Vadim Eilenkrieg what where when. Vadim Eilenkrig - From orchestra to solo career

Russian musician Vadim Eilenkrig shared with the men's magazine "Reputation in Life" how many knives are in his collection, how to maintain a relationship and how old his favorite bear is.

- You once wrote on your blog that you have a large collection of knives - about 60 pieces. Are you still doing this?

- (shows a folding knife that was lying on the table) Yes, there are knives. I have them everywhere. But I stopped collecting. Firstly, there are a lot of them. A folding knife for a collection is not an essential item. Secondly, I bought everything that I could still afford. And then absolutely astronomical prices begin. Folding knives are very complex in design. Accordingly, the price is different from a regular fixed blade knife. Fortunately, collecting has not become a fanaticism for me. But I want to make a small display shelf where I will display my favorite pieces. I have knives that only increase in value among collectors over time.

- Do you like Japan with their culture of edged weapons?

Certainly! I even have an apartment in such pseudo-Japanese minimalism: the doors to the bedroom are sliding (gets up, goes to the door and pushes it open). It is clear that the apartment is very Europeanized, but when I thought about the interior, I wanted oriental notes. There are two katanas, although not Japanese: one is Cambodian - very good. These craftsmen are proud that, among non-traditional tools, they use only a vice in production. One day, I foolishly cut down a birch tree with this katana. I still regret it: there was a beautiful birch tree growing, but I foolishly cut it down. But I respected the sword, because even such an untrained person as I was able to cut down a birch tree with one blow.

- You are the head of the department of jazz music and improvisation at the Maimonides State Classical Academy. Tell us about modern students.

Either I’ve already reached that age when you start to say “but in our time,” or something else. I could be wrong, but they are technically advanced both in performance and in life. These people were brought up not on face-to-face communication, but on communication through gadgets. Moreover, best friend- it's a gadget. I have a strange feeling that this generation is losing its emotional component. I explain this by simple everyday situations.

Previously, I called a girl and waited for her at the monument to them. Pushkin. She only has a home phone, no cell phone or pager. You stand and get nervous if she is late: whether she will come or not. And now they just write: “I’m late.” There are no these deep experiences, some kind of correct, good fear. There is no concern in people. I don't know if this is good or bad. I don’t belong to people who say: “Let’s take away the iPads from the child.” But we will enter a society of less emotional people. At the same time, it will be easier for them to communicate and negotiate using gadgets.

- Then let me continue the topic of emotional poverty. You had a program with Daniil Kramer, “Two Jews: Rich and Poor.” Can be called modern society spiritually poor?

In fact, the title of the concert was a joke on my part. When you perform in any academic hall With traditions, you can’t just write Daniil Kramer and Vadim Eilenkrig. You should always write: “With the program...”, then come up with whatever you want. That’s when I came up with this joke that you can’t play like that with Igor Butman - it’s immediately clear who’s rich and who’s poor (laughs).

I would not say that the people are spiritually poorer. The percentage of thinking people is always approximately the same. The audience with whom we communicate at concerts, the children we see at master classes - they have completely different faces. They think, feel differently, they are educated, they read, they watch the TV channel “Culture”.

Recently I was invited to appear in the program “ Good night, kids." I’m incredibly happy because I think it’s the kindest program there can be. We grew up watching this show, waiting for it right from the morning. I found out that she is no longer on central channels- it’s on “Culture”. It's a little sad, that's probably how it should be.

- Let's get back to teaching. Do modern students like to work?

Again this depends on the specific case. Most of the trumpeters who study with me plow from morning to night. I immediately warn them all that it will not be any different. Of course, there are also those who do everything to the minimum.

- Did your parents force you to study music?

Of course they did. Who will voluntarily study at a music school after secondary school? But it seems to me that the upbringing and love of parents lies in doing quite firmly what they consider right for their child.

- Even if the parents are wrong?

Here you need to understand that education is a responsible matter. But giving a child the right to choose is ridiculous. Questioning something comes with age. How can a person with unformed views, with a lack of a philosophical mindset, be asked to make a choice? I think this is the most disgusting thing in pedagogy.

- You often give interviews. What is the difference between questions for women's and men's publications?

I somehow didn’t distinguish publications based on gender. Women are more interested in an abstract male view of gender relations. Men's publications have never asked me this question, although it seems to me that I could give good advice. There they are interested in the volume of my biceps and how much I bench press.

- Then I propose to move away from stereotypes - could you give recommendations to men on how to maintain relationships?

You could write a book about this. There is no one way. The only thing I would recommend men not to forget when meeting a woman is that she considers us an ideal. It’s not for nothing that the relationship at the very beginning is very good and vibrant. Now I will say one thing that superficial women will not agree with, I hope those who think will understand me.

