Boris Kozlov was born in Moscow,USSR on December 5, 1967. Having a chance to go to Children's Music School to study piano for seven years, he fell in love with the bass and won the Gnesin Music Academy competition to enter college at the age of 15, on electric bass guitar.
While being influenced by rock and classical music, he took interest in jazz at 17, and went on to study acoustic bass with notable bassist Anatoly Sobolev. Upon graduation in 1987 with Diploma of Honor at the age of 19, he served mandatory two years in the Soviet Army, where he had to play tuba and other brass instruments besides basses in the military band.
Once out of the Army, he was hired by the State owned Melodia Studio Ensemble in 1989, and proceeded to record more than 40 albums with them as well as many other Soviet jazz artists. At the same time, he continued his studies at The State Academy of Music. At the first USSR Competition of Jazz Soloists in 1990, he won The Grand Prix, as well as a special prize for his original composition. After winning the first spot in Young Musician category in USSR Jazz Journal in 1991, he decided to move to New York.
The self-study continued in a specific NY jazz environment, where he was eventually hired by Hassan Williams and Terry Gibbs
on multiple occasions, and playing on nine Grammy-nominated albums, plus the Grammy-winning Simpaticoin addition to the other 160 albums, having few of his scores publishedBoris continues to serve as Musical Director for all of the Mingus Dynasty projects, touring and recording extensively with multitude of different bands, as well as doing international work with his own Malfunction Alibi. He also performs solo bass and teaches master classes around the world following the release of his acoustic solo album, Double Standard.
Bass, bass guitar.
Teachers and/or influences? Anatoly Sobolev on bass, all the musicians I've played with.
I knew I wanted to be a musician when... I decided not to be a train engineer.
Your sound and approach to music: I like when it feels good and when one can hear a story, conversational playing is most appealing to me.
Your teaching approach: Create directions and not pure instructions for the student.
Your dream band:
I've been lucky to work with a lot of dream bands, but I would love to play with (not necessarily in order, or with all of them together): Jack DeJohnette