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Russian jazz refers to the development, influence, and performance ofjazz music inRussia and the formerSoviet Union. Though jazz is often considered a quintessentially American art form, it was introduced in Russia in the 1920s and took root, developing new forms there while performers navigated cultural, political, and social challenges over time. It was suppressed during theCold War, and later experienced a resurgence.

Jazz music began to be played in the Soviet Union in the early 1920s, around the same time that it was gaining popularity in theUnited States. The introduction of the genre is often credited toValentin Parnakh, a poet and choreographer inspired by American jazz performances he had seen during travels inParis. Upon returning to the Soviet Union, Parnakh founded the RSFSR Eccentric Orchestra: Valentin Parnakh's Jazz Band, considered the first official jazz band in the country. Their debut performance took place on October 1, 1922, sparking the gradual spread of jazz across the Soviet Union. PianistAlexander Tsfasman,^[1] singerLeonid Utyosov and film score composerIsaak Dunayevsky also helped its popularity, especially with the popular comedy filmJolly Fellows that featured a jazz soundtrack.Eddie Rosner,Oleg Lundstrem,Coretti Arle-Titz and others contributed to Soviet jazz music.^{[citation needed]}

During this period, Utesov moved toLeningrad and set up one of the first Soviet jazz bands. In Leningrad, he began collaboration with the popular composer,Isaak Dunayevsky, which turned out to be a breakthrough for both artists. At that time, Utesov built a band of the finest musicians available in Leningrad, and created a style all his own – a jazz show with stand up comedy, which blended several styles, ranging from Russian folk songs to a variety of internationalcosmopolitan genres. In 1928, Utesov toured Europe and attended performances of American jazz bands in Paris, which influenced his own style. During the 1930s, Utesov and his band, called "Thea-Jazz" (a portmanteau of Theatrical Jazz) had a regular gig at the Marble Hall of the Kirov Palace of Culture in Leningrad. Utesov's jazz band also performed at theLeningrad Maly Opera theatre, at the "Svoboda-teatr," and at the Leningrad Music Hall. In his performances, Utesov delivered a variety of musical styles, including such genres as American jazz,Argentine tango, Frenchchanson, upbeat dance, and Russian folk music.^[2]

The disbandment of theRussian Association of Proletarian Musicians in 1932 brought a temporary reprieve for jazz in the Soviet Union. The genre flourished modestly during the 1930s and early 1940s, with jazz bands and orchestras contributing to cultural life. DuringWorld War II, jazz was used as a morale booster, performed by official war bands. Musicians likeLeonid Utesov andAlexander Vladimirovich Varlamov gained prominence during this era.^{[citation needed]}

Richard Stites writes:

In the years of the "red jazz age" (1932–1936) European and Soviet bands were heard in dozens of cities. The kings were Alexander Tsfasman and Leonid Utesov. ... Utesov – musically far less gifted – was actually more popular than Tsfasman, partly because of the spectacular success of his comedy filmHappy-Go-Lucky Guys, but mostly because hisOdessa background and his circus and carnival road experience on the southernborscht belt gave him a clowning manner. He resembled his idol, the personable Ted ("Is everybody happy?")Lewis more than he did any of the great jazz figures of the time. In fact, Utesov was the typicalestrada entertainer – quick witted, versatile, and funny. He was not only one of the stars of the 1930s but also a personal favorite ofStalin.^[3]

TheState Jazz Orchestra of the USSR,^[4]Russian:Государственный джаз-оркестр СССР) was established as a Soviet jazz band, existing from the late 1930s into the 1940s. After it was auditioned byJoseph Stalin in 1938, a number of similar state-sponsored musical ensembles were created across the country.^[5]

S. Frederick Starr comments in his book on Soviet jazz that the band "played with a polish and precision any Western pop orchestra might have envied". But then he adds:

For all its precision, the State Jazz Orchestra was a dismal failure.Tsfasman's Americanism and his unpopularity with the bureaucrats had disqualified him for the position of conductor, which went instead toVictor Knushevitsky, a capable musician with absolutely no feeling for jazz. Miffed, Tsfasman then declined the post of second pianist that was offered him, leaving no true jazz player except [drummer Ivan] Bacheev in a position of importance in the State Jazz Orchestra. Knushevitsky's classical background and ignorance of jazz predisposed him to turn the band into a kind of chamber orchestra withsaxophones. The results were disastrous. What began as a small group rapidly snowballed into a forty-three piece ensemble, quite enough to stifle any jazz feeling or spontaneity that individual musicians might have spirited into the group.

Boris Schwarz's bookMusic and Musical Life in Soviet Russia, 1917–1970 describes The State Jazz Orchestra of the USSR as "essentially" a "light music" (easy listening) orchestra.^[7]

However, the post-war climate shifted dramatically with the onset of theCold War. In the late 1940s, during the "anti-cosmopolitanism" campaigns, jazz music suffered from ideological oppression, as it was labeled "bourgeois" music. Many bands were dissolved, and those that remained avoided being labeled as jazz bands. Artists were marginalized, and some, likeEddie Rosner, faced imprisonment for attempting to leave the Soviet Union or for perceived political disloyalty.