First of all, a man must be something. Moreover, it does not depend on the amount of money or on appearance. Personality is wisdom, it is strength of character. Women don't leave such people. As soon as a man begins to behave in a way that is not “manly”, this is the end of the relationship. Only once in the eyes of a woman can you become “not a man.” No matter how much women tell men to give in to them in everything, it all ends in tears. We can give in to them in something, like a child: buy green or red boots. But the pair must have a leader and a follower. If at least once a man yields to a woman the role of leader, he is already a follower for her forever. No matter how much she says that he is great, that he is modern and prone to compromise, most likely she will not respect him. This is a delicate moment in a relationship; it requires wisdom. If you are just a tyrant, putting pressure on a woman, nothing will come of this either.

The worst thing a man can do is get into an argument with a woman when screaming and insults begin. A woman always wins in this field. If you also start shouting and insulting, you are not a man. If, God forbid, you hit him, you are not a man. Unfortunately, a woman should be afraid of only one thing - the departure of a man from her life. But even here you can’t go too far. Regular threats “I will leave you if you...” also lead you into the “not a man” category. Relationships are complicated things.

- You said that your favorite authors Charles Bukowski, Erich Maria Remarque, Ernest Hemingway. Why do you read books about the lost generation?

I didn't think about it, but now I understand them. A person who came of age in the 90s in Russia cannot be indifferent to Remarque’s work. When I read Arc de Triomphe, I understand that it is about me. I absolutely agree with what he feels and says main character Ravik. And how he builds an amazing relationship with Joan Madu, realizing that this will not lead to anything.

As you get older, you begin to pay more and more attention to politics. It became interesting to read Orwell. But preferences do not stop only at fiction. Now I am enjoying reading the works of Richard von Krafft-Ebing, a psychiatrist of the late 19th century.

- In one of your interviews, you said that if you weren’t a musician, you would have become a psychiatrist. Do these interests come from your failed profession?

Yes, I think I would become a very good psychiatrist. My close friend is a psychiatrist. But I understand that he lives in hell, because it’s rare that someone goes crazy and sees the sun with flowers. This happy people, but there are very few of them. Basically, his patients are being persecuted by someone, walls are moving, they have anxiety, some kind of phobias. He is constantly in this. A very difficult profession. I don't know how long a positive person like me could stand there. But I would be interested.

- About six or seven years ago you wrote on your blog: “Just think about it: most of the people around us are unwanted children. That's the whole problem." Where did such thoughts come from?

Some people even cursed me for this post. But it's true. It's rare that two people meet, love each other, and deliberately have children. Now I’m not talking about those children who were born as a result of a casual acquaintance. I wanted to say how many children there are from unwanted men, women or relationships. When a woman marries to improve her living conditions, in this case she also gets unwanted children.

The mechanism is simple: two people meet, passion flares up and nature says: “This is where the strongest children will be.” And when this passion is not there... It is clear that these children will be loved, they may be welcome, but they are unwanted. If you imagine the number of people around us who simply shouldn’t have existed, who appeared by chance, I get scared.

And then I look at my friends. Those children who were born out of love and consciously are somehow different: healthier, more beautiful, more developed. Surprisingly, this is true.

- Let's go back to the positive. You said that you love the fairy tale “The Steadfast Tin Soldier.” Where did this come from?

I am very grateful to my mother that the main fairy tales she read to me were Andersen’s fairy tales. They don't always end positively. And this is good, because in life, too, not everything is always smooth. On the other hand, what is considered a positive ending? The soldier loved the ballerina, and she loved him too. The little mermaid died, but she had strong feelings.

In my opinion, this is an absolutely eastern approach, when what is much more important is not the goal, as for a European, but the path. Probably, in my opinion, I am closer to Asia, because for me the path is of much greater value than the result. If I were offered to get everything at once “by pike command", it would have no value. The most important thing is what you gain in the process of achievement. Character, outlook on life, volitional and moral qualities change. Without the path this would not have happened. A person who gets everything easily does not appreciate it.

Favorite things of Vadim Eilenkrig.

• Food. Meat. Lots of meat. I try not to eat pork, not for religious reasons - it's just "heavy". I was in Shargorod visiting Sergei Badyuk’s mother. There was so much food there (grabs his head) that the tables actually stood on three floors! And Badyuk kept scaring me that I would feel bad. But everything was so delicious!

• Drink. I have two of them. If in the morning, then cappuccino. And in the afternoon, but not late in the evening, then pu-erh - Chinese black tea. I try to drink it before six in the evening. Otherwise, it is very difficult to fall asleep. When I drink cappuccino, I feel like a European: breakfast, coffee, newspaper, smartphone. With a cup of pu-erh I feel like an Asian.

• Children's toy. If you don't take into account the huge number of children's weapons that I had, my closest friend was a teddy bear named Junior. Moreover, I didn’t give him a name based on his age or size - he was a Junior Lieutenant. I was such a militaristic child. I really wanted to serve in the army, I only watched films about the Great Patriotic War. The most interesting thing is that not long ago I came to my parents, climbed onto the mezzanine and found Junior there. Now he lives with me again. The bear is 45 years old.

• Subject at school. Interest depended on the personality of the teacher. History - we had an amazing history teacher. He taught me to think in terms of cause and effect. The next one is anatomy, because there was also an incredible teacher with a beard - a hipster in our opinion.

