Large jazz orchestra conducted by P. Vostokova. Large jazz orchestra conducted by P. Vostokov. Program "Christmas evening with the Big Jazz Orchestra". Reviews from concerts

To be honest, the author of these lines was very sorry that for various reasons he did not get to record the album Big Jazz Orchestra, which took place on April 12 of this year in one of the best recording studios in the Russian capital - the Tone Studio of the Mosfilm concern. Big band leader, trumpet player Peter Vostokov, specially invited listeners to the vast space of the Tone Studio, as he wanted to create the effect of a concert recording on the album. It would be interesting to see how this all happened, and subsequently to compare what was heard in the studio with what was ultimately included in the album, to determine which duplicate recordings were chosen for editing the final version of the record, whether there was any editing and, in general, how technologically the recording process was arranged... After all, it’s not every day that albums by jazz orchestras are recorded in Moscow. Moreover, the “biggest and most jazzy” one, created more than five years ago by vocalist Daria Antonova and trumpeter Pyotr Vostokov as a repertory orchestra performing historically accurate versions of the best examples of big band jazz from past decades.

Why, this is actually the first BDO album in all the years of his regular performances at jazz festivals in Russia and at Moscow concert and club venues!

But now the album is out. On August 26, its presentation took place at the Esse club, where the orchestra is based. That's what the album is called - "Big Jazz Orchestra conducted by Peter Vostokov". Thirteen tracks on which 14 pieces from jazz classics are recorded - two of them, vocal numbers from the repertoire of the Duke Ellington Orchestra, are performed non-stop and are on one track. And although the album has so far been released without a label, under the copyright of the orchestra itself and in a somewhat amateur design, it is nevertheless clearly intended to be perceived as a finished product.

So I decided it might be worth analyzing the record as a finished product. Go from the feelings of the listener, not the insider specialist. The listener, too, was not in the studio - and should not think about how many takes of each track were played, whether different takes were subsequently edited, whether any edits were made (which is quite possible to do using modern computer editing). The listener hears the finished product. So we'll listen to the finished product.

The first impression, which grows stronger from track to track and is especially excitingly manifested in the penultimate - a monumental canvas on the themes “ Blues in the Night» Harold Arlen and Johnny Mercer: wide dynamic range, that is, a clearly felt difference between quiet and loud sounds. Sound engineers Andrey Levin And Maria Soboleva managed to avoid the temptation to fashionably compress the sound to death in order to achieve an unnaturally even volume level and artificial clarity in relatively quiet episodes. On this recording, what is played quietly sounds quiet, but intelligible; but what is played loudly is reproduced loudly and legibly! The disc sounds very close to the samples classic analog stereo the late 50s, when sound engineers relied on the natural compression of the volume of the recording studio - and when this volume was generally the decisive factor in the sound of the recording.
NEXT: continuation of the review

For example, we still recognize by ear the breathtakingly expressive, convex sound of the volume of the CBS studio in the former Armenian church on 30th Street in Manhattan, conveyed by the records of the record company Columbia era, and clearly distinguish it from the dense, violin-like resonance of the wooden walls of Rudy Van Gelder's New Jersey studio from the label's discs Blue Note. In the 70s, when the formation of sound through electronic processing (frequency correction, compression, artificial reverberation) prevailed in sound recording, record companies, blinded by new technologies, decided that large studios with natural compression and the room’s unique reverberation were no longer needed. So, among others, the CBS studio on 30th Street was demolished in 1981... and already in the 90s, sound engineers were biting their elbows from the inability to repeat its magical sound in modern recordings.

But in Moscow there is still Tone studio "Mosfilm"- and, by the way, a few more old premises that sound good in the recording: say, the famous Fifth Studio of the Recording House on Malaya Nikitskaya. The Mosfilm tone hall sounds very expressive. And this sound is carefully conveyed in the recording - which places the album of the Big Jazz Orchestra in a certain associative series, corresponding to their aesthetics of historical accuracy of the material with the undoubted modernity of the game. We hear a sound that is reminiscent of the classic orchestral recordings of the golden age of world jazz, but at the same time does not imitate them verbatim. This feeling is worth a lot.

