I began my adventure with music when my parents decided to send me to the school of music when I was 6 years old.

 

Can you imagine that!?

 

A six-year old kid playing etudes and passages (and real masterpieces too), learning day by day and year after year composition, orchestration and other mysterious subjects , while his colleagues were playing ball, stealing apples from our neighbour's garden or just doing nothing.  

Years were passing and when I reached the music college I decided that enough is enough. One day I dropped out...

No more playing stiff partitions with no space for freedom, no more playing only someone else's music...

 

So it began, the free music adventure of an adult... 

 

First was my "jazz" group "SUS". We played in trio, bass, violin and keyboards. What we played was pathetic but enthusiastic.

During my university years I had another group, this time serious, a quartet, bass, drums, guitar and keys, called "Teuch". One of the musicians from these years plays with me till today (for more details, refer, please, to " 34 Dance St" release on the Web site of my actual jazz trio Bit Per Second).

These years were my first composing battlefield. Most of music we played were my "compositions", again, pathetic but enthusiastic.

 

For next decade or so my life oscillated more between professional voyages through Europe and my family than music. I composed in planes, I played on every piano I could put my hands on, and I had a friend who, behind my back, kept my partitions carefully stocked until the very important moment had arrived, moving to Canada.

 

Within the first year I had the making of my very own studio in place. Small, cheaply equipped, but mine. This was also the moment when I found jazz "not large enough". It meant turning to the only genre that knows no boundaries, no rules, no limits: film scoring.

I was lucky enough to quickly get in touch with few young directors for whom I wrote my first scores ("Themes of Life, Lesson - 1:  Death", "Cowboy Reckoning" and some others). 

Next step was discovering the existence of publishing houses (like British "Quest" and "Ditto" or American "Audio Micro"). I have composed several trailers and shorts for them and I still write new cues, which they willingly accept.

But the real game changer was The Composers Collective, a unique concept of gathering the composers from around the planet to compose in cooperative mode the scores for Hollywood movies. The inventor and owner was Evan Evans (yes, the son of famous jazz pianist, Bill Evans), with whom I stay in touch to these days. With TCC I had the chance to work on music for Eyeborgs, Game of Assassins and The Bay.

As time was passing by my musical interests re-discovered the beauty of the disciplined symphonic music, what resulted in composing a large, opera-structured symphonic suite "Falcimore". It took me almost two years to compose it and quite recently 4 months to remix and remaster it with new instruments and the latest technology that I succeeded to gather in my studio over the years.

 

My craziest project came in 2008 when, after months of studying the original partition and endless listening to the music itself I found that W.A.Mozart with his "Requiem" was quite a jazzman (most probably unwillingly). This discovery was the impulse for "Requiem Goes Jazz", the 2-year project of "jazzifying" the Requiem without changing a single note of the original partition. Unfortunately, due to IP rights and regulations this version of Requiem cannot be distributed publicly. But my friends and fans have the full access to it...

 

And today?  Today I write new scores, publish new releases, record new jazz gigs with my musicians and all that can be found on iTunes, Spotify, YouTube and other sites. Just go there...

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