Biography of Yerkesh Shakeeva

Yerkesh Shakeev about the creative formation, whisper of God, depression and new music by Yerkesh Shakeev about creative formation, whispering God, depression and new music when this talented guy with Kokshetau was just starting to show his composer skills, experts in the musical industry filed a success for him, and were right! Erkesh Shakeev once arrived in Almaty for the Jastar Dauysy contest, not only managed to conquer the former capital and win the hearts of millions of listeners, but also become one of the most respected and recognizable composers of Kazakhstan and the near abroad over the years.

By nature, a talented melodist and poet, he knows exactly how to create impeccable compositions, as evidenced by hundreds of cult hits of artists of the Kazakh and Russian stage. However, in recent years, at his own request, he refused to write pop songs in favor of creating “real music”, capable of taking a worthy place in the piggy bank of cultural heritage and spiritual values.

Erkesh Kokenovich, tell us about the very beginning of your creative path? How did your Success-Story begin? Back at school, I studied in the Bayan class, but since the only music teacher in our village decided to leave, I could not get a full musical education. After meeting Batyrkhan Shukenov in Almaty, I was so impressed that having arrived back in Kokshetau, I began to learn to play on a saxophone.

Thanks to the older brother, who was a school teacher and at the same time learned to play a pipe, saxophone and clarnet, I had access to these tools. With his permission, and sometimes secretly from him, connecting these mouthpieces and bells, I mastered them. At the Timiryazev Academy, I studied at the agronomist, but my friends were from different areas, someone by the actors of theaters, someone students of the Institute of Culture.

We often gathered and played the guitar, some of them advised me to think about developing in a musical direction, which I always answered - people like me and millions with education. I have not been in my thoughts or in plans to do this professionally. Nevertheless, this did not prevent me from being in the ensemble during my studies, where I played both the guitar and on the saxophone.

We even went to the music festival in the Baltic states and performed at large Moscow sites. Again, I repeat, I never had the idea of ​​getting into this sphere, and there was no base, neither internal nor educational, in order to desire this and, moreover, to know how to work and develop in the musical industry.

Therefore, you were in no hurry to even start work in this area ... Absolutely, I didn’t think that someday it could turn into my main profession, but the inner voice constantly brought me to this line of life. There was a time when I worked in the regional agricultural industry for about a year, but did not fit and went from there to the Komsomol, where Vera and Truth plowed about 10 months.

But because of unpleasant family circumstances in my life, my boss at that time-Valery Mikhailovich Ploplenets-was forced to ask me to leave work, but promising that he would support me and give a good recommendation. We were always in good relations with him, therefore, when I told him that I would like to participate in the Jastar Dauys competition, and I had no extra money, even for a train to Tselinograd, he immediately sent me there from the regional committee of the Komsomol.

And this has become one of the most fateful turns in my life. Probably because it was the Jastar Dauysy contest that became for you the very starting platform where you were able to completely immerse yourself in the process of creativity. Tell us more about this period. The fact is that at this competition I got acquainted with the incredible authorities of the musical sphere of Kazakhstan - Bakhtiyar Taylakbayev and Boris Luchinsky - who were members of the jury.

Apparently, they saw the potential in me, so they decided to establish another prize third place, thereby providing me with a ticket to the republican competition. A month later, I was already heading for the final in Almaty and before leaving told my father the following phrase: “I will take the first place and the prize of the audience sympathies at the competition, and during the break during the concert I will be invited to work.” As it turned out, it was a causal vision-intuition, because I was really presented with the first place, a prize of spectator sympathies, and Malik Ergalievich Bidibekov, the main director of Kazakh Concord, came up to me, and proposed a job in this organization.

Moreover, I have the feeling that this festival was organized by fate specifically for me, because it passed the only time and allowed me to declare myself. After this incident, I always listen to my inner voice, which suggests what I need to do to go on the right path. I have the feeling that the Jastar Dauys festival was organized by fate specifically for me, because it passed one time and allowed me to declare myself.

As we understand, your first compositions were written precisely in the walls of Kazakh Concord?Yes, for the introductory listening to Kazakh Concord, Malik Ergalievich advised me to write songs of his own essay, because he saw me as a bard. I returned to Kokshetau again and literally in one night “threw” 6 songs, and from them were completed, and I added the remaining ones with the approach of the date of listening.

As a result, I arrived in Almaty, spoke to the commission with my own texts and music, and I was hired. After listening, I was led to the deputy director of Kazakh Concord Alpiev Tleubek Nagimetovich, who recommended that I get a job in the Arai team and then arranged for me to meet in his office with Tasky Okapov and administrator of his team Safar Babaev. I began to speak with them on stage, in particular, in the breaks between the performances of Rosa Rymbaeva and thanks to them I traveled many cities.

Needless to say, a real male friendship ensued between us?! Also, I would like to note the members of the jury "Zhastar Dauys" in the person of Nagima Eskalieva, who immediately very strongly fell in love with me, and the Tles of Kommersen, who later became my close friend. It was a case when he sat for a long time over his one line, he could not compose her in any way, and I just sang her, and she came up to him.

At that moment, thanking me, he said: “Still, it is good that you did not study, I could not get out of this square. In the conservatory, you would definitely "get out". That is, fate itself favored you, sending the people you need at the right time ... Of course. I remember all these names and I want to talk about them, because for me they are all fateful - every word and action of these people played an important role in my life, serving a guide throughout my thorny and difficult path.