When selecting material for recording, the temptation was clearly overcome to present all the orchestra's numerous thematic programs equally - especially since this would hardly have been possible: over more than five years the orchestra prepared many programs, with repertoire from the pre-swing 1920s (Paul Whiteman , early Fletcher Henderson, etc.) to the post-swing, post-bop 1960s and even 70s (say, a whole program of big band arrangements of rock hits that the leading orchestras of the time played in the 1970s trying to reach a new youth audience). As a result, the album included a kind of “ Greatest Hits» BDO: numbers associated with the swing era of the 1930s - early 1940s, which they most often play on concert and festival stages. In this series there is some from Ellington's repertoire, some from Jimmy Lunsford, whom the orchestra plays quite often, and some from other swing orchestras. These are partly historical printed arrangements, partly transcriptions of historical recordings performed by the orchestra's trombonist Anton Gimazetdinov. Only Ellington's I Got It Bad"sounds in a modern arrangement, but it was also written by a major specialist in historical jazz styles - David Berger, which in the late 80s and first half of the 90s provided a solid basis for authentic performance in the field of orchestral jazz for the Wynton Marsalis Orchestra at Lincoln Center.

BDO has all this material well-produced, in demand by the public, and in the form of a CD it will obviously sell well at concerts - and, apparently, this is precisely what the album edition was printed for. Moreover, on the recording the orchestra is in excellent shape, and its soloists on the album invariably play on a thin, exciting line between modern thinking, today's individual sound of each soloist and the historical authenticity of the sound of the entire orchestra - it is no secret that the manner of playing, sound production and, Moreover, the actual language of instrumental improvisation has changed radically many times over the 50, 70, 90 years that separate us from the heyday of certain directions of orchestral jazz.

I would especially like to focus on the vocals. The BDO knows very well that “the most popular jazz musicians are vocalists,” and the initiator of the creation of the orchestra was its soloist Daria Antonova. But, although she sings a lot and great on this album, we hear other vocalists: there is the impressive low baritone of the trumpeter Pavel Ivanov V " You Let Me Down", and the "characteristic" vocals of the saxophonist Andrey Krasilnikov in Lunsford's I'm Nuts About Screwy Music", and the "sweet" vocal trio in " Ain‘t She Sweet", and even... choral singing of the entire orchestra in " Blues in the Night" Stands somewhat apart " Tain't What You Do (It's The Way That Cha Do It)", which Cy Oliver and Trummy Young wrote in 1939 for the Lunsford Orchestra. In this piece, which concludes the album, the orchestra leader himself, Pyotr Vostokov, sings. Although, frankly speaking, he is not a professional vocalist at all, in his performance the simple lyrics of the swing hit sound sincere and lively - simply because he sings it, as they say, with his heart.

It is interesting that at the presentation of the album on August 26, the orchestra, of course, played some part of this material - popular pieces that regular BDO listeners are accustomed to and which are easily perceived by newcomers; but the entire second half of the concert consisted of completely different material. In this part of the concert, a suite of three pieces by trumpeter Dizzy Gillespie sparkled like a diamond, sounded in the late 40s in his epochal but short-lived big band, which boldly combined the orchestral power of the swing era, the improvisational achievements of bebop and the new rhythms of Afro-Latin and, in in particular, of Afro-Cuban origin: to emphasize this rhythm, Dizzy then took Cuban percussionist Chano Pozo into the orchestra, and Pyotr Vostokov invited a percussionist Artur Gazarov. What was especially memorable in this suite was the performance of the orchestra leader. It’s not easy to play Gillespie’s material after Gillespie, in Gillespie’s manner, but at the same time remain yourself and at the same time, as they say, not jump over your head: Dizzy’s playing is one of the pinnacles of the art of jazz trumpet, there is no point in imitating him or trying to outplay him . You can pump more loud notes into the atmosphere per unit of time, but you can't outplay Dizzy; Vostokov does not strive for this - we listen to Gillespie's music, but we hear Vostokov.