• Hobby. I can’t consider the gym as a hobby - it’s some kind of philosophy. Although my psychiatrist friend considers this a kind of variant of the disorder and the prevention of anxiety. I love TV series very much - the lack of special effects often gives good game. I also love cooking and collecting knives.

• Human. There are many of them. I can't choose just one among them. The greatest happiness is when you come to a certain point and determine your social circle. And you communicate with people you love, and it’s interesting to be with them.

• Time of day. I don’t have any favorite dates or seasons. Favorite time is life.

• Animal. I have always dreamed of a dog. But if we talk about animals that cannot be owned, I am terribly fascinated by monkeys. I can watch programs about them for hours, I can hang out at the enclosure at the zoo. Recently I was in Armenia in a private zoo, where there were mostly monkeys. There is a huge enclosure with real nature and no cages. I think monkeys are sometimes more human than some characters.

• Favorite series."Californication", "Game of Thrones".

• Sport. The only thing I watch is UFC mixed martial arts with famous fighters. I know that Fedor Emelianenko signed a contract for 3 fights. Of course I will watch him because he is a legend. In addition, my friend Sasha Volkov, a heavyweight, signed a contract and won the first fight. I watch him and root for him.

• Song. There is not one. I really love Queen, the Beatles, Michael Jackson and lyrical Soviet songs: “Why is my heart so disturbed.” A brilliant work: “One among strangers, a stranger among one’s own.” I am happy that I met Eduard Artemyev and had the honor of playing on the same stage with him. I am doubly pleased that he then wrote me a letter where I realized that I was doing everything right.

October 27 on the stage of the Svetlanov Hall of the Moscow Music Theater, a jazz trumpeter will present a program "Hello Louis!"- concert in memory of the trumpeter and vocalist Louis Armstrong(1901-1971). Vadim Eilenkrig spoke about what awaits the audience that evening, as well as about finding his own path in music and the main qualities of a strong performer in an interview with Jazz.Ru.

Vadim, how did the idea of ​​such a large-scale concert come about, and why Armstrong? The year is not at all an anniversary for him.

Why wait 100 years to pay tribute to a wonderful musician? ( smiling) I have long been thinking about a dedication concert to one of the great trumpet players. A concert that, as we now hope, will be the first in a series of its own kind - after all, there are many legendary people who have left a unique mark on jazz. And we must, of course, start with the key figure himself. After all, Louis Armstrong managed not only to popularize this genre of music, but also to develop the melodic language of jazz himself. This is rare: the vast majority of musicians develop either in breadth or depth. I definitely belong to the first type. Armstrong was good at everything, and we would like to reflect this in our “dedication” on October 27.

Who will take the stage at the Svetlanov Hall this evening? Except for you, who, as I understand it, personifies Armstrong with his trumpet...

Our star voices will be well known to the Moscow public Alan Harris, recognized as the best jazz vocalist of 2015 by the magazine DownBeat, and the most charming lead singer of a popular club group Gabin, without which today there is no high-profile compilation, Lucy Campeti. And if I try to transform into Armstrong for a couple of hours, then she will become our Ella Fitzgerald ( laughs). And there will also be a tuba player on stage Nikita Butenko- a wonderful musician and person. He's a captain for a moment Russian army! We met at the Aquajazz festival. Thanks to the participation of the tuba, the audience will hear several numbers of real modern New Orleans funky jazz.

Why is New Orleans so different from any other?

A lot of musicians came to the jams in New Orleans, including trumpet players. The trumpet is a complex instrument that requires not only talent, but also impeccable mastery of playing technology, which is why trumpeters are in short supply today. Nevertheless, we are writing scores for five trumpets right now, and the viewer will be treated to an unforgettable spectacle and a unique sound of the band. On my part, this, among other things, is also a statement that my teacher’s school Evgenia Savina lives and raised a new generation of young, very strong trumpeters.

I know that you came to Savin as an adult, at that time actually a former musician - that is, after a long break, while the trumpet does not even tolerate a day without rehearsal. How did he manage to return you not just to the profession, but to its first echelon?

Not just return, but teach you to play using your own unique method. People came to him who had already been abandoned by everyone, and he returned them to the profession. This was his strength. Unfortunately, the textbook written by Evgeniy Aleksandrovich was at one time translated into “human” language, and it lost part of its meaning, so I try to convey to my students at the academy what he taught me.

Are you a strict teacher?

At the risk of sounding like a tyrant, I tell every new student: “Convince me that you want to study with me.” Savin once told me almost the same thing, although I came to him already having a diploma. My position is simple: if students come to me, they must be motivated. The result is that absolutely everything sounds good to me! Whether they will be stars or not depends on the degree of talent. I give the craft.

Do you also provide patronage to the most gifted graduates?

My dad, saxophonist Simon Eilenkrieg, once said: “I can recommend. But I can’t play for you.” So I can only suggest or guide, but everyone finds himself. Of course, I recommend some of them to orchestras and groups where they begin their journey, just as I once started in Igor Butman’s orchestra. Good trumpet players are always needed, and each of my colleagues is trying to make this instrument more popular. Perhaps, looking at us, someone will take their child to trumpet class, and young people will want to continue playing music so that one day they can join us on stage.

