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 public 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 it 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 express musical composition in your own way, the opportunity to improvise and vary your thought 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 is the opinion of very limited people, shallow those who know 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 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. By physical activity the pipe 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 are a 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. Long 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. I am currently in negotiations to participate in new program Mikhail Turetsky, 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 and 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 slightly wrong, she would put pressure on me in the most severe way. 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 you are invited to a corporate event jazz musicians, that means 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, lead healthy image life. 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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You have played in many countries, including the birthplace of jazz - the United States of America. Where was it more difficult to perform? Where is the public more demanding?
Of course, it's more difficult to play jazz in America! When you realize that audiences who have had the opportunity to listen to the greatest musicians come to concerts, this is a very big responsibility. I had a tour with Igor Butman’s big band and Yuri Bashmet’s orchestra, in which we played the symphonic suite “Scheherazade” by N.A. Rimsky-Korsakov. We have made an arrangement for trumpet of one of the most difficult violin solos, which is played without the accompaniment of an orchestra. The program took place in the best halls in America, such as the Chicago Symphony, Boston Symphony, and NY Rose Hall. It was not easy psychologically, imagine - you are surrounded by two orchestras, the best musicians and a very sophisticated audience. When Wynton Marsalis, the world's best jazz trumpeter today, was supposed to come to one of the concerts, I was very worried! During my studies at music school, he was a god for me. And for a long time I could not understand how to prepare for such a performance. But then I realized one thing: even Marsalis, being a god, sometimes makes small mistakes in his acting. The trumpet is a difficult instrument, and even a top-class professional is, first of all, a person, not a celestial being, and he, like any of us, tends to make mistakes. And I gave myself the right to make a mistake, because if I only think about how to play the piece perfectly, it still won’t turn out very well, the message will change - instead of the pleasure of playing there will be a fear of making mistakes.

After that, I decided to play in such a way that I liked the performance myself. Even if there is some defect, roughness or sound is a little off, and Marsalis, as a professional, hears it, he will definitely understand why this happened. And, as soon as I gave myself this right, I began to play solo perfectly. Now this is my magic formula that helps to tune in psychologically in all cases of life!

By the way, Wynton couldn’t come that evening, but another of my idols, Randy Brecker, was at the performance and two weeks later I received a letter from him, which included the following lines: “Hello, Vadim! I was at a concert at Lincoln Center. Impressed. Congratulations!".

This is undoubtedly a very inspiring assessment of your work. Do you always worry before going on stage? What helps you cope with this?
As I already said, I have an absolutely universal life formula - “the right to make mistakes”, which helps fight severe psychological pressure, because sometimes going out to play in the hall can be very exciting.

There are different categories of artists, I, for example, always very much doubt what I do, and at times I envy those who are sure that their work is done perfectly, they are the lucky ones. I'm not saying that someone is better or worse, but, as a rule, among musicians there are those who firmly know that they do everything flawlessly, and there are people who are always looking for an opportunity to improve and redo something. In art, I am closer to those who are always a little unsure, because, in my opinion, as soon as a person stops questioning what he is doing, he stops at the very first option that he came up with. I, on the other hand, am never completely satisfied with the result, and even when I was working on the record, I often re-wrote some solos. I doubt everything!

How long did you work on the record?
During two years. I'm not saying it's perfect, I'm quite critical in that regard. According to my personal feelings, neither one nor the second record achieved the ideal I desired. Although, they say that they turned out very good and of very high quality! In my opinion, when you stop doubting yourself, the next stage is “star fever”.

Have you ever had “star fever”?
No! I constantly doubt myself.

How is jazz perceived in Russia? Is it always understandable to the Russian audience?
There was jazz in Russia even in those years when official Soviet propaganda prohibited it. Now it is developing in the same way as other popular musical trends. People regularly go to numerous jazz concerts and festivals. It has become a kind of fashion trend. If you are a thinking, intelligent, well-mannered person, then you should love jazz. Another question is that many people listen to it, but do not understand at all what it is. In general, for the listener, the main thing in jazz is to begin to love and feel it, and understanding should come as information is received. Then a person can identify for himself what is better and what is worse. Although, personally, I don’t really like it when music is compared for “better and worse,” unless, of course, you don’t take into account some, well, frankly dubious examples of art.