And this seems to me the most important thing in relation to the entire work of the Big Jazz Orchestra. This is not a “live tape recorder”, not an attempt to reproduce note for note what the stars of bygone eras played 50, 70, 90 years ago. What the Moscow musicians, united around Peter Vostokov, are doing is turning to the textbook classics of jazz, with unconditional respect for the authenticity of historical styles, but not by literal reproduction, but rather by living historical material in the context of today. It's not 1937, it's not 1947, it's not even 1957; and we hear that the orchestra is not trying to pretend that it was playing 60, 70 or 80 years ago. They play in 2017 - but at the same time they do not try to impose a modern sound on historical material, but with sincere penetration into the spirit and letter of the classics they allow the listener to feel the aroma and drive of a bygone era. Without leaving today - and this is very important.

And now about the sad thing. For now, this disc can only be purchased at concerts of the Big Jazz Orchestra or at the Moscow jazz club “Esse”. Will it have some kind of wider distribution? For now, apparently, this is an open question.
VIDEO: The Big Jazz Orchestra conducted by Peter Vostokov performs “You Let Me Down” (vocals: Pavel Ivanov) at the celebration of its fifth anniversary in the Theater Hall of the Moscow House of Music 10/01/2015.

Moscow trumpeter and band leader of the Big Jazz Orchestra Pyotr Vostokov will present the program “Jazz in Butterflies” at the Central House of Artists. In an interview with JazzPeople, Peter did not reveal all the secrets of managing an orchestra, but he was happy to talk about it as a single musical organism and shared why swing captured his heart and soul 6 years ago.

– Peter, one of the distinctive features of the Big Jazz Orchestra is the use of old instruments. Tell us more about them. And how does their “age” affect the sound of a big band?

– Since we are engaged in the restoration of quite ancient, but quite youthful music, the first thing we are concerned with is its correct sound. We are talking about a non-standard, by modern standards, drum kit. It is based on a real big drum (BB) of quite impressive size. Its presence is very important to ensure the correct balance between the bass and the rest of the orchestra. BB completely duplicates the double bass part (which makes it possible not to overhear the latter) and the part of the pianist’s left hand. These are also cymbals of various purposes and sizes, wood and tempo blocks, all sorts of percussion and noise tramps, which have long gone out of use in a standard big band.

Another example is the rhythm guitar, which would never sound right on a modern instrument. This led us to purchase a real "can" from the 1950s-60s. As for wind instruments, the choice of instrument is a personal matter for the musicians, their convenience and the search for a sound that suits them. Few people risk resorting to something authentic, although I myself play a 1924 Martin Handcraft and am quite satisfied with this instrument. The important part is the sound of the brass, it is the use of the correct times for our music mutes.

swing is one of the highest achievements in the culture of the 20th century

– You created BDO together with jazz singer Daria Antonova in 2010. Why did you choose the era of swing and the jazz gold rush?

– In fact, we play quite different music – from sweet jazz of the 20s to rock music of the 70s. But our heart belongs precisely to the era of big orchestras of the 30s and 40s. Since I began to get involved in orchestral jazz and led an orchestra myself, I have become personally convinced that this particular music has artistic qualities. It is one of the highest achievements in the culture of the last century.

This is due to so many things: a truly golden repertoire, a way of writing for orchestra that has never been seen before or since. Incredible, I would even say inaccessible performance of the people who created and once recorded it with such genuine enthusiasm on records, extreme accessibility and, of course, the influence that it had on everything that came after. All this makes me personally continue to keep this music alive every day by performing it in concerts. Our director and permanent vocalist Daria Antonova completely shares the orchestra’s repertoire policy with me.

– Your programs are dedicated to the famous jazz classics of the last century. Does this mean that these musicians are your inspirations to whom you pay tribute?

