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All genius is simple


Kaspars Zaviļeiskis

Review of the selection «Live at the M/Darbnīca Vol. 1»

All genius is simple. This is what smart and not-so-smart people tend to say at the right time and in the wrong place. One might think that this is indeed the case. A simple idea to capture this time in Latvian jazz and a brilliant outcome in the form of beautiful and lively double vinyl records.

As simple as the idea and genius the outcome, the process leading up to it is so complex. An analog recording of thirteen concerts in a small room without the possibility of seeing the stage? Publisher Mareks Ameriks and sound engineer Mārtiņš Krastiņš have both raised their hands and signed up for the challenge! Equally enthusiastic about the rather dull idea is the heart of the «M/Darbnīca», Maija Moira Mazanova, and only through the actions of such inspired individuals can something like a 100-minute double album capturing the liveliness of Latvian jazz in 2022 be created.

I can already hear Mareks loudly protesting that not everyone is included here, just a part, and all that jazz. Of course, that is the case. But the title’s deceitful «Volume 1» suggests that at least «Volume 2» can be expected. By the way, it seems that the next compilation of Latvian 21st-century jazz, now with its own colorful «Double Trio,» has been initiated by Kārlis Auziņš, as he recently produced a similar concert recording. The saxophonist, currently accelerating his sixth cosmic spaceship, creatively ventures into all the experiments and possibilities that interest him.

«Live at the M/Darbnīca Vol. 1» kicks off with the groovy double bass of Toms Poišs, the swinging drum set of Kaspars Kurdeko, and the smoothly wandering saxophone of Kārlis Auziņš, inspired by our folk motifs. Hence, the «Folk Song,» mystically and intriguingly named on the vinyl record itself. How mistical? It’s a great opportunity to find out for yourself by placing the vinyl on the turntable, which has already become a valuable asset in the Latvian jazz archive, so grab it while it’s still available. Auziņš’s folk song gradually intensifies and transitions into an absolutely contemporary jazz catharsis where the saxophone solo could go on forever, as nobody present in the concert hall would object.

A saxophonist with a different approach is Kārlis Vanags, the artistic director of the Latvian Radio Big Band, who is also represented here with the hard-grooving piece «The Concept of Truth.» The distinct character of the double bass, this time, unmistakably comes from Edvīns Ozols, playing the rhythmic patterns accentuatedly, while Kārlis indulges in the saxophone flow. A soprano also chimes in here, but it seems as if the instrument, with its warm and unhurried tone, is actually a tenor reminiscent of a lazy nap in a green grass field under the May sun. What exactly happens in this leisurely dozing process remains undisclosed, as not everything needs to be known. It’s all about imagination and concept.

After the whirlwinds of both Kārlis’s, Side A of the double album concludes with the infinitely romantic «The End Is the Beginning» by drummer Pauls Pokratnieks, where the saxophone also plays a major role. This time in the hands of Toms Rudzinskis, providing gentle piano tones to Edgars Cīrulis and once again standing guard honorably alongside Edvīns Ozols.

If Side A conjured up a very easily perceptible saxophone jazz feeling, Side B delves deeper, hitting the forehead and consciousness with a sharp turn towards conceptual avant-garde. This transition is particularly surprising for those who are used to streaming services, as there is no flipping of the record to the other side, leaving the question of whether anything musically changes now and in which direction it might go. However, Līva Dumpe and her foreign friends in the summer of 2022, raises a logical question — is compromise necessary for any reason? The minor and repetitive main motif is generated by two more Latvian musicians — flutist Ketija Ringa-Karahona and singer Kristīne Cīrule — creating an apocalyptic sense of inevitability where compromises truly hold no meaning.

Following the avant-garde tones, a fairly classic funk by Alice Golovacka ensues, where the main role is taken more by trumpeter Reinis Puriņš with his trumpet and flugelhorn. At Alice’s concocted «Orbitron» ball, everything falls into place, with fancy highs and lows, laid-back solos, and a constant groove that naturally makes one sway along.

«M.A.S.A.» swiftly pulls the jazz raft back toward cosmic experiments. While it is discernible that keyboard maestro Rūdolfs Macats stands behind all this, «M.A.S.A.» has truly become a group where each member plays a significant role — Ivaram Arutjunjanam on drums or, in this case, on mallet or percussive instruments, Kārlis Auziņš with a free-thinking saxophone, and especially Elīna Silova with vocal ornaments and effect gadgets.

On Side C, an electro-jazz party with the bands «Lupa» and «Elvi» is presented, where Elvis, despite sounding quite reminiscent of Presley, actually sounds more like a result of the desires of synthesist Ritvars Garoza and bassist Valters Sprūdžs to have fun together. When another splendid Latvian saxophonist, Dāvis Jurka, and the always dynamic drummer Andris Buiķis join the friendly company, there’s a hook for fans of musically energetic bits of intelligence amid the lighthearted camaraderie in «Lupa.»

Atis Andersons continues the party with electric Hammond organs, with Andris Buiķis on drums, while the album debut guitarist Āris Ozols is replaced by saxophonist Toms Rudzinskis in the second half of the track. The harmony is quite intriguing and possibly hints at a separate studio album recording with Tom’s melodicism, Atis’s groove, and Andris Buiķis’s energy.

The party on Side C is closing out with vibraphonist Miķelis Dzenuška and the band «Uzvaras Bulvāris» at a five-yard altitude. With an adventurous ability to instantly connect and play around jazzily in the sandbox, build various sandcastles, raise fortresses, and later skillfully knock it all down with a smile on their face to then thank everyone. This is actually the chronologically latest recording in this selection, crafted in 2023, much like Atis Andersons’ variation.

Side D kicks off with the fantastic trombonist Vadims Dmitrijevs from the new generation of Latvian jazz, who smoothly integrated into the «M/Darbnīca» recording series at the end of 2022 with his colleagues from German studies, and this concert recording will be released in full this year. Vadims has the necessary ability of a good jazzman to express the specific mood of the moment freely, and this is evident in this piece. This track is probably my subjective favorite in this selection, embodying the distinct qualities of modern European jazz — richness, melodiousness, and emotions.

Diversity is certainly needed, but again, it doesn’t seem to be subjectively the right choice to include the bluegrass-esque «Medus Bauska» by Matīss Čudars in this selection. Perhaps it sounded best at that particular concert evening just before New Year’s Eve, but in the program «Take Your Time» by our best jazz guitarist, there are more significant and sophisticated jazzy pieces. However, Matīss’ trio with Ivars Arutjunjan and Edvīns Ozols must appear in «Volume 1,» as otherwise, it might be deemed a significant omission in a compilation reflecting Latvian contemporary jazz.

As the party nears its end, it’s time to round off, and some expressive avant-garde suits this purpose. In this case, the local pandemic vaccine fighter, world-class pianist Vestards Šimkus, and the internationally minded trio «Endless Roar» deliver their intensely vibrant performance, attacking both the audience and the keys on the piano without holding back. While it’s certainly easier to comprehend in person and visually, «Endless Roar» also has a logical place in this selection.

As a bonus reflecting specific times, Side D concludes with the trio of two Ukrainians — pianist Seredin and bassist Natsvlišvili — with Ivars Arutjunjan playing Natsvlišvili’s gently swinging composition with the significant title «Hope.» Indeed, only hope remains — for the vitality of Ukrainians and for «Live at the M/Darbnīca Volume 2» to come!