Korney musician biography

But we are more than sure that you have heard his game more than once if you consider yourself a fan of rock music, without even thinking about whose hands the tool was during the recording of the composition or album. He managed to work with a huge number of beautiful musicians: from Zemfira to Nike Borzov. And professionals of such a caliber, as a rule, do not invite those who are not worthy.

Vladimir “Korney” Kornienko is the author of songs, guitarist, arranger, leader of the rock group of the roots of the same name, session musician and, importantly, very spiritual and able to arrange a person. The life of Vladimir is constantly seething. Master classes, work in the studio, concerts ... It is difficult to say how he manages to keep up everywhere, but from experience we know that first of all, those who are in no hurry are in time.

And for his profession this is especially important. Yes, and the saying about “people laugh” does not cease to be relevant even now. First about the urgent. What to expect to all fans of your work in the New M year? Will there be the long -awaited album of your project? Where can you hear you as a session musician? And in general, there are many plans or a year promises to be more or less calm?

I have the will of fate, the life of an arranger and a studio musician developed. The artists are very different in style, and all are very talented and original. Sometimes I have written at myself. I hope to give you something beautiful from under your pen by the end of the year-maybe EP, or maybe an album. Moreover, coronavirus: concerts were replaced, and I have a little more time to sit, make it like.

In this vein, the following question: why, in your opinion, in many people in Russia the spirit of denial is so strong? In the Soviet years-the denial of VIA in favor of jazz, and later rock, then-the denial of domestic rock and the very aggressive and the stunning of pop music and not pop music, alas and chanson to a real chanson, again, has no relation. And yet.

Please tell me if there is a good quality pop music in our country, which, in principle, would not be ashamed to listen and which could become a good alternative to what sounds everywhere now? I think that the music is more valuable to the listener, the more it gives him freedom and new experiences. And she should give them in the language for everyone accessible, and for young ones, also on fresh.

At the same time, commercial music in order to attract a maximum of the public, looking for the most common, rough and predictable messages and energy. Where can I look for music more sophisticated, bold and non -unit? On the Internet, the same. Sort by the number of views, towards increasing. The “Roots” group on the stage of the “roots” on stage on the stage, although implicitly, but related to the previous one.

If you look at the open spaces of the Russian musical YouTube in particular, guitar and compare it with the same content produced in other countries, then one of the most obvious distinctive features of the Russian segment is a cheap hype, involved on scandals, mutual insults, trolling and other “joys”.

From everywhere there is a constant criticism of everything and everything, the accusations of others of incompetence, multiplied by the mania of their own greatness. Do you think such a tendency to “holivars” and unwillingness to establish a normal human dialogue? Why is it so loved by us to “overthrow the authorities”, unfairly and unreasonably criticizing the great musicians from the “height” of their sofa experience?

If I understood correctly, among these people there are few working, touring, recording musicians. These are mainly teachers or observers. I believe that they have such a way to raise views and collect more students. But, by the way, I try to play after such videos for some time. Although any concert Blackmore or Page will still put forward any final recording of Yura Shilnikov.

I don’t know, they are just more interesting to listen. In the same interview KP. And what do you see the pros and cons of such inconsistence? He is not just unstable. Everyone who plays with me is excellent people and musicians with whom I have a community of aesthetic views. This is a narrow circle, and I expand it extremely carefully. See, there is constancy too.

I see no reason to discuss pluses-minuses. If the situation was seriously not satisfied with me, I probably would have changed it. Does it not seem to you that now there is a time at all, solo musicians who use modern equipment of the same magnifier stations, for example, which allows you to compensate for the absence of music associates on the stage? How do you feel about the work of such single musicians, is it interesting for you to watch their work on stage?

I really like a single artist as a concept - the more original, the better. You heard. Your songs are heard. And so it seems to me that the magnitude of the song from the essence of the song is more often distracted. Although the technical ability to drive a convincing infusion into the repeat, of course, is respect; I never succeeded. In an interview with the online publication Lenta.Many musicians generally tend to consider the instruments truly alive and endow them with some mystical properties.

Please tell us in your life there have been cases when the guitar “behaved” unpredictably, “showed character”, and all this did not give in to a reasonable rational explanation? I have even, for years, drated to my guitars - even if something changes in their behavior, usually I understand the reasons and have everything to adapt to them. As a rule, the reasons are humidity and temperature, less often the acoustic properties of the room.

Actually, I myself am much more unstable than my guitars! One of us had a chance to visit his concert, as well as at the performances of Rovshan Mammedkuliev, Artyom Dervoed and other world -famous masters of the classical guitar school, so we well understand what you are talking about. Tell me, please, what role does classical guitar music play in your life now? Is there time and opportunity to engage in a classic tool yourself?

Behind the rock guitar cost only 70 years of development. Behind the classical guitar - centuries. The repertoire for the classics is many times more diverse, expressive and more complicated. I do not study in the classics. This is a very deep item, it’s too late for me to start. But every time I, in my intention, take in my hands an electric guitar or dreadnought, somewhere in a corner of consciousness I hold a certain imaginary total image of everything that was done on the classical guitar.

This gives me freedom and insolence. And then I throw it all out of my head, I just listen to my heart and begin to improvise. The traditional question is a hit parade. What is your top 5 classic or not guitarists throughout the post-Soviet space? Having called some, I will offend others. Are there any other ideas that you yourself would like to embody or participate in their embodiment, but so far have not happened?

If so, tell me, please, about it. A lot of drafts. Many of them are clearly not for Korney, while they are constantly spinning in their heads. Some indecent poppes and sugars for my rock rhenom. Some are too artificial, and it is not clear with them what to do, how to realize even. In an interview with the Rblogger portal. And yet. Does this prevent this from moving forward, because for many musicians a prerequisite for further development is the embodied need to “release” the song?

As a rule, I immediately arrange the song so that the arrangement is no longer changing. But the changes are inevitable, if only because: and each of the musicians experiences a song and the party a little in its own way; I sometimes leave the "islands of freedom"; Sometimes after a while my song acquires other meanings for me; In the year, my friend Max Shevchenko offered another version of the third verse of the song “Come to me”.

What do you think, are informal breakthroughs possible now, a classic example of which was, for example, “Bohemian rapexia” or, if it is precise, “bohemian rapexia”? Or is this time irrevocably left now, if the composition does not fit into the format framework, does it have no chance of getting into a rotation? The rotation itself has ceased to be the only way to the listener: it’s already full of guys and girls who shot through the Internet straight to tours.

Personally, I consider it quite the perfect form of presenting the song, but if you really have something to invest in and at this time of the listener to intrigue, I think this will be understood as a software director. In the same interview, you talk about how you and Nike Borzov once recorded the album in two days, and without a preliminary “homework”. The one who saw how you play, I think, is not surprising.

Question: What, in your opinion, are the advantages of such an approach to recording? And what are the shortcomings? Do I want to redo, rewrite a lot then? I like spontaneity more and more. Over the past couple of years, several improvisational experimental albums, amazing in sound and atmosphere, have been recorded with the Yasny-Great-Sweetial group. It is impossible to arrange this.

But I do not know how much time they took to the editorial office and other post-production. Modern free access to the studio erodes the boundaries even between spontaneity and verification.