Eilenkrieg personal life. Vadim Eilenkrig: The most difficult wind instrument. Favorite things of Vadim Eilenkrig

VD spoke to one of our most sought-after jazz musicians about his favorites: trumpets, venues, fans and women.

What sites do you like the most - in Russia and abroad?
Of the Russian ones, of course, the House of Music, both the pretentious Svetlanovsky Hall and the cozy Theater Hall. The second one I like 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'm doing.

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

Does it matter which 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 have had a lot of instruments in my life, but the trumpet made by Dave Monet plays a special role, taking into account my weight, height, build and even my vision of how I should play. It's like the love of a lifetime. All previous pipes are my history, they are with me, but I will not return to them. Pipes have to be changed over time, but I really hope that I will overhaul my beloved, but I will not change it.

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 lived their lives.

Which of the currently working jazzmen seems to be the most interesting for you?
Speaking of my fellow trumpet players, there are two absolutely incredible people: Ryan Keazor and Shawn Jones. They fascinate with the way they express their thoughts with the help of 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 TV project. Polina Zizak is a young singer, participant of the Voice show. As musicians, they have already taken place, and whether they will receive media fame, time will tell.

You have worked a lot with foreign performers. How are they different from ours?
Efficiency and discipline. I remember how we recorded the first record in New York with the participation of world jazz stars. The studio meeting 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 out and connected to all the necessary equipment. Discipline is something that is lacking not only for domestic musicians, but for Russian people in general.

You give the impression of a very active person: you collaborate with a variety of musicians, from Lube to Umaturman, from Dmitry Malikov to Igor Butman. How do project ideas come about?
Often offers of cooperation come by themselves. For example, this happened with the TV project "Big Jazz": they called me, the casting went through. Despite the seeming activity, I am a very lazy person: I like to make tea for myself and “stick” it in front of the TV. And something comes by itself - because, apparently, this is the right tea, the right sofa, the right series. If you conduct positive energies through yourself, the situation will develop in such a way that sooner or later you will be offered exactly what you need. If you haven't been offered it yet, then it's not time 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 right energies through yourself, you had to go to a music school from the age of 4, not have a childhood, and 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, get enough sleep. My whole life is the result of constant work on myself.

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

Do you feel tired?
I have been going to the gym for 25 years and doing 4-5 of the same exercises that I love and do not intend to change. If you have lost interest in any activity, it means that you did not really like it. People are generally divided into two categories: those who are able to love, and those who are not given it.

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 carry 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'm very focused on it. Recently, a terrible realization has come that there are many such women, really good ones. I thought there were none, but now I see that there are many. So I'm the problem, 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 acknowledged this, realized that the problem is in you, you get on 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.

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

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

The reason and topic for conversation with Eilenkrieg was his new, just released album, called very simply: "Eilenkig"- 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 Donnaty, bassist 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 in person? Did something dissatisfy you 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 himself chose personally. I really wanted to record an album that would have more of me. I am a doubter, a perfectionist in everything. But while burning the disc "Eilenkrieg" I suddenly ran into a problem: I was writing solo, rewriting to infinity and there was no person nearby who could tell me, tell me that I can stop, that enough is 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 curious today. No more.

Sounds: Evaluate the role of Butman in the world of Russian jazz. He is often praised - is that right?
Vadim Eilenkrig A: That's the right 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, charisma. The most important thing is what he did for Russian jazz. He raised the prestige of the 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 MMDM. Does it make any difference to you which room to play in?

Vadim Eilenkrig: Each hall has its own energy. But to a greater 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 the music should be the same.

sound: Do you get criticized for your tattoos? Will you always have them or is it a tribute to fashion?
Vadim Eilenkrig: Yes, they criticize. And often enough. But most people like them. The main critic in this matter is my mother. In any case, my tattoos will stay 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 I made 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 the bar for myself: if you quit training, then a person with such tattoos will look comical. They remind me to constantly work on myself. This applies to both body and music. And this is not a tribute to fashion. After all, I made the first tattoo at an age when many people already reduce them - at the age of 40.

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 is happening, there are no problems with this.