It seems to me that there is a certain level, above which everything is already good, just in different ways. And people have the right to choose and the right to say “this is closer to me, but this is alien to me.” Today there are a lot of musicians who are simply ridiculous to compare. It's like comparing artists or writers of completely different styles.

As a similar comparison, you can name a couple of writers who work in different directions, but are you loved?
For example, how can you compare Charles Bukowski and the classic German literature, Erich Maria Remarque.

Remarque is an amazing writer. When I was seventeen years old and I read Arc de Triomphe, I drew some very superficial conclusions for myself. At that time it was just an interestingly written book, but later, re-reading it at a fairly mature age, I realized something that I could not understand at a more mature age. early years. I realized that everything written in “Arc de Triomphe”: about the attitude to life, the attitude towards women, about friendship, about philosophy, is perceived completely differently. Firstly, he writes about a 35-40 year old man who came to something through love and suffering. Secondly, it is so deep that the whole philosophy contained in this book is very close to me. I then re-read it several times and realized that this is my work.

I love Charles Bukowski madly, and if you compare him with an artist, he is a master who, with laconic, short and rough strokes, creates an absolutely stunning picture of reality. But, despite all this rudeness, he is a very romantic person. He writes about women not from the illusory world, but about real ones, battered by life, and not always happy. Or, when he writes about his daughter, this is a manifestation of unprecedented romanticism. Bukowski is a bully, and this is a plus, since I don’t really like “sleek, correct” art.

In America there is a state program for the development of jazz. Is there something similar in Russia? Is such a program needed in Russia? Maybe she could help cultural development and instill good taste to the music of youth?
Maybe such a program is not needed in Russia. The fact is that in America jazz is recognized as a national treasure. For our country, jazz is one of the genres of music, and music is one of the areas of art. Of course, the potential of this genre is a little underestimated. In my opinion, jazz is amazingly developing. It is melodic, dynamic, free in terms of thinking, and I love jazz very much, but I admit that you can be an educated and intelligent person without deep knowledge of jazz as a direction of music.

It is generally accepted that jazz is music for the older generation. The combination of jazz and electronic music is becoming interesting for young people. In your opinion, will this musical formation increase youth interest in jazz? What is the interest modern youth in jazz?
Now quite often a new generation appears at concerts. Very intelligent, beautiful, open people.

Do they attend classical jazz concerts or jazz combined with electronic music?
I see jazz mixed with electronic music as a joke. But this is a joke that requires a certain professionalism. If you don’t master the instrument and style, then nothing will work out. And the younger generation attends jazz concerts, regardless of style, and I definitely like it.

Is jazz mixed with electronic music a commercial move?
For me - yes. At the time when a certain mix of these trends was being created, there was a crisis period in society, and in culture in particular. The public preferred nightclubs to concerts, and the new trend gained great popularity. It all started with the “A-club” and “Gallery”, and later became in demand in many clubs.

The “Big Jazz” project on the “Culture” TV channel, in which you made your debut as a presenter, is designed to increase the media exposure of musicians? Are you interested in continuing your television career?
I was very pleased that my work as a presenter was highly appreciated by the management of the Kultura TV channel. If I am offered a project that will not take me more than a few days a month, and if this project is interesting to me, then I will gladly accept such an offer. But if I were now offered to say goodbye to my career as a musician in exchange for a career as a TV presenter, I probably wouldn’t go, because when you have an audience in front of you, then at the same time you have the opportunity to exchange energy and this is happiness. When there is a television camera in front of you, no one gives you energy, you only give it away. This is enough for some, but not for me. In my life, communication, energetic and emotional exchange of feelings and experiences play a big role. Interaction with my family, friends, and new people is very important to me. interesting people, including with my students.

The project was also designed to attract attention to the channel from a new social audience. Before the project, the TV channel "Culture" was watched mostly by adults, mostly women. One of the rating objectives was to attract men between the ages of thirty and fifty. The very layer that forms the basis of a creative society, the most advanced in the field of business. And we did it. As for the project participants, media presence in Russia needs to be constantly supported.

Do you support your media presence?
No. It seems to me that if I am not invited to host the next season of this show, then everyone will forget about this episode in my life.

