Mikhail Semyonovich Chernov, also known as Uncle Misha(January 26, 1941, Leningrad) - famous musician, jazz saxophonist, member of many musical groups and projects. Former member of the group "DDT".
Biography
EggTop.TV: Interview - Mikhail Chernov (Uncle Misha - DDT) at the festival "20 years without cinema" EggTop.com - the first online producer Promotion of Artists to festivals,...
Mikhail Semyonovich Chernov was born on January 26, 1941 in Leningrad, on Ligovka. During the blockade, his family was evacuated, and his father died at the front. During my school years I was involved in boxing.
In 1959 he began studying music at the Leningrad Technical School of Railway Transport. Plays guitar. During the same years, he mastered the clarinet and alto saxophone. Participates in student amateur activities.
In 1962-1967 he served in a military band. During his service, he created a jazz group and performed at army amateur festivals. At the same time, he met the famous jazzmen Alexey Kuznetsov and Alexey Kozlov, who later became famous. In 1967 he was demobilized, after which he played clarinet, saxophone and flute in the Odessa Jazz Orchestra of Evgeniy Bolotinsky until 1970.
In 1974, Mikhail Chernov returned to Leningrad. In the same year he entered the music school named after. N.A. Rimsky-Korsakov to the pop department in the class of saxophone and flute. He studies with the famous jazz saxophonist Gennady Golshtein. While studying, Mikhail Chernov plays in the ensembles of David Goloshchekin, Valery Mysovsky, in the Joseph Weinstein Orchestra, and participates in the annual Autumn Rhythms festival.
In 1978 he graduated from the College. N.A. Rimsky-Korsakov with honors diploma. Then he entered the Leningrad Conservatory in the correspondence department. Begins teaching activity.
In 1979, Mikhail Chernov, as part of Oleg Lundstrem's orchestra, participated in the cultural program of the Moscow Olympic Games.
In 1981-1985, Mikhail Chernov led the ensemble accompanying the vocal group of the Kvadrat jazz club. Together with this ensemble, he becomes a laureate of jazz festivals in Arkhangelsk and Baku.
In 1983 he graduated from the Leningrad State Conservatory. Then he became the director of the dance orchestra at the Palace of Culture. Lensovet.
(1941-01-26 ) (79 years old)1959 - present time
USSR USSR
Russia, Russia
Uncle Misha
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Notes
Links
- - official website of the DDT group
- // Portal Jazz.ru
- on rock-n-roll.ru
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Excerpt characterizing Chernov, Mikhail Semenovich
“And how can they not only laugh, but live here?” thought Rostov, still hearing this smell of a dead body, which he had picked up in the soldier’s hospital, and still seeing around him these envious glances that followed him from both sides, and the face of this young soldier with his eyes rolled up.Denisov, covering his head with a blanket, slept in bed, despite the fact that it was 12 o'clock in the afternoon.
“Ah, G”ostov? “It’s great, it’s great,” he shouted in the same voice as he used to do in the regiment; but Rostov noticed with sadness how, behind this habitual swagger and liveliness, some new bad, hidden feeling was peeking through. in facial expression, intonation and words of Denisov.
His wound, despite its insignificance, still had not healed, although six weeks had already passed since he was wounded. His face had the same pale swelling that was on all hospital faces. But this was not what struck Rostov; he was struck by the fact that Denisov seemed not to be happy with him and smiled at him unnaturally. Denisov did not ask about the regiment or the general course of the matter. When Rostov talked about this, Denisov did not listen.
Rostov even noticed that Denisov was unpleasant when he was reminded of the regiment and, in general, of that other, free life that was going on outside the hospital. He seemed to be trying to forget that former life and was only interested in his business with the supply officials. When Rostov asked what the situation was, he immediately took out from under his pillow the paper he had received from the commission and his rough answer to it. He perked up, starting to read his paper and especially let Rostov notice the barbs that he said to his enemies in this paper. Denisov’s hospital comrades, who had surrounded Rostov—a person newly arrived from the free world—began to disperse little by little as soon as Denisov began to read his paper. From their faces, Rostov realized that all these gentlemen had already heard this whole story, which had become boring to them, more than once. Only the neighbor on the bed, a fat lancer, sat on his bunk, frowning gloomily and smoking a pipe, and little Tushin, without an arm, continued to listen, shaking his head disapprovingly. In the middle of reading, the Ulan interrupted Denisov.
