A sour jam session with a different recipe

Anton Visocky on funk jams in Riga and preparing songs at home

In recent years, it seems like Riga has been experiencing a boom in its music scene — concerts are happening every day and, best of all, in the most diverse styles and forms. Jam sessions, which are something truly special for jazz musicians, are also experiencing a revival, not only in the traditional stylistic sense. On Wednesdays at «M/Darbnīca» and Thursdays at «The Botanist,» another special place joins in — «Laska Bar,» which hosts funk music jams! Honestly, the last funk jams I remember were from a long time ago, back in the «Casablanca» times, but then everything seemed to disappear, and funk was something that was usually played at the end of a jam session or very rarely. Speaking of artists who consistently work in the funk style in Latvia — there’s a bit of a shortage here, as you can pretty much only name «Very Cool People,» «FunCOOlio,» and «S&T Syndicate» right off the bat. That’s why «Laska’s» «Sour Jam» sounds very appealing. In this conversation about the «Sour Jam,» Anton Visocky, the event organizer, shares his story.

Straight to the point! Please tell us about «Sour Jam,» an event at «Laska Bar» on Vagonu Street.

We started «Sour Jam» at the end of summer, simply craving a funk music jam where anyone who can play could participate. This jam session is more geared towards beat themes — hip-hop and fusion. Not the tradition [of jazz], but something different, music of another style. For the first few sessions, we managed to gather quite a nice house band; people attended and played. Initially, it was at the old «Laska,» then the place closed down, and the bar moved to Vagonu Street. Jams happen approximately once every month; we’ve already had four events.

When is the next jam session planned?

Currently, there is no specific date. Information will be available on «Laska Bar’s» Instagram and Facebook pages. There is also a «Sour Jam» Facebook group. By the way, for the last jam session, an unusual format was chosen where, before the event, there was a lecture given by a very interesting person — Nikolay Ovchinikov from Moscow. He is a music critic and reviewer, and the lecture was titled «Music after the Apocalypse.» Many people attended, and looked like they enjoyed it. In the jam session itself, we start with a small concert part, a forty-minute set, and then there’s a jam where anyone can participate.

I looked at the descriptions on the Facebook page and understood that you decided to deviate slightly from the traditional jam session script — you ask for a desired song list to be submitted beforehand. Why is that?

Initially, the idea was to follow London’s example, where I lived for a while. There are many events there where the song list is prearranged. It gives the opportunity to play more complex themes, not just something with four chords, but also not the usual jazz standards, which is also fine, of course. This format allows you to play something challenging, something that requires preparation at home. Those who want to participate actually look at the themes at home and can perform them well at the jam. It’s not a concert where musicians rehearse the repertoire and play it, but it’s a jam where people meet for the first time to play something special they’ve prepared at home. After that, everything transitions to the usual and informal format — where songs are chosen on stage.

Does it work in Latvia? Are more complex themes submitted?

Less than I would have wanted, but we managed to play something; there were pieces with intricate forms and rhythms. But interestingly, pieces were submitted from lesser-known artists. In London, of course, there were more people and song choices, but that’s London; there are many musicians, strong competition, a big musician «party,» everyone is ready to learn at home because everyone wants to prove themselves. Musicians there are ready to act! We are currently in a developmental period, but it’s already interesting because each event turns out to be more fun than expected.

From my observations, our jam sessions are usually either in the blues style or traditionally jazzy, so everything’s clear. But with funk, it’s a bit more complicated — there are a few groups specializing in funk and quite a few well-known funk compositions…

All jazz musicians will definitely play or already play funk or fusion music at some point; they understand what it is and the principles it operates on. But yes, it seems that funk/fusion events don’t have a niche. That’s why we wanted to create a special place for this movement so that beat music could evolve into something different, for example, Yussef Dayes, UK Afro Beat, musicians I personally really like.

Tell me a bit about yourself — you didn’t live in Latvia for some time, so right now, you’re like a newcomer to the musician community.

I grew up in Riga, started playing percussion instruments, and then decided to study in London. I obtained a bachelor’s degree specializing in popular music performance from the BIMM Music Institute. I had a great time there; it was my first music education, as I hadn’t studied anywhere before. I got the whole foundation there, although I had to catch up with everyone a bit… Then I returned to Riga, spent a year here, and then moved to St. Petersburg for about a year, where I played with many jazz musicians. Then the war started, and it wasn’t morally right to stay there, so I came back to Riga. Here, I gradually started playing in various projects — organizing jams and playing in the band «Sestra,» with whom we released an album, «Rybki,» last year.

I’ve heard about this band, but I haven’t been to any of your concerts yet. How would you describe your music?

We are a funk, fusion, hip-hop, and jazz group, but with an emphasis on songs and more of a songwriting tradition. Our vocalist, Ratmirs, plays guitar, sings, and writes lyrics. We also have another guitarist — Ernests Zviedris, Harijs Kruskops on bass guitar, Raimonds Petrovskis on saxophone, and myself on drums. Initially, we wanted to open every jam session with this lineup, but it’s always the case that someone can’t make it, so the house band changes each time. However, it’s also good for this event because more people will learn about the jams and come to play.

And what are your personal relationships with jazz music?

I like jazz. I have always developed in a self-taught way, attending jams at «Trompete» and then often going to «M/Darbnīca.» When I lived in St. Petersburg, I played mainly with jazz musicians, both traditional and contemporary compositions.

In your opinion, do jazz knowledge and skills help in playing funk music?

Yes, of course! Vocabulary and improvisational skills are common attributes across many music styles, including jazz and funk. But jazz and funk are also related in another context — groove and timing. You begin to feel it when playing in a style that complements both genres.

What, in your opinion, is unique about funk music?

I can’t say I’m a traditional funk purist; I like artists like James Brown, Tower of Power, and The Meters, but I prefer projects where Pino Palladino, Chris Dave, and Anderson Paak play. It’s not just funk; it’s a mix between R&B, pop, hip-hop, and funk. The boundaries of style are not very clearly defined, but the groove is essential in this case.

From a drummer’s perspective, how much has funk transformed? Can you see a lot of differences between how The Meters’ drummer played and a modern master?

I don’t consider myself a big expert, but there’s definitely been development. For example, David Garibaldi (Tower of Power’s drummer) was the first to use more linear grooves, beats became more intricate, with more nuances. This significantly influenced the development of drumming, giving rise to drummers like JD Beck. There’s the ‘chops’ school — like Dennis Chambers, and linear drumming, with more phrase-based and intricate patterns.

Speaking of funk, there is a division between jazz-funk and… funk-funk! How would you describe this division, and what is more popular in Latvia?

When you say jazz funk, are you referring to «Berklee funk»? There’s a joke — students at Berklee come together to play funk, but in the end, they’re just competing to see who can play the most notes during the songs…

Really? I somehow missed the joke…

Well, that’s a meme!

Wow…

Yeah, jazz funk includes more complex forms and/or harmonies, like those of Herbie Hancock. It’s even somewhat on the border with fusion. But the instrumentation is the same as in regular funk. I like it, and that’s what I also submit beforehand. They also tend to submit «Play that funky music,» but usually, when they submit something, it’s from Troy Roberts or another artist’s repertoire. Playing this kind of music is fun; learning it is also cool and interesting.

What was the coolest thing submitted before the jam?

There was a song called «Old Soul,» written by the not-so-famous Hungarian/Canadian pianist Robi Botos. It was a unique composition! I even had to really practice it; it wasn’t something I could just casually play at home!