Sounds: Why did you decide to write an album with an international "team"?
Vadim Eilenkrig: It doesn't take a lot of brains to record a good CD with American musicians. Therefore, I invited the most and 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 the concerts of my colleagues. Unfortunately, there are few trumpeters 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: Song you wrote "No Place for House" ends in techno style. How will you perform it live? Maybe the prospect of developing jazz in combination with electronics?
Vadim Eilenkrig: Haven't decided yet how we will play. You can make an imitation of techno, it is not necessary to use a DJ. Jazz and electronic music are actively cooperating. If we don't want jazz to be a dead language, we must evolve.

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

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

Sounds: And who would you single out among 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 Orchestra of Igor Butman, alto saxophonist Kostya Safyanov, trombonist Pavel Ovchinnikov, drummer Edward Zizak, my colleague is a trumpeter Vladimir Galaktionov and many others.

Sounds: How did drummer Virgil Donati fit into your concept - known as a performer of rather difficult and "loud" music?
Vadim Eilenkrig: He fit in perfectly. Made the sound harder. He is without flaws. Amazing technically, energetically, with knowledge. Sounds: The music of Artemiev ("At home among strangers, a stranger among friends") and Rimsky-Korsakov ("Flight of the Bumblebee") on the album - a random choice or are they special, important composers for you?
Vadim Eilenkrig: Artemiev wrote the most beautiful trumpet melody 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 classics, Dima Mospan made an arrangement, it turned out well, I decided to play it on the album as well.

Sounds: Formulate your political credo.
Vadim Eilenkrig: I am tolerant not only to 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 choice of another.

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 his work with electronic musicians. And also, Vadim is a TV presenter, teacher, a prominent figure in Russian power sports and, finally, the first performer with tattoos who appeared on the posters of the House of Music! He has several musical projects, he releases CDs, participates in the recording of albums by various stars, and gives concerts. Moreover, the most varied. For example, not so long ago the quartet headed by him performed to a full house in the same House of Music. And often Vadim can be heard in Moscow jazz clubs.

- Vadim, your concert at the House of Music was sold out, the audience was delighted. What is the secret of a successful concert?

- The most ridiculous question that a journalist can ask me before the concert: how do you want to surprise our audience? The artist should not surprise - after all, we are not in the 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 audience to have a musician come on stage and play the right notes, people are fascinated by the energy that you give them. It can be vital or lyrical, whatever you want - just as much as the musicians differ from each other, and the audience goes to their concerts to get different emotions.

- As a child, you learned to play the piano - and not at all jazz, but quite traditional classics - they predicted a bright future for you, but later, unexpectedly for many, you changed the piano to the trumpet, and the classics to jazz. Why did it happen?

– I had a childhood typical of a classical musician. That is, one can say that there was no childhood at all. Just imagine: starting from the age of five or even four, I spent three or four hours a day at the instrument. While my friends around the yard were playing robber Cossacks, chasing a ball or a puck, going fishing, I was learning scales and etudes. Of course, they let me out 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 extra hour of playing the piano - was inevitable. Later, as an adult, mature musician, I was grateful to my parents for keeping me in a black body. That is why I have reached a high professional level, but, I will tell you a secret, I still do not 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 to this instrument all my accumulated musical capabilities, all my potential, so the trumpet soon replaced the piano and became my main instrument. Yes, and I switched to jazz, too, thanks to the desire for freedom. I treat classical music with great reverence and admiration, but I have always been cramped within its framework. Jazz, on the other hand, gives the musician the opportunity to express a piece of music in his own way, the opportunity to improvise and vary his thought in accordance with the current state of mind, which cannot be the same. Therefore, I will play the same work, jazz theme or standard today in a completely different way than at the last concert, and at the next I will perform it somehow differently. And this is the opportunity to combine the organics of music with my own state of mind in jazz that I like the most.

– There is an opinion that the classics are deep and meaningful, while jazz is superficial and simple.

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

- Why did you choose the trumpet, and not the saxophone, which looks much more spectacular, and the girls should like it more?

- When I chose 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 plunged me into shock, while on the trumpet it is clear that the fingering is much simpler. If I knew then that this simplicity is compensated by the enormous complexity of sound extraction, I might not have taken the pipe.

- It turns out that it is more difficult to play the trumpet in some sense?

– Physically and technologically much more difficult. From the point of view of physiology, the trumpet is the most difficult wind instrument. And if I knew this, of course, I would have thought very well before taking it in my hands. In terms of physical activity, the pipe can be compared with some serious sport, for example, with a barbell. Therefore, the mode of life and nutrition should be the same as that of athletes. We are not allowed to smoke, drink strong drinks, although musicians do not always observe this.