“But for me,” he said, turning to Rostov, “we just need to ask the sovereign for mercy.” Now, they say, the rewards will be great, and they will surely forgive...
- I have to ask the sovereign! - Denisov said in a voice to which he wanted to give the same energy and ardor, but which sounded useless irritability. - About what? If I were a robber, I would ask for mercy, otherwise I’m being judged for bringing robbers to light. Let them judge, I’m not afraid of anyone: I honestly served the Tsar and the Fatherland and did not steal! And demote me, and... Listen, I write to them directly, so I write: “if I were an embezzler...
“It’s cleverly written, to be sure,” said Tushin. But that’s not the point, Vasily Dmitrich,” he also turned to Rostov, “you have to submit, but Vasily Dmitrich doesn’t want to.” After all, the auditor told you that your business is bad.
“Well, let it be bad,” Denisov said. “The auditor wrote you a request,” Tushin continued, “and you need to sign it and send it with them.” They have it right (he pointed to Rostov) and they have a hand in the headquarters. You won't find a better case.
“But I said that I wouldn’t be mean,” Denisov interrupted and again continued reading his paper.
Rostov did not dare to persuade Denisov, although he instinctively felt that the path proposed by Tushin and other officers was the most correct, and although he would consider himself happy if he could help Denisov: he knew the inflexibility of Denisov’s will and his true ardor.
When the reading of Denisov’s poisonous papers, which lasted more than an hour, ended, Rostov said nothing, and in the saddest mood, in the company of Denisov’s hospital comrades again gathered around him, he spent the rest of the day talking about what he knew and listening to the stories of others . Denisov remained gloomily silent throughout the entire evening.
Late in the evening Rostov was getting ready to leave and asked Denisov if there would be any instructions?
25.01.2018
Uncle Misha
Chernov Mikhail Semenovich
Russian Musician
Jazz Saxophonist
Mikhail Chernov was born on January 26, 1941 in St. Petersburg. During the blockade, his family was evacuated, and his father died at the front. During my school years I was involved in boxing.
In 1959 he began studying music at the Leningrad Technical School of Railway Transport. Plays guitar. During the same years, he mastered the clarinet and alto saxophone. Participates in student amateur activities.
In 1962-1967 he served in a military band. During his service, he created a jazz band and performed at army amateur festivals. At the same time, he met the famous jazzmen Alexey Kuznetsov and Alexey Kozlov, who later became famous. In 1967 he was demobilized, after which he played clarinet, saxophone and flute in the Odessa Jazz Orchestra of Evgeniy Bolotinsky until 1970.
In 1974, Mikhail Chernov returned to Leningrad. In the same year he entered the music school named after N.A. Rimsky-Korsakov in the pop department, saxophone and flute class. He studies with the famous jazz saxophonist Gennady Golshtein. During his studies, Mikhail Chernov plays in the ensembles of David Goloshchekin, Valery Mysovsky, in the orchestra of Joseph Weinstein, and participates in the annual festival “Autumn Rhythms”.
In 1978 he graduated from the N.A. Rimsky-Korsakov College with honors. Then he entered the Leningrad Conservatory in the correspondence department. Begins teaching activity.
In 1979, Mikhail Chernov, as part of Oleg Lundstrem's orchestra, participated in the cultural program of the Moscow Olympic Games.
In 1981-1985, Mikhail Chernov led the ensemble accompanying the vocal group of the Kvadrat jazz club. Together with this ensemble, he becomes a laureate of jazz festivals in Arkhangelsk and Baku.
In 1983 he graduated from the Leningrad State Conservatory. Then he became the director of the dance orchestra at the Lensovet Palace of Culture.
Since 1984, Mikhail Chernov has been participating in recording albums with St. Petersburg rock groups “Aquarium”, “Zoo”, “Alice”, “Myths”, “DDT” and others.