– Of course, everything we do is my biggest inspiration in music. Otherwise we wouldn't be making so much effort. The choice of programs is usually determined by some anniversary dates, or commercial moves. For example, we play Ellington’s Nutcracker at the Moscow Conservatory, and Base’s James Bond in the Kremlin. There is nothing unusual here.

– What rules do you, as a band leader, follow so that the band remains well-coordinated on stage and does not lose mutual understanding outside of it?

“Everyone here has their own secrets.” Mine is to pay musicians money (Laughs).

Interviewed by Victoria Mall
Photos courtesy of interview guest Peter Vostokov

The Bel Canto Foundation organizes concerts in Moscow, in which the Great Jazz Orchestra of Peter Vostokov participates. On this page you can see a poster of upcoming concerts in 2020 with the participation of the Peter Vostokov Big Jazz Orchestra and buy a ticket for a date convenient for you.

The golden jazz rush, the time of swing and kilometer-long queues in dance halls - this is the atmosphere that the Big Jazz Orchestra resurrects at its concerts. Recreating the authentic sound of the music of that time, using original scores and old instruments, the orchestra presents its listeners with unique programs dedicated to the “outstanding giants” of orchestral jazz from completely different eras and directions: from the sweet jazz of the 20s of Paul Whiteman to the rock of the end Buddy Rich's 60s, from entertaining dance swing to serious large-form compositions - Duke Ellington's suites, from the classic mambo of Tito Puente and Perez Prado to jazz interpretations of the music of the Beatles.

The Big Jazz Orchestra includes young talents - like-minded people in music, students and graduates of leading music universities in Russia, soloists of leading jazz big bands in Moscow, laureates of numerous jazz competitions and festivals. The creators of the orchestra are jazz singer Daria Antonova and famous trumpeter Pyotr Vostokov.

The orchestra made its debut in October 2010 on the stage of the Central House of Journalists in Moscow. And already in April 2011 he received the Grand Prix at the international competition of young performers “Usadba-Jazz”. In the same year he became a laureate of the first international jazz festival of young performers “Gnesin-Jazz”. From 2012 to the present, the orchestra has been a resident of the legendary jazz club “Esse” and a regular guest at various Russian and international jazz festivals (“Jazz in the Hermitage Garden”, “Russian Stars of World Jazz”, “Koktebel Jazz Party”, “Jazz- May", "Jazz Parking Festival"), performs in the most prestigious halls of the capital, including the Moscow Conservatory, the International House of Music, and the State Kremlin Palace.

The Big Jazz Orchestra actively tours throughout Russia and abroad.

Poster for concerts of the Big Jazz Orchestra of Peter Vostokov

Reviews from concerts

It was with great pleasure that I visited the Cathedral on Christmas Eve for the Nutcracker gala concert. Tchaikovsky’s magical music in amazingly beautiful arrangements for organ and jazz orchestra completely immersed me in the world of childhood fairy tales. I would especially like to mention this wonderful Big Jazz Orchestra of Peter Vostokov - its musicians simply work wonders! The very atmosphere of the sacred space of the Cathedral further enhanced the magical effect of the Christmas mood!

Ekaterina Bobrievich

Attended the Classics and Jazz concert. Organ-orchestra. I really enjoyed the music, the festive atmosphere, and the light installation! The music of Pyotr Ilyich Tchaikovsky sounds extraordinary, both in classical performance and in the performance of organ and jazz orchestra. Thanks to the Bel Canto Foundation for organizing such unforgettable concerts.