Parents understand that it is difficult to blow a trumpet, so they take their children to play the saxophone. Why can't we simply reduce atmospheric resistance by making sound production more convenient?

Why can’t you reduce the weight of the barbell and get the same effect? (laughs). Yes, we have everything now, for example, mouthpieces that make it easier to blow. But you need to understand that by making your physical efforts easier, you pay at least in the beauty of the timbre, because the heavier the instrument, the more interesting, rich, unique sound you get. In addition, if the trumpeter breathes correctly, does not pinch his throat, monitors his articulation, that is, does not “play for his health” by wasting last strength, then it sounds great and feels good. So the main thing is to get to a professional mentor. And, of course, love the instrument.

For the stage, however, this is not enough.

Here we already need a fusion of qualities. Firstly, professionalism - the performer should not have weak points. Secondly, artistry - without it you are uninteresting to the public, and the game suffers. Unfortunately, people do not always manage to combine these two fields, but here’s the thing: an artist without mastery of an instrument on the music stage turns into a clown, and a musician without artistry turns into a sideman. Although who would know the stars if there weren’t a huge number of professional sidemen behind them! There is a third point: human openness. IN lately This topic has me worried. I always thought that I was a sociable person who vitally needed society. And suddenly I discovered that there weren’t so many people with whom I stopped keeping track of time. It’s as if some kind of spring is being compressed: run! Moreover, there may be close friends nearby, but I suddenly have a desire to be alone.

In my opinion, this is completely normal: we must restore our own energy. Moreover, you are a public person; you even hosted the “Big Jazz” program on TV. By the way, was it difficult to work on camera?

Only at first, but I quickly got the hang of it. I had been ready for such a role for a long time, but I didn’t run around to TV channels asking to take me on, but waited for an offer that suited everyone. My life up to this point has been playing music and sports, reading books, communicating with interesting people, hosting concerts and corporate events - has become an alternative to experience working on television, which did not exist yet. Plus, I was really interested in what I had to do on the Culture channel, and as a result, its editor-in-chief Sergei Shumakov highly appreciated our work. Yes, many jazz musicians had mixed reactions to the show, but I am sure that it was a good way to bring the art of jazz to the masses. The beautiful and vibrant spectacle certainly raised our prestige.

The prestige of jazz musicians?

Yes, although lately I’ve been trying to position myself more simply as a musician, without the prefix “jazz”. I confess that I was never able to frantically and fanatically fall in love with serious bebop. I enjoy listening to these records, but I never wanted to play like John Coltrane or Woody Shaw. Of course, there are techniques that simply need to be mastered. When I was part of Igor Butman's band, I had to apply this style and resort to at least minimal improvisation in order to play on equal terms with the best musicians countries, but still my music is a little different. By the way, it was Butman who told me in response to this confession of mine: “You shouldn’t be ashamed of the fact that you like other music!” - and thereby changed my consciousness, thanks to him for his support.

What is your music like?

The one that is always in trend - funk and soul. In other words, what I want to play is at the intersection of classical, jazz and pop music. It has a subtle and rather deep scale, which requires a high degree of mastery of the instrument: here you need to sound and intonate perfectly, and have a unique timbre. And also - to be a strong performer: if many jazz musicians are often forgiven for some imperfections, rough edges, then in this genre - not so.

What do you listen to for yourself, for your soul?

In the car and at home I prefer jazz, but in the gym I prefer exclusively funk: what they sound from the speakers there is simply monstrous. I put on my headphones and turn on the funk radio. Although, by and large, styles and genres are not of fundamental importance to me: first of all, we are looking for a melodic language that is close to us. The energy of the performer is also very important: some simply have more of it, others have less. We like music to be filled with animal energy: if we talk about vocals, for example, in Russia they prefer “big”, strong voices. I listen to different ones. The same goes for instrumentals. For me, the main thing in art is sincerity: lies and falsehood are always felt.

As well as a lack of education, however.

Undoubtedly. To be interesting musician, you need to read books, watch good movies and go to the theater, develop a sense of beauty. A person cannot create beauty only on stage if all he has surrounded himself with in life is terrible horror.

Let's get back to the concert. Who is helping you? Probably the label of Igor Butman, under whose wing we are even talking to you now.

Certainly, IBMG helps, first of all with resources. Although I don't quite understand when musicians expect the label to solve all their problems - in my opinion, they themselves should come with ideas. Okay, the company released your record, so why demand that it be promoted as well? Do your own tour! Yes, many creative people They don’t know how to sell their product, and that’s normal. So, you need to find someone who knows how. Look for like-minded people, this is also work! I found: a wonderful director works with me Sergey Grishachkin, a very creative person with an abyss of creative ideas, an amazing sense of taste and at the same time extremely decent and intelligent. There is an opinion that a director should be tough and cunning, but I’d rather earn a little less money - and even that is not a fact! - than surround myself with unpleasant people. We are in this body for such a short time that we need to take care of our mental balance! Therefore, I eliminated from my life what brings negativity. The saxophonist is with me Dmitry Mospan, who is currently writing the final scores for the upcoming concert. These guys, plus the people I mentioned at the very beginning of the conversation - they are the main creators, inspirers and assistants in preparing the concert.