From 1988 to 2010 he was a member of DDT, where he plays the saxophone and flute. Author of symphonic arrangements of songs. In his free time from DDT, he plays in Ildar Kazakhanov’s group “Old Carthage”. In 2010 he left the DDT group.
Uncle Misha (Mikhail Chernov) has not played DDT since last year. This legendary saxophonist now works in small clubs and cafes, his repertoire is “parlor jazz”, and he remembers stadiums and roaring fans with nostalgia.
The 70-year-old musician holds no grudge against Yuri Shevchuk for his “resignation,” although he gave 22 years of his life to “DDT.” Uncle Misha manages to maintain relationships even with those who offended him.
“I didn’t hear myself in “Alice””
- Everyone associates “DDT” not only with Yuri Shevchuk, but also with Uncle Misha’s saxophone. It turns out that you gradually became the face of the group?
As soon as DDT made my face. Probably, if I had not played in the group, there would have been just Mikhail Chernov, a famous jazz saxophonist in St. Petersburg. And there wouldn’t be such nationwide love for me. I felt like a star after DDT performed for the first time on Palace Square. In the morning I went outside and people started running up to me and asking for autographs.
- How did you, a jazz musician, join a rock team?
Easily. The then “DDT” was different from other rock teams. It was absolute kindness, without any aggression. We tried to extinguish it. By the way, I came to the group as a rather harsh person, because I was a former boxer, but thanks to working with Yuri Shevchuk I changed. I started at Alice, but I just didn’t like it there. I didn’t take this group seriously; I treated it as an amateur performance. Only Kinchev was considered a talented poet, although he didn’t really understand the meaning of his poems at that time. The worst thing was that, being on stage with “Alice,” I couldn’t hear myself. I didn’t understand that I was playing. But at Kostya Kinchev’s concert Shevchuk noticed me. And he asked drummer Igor Dotsenko to introduce us. That's how it all started...
- How did you work with Shevchuk?
They invited me to the studio, showed me where the saxophone part should be, and I played whatever I wanted. Yurka, I remember, said: “Have you heard Pink Floyd? Well, here it should sound about the same...” At that time I had no idea what Pink Floyd was, but intuitively I played it as it should. This was the first song "Terrorist". In “DDT” from the very beginning I tried to introduce an element of jazz, without making concessions to rock and roll.
“Shevchuk quarreled with everyone”
- When, in your opinion, was the golden time of “DDT”?
The “Black Dog St. Petersburg” program is the pinnacle of the group’s growth and the beginning of its fall. In my personal opinion, this is where “DDT” ended
- Why?
Because soon after the release of “Black Dog,” Andrei Muratov (Murzik), the keyboard player, the man who gave the band symphony, left. Without him, confusion and vacillation began. Violinist Sergei Ryzhenko appeared and pulled “DDT” in the other direction. The team soon abandoned him.
- Did the legendary rocker’s breadth of soul and brotherhood actually exist in the rock club? Or is this a legend?
They existed, but not on the scale on which it is customary to talk about it. Some groups were friends with each other and helped each other record for free. Shevchuk talked with Kinchev, and now they seem to have made peace. I had good relations with Garik Sukachev and Chaif. And then Yura quarreled with everyone. In some ways he is right: when musicians began going to concerts in support of politicians and raising money, the DDT group refused this. And “Chaif” starred in “Christmas Meetings” with Alla Pugacheva, and, in general, the rock and roll brotherhood quickly fell apart. But even in the days of the rock club there was no such thing, there was open competition for concerts. The same groups lobbied: “Aquarium”, “Strange Games”, “Auktsion”. Nobody ever said a word about DDT. We made our way on our own.
- As I understand it, Shevchuk is merciless towards external enemies. Were conflicts resolved peacefully within the group?
I won’t lie: Yura knew how to insist on his own. And if he didn’t like something, democracy didn’t work. True, we in “DDT” had an association of people, which they jokingly called “mind, honor and conscience.” Andrei Vasiliev was the mind, Igor Dotsenko was the honor and Vadik Kurylev was the conscience. This group had its own opinion, and Yura listened to it. He brings a new song, everyone oohs and ahs, and Vadik says: “Are we the second “Aquarium”?! I won’t play it.” And that's where the matter stopped. Yura poured over the entire arrangement and worked until he achieved the result. Now there is no such society in DDT; Yura does everything himself.
