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 turned into 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 vices 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 we call 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 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 between 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, this 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 a woman’s eyes can one 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 a complicated thing.
- 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 the main character Ravik feels as he says. 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. 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 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 receive everything at once “at the behest of a pike,” 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. 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 really like TV series - the absence of special effects often results in good acting. 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 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.
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 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 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. For a moment, he is a captain of the 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 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 the 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. This topic has been bothering me lately. 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 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.
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 released your record, so why demand that it be promoted as well? 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, 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
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 has 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 yourself? 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. No 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 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. The biggest critic in this matter is 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. It takes talent and professionalism to create a piece of music that will please the public, 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.
I was born in the very center of Moscow, on Ostrovsky Street, now Malaya Ordynka, in a poor Jewish family. He began to speak very early, he began to sing just as early and, to his misfortune, he sang very clearly. My mom has nothing to do with music, she's just a Jewish mom. This is a very serious profession. And dad is a musician. And as a child, he diagnosed me with good hearing. And later it turned out that he was absolute. I have been studying music since I was four years old, and, in general, everything was not easy: music school, music college, higher education institution, graduate school, now I teach at the Maimonides State Classical Academy, I am the head of the department of jazz music and improvisation. First, I graduated from the Prokofiev Music School as a pianist and from the College of the October Revolution, what is now called MGIM. Schnittke. And then the dashing 90s happened. I shuttled - I went to Turkey, bought leather jackets, and then sold them in Moscow. Then I thought that I would never make music again. Since childhood, my dad told me that I should play the trumpet the way one declares one’s love to a single woman. Then I couldn’t understand what it meant, but now I understand what it is. Once, when I was still engaged in the shuttle business, I was driving in a car with my friend and heard a saxophonist playing on the radio. Gato Barbieri. So he played exactly as my father told me. That same evening I decided that I was quitting business and going into music. I consciously decided that it was not so important for me to earn money as it was to make these sounds, because without them I would not be happy. I went to an absolutely amazing person - teacher Evgeniy Aleksandrovich Savin - and persuaded him to study with me. I relearned how to make sounds because no one liked the sounds I made. And me too. This took many years. It was a difficult time. Then I organized my first team called XL. I came up with the name completely spontaneously: I had already agreed on a concert, and they called me on the phone and said: “What’s the name of the group?” I see a T-shirt lying next to me, it says XL. It was then that I was still XL, now I am XXL or XXXL.
I met Igor Butman when he was recruiting an orchestra, the first composition of his big band. And I was very lucky, I ended up in this orchestra! I played there for 11 years and at some point I realized that I needed to pursue a solo career. Igor and I are still very close friends. I released three records on his label. He once told me that XL is not a name for the band at all: “Just think, which concert is more pleasant to go to: Vadim Eilenkrig’s or XL?” I say: “To Eilenkrieg. You're definitely right." Now the group is called modestly “Vadim Eilenkrieg Group”. Yesterday Igor came to our rehearsal, listened and said: “You play well.” And I answer: “Igor, they could all be in your orchestra.” At various times, each of my musicians was fired from Butman's big band! Previously, in order to organize a performance, you had to catch a taxi, bring down and load all the equipment from the eighth floor, drive there, unload, commute, play the concert, disconnect, catch a taxi again and again to the eighth floor. Sometimes the elevator broke down, and then I carried huge speakers, a remote control, and stands on foot to the eighth floor. Probably my biggest influence musically was Randy Brecker, an American trumpeter, one of The Brecker Brothers. I heard an album by his band called Heavy Metal Bebop, and was so delighted! I didn't understand how he played. He's just a god! Many years later, I had a concert at Lincoln Center with Igor Butman’s big band, I played the overture with which Rimsky-Korsakov’s Scheherazade begins. Time passed, I had already returned to Moscow and suddenly received a letter in the mail: “Vadim, hello! I just found your e-mail. I was at the concert. Congratulations to Randy Brecker." I didn't sleep all night. Randy Brecker wrote me a letter saying he liked the way I played! We now correspond periodically with him, he raps on my first record. He is a brilliant musician and an amazing person! I am an “omnivore”, sometimes I even listen to Russian rap. But the difference between Russian rap and other good styles of music is that you suddenly hear some trick, download it to iTunes, listen to it a second time and realize that you won’t listen to it the third time. Because it is already clear what and where has not been completed. I am a terrible perfectionist and I know that many things could have been done better, including, by the way, mine. I'm still not happy with any of my records, any of my solos, any of my recordings. I think as soon as I'm happy with what I'm doing, that will be the first sign that I'm going crazy. This is star fever: no matter what I do, I will not criticize it, I will take the first thing that comes out, it will seem brilliant to me. And of course it will be much worse than anything I'm doing now. Jazz has its own audience, and I wouldn’t trade it for anything: they are intelligent, educated, subtle, very deep people, both young and older. I chose jazz for the state of freedom that is necessary to play it. You just can't be free for this kind of music. Jazz is incredible! When I listen to it, I think: “What a blessing that this music exists in life.” A person does not need much material things. To enjoy even the simplest things, such as rain, jazz, a good book, you don’t have to sit cross-legged on the seashore in Cannes. It can be anywhere. If you need Cannes to enjoy this, then your priorities are somehow wrong. Jazz is always associated with improvisation. In general, it must be said that improvisation is, first of all, science, art and the flight of the soul. So, the flight of the soul is good only when you have colossal knowledge, it’s practically mathematics. There is harmony, and you have to understand what scale, what chord, what add-ons, what you will play - and this is all in real time. You have some learned phrases, and some phrases are born here and now. Therefore, improvisation is not just an intuitive performance, it is a very serious thing that needs to be studied. I recently had an anniversary concert at the Svetlanov House of Music. 1700 seats and all sold out. Now everything has been sold to the Philharmonic too. Yes, I don't collect stadiums. But first of all, maybe for now! And secondly, I'm not sure that if there were 10 times more people in the room, I would be 10 times happier or become 10 times better at playing. I'll probably get more in fees. There is a point here: if you want to make money, there are probably some other genres. Zhvanetsky, in my opinion, said this: “Good is not when there is a lot, but when there is enough.” 