Now you are a successful musician. And in the 90s they almost gave up music, went into business.

- In the 90s, music could not feed me in any way, it was impossible to live on a student scholarship, I did not want to sit on the neck of my parents. At that time, opportunities opened up that were not there before. The profession of a "shuttle trader" seemed very romantic. More recently, it was possible to get to another country only with difficulties by obtaining a ticket, having passed an interview in a party organization. And then you buy a ticket, fly to Turkey, communicate with people, choose goods, bargain, bring them to Moscow, sell them. I've been doing this for five years.

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

Yes, it's a very sentimental story. I was already graduating from the university of culture, I had to get a diploma, and I 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 any place for music. And one rainy evening we were driving with my friend in a car. It was quite late, the lights of the lanterns washed out on the glass in waves of water. And suddenly a saxophone sounded in the radio. I don't remember who played, but it was piercing to tears. There was passion, love, suffering, flight and doom in this music. This saxophone mesmerized me. And I imagined the situation: 20 years will pass, I will become a successful businessman, I will drive my own luxury car, turn on the radio and hear the solo of this saxophonist, and I will not be able to forgive myself that he plays, and I left music forever. I called my parents and told them that I was leaving the business and would again need their support for a while.

- For almost ten years you played in the commercially successful big band of Igor Butman, and then left. Why did this happen?

- When Igor Butman first appeared in Moscow, it was an event. A young, ambitious musician, fresh blood, arrived, 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 went a long way to become a soloist. I still love this orchestra very much. But at the same time he created some of his own projects. For many years I combined them with work in the orchestra. But my beginnings evolved, leaving me less and less time and opportunities to work in the orchestra. For a long time I could not leave myself, 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 with him. But at some point, Igor himself came up to me and said: “You have to go, but we will always be glad to see you” ...

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

- All the names that you have listed are very respected by me. I'm skeptical of musicians who turn down offers to play anything other than jazz. Still, there are good performers on the stage. Of course, there are artists that I would not agree to perform with for any money, but with the singers you listed, I was happy to cooperate. Now I am negotiating to participate in the new program of Mikhail Turetsky, I will be glad if everything works out for us, and I will play with him.

– Speaking about the variety of your creative projects, one cannot fail to recall that you have worked on television as well. Together with Alla Sigalova, you hosted the program of the Big Jazz TV channel culture. 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 it seems to many from the outside. There were a lot of pitfalls that are not visible to the viewer on the other side of the screen. I had to learn a lot along the way. Having plunged into all this, I realized what a colossal work it is to film a TV show. And for myself, I also learned a lot of useful things from the program. 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 did not stop smiling at all of us. In Russia, of course, there are jazz orchestras of a higher level. But I don't know almost 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. To infect the viewer with their musical happiness, their love for music. This, unfortunately, is very lacking for many of our jazz stars.

- You worked in tandem 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 I was very interested in pairing with Alla. Although I knew that if I did something a little bit wrong, and she would press 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, they didn’t invite you to corporate parties more often?

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

- By the way, do you accept offers to speak at corporate parties?

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

- Many musicians prefer to protect their hands and avoid any, especially power, sports, but you constantly go to the 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 go to the gym or workout at least once. The vast majority of people who fear that they will not be able to play later have never played sports. But over the past ten or fifteen years in the West, and then in Russia, many musicians of a completely different formation have appeared. They go in for sports, lead a healthy lifestyle. If only because it gives more power for performances, recordings and development. Therefore, I am an absolutely convinced supporter of sports, strength training, and I think that this is what helps me, gives me the right energy. In general, I am sure that the notion of a jazz musician as an asocial being, who smokes, drinks, and cheers up by illegal means, which has been going on since the 60s of the last century, is outdated, it is time to leave him already. We live in a completely different time.

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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 jazz musicians. There is a groove in his music, and he can safely 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 an exclusively jazz musician

Childhood and youth of Vadim Eilenkrig

From childhood, growing up in an atmosphere of creativity, the boy became interested in music at the age of four. Noticing the efforts of his son, his father sent him to a music school, in the piano class. The second direction of his training was the trumpet, which, frankly, surprised his parents.