"Fans are prostitutes"
Besides DDT, you have always played jazz. Is it for fun or for insurance, to have a separate “piece of bread”?
In “DDT” I had easy games from a professional point of view. With the exception of a couple of solos, the rest could have been played by a fourth grade student at a music school. And I didn’t want to lose my qualifications. The first months when I played in DDT, we went on tour a lot, and I had no jazz practice. And then I suddenly realized that I couldn’t play what had been easy before. My fingers no longer obeyed me. I thought about it and when, in my free time from DDT, I was offered to play jazz in clubs, I happily agreed.
- Wasn’t Shevchuk jealous of jazz?
No, I'm not to the detriment of the matter. And then sometimes he himself left the group, went to the village to write songs for 3-4 months. Here we were left to our own devices. Financially it was difficult. So the hacks helped: I went on tour with “Alice.” Shevchuk also loves acting in films, at that time we were without work. He never spoiled the group financially.
- Why did both you and drummer Igor Dotsenko leave almost simultaneously?
In general, Vadik Kurylev left first, and Andrei Vasiliev left before Vadik. People became uncomfortable in the group because of the new sound of “DDT”. The group became a computer group.
This is what happened to Dotsenko: while working on one of the songs, he had a creative crisis. He said: “I don’t want to play this, maybe you can get a younger drummer who likes this style more.” Yura organized a competition, they chose a good drummer, Artem Mamai. But was it really worth sacrificing a musician like Dotsa for the sake of one song? I asked Shevchuk: “Soon it will end with me coming to the rehearsal and seeing someone else in my place.” He replied: “This could happen. You get tired, you’re old, it’s hard for you to play, it’s hard for you to travel.” In fact, everything is not like that. As you can see, I can handle my job - jazz will be more difficult. Now I live my life. Of course, I suffered financially. But it's okay! Jazz friends invite me to tour to different cities, I perform in St. Petersburg cafes.
“Wasn’t it a shame that they took you like that and kicked you out the door?”
My sound in “DDT” was simply no longer needed. But I thought I would leave the group in December last year, but everything happened much faster. We returned home from Israel from touring, and I was faced with the fact that I would not be going on the next European trip with the band. To say that I was upset means to say nothing. DDT is a huge part of my life. But we separated without a scandal. The band sent me a video card for my birthday. A new album was released, and I received royalties for the recordings in which I participated. And when I was hospitalized in the summer and needed money, the guys helped me.
- How did the fans react to your departure?
Fans are prostitutes. I read laudatory articles after the first concert in Veliky Novgorod without me. No one noticed the change in sound. The response to the program was nationwide cheers.
“The current Yura surprises me”
- Do you think rock and roll is still alive?
He cannot die - this is not only music, this is a way of thinking, feeling, being. Now there are new guys - unmercenaries. They live in the tradition of rock and roll. Only they are not allowed to go on the big stage, because there is very little space there. For such armadillos as “Alice”, “DDT” and “Aquarium”, it is barely enough. Many groups turned sour and could not stand this situation. Pop music everywhere.
- How do you feel about the fact that Yuri Shevchuk is actively involved in politics?
DDT initially had a credo: not to support any political movement. This is what happened for a long time. We did not participate in any actions, so what Yuri is doing now is surprising to me. “Dissent marches” are not organized by the best part of our society. I was also upset that Shevchuk gave an interview to Ksyusha Sobchak, whom the DDT group can’t stand and, I thought, Yuri himself can’t stand either.
-Are you lonely without DDT?
I have many friends. Besides, I haven’t had anyone left in the group for a long time. I maintain relationships with Igor Dotsenko, Vadik Kurylev, Andrey Vasiliev and Murzik. And the unity that once existed in DDT will never exist again.
Natalya Chernykh, photo tesey.livejournal.com, Moskovsky Komsomolets
Mikhail "Uncle Misha" CHERNOV
Mikhail Chernov, respectfully nicknamed Uncle Misha by his younger colleagues, is a figure for the St. Petersburg musical community as bright as he is unique: a veteran of the jazz scene of the Northern capital and bearer of its best traditions, a brilliant soloist and tactful accompanist, he feels confident at concerts and in studio, as well as in any genres (except, of course, boring ones) - from Dixieland to hard rock and from soul to avant-garde; his biography itself can serve as an illustration of the musical history of Russia over the past half century!