Looks like you've got it all figured out. We are waiting for an interesting show!

We won't disappoint! It’s a bit of a shame that we didn’t have time to make a record for the event, but on the other hand, what’s the rush? We'll play it, test the program, and record it. The track list for the concert is ready, there are original arrangements; The result is a successful program that can be transported throughout Russia. And when the Armstrong topic is completely exhausted, we will decide who will be next: Chet Baker, Freddie Hubbard, Randy Brecker? We'll see, but for now we're waiting for everyone on October 27 at the House of Music, and long live the great Louis!

VIDEO: Vadim Eilenkrig

Vadim Eilenkrig is famous as a jazz trumpeter and TV presenter, while the musician himself has repeatedly repeated that he does not consider himself exclusively a jazz musician. His music has a groove and he can easily relate to any musical style.

Vadim Simonovich was born on May 4, 1971 in Moscow. His father previously worked as a concert director for top stars on the Russian stage. The mother supports her husband in his creative activities.

Vadim Eilenkrig does not consider himself exclusively a jazz musician

Childhood and youth of Vadim Eilenkrig

Growing up in an atmosphere of creativity from childhood, the boy became interested in music at the age of four. Noticing his son's efforts, his father gave him to music school, in piano class. The second direction of his training was the trumpet, which, frankly speaking, surprised his parents.

Vadim continued to play the same brass instrument at the music school, and then at the University of Culture and Arts in Moscow. During his studies, having reconsidered his views, he transferred to the department of jazz music.

The turning point in his career came with the onset of the nineties. After hearing a composition on the radio by saxophonist Gato Barbieri, Vadim realized that music was his calling.

1995 was a decisive year for him in his future stellar career. Vadim Eilenkrig went to a jazz festival in Torgau, Germany, where the big band in which he played received first prize. After completing his studies, Vadim performed in famous jazz orchestras, including Anatoly Kroll and.

Creative activity of Vadim Eilenkrig

The trumpeter has many musical and creative connections with both foreign colleagues and domestic performers. He regularly plays in orchestral accompaniments at concerts.

If a musician has a free moment, he always gladly accepts an invitation to a performance by famous stars of Russian show business: Dmitry Malikov, Larisa Dolina and others.

From 1999 to 2010, the trumpeter was a soloist in the Moscow Jazz Orchestra.

In 2012, the musician released under the name Eilenkrig. In honor of this event, more than five presentation concerts were held.

Personal life of Vadim Eilenkrig

The musician is an eligible bachelor, for whose heart hundreds of fans are ready to fight. In the distant past, when Vadim was 19 years old, he was married. Duration family life was three months.

Jokingly, the musician says: “Marriage became a kind of “vaccination”, after which I developed immunity.”

Thinking about his future soul mate, the trumpet player cannot describe the ideal woman. The main traits that his chosen one will have are kindness and wisdom.

For more than 10 years, Vadim Eilenkrig played in the Igor Butman Orchestra

“A woman, like an unopened book, should intrigue and become more interesting with each new page,” says Eilenkrieg.

The artist likes to joke: “Today I have a wife in my life - a copper pipe, and several mistresses - additional pipes.”

An eligible bachelor, Vadim Eilenkrig, is engaged in creative activities, and, as he himself says, he has no time for romantic relationships. But who knows, maybe tomorrow he will become a family man.

Vadim Eilenkrig told what profession he would have chosen if he had not become a musician.

Very soon the Durov club will host a concert of the Trumpet Quintet Vadim Eilenkrig– the most prominent Russian jazzman, leading artist of the Butman Music label, “Russian Chris Botti”. Moreover, the word “noticeable” here appears in different meanings– the musician plays bright and varied music and has an enviable, powerful physique.

In the recording of Eilenkrieg's previous disc "The Shadow of Your Smile" wrote music including Nikolay Levinovsky, and among the musicians were members of the famous ensemble The Brecker Brothers- guitarist Hiram Bullock, bassist Will Lee, drummer Chris Parker, trumpet player, and on the album are vocalist Randy Brecker and keyboardist David Garfield.

The reason and topic for conversation with Eilenkrieg was his new, just released album, called very simply: "Eilenrkig"- its presentation will take place during the concert. A constellation of virtuosos again participated in the recording of the disc. Among them are American musicians - drummer Virgil Donnati, bass guitarist Doug Shreve, vocalist Allan Harris, guitarist Mitch Stein and Russian - pianist Anton Baronin and tenor saxophonist Dmitry Mospan.