Vadim continued to play the same brass instrument at a music school, and after that at the University of Culture and Arts in Moscow. In the process of studying, reconsidering his views, he transferred to the department of jazz music.

The turning point in his career came with the advent of the nineties. After hearing the 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 the jazz festival in Torgau, Germany, where the big band, in which he played, received the first prize. After graduation, Vadim performed in famous jazz orchestras, including Anatoly Kroll and.

Creative activity of Vadim Eilenkrig

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

If the musician has a free minute, he always gladly accepts an invitation to perform 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 enviable 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 trumpeter cannot describe the ideal of a woman. The main features 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 Eilenkrig.

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

The enviable bachelor Vadim Eilenkrig is engaged in creative activities, and, as he himself says, he does not have time for a romantic relationship. But who knows, perhaps tomorrow he will become a family man.

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

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 audience more demanding?
Of course, it's harder to play jazz in America! When you realize that the audience comes to concerts, which had the opportunity to listen to the greatest musicians, 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 Chicago Symphony, Boston Symphony, 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 best jazz trumpeter in the world today, was supposed to come to one of the concerts, I was very worried! During my studies at a music school, he was a god to me. And I, for a long time, could not figure out how to prepare for such a performance. But then I realized one thing: even Marsalis, being a god, sometimes makes small mistakes in his game. The trumpet is not an easy instrument, and even a top-class professional is, first of all, a person, not a celestial, 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 a piece perfectly, it will still not turn out very well, the message will change - instead of the pleasure of playing, there will be a fear of making a mistake.

After that, I decided to play in such a way that I liked the performance myself. Even if there is some kind of defect, roughness or the sound breaks a little, 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 the solo perfectly. Now this is my magic formula, which helps to tune in psychologically in all cases of life!

By the way, Winton was not able to come that evening, but another of my idols, Randy Brekker, was at the performance, and two weeks later I received a letter from him that contained the following lines: “Hi, Vadim! I was at a concert at Lincoln Center. Impressed. Congratulations!".

This is undoubtedly a very inspiring assessment of your creativity. Do you always get nervous before going on stage? What helps you deal with it?
As I already said, I have an absolutely universal life formula - “the right to make a mistake”, which helps to deal with severe psychological pressure, because sometimes it can be very exciting to go out to play in the gym.

There are different categories of artists, for example, I always doubt very much what I do, and at times I envy those who are sure that their work is done perfectly, they are lucky. 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 remake 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 has succeeded. I, on the other hand, am never completely satisfied with the result, and even when working on the record, I often re-recorded some solos. I doubt everything!

How long have you been working on the record?
During two years. I'm not saying that it is perfect, in this regard I am very critical. According to my personal feelings, neither one nor the second record reached the ideal I desired. Although, they say that they turned out very good and very high quality! In my opinion, when you stop doubting yourself, the next stage is "star disease".

Have you had "star disease"?
Not! I doubt myself all the time.

How is jazz perceived in Russia? Is it always clear to the Russian audience?
There was jazz in Russia even in those years when the official Soviet propaganda forbade it. Now it is developing in the same way as other popular musical directions. People regularly go to numerous jazz concerts and festivals. It has become a fashion trend. If you are a thinking, intelligent, educated person, then you must love jazz. Another issue is that many 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 already distinguish 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, some, well, frankly dubious examples of art are not taken into account.

It seems to me that there is a certain bar, 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." To date, there are a lot of musicians who are simply ridiculous to compare. It's like comparing artists or writers of completely different directions.

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

Remarque is an amazing writer. When I was seventeen years old and I read the Arc de Triomphe, I drew some very superficial conclusions for myself. Then it was just an interestingly written book, but later, rereading it at a fairly mature age, I realized what I could not understand in my younger years. I realized that everything written in the Arc de Triomphe: about attitudes towards life, attitudes towards women, about friendship, about philosophy, is perceived in a completely different way. Firstly, he writes about a man of 35-40 years old 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 - this is my work.

Madly in love with Charles Bukowski, and if you compare him with an artist, then this is a master who, with concise, short and rough strokes, creates an absolutely amazing picture of reality. But, despite all this rudeness, he is a very romantic person. He writes about women not from an illusory world, but about real women, 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 that's a plus, since I'm not very fond of "sleek, correct" art.

