How tall is Vadim Eilenkrieg. Vadim Eilenkrig: The most difficult wind instrument

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

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

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

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

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

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

Either I’ve already reached that age when you start to say “but in our time,” or something else. I could be wrong, but they are technically advanced both in performance and in life. These people were brought up not on face-to-face communication, but on communication through gadgets. Moreover, 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 publications based on gender. Women are more interested in an abstract male view of gender relations. Men's publications have never asked me this question, although it seems to me that I could give good advice. There they are interested in the volume of my biceps and how much I bench press.

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

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

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

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

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

I didn't think about it, but now I understand them. A person who came of age in the 90s in Russia cannot be indifferent to Remarque’s work. When I read Arc de Triomphe, I understand that it is about me. I absolutely agree with what 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 gets married to improve her living conditions, in this case she also gets unwanted children.

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

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

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

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

In my opinion, this is an absolutely eastern approach, when what is much more important is not the goal, as for a European, but the path. Probably, in my opinion, I am closer to Asia, because for me the path is of much greater value than the result. If I were offered to get everything at once “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 Sergei Badyuk’s mother. There was so much food there (grabs his head) that the tables actually stood on three floors! And Badyuk kept scaring me that I would feel bad. But everything was so delicious!

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

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

• 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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Vadim Eilenkrig is a Russian jazz musician who is a master of the trumpet. Collaborates with the most famous orchestras and big bands.

Vadim Eilenkrig: biography

The musician was born on May 4, 1971 in Moscow. Father - Simon Lvovich Eilenkrig, Mother - Alina Yakovlevna Eilenkrig, music teacher.

Vadim graduated from a children's music school in piano, then entered the Music College of the October Revolution (currently the Moscow Schnittke College). For further studies, he chose the trumpet, although his parents insisted on the saxophone. As a student, Vadim Eilenkrig became a laureate of the 1984 trumpet competition held in Moscow. This was the first tangible success of the aspiring jazzman.

Higher music education

In 1990, Eilenkrieg entered the Moscow State University of Culture, the department of wind instruments, and after some time he transferred to the department of jazz. During his studies, he became a soloist in the university big band. In 1995, the group was invited to the German city of Torgau, where the International Jazz Festival was held. After graduating from college, Vadim Eilenkrig began working in the best Moscow orchestras. These were the big band, led by Anatoly Kroll, and the jazz band orchestra of the Gnessin Institute.

Creation

In 1996, Vadim Eilenkrig created his first solo project called XL. At the same time, the trumpeter began experiments with electronic music in jazz. In 1997, Eilenkrieg graduated from graduate school at the Maimonides Academy. In 1999 he became the soloist of Igor Butman's big band.

In 2000, he was invited to the position of Associate Professor at the Department of Jazz, Faculty of Musical Culture, Maimonides Academy. In 2006, he took part in the international concert "Jazz and Classics", which took place in the Pink Hall in New York.

Two years later, Vadim Eilenkrig became a laureate of the International Jazz Festival in Chimkent, and in 2009, the trumpeter created (in company with the famous showman Timur Rodriguez) the musical project “Jazz Hooligans”. In the same year, the musician released his first album entitled “The Shadow of Your Smile”, this melody is better known as performed by Engelbert Humperdinck. World-class jazz musicians such as David Garfield, Wil Lee, Chris Parker, Hirom Bullock, and Randy Brecker took part in the creation of the album.

Demand

Trumpeter Eilenkrieg has many partners abroad: both in the USA and in Europe. However, he constantly collaborates and is invited to accompany orchestras, to one-time concerts and performances. If a trumpeter has time, he never refuses. His services are used by Dima Malikov, Sergey Mazaev and many other artists. The musician collaborated with the Lyube group for a long time.

In 2012, Vadim released his second album, which he called “Eilenkrieg”. Alan Harris, Virgil Donatti, Igor Butman, Douglas Shreve, Dmitry Mospan, Anton Baronin took part in the creation of the collection. Several presentation concerts were held in the jazz theater, which is located on Chistye Prudy. Two concerts were organized in the Svetlanov Hall of the International Moscow House of Music on Kosmodamianskaya Embankment in the Russian capital.

Personal life

The most famous Russian jazz trumpeter is not of interest to tabloid reporters. Vadim Eilenkrig, whose personal life has not yet begun (if we mean starting a family), calls his wife a pipe made in the USA on special order from pure copper. And since the musician has several more trumpets besides the main one, they, according to him, are only mistresses.

The musician’s entire personal life takes place at numerous concert venues scattered around the world.

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.

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

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

Creative activity of Vadim Eilenkrig

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

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

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

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

Personal life of Vadim Eilenkrig

The musician is an eligible bachelor, for whose heart hundreds of fans are ready to fight. In the distant past, when Vadim was 19 years old, he was married. 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 told what profession he would have chosen if he had not become a musician.

Russian jazz musician, trumpeter, music teacher and TV presenter.

Biography of Vadim Eilenkrig

Vadim Simovich Eilenkrieg was born in Moscow in the family of saxophonist musician and concert director Sima Eilenkrieg. Thanks to his father, he began to study music very early: first he graduated from a music school with a degree in piano, where he chose as a second instrument not the saxophone, which his father offered, but the trumpet. In 1986, Vadim entered the music school in the academic trumpet class. In 1990, he was a student at the Moscow State University of Culture and Arts, initially choosing the wind instruments department, but in his second year he transferred to the jazz department.

In the 90s, Eilenkrieg abandoned music for some time, taking up the shuttle business. He resold Turkish leather jackets in Moscow, thinking that he would never become a musician again.

Vadim Eilenkrig: “My dad told me since childhood that I should play the trumpet the way one would declare love to a single woman. Then I couldn’t understand what it meant, but now I understand what it is. One day, when I was still in the shuttle business, I was driving in a car with my friend and heard saxophonist Gato Barbieri playing on the radio. So he played exactly as my father told me. That same evening I decided that I was quitting business and going into music."

A teacher helped Vadim regain his playing skills Evgeniy Savin, who studied with the already adult Eilenkrieg. In 1995, the musician was invited to the MGUKI big band at the International Jazz Festival in Torgau, where he became a festival laureate. In 1996, Vadim created his first instrumental group XL.

Eilenkrieg's hobby is sports. He works out in the gym every day. He is also an avid collector of bladed weapons.

Vadim was married. The first and only student marriage lasted 3 months.

The creative path of Vadim Eilenkrig

In 1999, Vadim became a soloist in the jazz band of the famous Russian musician, composer, People's Artist of the Russian Federation Igor Butman. He worked with Butman for more than 10 years, while simultaneously working on his own projects. At various times, Vadim recorded compositions with such stars of Russian show business as Larisa Dolina, Sergey Mazaev, Dmitry Malikov and others. In 2009, he created the project The Jazz Hooligunz together with TV presenter Timur Rodriguez.

The album "EILENKRIG", released by Butman Music Records, received positive reviews from critics and users. The disc reached 4th place in Russian-language iTunes and 1st place in terms of downloads in Armenia.

As a performer, Eilenkrieg experiments with a combination of jazz and electronic music.

Television career of Vadim Eilenkrig

In 2013, Vadim was invited to host the “Big Jazz” program on the Kultura TV channel. In 2016, he became a co-host and orchestra leader in the music and dance show “Dancing with the Stars”.

In 2018, the musician became the host of the project “ Shabolovka, 37"on the channel "Russia K". Together with his guests, Vadim performs jazz, classical and rock compositions.