Biographical information: Peter Vostokov born and raised in Moscow. In 2009 he graduated from the Russian Academy of Music. Gnesins. Graduate of the Russian-American educational project “Open World-2006”, participant of the “Lionel Hampton International Jazz Festival” in the United States. Laureate of Do#J 2007 and “New Generation” 2010. Vostokov was a member of many metropolitan jazz groups, including the Igor Butman Big Band and the Chamber Orchestra named after. Oleg Lundstrem. He played with Anatoly Kroll's "Akademik-Band", in Alexey Kozlov's "Arsenal", with the ensembles of Vagif Sadikhov, Ivan Farmakovsky and Viktor Eponeshnikov. Today, Peter Vostokov teaches trumpet class at the Academy. Gnesins at the pop-jazz department.

Big Jazz Orchestra under the direction of Peter Vostokov

Concerts of the Big Jazz Orchestra of Peter Vostokov resurrect the golden era of jazz fever, returning to the times of swing and crowded dance clubs. This was made possible through the use of original scores of the time, retro instruments that recreate the authentic sound. The orchestra's programs are dedicated to the “giants” of jazz: Jimmy Lunsford, Dizzy Gillespie, Duke Ellington and others. Music that sounded 40, 50 and even 70 years ago comes to life in the hands of young jazzmen; it is no longer “mothballs”, but retro, requiring the right approach to be fully revealed.

Peter Vostokov himself says that his orchestra was created to support the beloved music of the 20-40s of the last century, its traditions. Numerous scores and recordings help fully reveal the mood of that era. He calls the Lunsford Orchestra one of the brightest and most significant groups of the swing period, whose name began to be forgotten over time. That is why one of the concert programs is dedicated specifically to him, his innovations: solo electric guitar, playing the trumpet in an extremely high register, performing various tricks on stage. Lunsford's music is distinguished by incredible energy, danceability and accessibility, and thanks to the Big Jazz Orchestra it continues to live and be heard on concert stages.

The composition of the Big Jazz Orchestra is unique; it includes young talents, students and graduates of the most famous Russian music universities, soloists of jazz bands, laureates of festivals and competitions.

• Founders and directors: Petr Vostokov (musical director, trumpet), Daria Antonova (director, vocals).
• Saxophone, clarinet: Roman Sekachev, Andrey Krasilnikov, Ivan Baryshnikov, Alexander Yazykov, Sergey Baulin.
• Rhythm section: keyboards by Andrey Zimovets, double bass by Nikolai Zatolochny, drums and vocals by Egor Kryukovsky, guitar by Maxim Shibin.
• Trumpet: Sergey Ponomarev, Pavel Suyazov, Pavel Ivanov.
• Trombone: Sergei Serov, Sergei and Anton Gimazetdinov.

The orchestra's debut took place in 2010 on the stage of the capital's House of Journalists. Already at the end of the same year, the group played at the celebration of the 13th anniversary of Jazz.RU, and six months later won the Grand Prix of Usadba Jazz and became a laureate of Gnesin-Jazz. 2012 became a very busy year, the young band took part in three of the largest festivals in Russia: “Jazz in the Hermitage Garden” (August), “Russian Stars of World Jazz” (November) and April “All the Colors of Moscow Jazz”. Today the Big Jazz Orchestra can be heard far beyond Moscow; the group actively tours and conducts active festival activities.

The orchestra's directors are constantly searching for original scores, collaborating with museums, publishers and institutions, and transcribing gramophone recordings. The team strives to bring music to listeners in the version in which it was intended, with the same vibrations, sound balance, touches, which can only be done on original ancient instruments.

Five years of the Big Jazz Orchestra. How did it all start? Why did you, being a very popular young musician who played in the most famous jazz bands, decide to create your own orchestra? This is a large-scale enterprise, the benefits of which are doubtful, but the difficulties are close and obvious.

By the time the orchestra was organized, I had graduated from the Gnesin special school, worked for Igor Butman and the Lundstrem Orchestra. But I wanted to create something of my own and play exactly the music that I like. There was an idea to gather in one group my friends, musicians of the same age, scattered in a variety of places and groups. So the Big Jazz Orchestra appeared, among other things, to play “with its crowd.”

- How old were you when you organized yourself?

- Wasn’t it scary to set out on your own, or did you have no idea how it would turn out in the end?

