Arthur Krasnobaev was born in 1974 in Odessa, then part of the Soviet Union, and trained at Odessa Music College before moving to Israel at age 20. He completed his musical education at the Jerusalem Academy of Music and Dance, the conservatory behind a long list of the country's working jazz and session musicians, and has spent the three decades since as one of Israeli music's busiest trumpet players for hire. Discogs credits him on 45 separate releases, and every single one of them lists his role as "Appearance," meaning a sideman or guest credit. There is no leader album anywhere in his discography.

That session career runs on two parallel tracks. One is funk and groove, the music Krasnobaev has described, in an interview with the collaborative platform Groove It Forward, as his real love: "For many years have been and still playing in many projects with diverse music styles, but my genuine love is groove, funk." The clearest expression of that is The Apples, a nine-piece Tel Aviv band formed in 2002 around two turntablists, a rhythm section and a four-piece horn line, blending funk, jazz and scratching into a single live sound. Krasnobaev has held one of those horn chairs since the band's early years and appears on all six of its studio albums, from the 2003 debut Mitz through 2017's Dragonz, the sole release actually listed on his own, largely unclaimed, All About Jazz musician page. He was also a long-term horn-section collaborator with the funk group Groovatron (הגרובטרון), documented on the band's 2013 album השד העברי (The Hebrew Demon).

The other track is jazz proper, anchored by a genuinely current institutional seat: Krasnobaev is listed as a working trumpet-section member of the Israel Jazz Orchestra on the ensemble's own artist page published by the Israel Philharmonic Orchestra. Discogs documents his trumpet on three of that same big band's earlier albums, recorded and billed under its previous name, Avi Lebovich Orchestra, led by trombonist Avi Lebovich: Groove Collage (2008), Volcano (2013), and Bechevra Tova (2015), a songbook of songwriter Shem-Tov Levi's material rearranged for the full orchestra. His most direct small-group jazz credit is a 2019 studio date, trumpet on the Uriel Herman Quartet's Face to Face (Laborie Jazz), a post-bop record led by pianist Uriel Herman with bassist Avri Borochov and drummer Haim Peskoff, both already profiled on jazzprofiles.com. He also played trumpet on the beat-jazz group 3421's Bipolar (2016), a session that also features fellow ILJAZZ artist Sefi Zisling on trumpet.

Beyond those two tracks, Krasnobaev's session work reads as a survey of two decades of mainstream Israeli and international pop, rock, and hip-hop. He has recorded with David Broza (The Golden Ring, 2018, credited under the fuller name "Arthur Krasnobaev Gershenzon," a Discogs-documented variation of his own name), Asaf Avidan (Gold Shadow, 2015, and Unfurl, 2025), Noga Erez (The Vandalist, 2024), Rita, Hadag Nahash, Mooki, Eviatar Banai (already profiled on jazzprofiles.com), and Hoodna Orchestra (already profiled on jazzprofiles.com). One credit stands out for its distance from Israel entirely: a 2023 trumpet appearance on American rapper Coi Leray's single "Bops," a credit that most plausibly traces back to Israeli hitmaker Johnny Goldstein's production work in Los Angeles, though the exact studio chain has not been independently confirmed.

Krasnobaev is, by his own account and by the shape of his discography, primarily a groove and funk player who has built a long, working career as an in-demand session trumpeter across Israeli pop, rock, and hip-hop, rather than a jazz specialist in the mold of a bandstand improviser. What earns him a place here is that the jazz side of that career is real and ongoing, not a single crossover credit: an actual, current chair in the trumpet section of the Israel Jazz Orchestra, three earlier recorded dates with that same big band under its previous name, and a genuine post-bop quartet session with pianist Uriel Herman. Within a broad, primarily non-jazz session career, that combination of a standing big-band seat and a real small-group date is a more substantial and more current jazz foothold than a single sideline credit would be.