Andrew Litton has one of the most substantial and distinguished discographies in the business, but even he was delighted to find himself making new discoveries when it was suggested for his 25th album on BIS that he record some of Shostakovich’s lesser-known jazz-inflected scores. In fact, the Russian composer has an addictive and entertaining lighter side, music that could be considered a safe haven when his tougher music was considered on the political nose. Clive Paget caught up with the American maestro to learn about a lifetime’s relationship with Shostakovich and the ins and outs of Soviet jazz.

Not all composers have a naturally light touch when it comes to popular music, but Shostakovich does seem to manage. What has your relationship been to his music? And how does this side of his output compare with his more serious works?

I think Shostakovich was a very complex person. I actually met him when I was 13 [see photo] but I don’t think I realised then how important he was. There was a Russian émigré named Al Slesinger with whom my parents were close. He had studied with Leopold Auer in the old country but came over during the Revolution. Knowing...