Q. What inspired you to play the piano and what were your first attempts at playing the piano like?

A. I started studying piano at 5 of age, I doubt, I was inspired by anything. Dad and Mom told me to do so.

Q. Did you take lessons or are you self-taught?

A. 8 years of School of Music, 4 years of College of Mussorgsky, 3 years of Conservatory.

Q. What was your background and training like?

A. Complete music education, including, piano, solfedgio, theory of music, choir, music literature, later, harmony of music, polyphony, contrcount and other subjects of classical education.

Q. Who inspired you to learn the piano?

A. Once, my Dad and I visited friends, who had a piano. We were watching it, and I repeted some simple children song right after I heard it on TV. Somehow I felt, that I need to push that button after this and so on. My Dad realized, that I have an absolute pitch, and I guess, I inspired him to sit down next day with my Mom and our roommates to pick an musical instrument for me.

Q. How would you define your style of playing?

A. I can't define my style, will leave it for others. I love to compose, and I love jazz, so I just combine everything I know about music.

Q. Lets talk about your creative process. How do you approach writing an original song - do you compose from the piano or do you use other instruments?

A. I carry it in my head until I have something to wright down. I don't need an instrument, until it gets too hard to hear it in your head. Nothing is harder, than to find an idea, what you'd like to say with your composition.

Q. Your new CD release, "Where the Light Comes From" is an amazing array of original compositions. Tell us about your vision on this recording project and what new direction you wanted to go in from your previous CD releases.

A. It would be interesting to put together attributes of classical music (image, form) and jazz music (swing, improvisation) etc.

Q. "Where the Light Comes From" also features many great artists and guest appearances from the likes of Vinnie Colaiuta on drums, Hubert Laws on flute, Bob Sheppard on Tenor to name a few...Tell us about you your experiences working with all your wonderful artists on this release.

A. Felt like home. Great masters. I will never forget.

Q. You did an amazing job producing this CD. Can you give us any insight into some of your production ideas or what it's like to "be in the studio" with Eugene Maslov?

A. I simply can't stop working, until I hear the music, that I really composed, or wanted to be.

Q. What is your personal favorite song on "Where the Light Comes From" and why?

A. Sketch. It's challenging, and gives me an image.

Q. What other types of music or artists do you derive inspiration from?

A. Mostly old timers. But many artists, who I can learn something new.

Q. What's the most important bit of advice you were given by another musician?

A. My teacher stated once: Eugene, sit down and practice- all your problems will go away. I learned from her, how connect my soul with music, to me she is the best in the world.

Q. What equipment do you use live and in the studio and why?

A. I don't use much of equipment, but if I do, I prefer: Yamaha for piano sounds, Roland for strings, pads, Korg for pads brasses, effects. Steinberg. That's about it.

Q. What is your current practice regimen like?

A. Anytime, I have a chance.

Q. What one piece of equipment would you advise all pianist's to own?

A. Yamaha P-150 digital piano.

Q. Do you enjoy playing keyboards, synthesizers? Why or why not?

A. I do. I use to buy bunch of keyboard, just because of one nice sound, that would inspire me to compose something, or would give me an idea.

Q. What's been your proudest playing moment?

A. Playing at a Carnegie Hall or meeting all great legends and recording with them or performing at a Verizon Festival right before Ray Charles, on the same stage...

Q. What's the biggest disaster you've ever had onstage, and how did you cope with it?

A. I had to accompany with my trio for the bariton singer. After we played an intro, he started singing a wrong song with different lirics, faster tempo and in higher key. The hardest part was to stop crying and laughing at the same time.

Q. Do you warm up before a concert and if so how?

A. Slow, with one hand playing nonstop line of eight notes to connect your finger, mind and ears, than I can play something for muscles. Can be different.

Q. What's the most important bit of advice you could give to new pianists?

A. Don't just play, but look for the secrets in music.

Q. Thanks for your time and consideration for this article and interview. Any last thoughts for all of our readers?

A. Please, support jazz. We don't want to loose it.