One of your students was a participant in the “Big Jazz” project...
Yes, he simply studied with me for a long time, free of charge, now he has enrolled, and in parallel with his studies, he plays in Oleg Lundstrem’s orchestra. It’s possible that he didn’t win, and that’s a good thing, because a real fighter must go through a loss. I am very skeptical of people who only win, at some point they may not be able to handle failure. Failure is first and foremost an overcoming, and you will always know what you need to do to prevent similar situations from happening again.

You are a self-critical and demanding person. Do you treat your students the same way?
Yes! When I was learning to play the trumpet, I was obsessed with music. For this reason, I stopped going to clubs, quit a certain business that brought me income, and this was an absolutely conscious decision. For me, it was more important to make music than to make money, although this happened in the nineties and life was very difficult for musicians. But I decided to change my life because I realized that I couldn’t live without it. Therefore, when people come to me, I demand their full commitment. If my students are not studying to the best of their ability, then they are wasting my time, which is the most valuable asset I have. Music must be loved selflessly. In this regard, I don’t really understand those musicians for whom performing is a means of earning money or a means of gaining popularity. A professional should not have an emphasis on “I”, he should have an emphasis on music.

What emotions do bright students like the participant in the “Big Jazz” project evoke in you?
Of course I'm proud of them.

What about teaching in general?
For me, students are divided into two categories: the first category is very difficult, as if a roller skating rink rolled over you back and forth, and the second is inspiring, giving the feeling of flight, wings behind your back. In the first case, I, as a doubting person, always begin to think that the reason for the student’s failures is me. I explained something wrong, I didn’t see it, I didn’t understand it, and from time to time I go far enough in such thoughts, after which I understand that it’s destroying me. And, on the contrary, when I see that students are succeeding, they are developing their skills, I understand that I was able to help... This, in principle, is happiness for a teacher.

Can you call yourself a happy person?
Certainly. I built my life myself, so I am happy. I have something in my life that makes me happy and, it seems to me, I have protected myself in this life from everything that could bring me discomfort.

You have your own team. By what criteria, besides talent, did you form your team?
In general, creating an excellent professional team in Russia was my main task and I believe that despite all its complexity, I succeeded in this. In order to realize my idea, I needed to find the right people. The whole problem was that there are few good musicians in Russia, it seems that there are many of them, but in fact, this is not so. Secondly, there are few artists among musicians. An artist and a musician are completely different professions. In addition, I am an esthete, and for me an important criterion is appearance person, he must look attractive to the public. There are even fewer of them. And from this number you need to choose those with whom you would be comfortable, from the point of view of human qualities. As a result, my musicians undoubtedly have professionalism, artistry, in its broadest sense, look aesthetically pleasing and have personal and spiritual merits.

What can you say about the label you were given on the Internet? Do you know about this?
If you are talking about the “sex symbol of Russian jazz,” then this was the creative work of one PR person who decided that it was very witty. I was initially against this, because when such statements are made about a jazz musician, it implies that he does not play as well as he should, or that it is much more important for him to become famous, even in such a dubious way, than to remain a professional. On the other hand, a lot of people come to my concerts beautiful girls and women of different ages, and to say that I am not interested would not be true. Of course, such attention from the fair sex is very flattering to my male vanity, and, of course, I am incredibly pleased to play for beautiful, inspiring women.

How do you feel about such labels and rumors about you?
I don’t like it when they can write something like this, for example, in a press release. Most people, instead of getting information about me on my official website, prefer search engines and reprint everything they find there. Including such gossip and speculation, but this is inevitable back side fame. Fighting such phenomena is a waste of time.

Presence in your life large quantity charming fans is a good indicator. Can we talk about romance?
I am a very romantic person, and probably even old-fashioned in some ways. It seems to me that the only reason for people to live together is love. A man and a woman need each other for love and happiness, not for any other reasons. And certainly not by calculation.

Romance is an attitude towards a person, choosing him as your partner, thinking about him, this is when you live and breathe him. It doesn't have to be melodramatic, tearful and sugary. It can be different. This is partly a character trait and, to some extent, part of upbringing. My understanding of romance began with the magically beautiful, poignant fairy tales of Hans Christian Anderson, which my mother read to me. It seems to me that this natural loving mood was always present in me, both at the age of five and at fifteen...