America has a state program for the development of jazz. Is there something similar in Russia? Is such a program needed in Russia? Perhaps she could help cultural development and instill a good taste for music in the 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 bit underestimated. In my opinion, jazz develops amazingly. He 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 as well. In your opinion, will this musical formation increase youth interest in jazz? What is the interest of today's 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?
Jazz mixed with electronic music, I take it as a joke. But this is a joke that requires a certain professionalism. If you do not own the instrument and style, then nothing will work. And the younger generation attends jazz concerts, regardless of style, and I certainly 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 period of crisis 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.

Is the project "Big Jazz" on the TV channel "Culture", in which you made your debut as a presenter, designed to increase the media awareness 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 leadership 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 of interest 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 would not go, because when you have an audience in front of you, then in parallel with this you have the opportunity to exchange energy and this is happiness. When you have a television camera in front of you, no one gives you energy, you only give it away. For some this is enough, but not for me. In my life, communication, energy and emotional exchange of feelings and experiences play an important role. It is very important for me to interact with my relatives, friends, new interesting people, including my students.

The project was also designed to draw attention to the channel to a new social audience. Before the project, the Kultura TV channel 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, the media in Russia must be constantly maintained.

Do you support your media?
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 member of the Big Jazz project...
Yes, for a long time he just studied with me free of charge, now he has entered, and in parallel with his studies, he plays in the orchestra of Oleg Lundstrem. Maybe it's a good thing that he didn't win, because a real fighter has to go through a loss. I am very skeptical about people who only win, at some point they may not be able to withstand failure. Defeat is first and foremost 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, I stopped going to clubs, I left 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 earn money, although this happened in the nineties and it was very difficult for musicians to live. But I decided to change my life, because I realized that I could no longer be without it. Therefore, when people come to me, I demand full dedication from them. If my students are not doing their best, then they are wasting my time, which is the most precious thing I have. Music needs to be loved selflessly. In this regard, I do not really understand those musicians for whom performance 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 of 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 skating rink drove 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 in me. I explained something wrong, didn’t see it, didn’t understand it, and, periodically, in such thoughts I go far enough, after which I understand that it destroys me. And, on the contrary, when I see that students succeed, they develop 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'm 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 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 had 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 the appearance of a 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 it would be comfortable, in terms of human qualities. As a result, my musicians undoubtedly possess professionalism, artistry, in its broadest sense, look aesthetically pleasing and possess personal, spiritual virtues.

What about the label you were given on the internet. Do you know about it?
If you are talking about the "sex symbol of Russian jazz", then it was the creative work of a PR man who decided that it was very witty. I was initially against it, because when people speak about a jazz musician in this way, it is understood that he does not play as well as he should, or 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, many beautiful girls and women of different ages come to my concerts, and to say that I am not interested in this would be a lie. Of course, such attention from the fair sex is very flattering to my male pride, and, of course, I am extremely 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 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 the inevitable downside of fame. Dealing with such phenomena is a waste of time.

The presence in your life of a large number of charming admirers is a good indicator. Can we talk about romance?
I am a very romantic person, and, probably, somewhere even old-fashioned. 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 some other reason. And certainly not by design.

Romance is an attitude towards a person, choosing him as your partner, these are thoughts about him, this is when you live and breathe him. It doesn't have to be melodramatic, tearful, cloyingly sweet. She is different. This is partly a trait of character and, to some extent, part of education. 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 courageous and attractive. For me, 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 a personal choice for everyone. Professional sports do not bring health benefits even for a professional athlete, and amateur sports only help a professional musician. I'm madly in love with this masculine feeling of power. A man should be athletic 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 do not feel flawed, this is your own decision, and the weak give in in a different way - from hopelessness, and not of their own free will.

My character was shaped by sports. He taught me tremendous discipline, because to achieve even the smallest result, you need to monotonously practice day after day. I have a lot of respect for people with "iron" willpower.

How do you balance your touring schedule with your 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 than the end result. It's very important for me that I'm on the road… Whether it's sports or music, the most important thing is that I'm on the move. In my opinion, the goal is secondary. Sport, like music, is a way for me to be happy.

Vadim Eilenkrig's secret of success...
I do not have a huge success and the same media exposure. But the secret of what I have achieved in this life is a 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 Goltzman