completely changed their opinion about it.

Interviewed by Elena Efremova

Alevtina Polyakova is an excellent student of Gnesinka, a successful jazz woman who has chosen such a rare instrument for a woman as a trombone in jazz. She is the only jazz vocalist in Russia and the world who plays the trombone and saxophone. Polyakova worked with famous jazz masters: Herbie Hancock, Wayne Shorter, Terence Blanchard, Anatoly Kroll and Igor Butman, she is known abroad, she is applauded by jazz connoisseurs and the general public.

She has her own recognizable style, and not only musical. She goes on stage in costumes that she invents herself: ethnic turbans, elegant skirts and dresses. But most importantly, she has her own project - a group with a bright name "Solar Wind", which very accurately conveys its essence.

- Alevtina, why is the combination “woman and trombone” so rare?

- It is rather difficult to play the trombone, since it is also a physically difficult instrument, but given the peculiarities of the character of a Russian woman, just right for me. The essence of the Russian character is in feminine strength, in the fact that she, as they say, "will stop a galloping horse and enter a burning hut." To play the trombone, you need to be physically, let's say, not weak. And it's really not that easy to play on it, even on the saxophone it is much easier to do it. The trombone is sometimes called a "wind violin": there are no buttons on it, each note must be played with a certain position of the lips and wings. With him, as in singing, you need to keep everything on the support, on the breath. It is important to practice every day. The trombone is like a sport: if you don't exercise regularly, the form goes away very quickly. I was lucky - my husband and I live in an apartment specially equipped for musicians. There is a separate soundproofing room where you can play even at three in the morning - nothing will be heard.

- How did your passion for music begin?

- Probably, it all started when I was still in my mother's belly. She is a musician (pianist) herself, and I "performed" with her, involuntarily listened to all the concerts and got used to music. For me, there was never a question “who to be”: I always knew that I was a musician, and that was all. I remember my first performance. I was three and a half years old. I sang the song in front of a full audience and at the same time did not worry at all. I calmly left, sang everything, did not forget the words. The audience gave a standing ovation, and they gave me the first flowers in my life. Some guy who seemed huge to me came out and presented roses. This performance made a strong impression on me.

My parents raised me in complete freedom. I tried all the instruments, everything I want: I did ballroom dancing, went to the pool, to some clubs that I chose for myself. I've always had a lot to do. Naturally, I myself wanted to study at a music school. I dropped out of school many times, then started something new again, but I never parted with music. At first I studied piano, then violin, then I studied at a choir school, then I wanted something different, and I came to the saxophone.

From Zheleznogorsk, Kursk region, where I was born and where my mother still lives, I went to study in Oryol, because there, at the music school, there was a very good teacher, to whom I am very grateful. He worked with me a lot, instilled in the concept of sound. It so happened that when I started playing the trombone, I forgot about the saxophone for a while. And two years ago, my husband gave me a new gorgeous soprano saxophone for my birthday. I had no choice but to pick it up and start playing again. It turned out that I remember everything - so much was it deposited in my memory, in my sensations. I realized that I needed to continue doing this. I like this sound, namely the soprano saxophone.

- When did the trombone appear?

- It so happened that I studied the classical saxophone in Oryol, but still strived for jazz. Therefore, I came to Moscow to audition for the State College of Jazz Music. The teacher liked everything, but I was told the unpleasant news: "We would like to take you, but we no longer have places." I was upset, I had already folded the saxophone, and then Sergei Konstantinovich Ryazantsev, the head of the department, said to me: "Alevtina, have you ever played the trombone?" I answer: "Well, so, I dabbled, tried it somehow." And he told me: “If you dabbled, maybe you would like to enter our trombone? You already have a saxophone - there will be another trombone. " They gave me a month to think, but I thought for only three days and realized that I wanted to try the trombone. And I agreed. A month before admission, I took a trombone and began to practice. Four or five more trombonists entered with me, and as a result I entered one of all.

- Your creative union with Makar Novikov is a family one at the same time. How do you manage to combine creativity and family life?

- In a creative union, the most important thing is to give freedom to each other and listen to the opinion of your partner. As they say, one head is good, but two are even better. This is very good for a project like ours, it helps to take a broader view of things, gives new impulses. In jazz, like nowhere else, dialogue is very important, musicians constantly interact, complement each other. We met Makar when we were in college, I'm in my first year, he's in his fourth. Then we studied together at the Gnessin Academy. Makar Novikov is one of the best musicians in Russia, and for me he is the best. From the first days of our acquaintance, it became clear to us that we understand each other both in music and in life. For me, he is the closest person. I have never met a more decent person. He is very attentive and understanding, doing everything to make me feel good. We are constantly working on our project, we are constantly talking about it, this is our life. Even at home, we stay immersed in music because we have many different ideas. You can't come home and forget about it. I manage the housework, but due to the fact that I am the only one promoting our group, it is not always possible to clean up or cook something on time.

- Does a husband never feel unhappy with a mess or a lack of food?

- No, actually I cook delicious. But often, when I put food on the stove and sit down to study, I forget about it, and it burns. You have to throw it away and cook again. The second time it usually works.

- What is your character?

- I am very emotional and impatient. Very addicting. Purposeful, but I also have periods of calm, apparently to replenish energy reserves. My closest friend is my mother. We have the most trusting relationship. We talk to her very often. I ask her for advice. I make the decision myself. I don't believe in female friendship, but prefer to be friends with men. To my close friends (I have a few of them), I can open up, consult with them. I think that's enough. My husband and I balance each other. Makar is calmer, more cold-blooded thinking, and I am a seething nature. I realized that I am like that, and I can't change. And I don’t want to.

- What does it mean to be a woman in jazz? After all, instrumental jazz has always been considered a male occupation.

- It is very exciting, even if it is not yet completely familiar for our country. And although I do not distinguish between female and male music, I still think that now the “age of women” has come, the fair sex began to realize themselves in completely different “non-female” professions. In general, jazz is unique music! Just imagine that we - jazzmen - do not memorize our improvisations, we compose them on stage at the time of performance, depending on what we want to tell through music. And each time it is a new improvisation, a new story that will never be repeated! In this there is a mystery, and interest, and passion!

- How to stay feminine, owning, in fact, a masculine profession?

- Remember your feminine essence, love yourself and look after yourself in all respects. Whether we like it or not, we are still women, regardless of the fact that we play the trombone, fly into space, operate a crane or the state. Do not forget this, my dears, this is a great gift!

- How do you manage to lead men, and even in jazz?

- I would not say that I am in charge of them. We are like-minded people. I have found people who love what I do, and I am very happy about it. Men take care of me, and I, in turn, take care of them.