It was they who gave me confidence in their abilities and gradually revealed the talent to write poetry and music. And how is the music of Erkesh Shakeeva generally created? It initially went inside, I spoke that my music is a whisper of God. I learned to abstract from being, go into a trance and begin to hear various melodies or words. It all started with chords, which, by the way, I still use it, I have not particularly expanded harmony since those times.

My music is built on sensations and internal knowledge that I take from the "ether". Moreover, I try not to listen to someone else's music at all, so as not to get into their web. Throughout my career, I had only two points of the so -called cryptomnesia - once, when I accidentally took a line from a Pinkfloyd song that sounded from everywhere, and another case was connected with the work of Igor Sarukhanov.

Igor, however, was not against it, we paid him part of the fee and, on his recommendation, indicated on the cover of the album that this quote belongs to him. Can you open the veil of secrets and tell us how, for example, the song “Girl in a Dress White” was created? Once, Bula Syzdykov called me from Moscow, then they only moved to Moscow and Karina, and asked me to write a text to one of his melody.

I have not yet had time to start fulfilling this task, and the Bulat calls me and says that they were just preparing for the demonstration, but they have nothing to show. I began to write a text in the kitchen, in the apartment on Kirov-Pushkin, turned on the tape recorder with a melody, and my daughter always ran around the house in a magnificent white dress, and my wife Jeanne suggested that her white dress be beaten in the text.

In my mind I read the lines, it seems, it is suitable, in general, I wrote everything in minutes, I call and begin to dictate the text of the Bulat with Karina. Later they recorded a song at the studio and brought a real hit to Kazakhstan. After that, I heard that Zemfira, being still unknown to the singer, sang this song in Ufa, and Alla Pugacheva said in an interview that people like Shakeev write songs on Celestial Topics.

Perhaps this is the most accurate phrase that has ever characterized my work. I literally fell apart. Due to constant stress, once my weight reached almost kg. But how did your cooperation with the A-Studio group begin? This was also a foregone conclusion, like all the meeting in your fate? Once I decided to participate in the regional competition of musicians in Moscow, for which a phonogram was needed.

My friend, Safar Babaev decided to turn to A-Studio for help. Safar showed Baigali Serkebaev two of my compositions, on which it was necessary to make an arrangement. When we came to the record, Baigali, learning that it was my songs, asked: “Can you write a text to us? I said - “Of course, yes,” because being on tour along with Rosa Rymbaeva, at that time a couple of rather successful texts on other people's melodies were already written for me.

Batyr later talked about me as a textbook - “Mynau Balanyn jokesa bar! As a result, it turned out that almost every song became a hit, after which we worked together for many, long years. The line of fate was simply amazing, because if I had not decided on this competition, then I would not need this phonogram, and if a phonogram would not be needed, I am sure that we would have met A-Studio in any case, but much later under other circumstances.

It seems that most of your hits were created very quickly when you didn’t really bother ... You can’t say that I was not bothering, because after each song I was very sick, it doesn’t matter if I spent 15 minutes or a day on it. Fashion Girl, for example, I wrote in an hour or one and a half, but before that I went all in suspense, I practically did not sleep, trying to tune in and “catch” the very line that would organically combine with someone else's melody.

I finished it by 4 in the morning and was very ill after that. This may be similar to a state when healers take patients, “taking” all their illnesses. I wrote in such quantities that my body could not withstand, I literally fell apart, because of constant stress, once my weight reached almost kg. Until now, when I see very complete songwriters or those who, over the years, are becoming more fully and fully, I know for sure what is happening to them because I have experienced it myself.

All this is from the fact that we forget about our body, we are always in the spiritual space, looking for notes and words from the "ether". Believe me, at this time the author of the songs does not think about himself, therefore he begins to fall apart physically. I am happy when I see a real creative person, but I am sincerely sorry that because of his activity he gradually becomes physically ill, and, fullness is just one of the manifestations of overload.

In this sense, the authors, of course, are very difficult before harmony between creativity and real life comes. Yerkesh Kokenovich, but you write songs throughout your life - how do you keep balance, and how did you manage to cope with the disgusting of excess weight? I began to deliberately write less. All the years I was an uninterrupted creative machine - I could write any melody in any genre and come up with any text on any puzzle.

For example, when Batyr brought me a melody for the song “Your Steps”, I immediately said that this is an English -speaking melody, in Russian it will not sound. Prior to this melody, many Russian performers could not find application. The same thing happened with Fashion Girl, Arkasha Sargsyan said that she had all Moscow, but only a few years later the text was written to her.

In the year, before my flying, to my own surprise, I began to refuse to write orders, because I realized that it was killing me, because I did a lot not only as work, but just at the request. And very often they used it. I could not say “no” because the person asked, and I knew that I could help, so I sat down and wrote. My credo - if you can do, do not refuse and do not ask for anything.

But in the end, this began to take me away from the main task - to create real music. What do you mean by the phrase “real music”? I’ll try to determine, even if it is a little highly paraly: it is possible such a language of life, a special combination of sounds and vibrations, transmitted from somewhere out of certain people who can perceive them and decorate them.

This is a source of power returning the listener to his natural harmonious state, showing his natural greatness and purpose, freeing from the delusions and conventions of earthly life. This sound, intangible substance makes it part of something large, exalts it over the vanity and those who are able to hear can discover the true essence of its nature.

This, perhaps, is just in its pure form from somewhere in the distance, possibly familiar, but closed by the veil of everyday life and earthly worries, offering you over the vanity and returning a person to the origins of his soul. Therefore, people who are looking for themselves and their attitude find this condition in one or another music.