In my youth, I really wanted to please girls, and then I went to the gym to be more masculine and attractive. On my part, this was also a manifestation of romanticism.

Sport is an integral part of your life. It is generally accepted that such loads are harmful for professional musicians. What is your opinion on this matter?
The gym is everyone's personal choice. Professional sports do not bring health benefits even for a professional athlete, but amateur sports only help a professional musician. I absolutely love this masculine feeling of strength. A man must be sporty and athletic, have a healthy competitive spirit and willpower. This is a lifestyle and my choice. I believe that a physically strong man can afford to be kind and generous in any situation. After all, when you are strong and give in, you don’t feel inferior, it’s your own decision, but the weak give in in a different way - out of despair, and not of their own free will.

My character was formed through sports. He taught me tremendous discipline, because to achieve even the most minimal result, you need to work monotonously day after day. I really respect people with “iron” willpower.

How do you manage to combine a touring schedule and a training schedule?
Very difficult. Especially when you go on tour and upon returning you realize that the form is not the same. Of course, not as bad as if you had never played sports, but not as good as you would like.

Is there any limit to self-improvement?
I'm more interested in the process itself rather than the end result. It is very important for me that I am on the move... Whether it concerns sports or music, the most important thing is that I am on the move. In my opinion, the goal is secondary. Sport, like music, is a way for me to be happy.

The secret of Vadim Eilenkrig's success...
I don’t have gigantic success and the same media exposure. But the secret of what I have achieved in this life is colossal work in the right direction, when you clearly understand what you need to achieve.

Advice from Vadim Eilenkrig...
Whatever we do and whatever we do, we must always remember that the most important thing in life is love! I am sincerely convinced of this. This applies to everything: relationships, friendships, careers, and even politics. Therefore, do not forget that love is the basis of everything.

Katerina Goltsman

27th October 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 legends 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 27th.

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 in fact 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 themselves on their own. 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 a trumpeter breathes correctly, does not pinch his throat, monitors his articulation, that is, does not “play for his health”, wasting his last strength, then he 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 any weaknesses. 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 - playing music and sports, reading books, communicating with interesting people, hosting concerts and corporate events - became an alternative to the experience of working on television, which I did not have 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 feelings about 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.

In the studio of the Big Jazz program, 2013: presenters Alla Sigalova and Vadim Eilenkrig (photo © Kirill Moshkov, Jazz.Ru)

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 in the country, 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. In order to be an interesting musician, you need to read books, watch good films and go to the theater, develop a sense of beauty in yourself. 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 published you a record, so why also demand that it be promoted? Do your own tour! Yes, many creative people don't know how to sell their product, and that's okay. 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, 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. Saxophonist 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

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 large collection 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 raised not on face-to-face communication, but on communication through gadgets. Moreover, your best friend is 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 cannot simply write Daniil Kramer and Vadim Eilenkrig. You should always write: “With the program...”, then come up with whatever you want. I then came up with this joke that you can’t play like that with Igor Butman - it’s immediately clear who is rich and who is 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 it is no longer on the central channels - it is 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 being quite strict in doing 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 between publications based on gender. Women are more interested in abstract male gaze on 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 lead to nothing.

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 enjoy 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. These are 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 gets married 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, strong-willed and moral qualities. 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. A lot of meat. I try not to eat pork, not for religious reasons - it's just "heavy". I was in Shargorod visiting the mother of Sergei Badyuk. 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. Aside from the huge amount of childhood weapons 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.

• A 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. A lot 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 believe monkeys sometimes more people 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.

“VD” spoke with one of our most popular jazz musicians about his favorite things: trumpets, concert venues, fans and women.

Which venues do you like most - in Russia and abroad?
Of the Russian ones, of course, the “House of Music”, both the pretentious Svetlanovsky Hall and the cozy Teatralny Hall. I like the second one because it creates a feeling of incredible, almost physical closeness with the audience. And from abroad - Rose Hall and Carnegie Hall in New York, because these are the two places where I liked my solos, and I always doubt what I do.

What is the secret to a successful concert?
Every day you play for 4-5 hours. If you prepare less, then on the day of the performance you will think not about the music, but about how physically exhausted you will be by the end of the event. Preparation is 10 days of hell, but the concert itself is happiness. Jazz does not require a large number of fans, but, as a rule, these people are adults, educated, with a developed sense of beauty; communicating with them is a pleasure. Although, of course, not without exceptions. For example, one fan once wrote to me: “Being killed by your hands is a dream.” And such people do exist.