We had no idea. Initially it was just an idea. It wasn’t even my idea, but our singer, Daria Antonova’s. We tried to gather friends, like-minded people, had a good time, was productive, and made a program. After the first concert, it became obvious that we had to continue further! That's why we started playing every month at the Central House of Journalists. The first year all concerts took place only there.

- How did you get to Domzhur? Someone called you or you just came and said: we’re so cool, we want to give a concert with you...

Before appearing at the House of Journalists, we performed at the photo center on Gogolevsky Boulevard. Not only as musicians, but also as organizers. Afterwards, some difficulties arose with the premises, and the director of this center personally took us to the director of Domzhur, introduced us, and we moved there. We got a fairly large stage and hall, and decided to take advantage of our good fortune to organize a real jazz orchestra. In fact, we started everything together with our soloist Dasha Antonova - we prepared concerts, invited groups and performed ourselves, we had a quartet with baritone saxophonist Roman Sekachev. Without this site, which became our rehearsal base for a long time, we probably would not have gotten off the ground very soon. Or never at all. But we're lucky!

- It's clear. Well, now about the most important thing, that is, about the music. Your most favorite music belongs to the era of the 20-40s of the last century, the “Golden Era of Jazz”. Is it mostly swing?

Not only swing. I like a wide variety of music from this time. We try to play not only swing, hot music, but also “sweet” music, we do programs of Afro-Cuban music dating back to the 40-50s. By and large, the orchestra's repertoire is compiled according to my tastes.

- That is, your tastes change, and your repertoire also changes?

Yes. You can say so... Now a certain policy has developed for our orchestra. Initially, we only tried what I liked and wanted it to sound like. Now everything is a little different... We are systematically engaged in restoring music. In its correct meaning and sound.

- How do you know what it should be? What sources do you use? Sheet music, video, something else?

We take it from completely different sources... The music is quite beloved by the public, so many people play it, but most often they do not take the performance very seriously. And as a result, it doesn't sound the way it should. There are a lot of subtleties that we have devoted a lot of time to and continue to study them...

- Study authentic performance?

Yes. The point is not, as many people believe, that we copy some records. No. The point is to understand the source material, to achieve the original sound of a swing orchestra. But it does not coincide with modern understanding! There are rules of chamber music that we try to follow, rules of live music playing. We sit down and play at such a volume that everyone can hear everything - both the musicians and the audience. It is important to create the sound of a live band. This determines a lot. That is, not just everyone plays forte, piano, and so on.... There are rules for acoustic music. There are touch points. Other articulations.

- And you want your musicians to adhere to the style of performance that was at the time this music was created?

It’s just that what we play won’t sound good any other way. Many people think that there is no need to copy the old version if everything is on the recordings. I disagree. I believe this is true classical music of our time.

- Do you mean the jazz that was played in the 20-40s?

Certainly. This is such a classic and needs to be performed correctly. Because jazz music is more than worthy of it.

- Which ones? Give an example, please... The most beloved, the most inspiring.

Our orchestra tries primarily to play the music of the Jimmy Lunceford Orchestra. This is my favorite “black” orchestra. Another source of inspiration is the “white” Boyd Raeburn Orchestra. Unfortunately, it is little known, but this is absolutely amazing music! And we are very glad that we are playing it according to the original notes. We made a separate program with Boyd Raeburn's compositions and now use individual numbers in our main program.

- Where do you get the original notes from??

In the case of Boyd Raeburn, the painted sheet music, their parts, with manual edits exist in an American university library and, in principle, are available. And we started playing music, for example, by Jimmy Lunsford, by looking for notes that were published at that time or taken from an old recording. But after some time we realized that the notes were taken incorrectly. And they began to take them off themselves. This is mainly what Anton Gimazetdinov is doing now. A lot of the old music we play is filmed and done entirely by us, and no one else can play the same thing. We are proud of this and such compositions form the basis of our repertoire. I wouldn't want to play what everyone else is playing. And for someone else to play our music.