Mikhail Semenovich Chernov was born on January 26, 1941 in Leningrad, on Ligovka, survived the blockade only because his family was evacuated (his father died at the front), and during his school years he divided his free time between boxing and music. Although Chernov’s first instrument was a guitar, and his first hobbies were yard songs and rock and roll (his youth coincided with the beginning of the Khrushchev Thaw; he later recalled how in 1956 he was one of the first in St. Petersburg to perform “Rock Around the Clock”, which he heard on a branded record brought from the West by one of his relatives), the future Uncle Misha’s serious passion for music began in 1958 with jazz, when, after graduating from school, he entered the railway transport technical school and began playing in a local amateur combo.
A year later, Chernov joined the LIIZhT big band at the Railway Workers' Palace of Culture, where he changed his guitar to an alto saxophone and clarinet, and then joined a jazz quintet consisting of musicians from the same orchestra. The quintet regularly performed at dance evenings at various institutes and schools in St. Petersburg, always enjoying success, until Misha was drafted into the army in 1962.
He served in a sports company near Moscow and played in a military orchestra, where he continued his jazz studies and even put together a new combo, which, despite the negative attitude towards Western music from political organs, received several prizes at army amateur art festivals. At the same time, Chernov made acquaintance with the future masters of the Moscow jazz scene - guitarist Alexei Kuznetsov, saxophonist Alexei Kozlov (later ARSENAL), etc.
After the army, Chernov got a job at the Sever cafe, and later changed several orchestras, but in 1967 he was invited to the Odessa Jazz Orchestra under the direction of Evgeniy Bolotinsky, where several strong St. Petersburg jazzmen had already gathered, including pianist David Goloshchekin, double bassist Viktor Smirnov and saxophonist Mikhail Kostyushkin.
After Odessa, Mikhail Chernov changed several more home ports and groups or orchestras, but in the spring of 1974 he returned to St. Petersburg to finally get a musical education, and entered the music school. Rimsky-Korsakov to the newly opened pop department for saxophone and flute, where his teacher was the legendary jazzman of the 60s, saxophonist Gennady Golshtein. At the same time, Chernov played jazz in the ensembles of Alexander Kolpashnikov, David Goloshchekin, Alexei Kanunnikov and Valery Mysovsky, in the orchestras of Joseph Weinstein (1976–1980) and Oleg Lundstrem (1980–1981), with whom he participated in the cultural program of the XXII Olympic Games in Moscow. In 1978, having graduated from college with honors, Chernov entered the correspondence department at the Leningrad Conservatory.
This period was perhaps the peak of his jazz career: in 1979, according to a poll of jazz critics, Chernov was recognized as the best jazz alto saxophonist in Leningrad. Since 1978, he has participated in all the annual Autumn Rhythms festivals; in 1981–1985 he led the accompanying ensemble of the vocal group of the jazz club "Kvadrat", with which he became a laureate of festivals in Arkhangelsk and Baku, and also collaborated with the combo of the famous saxophonist Anatoly Vapirov, who taught him at the Conservatory.
Around the same time, he began teaching himself. Among his students are Igor Butman, Alexander Zhuravlev (OBJECT OF JOKE, NATE!), Denis Medvedev (TWO PLANES, PREPINACS), Boris Borisov (ALICE) and many others.
In 1983, Chernov graduated from the Conservatory and headed the dance orchestra at the Palace of Culture. Lensovet, which was once headed by Joseph Weinstein. Meanwhile, the framework of traditional jazz little by little became too small for Uncle Misha, so in November 1984, when pianist Sergei Kuryokhin, with whom he had crossed paths while playing with Vapirov, invited him to join his synthetic orchestra POPULAR MECHANICS, Chernov readily agreed. This scandalous, non-genre project evoked mixed (and often indignant) responses, became the main hit of the season and received an immediate continuation in the form of a concert at the III Rock Club Festival. So twenty years later, Mikhail Chernov again encountered rock and roll.