Does it matter what trumpet a musician plays?
My colleagues make a colossal mistake when they change the car, but do not change the pipe. This is incomprehensible to me, because a car is, whatever one may say, a piece of iron, and a pipe is a tool that gives you the opportunity to communicate with the world. I've had many instruments in my life, but one that stands out is the trumpet that Dave Monae made to suit my weight, height, build, and even my vision of how I should play. It's like the love of your life. All previous pipes are my story, they are with me, but I don’t return to them. Pipes have to be replaced over time, but I really hope that I will do major repairs to my beloved, but I will not change her.

Is age important for a jazz performer?
In pop music, a girl is gorgeous at 20, loses her popularity at 30, and becomes funny at 40. But in jazz it’s different: it turns out, for example, Cesaria Evora or Natalie Cole, who are already over 60, and you trust them like no one else, because they have lived their lives.

Which of the current jazz musicians do you find most interesting?
When it comes to my fellow trumpet players, there are two absolutely incredible people: Ryan Kisor and Sean Jones. They are mesmerizing in the way they express their thoughts through music. I highly recommend them.

Are there any young Russian musicians who, in your opinion, deserve close attention?
Saxophonist Dmitry Mospan is the winner of the “Big Jazz” television project. Polina Zizak is a young singer, participant in the show “The Voice”. They have already established themselves as musicians, but time will tell whether they will gain media fame.

You have worked a lot with foreign performers. How are they different from ours?
Efficiency and discipline. I remember how we recorded our first record in New York with the participation of world jazz stars. The meeting at the studio was scheduled for 10 am. Out of habit, Igor Butman and I arrived at 10.15 and were surprised to find that all the musicians were already waiting for us, played and connected to all the necessary equipment. Discipline is something that not only domestic musicians, but Russian people in general lack.

You give the impression of a very active person: you collaborate with a variety of musicians, from Lyube to Umaturman, from Dmitry Malikov to Igor Butman. How do project ideas come about?
Often proposals for cooperation come naturally. For example, this happened with the TV project “Big Jazz”: they called me and passed the casting. Despite my apparent activity, I am a very lazy person: I like to make myself tea and stick it in front of the TV. And something comes on its own - because, apparently, it’s the right tea, the right sofa, the right TV series. If you channel positive energies through yourself, the situation will be such that sooner or later you will be offered exactly what you need. If you haven't been offered this yet, it means the time hasn't come yet.

That is, if you want to succeed, you just need to wait for the weather by the sea...
You see, in order to sit like this, drink pu-erh and conduct the correct energies through yourself, you had to go to school from the age of 4 music school, have no childhood, study like hell all the time. At the age of 15, a gym appeared in my life, almost every day I had to lift 5-7 tons, eat right, and get enough sleep. My whole life is the result of constant work on myself.

Aren't you afraid of old age?
I'm afraid, of course. But not gray hair and wrinkles, but physical weakness. In relation to myself, I do not accept weakness. Definitely: either I will be strong or I will die. Therefore, I constantly work on myself.

Don't you feel tired?
I’ve been going to the gym for 25 years and doing 4-5 identical exercises that I love and don’t plan to change. If you have lost interest in something, it means you didn't really like it. People are generally divided into two categories: those who are able to love, and those who are not given this.

You talk so much about love...
Certainly! After all, the main message not only of jazz, but of everything that surrounds us is love. You go on stage - and what should you bring if not love? The desire to please the public, to earn money? All this is superficial.

Are you satisfied with everything in your life?
Except one. I hope that someday a miracle will happen in my life and I will meet a woman who will become the mother of my children. I am very focused on this. Recently I came to a terrible realization that there are many such truly good women. I thought that there were none, but now I see that there are many of them. So the problem is me, so I'm working on it. It’s like when you come to the Alcoholics Anonymous club: “Hello, my name is Vadim, and I’m an alcoholic.” As soon as you admitted this, realized that the problem is in you, you take the “path of correction.” I think I will solve this problem in the near future. I recognize my woman by two qualities: I should be fascinated by the way she looks and the way she expresses her thoughts. Nothing more is needed.