Sounds: Why did you decide to produce your new album personally? Were you somehow dissatisfied with the production of Igor Butman, who was responsible for your debut disc?
Vadim Eilenkrig: Igor Butman really likes my first album: he likes solos, compositions that he personally chose. I really wanted to record an album that would have more of me in it. I am a doubtful person, a perfectionist in everything. But while recording a disc "Eilenkrieg" I suddenly encountered a problem: I wrote solo, rewrote endlessly and there was no person nearby who could tell me, say that I could stop, that enough was enough. That is why I showed the parts and solos to Igor and consulted with him a lot.

Sounds: Your album is made in the style of "pop-jazz". Is this the main direction of style development?
Vadim Eilenkrig: Of course not. I'm just interested in this today. Nothing more.

Sounds: Evaluate Butman’s role in the world of Russian jazz. He is often praised - is that right?
Vadim Eilenkrig: This is a valid question. But he is not only praised, but also criticized by many. My personal opinion is that he is a brilliant, outstanding musician, a real star in every sense, from professionalism to media presence and charisma. The most important thing is what he did for Russian jazz. He raised the authority of a jazz musician, the prestige of the profession itself. Before him, jazz musicians played in restaurants for 40 minutes before the main program.

Sounds: Your concert took place in the Svetlanov Hall of the Moscow Moscow Music Theater. Does it make a difference for you which hall you play in?

Vadim Eilenkrig: Each hall has its own energy. But to a large extent it all depends on the audience. Regardless of whether it is a small club or a large one concert hall- I believe that the quality of music should be the same.

Zvukiu: Are you criticized for your tattoos? Will you always have them or is it a tribute to fashion?
Vadim Eilenkrig: Yes, they criticize. And quite often. But more people like them. Most chief critic in this matter - my mother. In any case, my tattoos will remain with me forever. If only because it is impossible to reduce a tattoo of this size. I did it because I wanted it for a very long time. And even before making them, I lived with them, I knew that I would have them. These are my inner feelings, they mean a lot to me. With this I set a standard for myself: if you stop training, then a person with such tattoos will look comical. They remind me to constantly work on myself. This applies to both the body and the music. And this is not a tribute to fashion. After all, I got my first tattoo at the age when many people already get them - at 40 years old.

Sounds: Does your appearance provoke the interest of the other sex?
Vadim Eilenkrig: My audience is intelligent. No one is on duty near the entrance at night, nothing criminal happens, there are no problems with it.

Sounds: Why did you decide to write the album with an international “crew”?
Vadim Eilenkrig: You don’t need much intelligence to record a good CD with American musicians. That's why I invited the very best Russian musicians.

Sounds: How do you choose who you will work with?
Vadim Eilenkrig: I was recently asked why I don’t go to my colleagues’ concerts. Unfortunately, there are few trumpet players who play solo concerts. As for other musicians, if I like a person, I invite him to play together, because I get more pleasure listening to him from the stage than from the audience, interacting with him.

Sounds: Composition written by you "No Place for House" ends in techno style. How will you perform it live? Maybe there is a prospect for the development of jazz in combination with electronics?
Vadim Eilenkrig:I haven’t decided how we’ll play yet. You can make an imitation of techno, you don’t have to use a DJ. Jazz and electronic music actively collaborate. If we don't want jazz to be a dead language, we have to evolve.

Sounds: Tell us about your experience of the symbiosis of jazz and electronics.
Vadim Eilenkrig: Electronic music is not as serious as jazz in terms of depth. But that doesn't mean it's simple. To create piece of music, which will appeal to the public, requires talent and professionalism, regardless of style. If I find someone willing to produce my album who knows the trends in electronic music, I will be happy to work with him.

Sounds: Jazz over the past decades has lost its sexuality, and, as a result, its appeal to young people. And you are called the sex symbol of Russian jazz. What to do in this direction?
Vadim Eilenkrig: Jazz has not lost its sexuality. It all depends on the charisma of the performer. In jazz, emotions are vivid, they go from the performer to the audience, while in classical there are boundaries, as in pop music. Probably, rock also conveys emotions, but more vital ones. Jazz is deeper. At the age of 40, I discovered that sex is not just for twenty-year-olds. I hope that in 20 years I will make a similar discovery for myself (just kidding). For jazz to be popular among young people, there needs to be as many young, charismatic performers as possible.

Sounds: Who would you single out among the Russian jazz musicians of the new generation?
Vadim Eilenkrig: This is the pianist who worked with me Anton Baronin and saxophonist Dmitry Mospan. Also drummer Dmitry Sevastyanov, all musicians Igor Butman Orchestra, alto saxophonist Kostya Safyanov, trombonist Pavel Ovchinnikov, drummer Eduard Zizak, my colleague is a trumpeter Vladimir Galaktionov and many others.

Sounds: How did drummer Virgil Donati, known as a performer of rather difficult and “loud” music, fit into your concept?
Vadim Eilenkrig: He fit in perfectly. Made the sound harsher. He has no flaws. Amazing technically, energetically, with knowledge. Sounds: The music of Artemyev (“One among strangers, a stranger among one’s own”) and Rimsky-Korsakov (“Flight of the Bumblebee”) on the album is a random choice or are these special, important composers for you?
Vadim Eilenkrig: Artemyev wrote the most beautiful melody for trumpet in Russia that I know. And we played Rimsky-Korsakov by chance at the Crossover jazz festival. It was necessary to play something at the crossroads of jazz and classical, Dima Mospan made the arrangement, it turned out well, I decided to play it on the album.

