..
He is brave enough to sing with his hands
Kind enough to dare to touch the music
It’s no violin in tears, no guitar in flames,
It’s his domra, whose voice as his own he uses
He touches her like a woman he marvels
And whispers to her in grief and happiness
And forget-me-nots are growing through marble
And he is the one who knows how it happens
And the strings are vibrating like their reflections
In his half-sad eyes and half-silent sighing
And the sliding sounds of echo inflexions
In each move of his hands are singing and shining
Dariya Gorbacheva. Tribute to Victor Solomin
«It was a big pleasure to listen to you. Also your improvisation on “Take 5” together with your friend was really a beautiful jazzy thing and a very interesting interpretation. In fact, it was the only real jazz piece during all the festival…»
Dr. Daniel M. Porcedda, director UkraLux group. Luxemburg.
«Wenn Victor Solomin spielt, klingt seine Musik anders als die eines tipischen Musikers. Wenn Victor Solomin spielt das klingt wei Gott Stimme, das klingt vie Traum Stimme…»
Danielle Tornack. “Leipzigs Neue”. Leipzig.
About Victor Solomin:
I was born in the country of mountains, rivers and dzhigits near the Caspian Sea. There I graduated from the music school with bayan and spesialized school with domra. There I decided that domra is an instrument of the future and I still stick to this illusion. Then a train brought me to Kharkov and I entered the HII Kharkov Institute of Arts. After that I spent a couple of years in Moscow in “Russia” ensemble under the tactful direction of Lyudmila Zykina. When I got tired of this tactful direction of “the golden voice of Russia”, in a railway carriage 13 I left for Kharkov again, where successfully worked for three years in the same Institute of Arts as a teacher. The success was so great that in 1997 I left for the “decaying Europe” as a free-lance musician. Far from my motherland, in sunny Holland, I recorded my first four discs and met the aborigins: Y. Bashmet, V. Slobodyanik, V.Spivakov, V. Gergiev. The aborigins were satisfied with the acquaintance and still boast of this fact. Then I spent three years in Prague, where I started conquering jazz and where my first disc with jazz elements was recorded. In 2004 I made my own jazz project SOLOMINBAND which still keeps making the Ukrainian listener happy.

Victor Solomin's awards:
Second Prize at The Competition of the Folk Music Instruments, Russia.
First Prize at The International Competition of Performers of Folk Instruments, Ukraine.
Member of Nederlandse Toonkunstenaarsbond (Society of Dutch Musicians).
Member of Genootschap van Nederlandse Componisten (Union of Dutch Composers).
Grant holder of Heinrich Böll Foundation (Germany)

About Solominband:
In May 2004 in a hoarse twilight of Kiev jazz dungeons SOLOMINBAND appeared this was the name given to the newly-made band by his Nold-hand leader Victor Solomin. The same year in July a new program TATARSKY STAN ('The Tatar Camp') was presented to the experienced audience, which filled the 44 art-club, and the listeners were really impressed by the richness of timbre colours, scope and virtuosity of composition and breath-taking alternation of jazz, rock and ethno.
Up to the present moment the talented musicians of SOLOMINBAND have made two more programs: THE RAIN (instrumental variations on Sting's music) and THE BIG JAZZ PROGRAM which includes world jazz hits and compositions by Victor Solomin and Alexey Bogolyubov.
At one of the concerts of the band a famous jazz-man Alexey Kogan spoke with real youthful ardour about domra as a phenomenon ruining all the theories of jazz and non-jazz instruments. He cleared out that domra is not a bassoon and that a real domrist, as known, sings and plays what he sees.
Bowing to this words, there is one more thing to add: it would be good for domrists to be able to hear. At least the way Victor Solomin does.

Roman Yusipey 'The Profile'