In the 1950s undergroundsamizdat jazz journals and records became more common to disseminate musical literature and music.^[8]

The early 1960s, known as theKhrushchev Thaw, saw a decrease in censorship. However, jazz remained a topic of disagreement throughout theSoviet republics. In his 1963 Declaration on Music in Soviet Society,Khrushchev assured that there would be no bans on music, though he criticized certain kinds of jazz, referring to some as cacophony. While jazz was no longer banned, restrictions remained, especially in terms of access to Western jazz musicians and literature. Soviet Jazz saw a minor comeback as restrictions began to ease, and jazz clubs reemerged across the Soviet Union. Although officials remained cautious about promoting jazz, Western bands were allowed to tour in the country, and Soviet jazz musicians found new opportunities to perform. Figures likeOleg Lundstrem established themselves as key contributors, with Lundstrem founding one of the world's longest-running jazz orchestras.^{[citation needed]}

Saxophonist andclarinetistBoris Midney formed a jazz quartet while studying classical music in the Soviet Union.^[9] along with performers includingdouble bassist Igor Berukshtis. Midney and Berukshtis defected from the USSR through a US Embassy while visitingJapan in 1964. A press conference was held for the pair when they arrived inNew York City. They were sponsored by American Friends of Russian Freedom, aCIA-linked organisation for Soviet defectors, who found them a manager in New York.^[10] Midney explained that he left the Soviet Union due to censorship of the arts and the suppression of jazz.^[11] After defecting, they formed the jazz ensemble,The Russian Jazz Quartet, in 1964, with New YorkersRoger Kellaway andGrady Tate, taking inspiration from theModern Jazz Quartet.^[12]

In 1970s,jazz-rock scene began to evolve.Arsenal [ru], founded by saxophonistAleksei Kozlov, is considered the preeminentJazz-rock fusion ensemble in USSR.^[13][14][15]

Viatcheslav Nazarov, a jazztrombonist, pianist, and vocalist, was recognized by jazz musicians and critics in Russia and in the United States.^[16][17] A graduate of the Military Music School and Musical College ofUfa, he started to play professionally in a variety of famous Soviet jazz bands in the late 1960s, when he was 16. He played inKADANS, a group led by German Lukianov, in 1977. By 1983, Nazarov was the leading soloist in theOleg Lundstrem Orchestra, of whichIgor Butman was also a member. In 1989, he and Butman played in the jazz ensemble Allegro led byNick Levinovsky. In 1990, Nazarov worked for the ensemble Melodia. With those bands, he toured nationally and played at jazz festivals abroad. Along with Viatcheslav Preobrazhensky, he assembled a quintet and recorded two disks. Soviet jazz critics recognized Nazarov as the number one trombonist of the country for eight years. In 1990 Nazarov immigrated to the United States, where he died in an auto accident a few years later.^[17]

Georgy Garanian, an ethnicArmenianRussianjazzsaxophone player,bandleader andcomposer, was thePeople's Artist of Russia in 1993. Born inMoscow, Garanian was trained at theMoscow Conservatory.^[18] He belonged to the first generation of Russian jazzmen who started to perform afterWorld War II, and was one of the first Russian musicians to attract Western attention to jazz from the USSR. As a musician (alto saxophone), conductor and composer he was the leader of several big bands:Melodia (1970s–1980s) andMoscow Big Band (1992–1995). He led the Municipal Big Band in the Southern Russian city ofKrasnodar. He toured regularly as a trio with pianistDaniil Kramer and guitaristAleksey Kuznetsov during the 1990s.^[19]

Garanian recorded more music than any other jazz musician in Russia, performed at many international jazz festivals (Finland,India,Indonesia,Cuba etc.), toured Germany, the United States, Japan,Australia,Sweden,France,Taiwan and many other countries. Frederick Starr wrote that Garanian is one of the best jazz musicians in Russia, quoting American critic John Hammond, who heard George at the jazz festival inPrague,Czechoslovakia, — "Georgy Garanian is phaenomenal".Willis Conover, host of the "Voice of America" jazz program, invited Garanian many times to participate at International jazz festivals inHungary,Yugoslavia and other countries. In 2000, Garanian was nominated for aGrammy Award as a conductor of the famous Tchaikovsky orchestra for the double CD album "Oregon in Moscow", which had been made together with renowned American jazz group Oregon and produced by Pat Metheny Group's Steve Rodby.^{[citation needed]}

• Armenian jazz

• Barnes, Louis (July 9, 2022)."A Beginner's Guide to Jazz in the USSR".Jazzvocate. RetrievedJanuary 22, 2025.

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