Sounds: Formulate your political credo.
Vadim Eilenkrig: I am tolerant not only of people who share democratic views, but I respect people who have the views of the political majority. In my opinion, a democrat is a person who respects the choices of others.

Vadim Eilenkrig is one of the most sought-after jazz trumpeters. This is a musician who sometimes does not fit into any framework and even changes ideas about jazz. For example, he became an innovator and pioneer in his genre in working with electronic musicians. And Vadim is a TV presenter, teacher, a prominent figure in Russian strength sports and, finally, the first performer with tattoos to appear on the House of Music’s posters! He has several musical projects, he releases CDs, participates in recording albums of various stars, and performs in concerts. Moreover, the most diverse. For example, not so long ago the quartet he led performed to a full house in the same House of Music. And Vadim can often be heard in Moscow jazz clubs.

– Vadim, your concert at the House of Music was sold out, the audience was delighted. Tell me, what is the secret of a successful concert?

– The most ridiculous question a journalist can ask me before a concert: how do you want to surprise our audience? The artist should not surprise - after all, we are not in a circus - but create a miracle at the concert. To do this, the musician needs to be absolutely sincere, to give everything that he has inside. It's not enough for the public to have a musician come on stage and play the right notes; people are captivated by the energy you give them. It can be vital or lyrical, whatever - just as much as the musicians differ from each other, and the audience goes to their concerts to receive different emotions.

– As a child, you learned to play the piano - and not jazz at all, but quite traditional classics - you were predicted to have a brilliant future, but later, unexpectedly for many, you changed the piano for the trumpet, and classical music for jazz. Why did this happen?

– I had a childhood typical of a classical musician. That is, one might say, there was no childhood at all. Just imagine: starting from the age of five or even four, I spent three to four hours a day playing the instrument. While my friends in the yard were playing Cossack robbers, chasing a ball or puck, going fishing, I was learning scales and etudes. Of course, they also let me into the yard, but only for 45 minutes. And if, having started playing with my friends, I was delayed and late, then the punishment - an additional hour of playing the piano - was inevitable. Later, when I became an adult, mature musician, I was grateful to my parents for keeping me in a black body. That’s why I reached a high professional level, but I’ll tell you a secret, I still don’t like the piano. And when I had the opportunity to master the second instrument - the trumpet, I immediately took advantage of it. And I transferred all my acquired musical capabilities, all my potential, to this instrument, so soon the trumpet replaced the piano and became the main instrument for me. And I also switched to jazz due to the desire for freedom. I have great reverence and admiration for classical music, but I have always felt cramped within its framework. Jazz gives the musician the opportunity to present a piece of music in his own way, the opportunity to improvise and vary his thoughts in accordance with today's state of mind, which cannot be the same. Therefore, I will play the same piece, jazz theme or standard today completely differently than at the last concert, and at the next I will perform it somehow differently. And it’s this opportunity to combine the organic nature of music with my own state of mind in jazz that I like most.

– There is an opinion that classical music is deep and meaningful, while jazz is superficial and simple.

– It seems to me that this opinion is very limited people, who have little knowledge of jazz. I think that a person who knows both genres equally well will never be able to say this. Yes and themes classical music They are also not performed so rarely by jazzmen. My close friend, the wonderful saxophonist Dmitry Mospan, made several arrangements of classics, and one of them - “Flight of the Bumblebee” - turned out to be so successful that I recorded it on my disc. This is very interesting, although not easy to perform music, even faster than Rimsky-Korsakov’s original.

– Why did you choose the trumpet and not the saxophone, which looks much more impressive and should be liked by girls more?

– When I was choosing the second instrument, I was so tortured by the piano that the very fact that I would have to learn the complex fingering of the saxophone was a shock, but on the trumpet it is clear that the fingering is much simpler. If I had known then that this simplicity was compensated by the enormous complexity of sound production, I might not have taken the trumpet.

– It turns out that playing the trumpet is in some sense more difficult?

– Physically and technologically it is much more difficult. From a physiological point of view, the trumpet is the most difficult wind instrument. And if I had known this, of course, I would have thought very carefully before picking it up. In terms of physical activity, the trumpet can be compared to some serious sport, for example, a barbell. Therefore, the lifestyle and diet should be the same as that of athletes. We are not allowed to smoke or drink strong drinks, although musicians do not always observe this.

- Now you - successful musician. And in the 90s they almost quit music and went into business.

– In the 90s, music could not support me in any way, it was impossible to live on a student scholarship, I didn’t want to sit on my parents’ neck. At that time, opportunities opened up that had not existed before. The shuttle profession seemed very romantic. Until recently, it was possible to get to another country only through difficulties in obtaining a permit and going through an interview at a party organization. And here you buy a ticket, fly to Turkey, communicate with people, choose goods, bargain, bring them to Moscow, sell. I did this for five years.