- That is, originality, uniqueness is the main meaning?

I just think that every group has its own repertoire, this is normal. Even if it consists of someone else's music. Because this music is worthy of being played today. We do this, get great pleasure and start making good money from it. More than Boyd Raeburn, at least.

- In five years, have you reached self-sufficiency?

Yes. For the first 2-3 years, a lot of money and effort were invested, the guys played with full enthusiasm and, naturally, many problems arose because of this. Now, for the last couple of years, everything is happening as it should be. In principle, everything is fine with us and the most important thing is that everything is going uphill. I want this to be a collective that brings income to the musicians, so that the performers are more attached to the Orchestra both from the musical and simply from the human side... So that this is their main job.

- So for you, leading the Orchestra is the only thing that absorbs your time and energy?

No, I still do a lot of things... But all my emotions, all my mental strength

dedicated specifically to the orchestra. I get up in the morning and think about what will happen tomorrow, the day after tomorrow, and every day. In my opinion, since the day of the first concert there has not been a single day in my life when I did not spend several hours on these thoughts. Seriously. For me, the Big Jazz Orchestra has long been the main job in my life... That's why I'm happy.

February 3, 2019 for the first time in its history Big Jazz Orchestra p/u trumpeter Petra Vostokova will perform at Great Hall of the Moscow State Conservatory. Pyotr Tchaikovsky with the program “From the New World”.

So - "From the New World"- was the name of Symphony No. 9, which the Czech composer wrote in 1893 based on material from several years of work in the USA Antonin Dvorak (Antonin Dvořák, 1841-1904). It was Dvorak who was the first of the major figures in world musical art to prophetically realize the artistic potential of African-American music - music that in the next century permeated the musical art of the whole world with its influences and, in particular, gave birth to the art of jazz.

Dvorak, in particular, wrote:

In the Negro melodies of America I find everything necessary for the creation of a great and noble school of music. They are plaintive, tender, passionate, melancholic, solemn, religious, brave, cheerful, joyful - whatever... The American musician understands these melodies, and they awaken feelings in him...

The concert program includes new musical art of the 20th century from the American continent, born at the intersection of “white” and “black” traditions, European classics and African-American rhythms: “ Rhapsody in Blue"("Rhapsody in Blue") George Gershwin in the rarely performed original 1924 version, Duke Ellington's series of "railroad" miniatures from the 1930s. (" Track 360», « Daybreak Express», « Happy Go-Lucky Local»…), « Ebony Concerto"("Ebony Concert") Igor Stravinsky, which the great Russian composer wrote in 1945 for a jazz orchestra Woody Herman, as well as themes from West Side Story Leonard Bernstein (« West Side Story", 1957) and jazz versions of Russian classic melodies.

The host of the concert is the editor-in-chief of Jazz.Ru Kirill Moshkov about the orchestra:

The Big Jazz Orchestra is an association of young musicians of a high level of skill, graduates of the Russian Academy of Music. Gnessins, who trained in American and European jazz colleges. Led by the outstanding Russian jazz trumpeter Pyotr Vostokov, the orchestra explores the original sounds of historical scores of the greatest jazz big bands, restoring the authentic sound of the 1920s - 1960s in all its vibrant diversity, in full accordance with the era and style, but not as museum pieces , but as a living, fascinating sound fabric that is still relevant today.

Concert in two parts of 50 minutes each with intermission.

February 3, Sunday, 19:00: Great Hall of the Conservatory. P.I. Tchaikovsky - Bolshaya Nikitskaya st., 13/6 (metro station named after Lenin Library / Okhotny Ryad). Tickets online (300 ₽ - 2800 ₽)

VIDEO: Peter Vostokov's Big Jazz Orchestra performs the original 1924 version of George Gershwin's "Rhapsody in Blue"
Small Hall of the Moscow State Conservatory named after. P.I. Tchaikovsky October 2, 2018. Piano part: Valery Grokhovsky.