In the mid-80s, he continued to play jazz and teach, recorded the album “City of Night Lanterns” with the PULSAR jazz-rock orchestra of his colleague from the Odessa times, Evgeniy Bolotinsky, and also assembled a quintet with the excellent pianist Yuri Vikharev, who performed at concerts and festivals . In 1987, Mikhail Chernov’s play “Sad Summer,” recorded with the Vikharev Quintet, took 3rd place in a jazz composition competition.
But communication with rock and roll also did not pass without a trace for him: with the light hand of Kuryokhin, Chernov began to increasingly appear in Andrei Tropillo’s studio, where his impeccable sense of style and laconic phrasing turned out to be an invaluable tool for fine-tuning the albums that Tropillo recorded. In 1985–1986, Chernov appeared on the albums of AQUARIUM and ALICE - with the latter, as well as with ZOO at the Rock Club festival in 1987, he even performed on stage.
The next turning point in the saxophonist’s career was the summer of 1988, when he was invited to record DDT’s first St. Petersburg album, “I Got This Role.” Soon after, in September 1988, Mikhail Chernov became a permanent member of DDT, and his saxophone and flute became important elements of their arrangement concept; in the album “Plastun” (1995), for example, Chernov conducted a symphony orchestra that played according to his score! What is symbolic is that DDT then rehearsed in the same recreation center for railway workers, where Uncle Misha once took his first steps in jazz.
As for his nickname, Uncle Misha, which has already become a real trademark, then, according to one legend, Chernov was awarded it by young rock and rollers from the group DANGEROUS NEIGHBORS. In addition to DDT, at the turn of the 90s Chernov recorded with the groups TAMBOURIN, MYTHS, NEP (with the latter he also performed on stage, replacing a saxophonist who was seriously injured); in the spring of 1993, Uncle Misha appeared in the star lineup on the debut album of Sergei “Chizh” Chigrakov; In addition, he participated in the recordings of folk singer Marina Kapuro (YABLOKO) and sound engineer Yuri Morozov, and also played hard rock with the group THIRD ROME.
For the musician’s fifty-fifth birthday, in January 1996, DDT Records gave him a unique gift: the album “Uncle Misha In Rock”, which presented his selected session works - from the most famous (with DDT, ALICE, etc.) d.) not published anywhere else (Rustem Asanbaev, THIRD ROME).
In 1996, when DDT worked more in the studio than performing, Uncle Misha met guitarist Ildar Kazakhanov and organically joined his ensemble OLD CARTHAGE, with whom he performed a lot and recorded the album “In Rock and Pop”; in addition, Chernov and Kazakhanov regularly performed as a duet with classical jazz programs. Sometimes Uncle Misha teamed up on stage with another DDT member, guitarist Nikita Zaitsev.
In 1998, Chernov also assembled his jazz combo consisting of: Hasan Bagirov (guitar), Robert Pilyakalnis (double bass), Sergei Grigoriev (keyboards) and Sergei Ostroumov (drums). One of the best concerts of this lineup took place at the JFC club on July 18, 1998.
Uncle Misha Chernov met the third millennium in excellent form: his name regularly appears on the posters of all jazz clubs, and he himself still plays with DDT and is open to any interesting offers. Over the nearly forty years that he spent in the musical world, Uncle Misha acquired his characteristic style and recognizable sound: in his own words, he “avoids small techniques and plays with large, intelligible phrases,” which makes him one of the most sought-after session musicians in the country. In addition, Uncle Misha is one of the best performers of jazz ballads and bossa nova. He considers Gennady Holstein, Stan Getz, Dexter Gordon, Zoot Sims, Joshua Redman, etc. to be his idols.
DDT appreciated Mikhail Chernov’s contribution to rock music by including the song “Rock and Roll, Uncle Misha” in the program “Unity” (2001) and the album of the same name. However, the master is still in search: in 2004, Uncle Misha began performing in clubs with the excellent blues band FORREST GUMP, and in addition, he assembled a new quartet with young jazz musicians.
Discography:
Uncle Misha In Rock (1996)
OLD CARTHAGE:
Jazz Stars in Rock and Pop (2000)
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