– I know the story of your return to music was beautiful and romantic.

– Yes, this is a very sentimental story. I had already graduated from the University of Culture, had to get a diploma, and connected my future not with music, but with business. I had an almost formed plan for my future life, in which there was no longer a place for music. And one rainy evening my friend and I were driving in a car. It was quite late, the lights of the lanterns were washed out across the glass by waves of water. And suddenly a saxophone sounded on the radio. I don't remember who played, but it brought me to tears. This music contained passion, love, suffering, flight and doom. This saxophone fascinated me. And I imagined the situation: 20 years will pass, I will become a successful businessman, I will be driving in my own luxury car, I will turn on the radio and hear this saxophonist’s solo, and I will not be able to forgive myself that he is playing, and I have left music forever. I called my parents and told them that I was leaving the business and would need their support again for a while.

– For almost ten years you played in Igor Butman’s commercially successful big band, and then left. Why did this happen?

– When Igor Butman first appeared in Moscow, it was an event. A young, ambitious musician arrived, new blood, and I understood that it was around him that life would develop. And I was happy that he invited me to play in his orchestra, in which I came a long way to become a soloist. I still love this orchestra very much. But at the same time he created some of his own projects. For many years I combined them with work in the orchestra. But my endeavors developed, leaving me less and less time and opportunities to work in the orchestra. For a long time I could not leave on my own, because I really love this band and Igor, who gave me a lot as a musician and as a person, we still remain close friends. But at some point Igor himself came up to me and said: “It’s time for you, but we will always be glad to see you”...

– Now you have several of your own projects. Quintet, quartet, sometimes you perform in a duet with Butman Orchestra pianist Anton Baronin, you have an electronic project with DJ Legrand. And from time to time you record with pop artists, for example, Dmitry Malikov, Larisa Dolina, and the Uma Thurman group. Are these popular stars from whom you can make good money, or is there a moment of creativity here too?

– All the names you listed are very respected by me. I'm skeptical of musicians who refuse offers to play anything other than jazz. Still, on the stage there are good performers. Of course, there are artists with whom I would not agree to perform for any money, but I was happy to collaborate with the singers you listed. Now I am in negotiations about participating in Mikhail Turetsky’s new program, I will be glad if everything works out for us and I will play with him.

– Speaking about the diversity of your creative projects, one cannot help but recall that you also managed to work on television. Together with Alla Sigalova you hosted the program on the cultural TV channel “Big Jazz”. How do you remember this experience now?

– I have the best memories. The profession of a TV presenter turned out to be not at all as simple as many people think from the outside. There were a lot of pitfalls that were not visible to the viewer on the other side of the screen. I had to learn a lot along the way. Plunging into all this, I realized what a colossal amount of work it is to film a TV show. I also learned a lot of useful things from the program for myself. I was surprised by the New Orleans big band participating in the program. The orchestra rehearsed and filmed from morning to evening, and all its musicians remained cheerful and friendly and never stopped smiling at all of us. In Russia, of course, there are jazz orchestras of a higher level. But I don’t know practically any of our musicians who can play all day long and keep a smile on their face. And this is very important, because it allows you to create and maintain contact with the audience. Infect the viewer with your musical happiness, your love for music. This, unfortunately, is what many of our jazz stars really lack.

– You worked together with the flirtatious and cheerful Alla Sigalova, what kind of relationship did you have with her?

– I must say that Alla is a person with a very tough and difficult character. But I don’t like women with a simple character, so pairing with Alla was very interesting for me. Although I knew that if I did something a little wrong, she in the most brutal way will press. Alla is a wonderful person, a woman of stunning beauty, style and intelligence, I often think about her.

– After the program, you weren’t invited to corporate events more often?

– I had enough invitations before the program, nothing much has changed here, although recognition has increased

– By the way, do you accept offers to speak at corporate events?

– As a rule, yes. We don't play music for drunken audiences to dance to. If jazz musicians are invited to a corporate event, then there will be intelligent people in the room. My work consists of three components - club concerts, performances in large halls and corporate events. Each type of concert has its own characteristics and specifics; the tasks and requirements for the musician at such performances differ. Therefore, any performance is very interesting in its own way.

– Many musicians prefer to protect their hands and avoid any, especially strength, sports, but you constantly go to gym, swing, your biceps are 50 cm in girth. Aren't you afraid that you will harm yourself as a musician and ruin your hands?

– I think that in order to understand how dangerous playing sports is, you need to at least go to the gym or train at least once. The vast majority of people who fear that they will not be able to play later have never played sports. But for recent years ten to fifteen in the West, and then in Russia, many musicians of a completely different formation appeared. They play sports and lead a healthy lifestyle. If only because it gives more strength for performances, recordings and development. Therefore, I am an absolutely convinced supporter of sports and strength training, and I believe that this is what helps me and gives me the right energy. In general, I am sure that the idea of ​​a jazz musician as an asocial being, smoking, drinking, and invigorated by illegal means, which has been going on since the 60s of the last century, is outdated, and it’s time to move away from it. We live in completely different times.

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