Bio:
Oleg Fateev was born on the 5th of July1967 in Bendery (also called Tighina), a town in Moldavia on the banks of the beautiful Dnestr river.
"Before I started my studies at the Russian Gnesin Academy of Music in Moscow, I did two years of service in the Russian army. This was mandatory and I chose to do it before my studies.
Unfortunately I was going to be stationed in Afghanistan. But the day before leaving, a conducting teacher, who I met by coincidence, told me that some colonel was looking for an accordionist for his military ensemble in Moscow. Without this chance encounter my life would have been very different."
At the age of 29 Oleg moved to the Netherlands and started playing on the streets, where his talent was soon recognized by performing artists from all kinds of musical styles. His versatility manifested itself in the diverse projects he has worked on in recent years. He performed together with the dance company of Krisztina de Chatel, Theater Artemis and the theatre company Oostpool.
Furthermore Oleg wrote music for the Wajdi Mouawad trilogy by the RO Theatre. Beside many solo concerts, he worked with Herman van Veen, Robert Long, Leoni Jansen, Jeroen Willems, Nynke Laverman, Hadewych Minis, John Engels, Oene van Geel, Wolfert Brederode, Wouter Vossen, Jeroen van Vliet and Claron McFadden.
Oleg has worked as a conductor, composer and arranger for different theatre companies and has cooperated with theatre makers such as Johan Simons (Zuidelijk Toneel/ Hollandia), Alize Zandwijk and Gerardjan Rijnders (RoTheater), Floor Huygens and Bert Luppes (Theater Artemis). In 2018 Oleg did a theatre tour with journalist and filmmaker Jelle Brandt Corstius. In the same year he took part in the tour ‘Chansons van Schoonheid en Troost’ of Britta Maria and Maurits Fondse as their special guest.
Oleg has taken part in many international projects with several ensembles such as Loyko Gipsy Band (Russia), Ethel String Quartet (US), Shonaleigh Cumberg (UK) and The Nordanians (NL).
Furthermore he's worked with artists such as Chico Cesar, Badi Assad, Ceumar and Carlinhos Antunes (Brazil). Oleg performs as a duo with the Brazilian percussionist Simone Sou and as a trio together with Oene van Geel and Wolfert Brederode. Before these ensembles he led the Oleg Fateev Trio with Konstantin Iliev and Dion Nijland and he played with the Tiltan Quartet. Fateev gave concerts and workshops in the Netherlands, Belgium, Germany, France, Poland, Norway, Spain, Scotland, England, Brazil, South Africa, China, Sweden, Jordan, Turkey, Taiwan and Portugal.
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).