I've always wanted tattoos. But I got my first tattoo, a dragon, about five years ago, that is, at the age when everyone starts getting tattoos. I was worried for a very long time, I doubted: I wanted something with a dragon, but it seemed like I wasn’t a Dragon based on my year of birth, and in general, there was nothing to tie it to. But as soon as you realize that you want a tattoo—apparently, this is how a person works—you immediately begin to come up with some kind of justifying philosophy for yourself. I realized that, firstly, the dragon is an absolutely masculine symbol. At some point, it began to seem to me that I was very soft in this life: I had a hard time parting with people to whom I should have turned my back a long time ago; I forgive a lot. And that was one of the meanings: I told myself that I was no longer soft. I had the dragon done for three months, once a week for three hours, it turns out more than 30 hours. My second tattoo is my favorite. I have two stars of David on my chest. Once I watched the movie "Bullet". The main character, played by Mickey Rourke, had Stars of David. I always thought that if I were as cool as Mickey in this film, then, of course, I would make these stars for myself. And at some point I stuffed them. I also have a girl on my right hand. The amazing artist Vanya Razumov drew it for me. He told me then: “I’ve never gotten a tattoo.” I told him: “I don’t care. Draw a girl." He drew me a girl, she plays the trumpet. This is my muse. Just in case, I dressed her, because after all, my muse should not be seen naked. And on my left hand I have a flaming heart with three words: sex, gym and jazz, which define the main pleasures in my life. 
I don’t know exactly what an ideal girl looks like externally. It seems to me that a man must be strong and athletic. And a girl can be absolutely anyone: any height, any build, any color and size. There are, of course, internal qualities that are necessary: kindness, wisdom, understanding and a little bit of some kind of feminine foolishness, without which it is impossible to get carried away with a girl. This is such mild hysteria. It must be there to keep you on your toes. Men may say that they don’t like hysterics, but they choose them anyway, and they leave very good women for them. At 19, I was married for three months. And it was vaccination. Roughly speaking, they got vaccinated, and now I have immunity for life. Although, this vaccination may soon end. It seems to me, to be honest, that the institution of marriage has somewhat exhausted itself. But, of course, people should live together. In the picture about ideal old age, next to me is a tattooed, cheerful, white-toothed old woman. Sunset, grandchildren, but the old lady is a must. Such a grandmother must be cheerful. Most often you can meet me at my concerts. I always come to them. In any condition. By the way, when I had this anniversary concert at the House of Music, a few days before that I was very seriously poisoned: I could barely stand on my feet. I played and thought: “Just don’t fall! Just don’t fall!” Girls who want to meet me should just come up and say: “Let's have coffee?” Certainly! Coffee is generally a non-binding thing, from which a lot can come out or, conversely, nothing can come out of it, but you will always get pleasure from it. I do this myself if I like someone. It seems to me that any person should understand: you can only lose if you want to approach and do not approach, and if you approach and even get a negative result, you do not lose anything. There are people whose ego suffers greatly, but this means that they are only interested in how they are perceived. This is a very scary thing both in life and on stage. When a person comes out and gets excited before the stage, that’s good, but when he gets excited on stage, during the performance, it means that he’s not playing music, but thinking about how those sitting in the audience perceive him. This is no longer music. The more you achieve, and with tremendous effort, the more people say bad things about you. But, as a rule, these people are either lazy, or mediocre, or envious, who are not able to force themselves to do something. A talented person, I am sure, always has envious people. For me, every day is Groundhog Day. By the way, I don’t understand how and why Bill Murray wanted to get out of this film - it’s the happiest day! He wakes up young and healthy, meets this amazing girl every day. Yes, this is the best day of his life! I know for sure that I don’t want to leave my Groundhog Day. As a rule, I don't get up with an alarm clock. I understand that this is a very unhealthy habit, but I start my day with a cup of cappuccino. I can't deny myself this. Then breakfast, the gym, then I come home, brew myself pu-erh, this is also my weakness and love, I open the windows, take a sip of pu-erh and play a musical phrase, and so a lot of time passes. In the evening I either meet with friends or play concerts. I come home after a concert and get away from it emotionally for a very, very long time, so I turn on some good TV series - now TV series are much better than movies, because in movies there are all special effects, and in TV series there is real acting, and from very serious people. This is the perfect day. It will probably be even more ideal if a loved one is nearby,but I am convinced that it is about to happen.
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 sent him to a 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.
In the nineties, Eilenkrieg finally realized that music was his calling. 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.
Vadim Eilenkrig with Alla Sigalova in the “Big Jazz” program 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. The duration of 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 is fascinated not only by music Vadim Eilenkrig told what profession he would have chosen if he had not become a musician.