Little brother jazz
The traditional discussion about the musical events and album trends of the year: how good was the harvest and where are we headed
What’s new in jazz? This is a question I often hear from my colleagues who don’t follow jazz on a regular basis but occasionally choose to attend a concert. It’s usually not difficult to talk about the news — what new albums are out, when a good concert will be, or something similar. But it’s rare to think about a slightly broader aspect — how jazz is developing in Latvia and whether it finally has a stable audience. How about concert attendance? How is jazz perceived at the Ministry of Culture or other official institutions? It’s something musicians don’t really think about in their daily lives because our task is to create art, but our destiny undoubtedly depends on the bigger picture… Sounds quite powerful. But well, there is a way to sketch out this picture — by looking at the year’s results, which we do every year! So, dear readers, I invite you to join me in my conversation with Indriķis Veitners, the head of the Jazz Department at the Academy of Music, and music journalist Kaspars Zaviļeiskis. Together we review three award ceremonies that took place in the first months of this year — «Kilograms kultūras,» «Lielā mūzikas balva,» and «Zelta Mikrofons.» In this conversation, we not only summarize the events and achievements but also outline the trends and perspectives of jazz music. Let’s go!
We have experienced three award ceremonies, and I want to talk about all of them with you! Let’s look at our jazzmen’s achievements, future perspectives, and so on, okay?
Indriķis: Chronologically, the first one is «Kilograms kultūras.»
Kaspars: There’s this thing that there are three rounds of voting
So, does it mean that everyone who has made it to the finals has also gone through the previous rounds of voting?
Kaspars: They are the winners of the previous three rounds of voting, yes, — summer, autumn, and winter
Kaspars, maybe you can explain how everything works there? We know well how the nominees are selected for the «Zelta Mikrofons» and the «Lielā Mūzikas Balva,» we have talked enough about it in «Muzikālās piezīmes» and the magazine, but someone might not know much specifically about the «Kilograms kultūras.»
Kaspars: I’m not an organizer but a jury member; it’s a public media award where the jury consists of both Latvian Television and Latvian Radio employees or people working in both media, and it’s an interesting hybrid that, in my opinion, works quite well, although it raises quite a few questions about how it really operates. In reality, the idea is the best model to combine the opinions of the jury and the public because it works like this: the jury selects nominees for the year through three rounds of voting, then puts them up for public voting, and the audience chooses the winner in that particular vote, who becomes a finalist. There are three such votes during the year; then, in the final, there are three nominees who compete for the prize, and again, the public votes for who they like best. The voting takes place online, on the LSM.lv website, and the ceremony, as you know, is on television and radio, so it’s a collaboration — the jury selects what’s worth nominating in those categories, and the public chooses who will advance to the final and then to the prize.
And the initial selection is made based on what happens with the artist publicly, so to speak? At some point, it was mentioned in a conversation with Aiga Leitholde that in the «Zelta Mikrofons,» not only how well the musical work was done is evaluated but also how much presence that product has in the media and social networks, how much resonance it had accumulated. Is it also taken into account here, or it’s purely for artistic purposes?
Kaspars: Firstly, I doubt that the entire «Zelta Mikrofons» jury thinks about that, but secondly, here, the jury is much smaller, and each is primarily responsible for their category. In my case, it would be «Pop Culture,» but deciding on the others — it’s at meetings where it is also discussed from various angles whether exactly a particular work should be nominated. Of course, there are many discussions about those categories because they might not be as easily understood as in the «Zelta Mikrofons.» There, you have the album, song, and style; here, there is «Surprise,» «Pop Culture,» «Start,» and «Theater,» respectively. There are some categories where the composition of nominees can change quite a bit, and that’s the most interesting.
I noticed that when I saw Toms Rudzinskis in the «Pop Culture» category.
Kaspars: Yes, often people from the outside may not understand why something is nominated somewhere, but regarding jazz — it has the opportunity to end up in the «Kilograms kultūras» award either in «Music,» where jazz primarily competes with classical music, or in «Pop Culture,» where «pop culture» is not meant as a pejorative, but where something more from popular culture is included.
Also in «Starts!»
Kaspars: Of course, also in «Heritage.»
Indriķis: Or «Surprise,»
Kaspars: Yes, although «Surprise» is a category that can be interpreted in different ways…
Indriķis: Actually, I think it’s a very good format because there are very broad possibilities and, I would say, jazz has been starting very well lately! It’s noticeably present now every time it appears in one of the categories. For example, in the «Music» category of the «Kilograms kultūras» spring vote, we had Čudars [Trio «Auziņš, Čudars & Arutyunyan» album «Tutti Off Duty»], and also Santa’s album [Santa Šillere, «Other Ways»], which made it to the final.
Well, yes, in the spring voting, jazz musicians were noticed in «Music» with the aforementioned «Auziņš, Čudars & Arutyunyan» trio, in «Pop Culture» there was somewhat jazzy — Kristīne Prauliņa and «The Soulful Crew» presenting the album «Textures,» in «Start» there was Ella Zirņa with the album «Intertwined,» in «Heritage» there was the documentary film «KIKOK 1962. Latvia’s first jazz festival,» «Jersika Records,» and in «Surprise,» we had Artis Orub’s solo concert at the «Gertrūdes ielas teātris.»
Indriķis: Look, that’s very good!
Yes! And then in the autumn vote, there was Raimonds Pauls and «Sinfonietta Rīga» with the album «Songs Without Words» and its concert performance, although this can’t really be called jazz. There were no other nominations in other categories. And then in the winter vote, there was Santa, in «Surprise,» there was Mārcis Auziņš with another Mārcis Auziņš [laughs], the audiovisual lecture series «Flirts with the Other,» even though it doesn’t play jazz there, it’s an interesting event. In «Music,» there was the «Kārlis Auziņš Double Trio» concert in the cultural space «M/Darbnīca.» So, in the final vote, Santa was in «Start,» Mārcis was in «Surprise,» and that’s it. Quite good achievements, although none of our jazzmen won the prize.
Indriķis: But it also shows that in the overall competition for all cultures and its events, jazz has to fight very hard for its position. The question is — why aren’t we making it to the finals? Because the format seems smaller, or perhaps because the performance and results in other genres are of a higher class (speaking speculatively, of course).
Or maybe simply because jazz is not pop culture?
Indriķis: Of course, that can be speculated about, but reflections can arise from that. We must not be complacent; we still have room to grow. This shows, of course, the society’s attitude towards this genre; when jazz gained more recognition, it obtained a more significant status, but that status does not necessarily pull others along with it.
Kaspars: I might agree: jazz ends up somewhat in the status of the younger brother. For example, in «Kilograms kultūras,» in «Music,» it has to compete with the big symphonies; there was also the song festival happening everywhere. Also, in «Pop Culture,» it has to compete with all pop groups and other cultural projects that form the entire popular mass culture. I would say jazz has more prospects in «Start,» «Heritage,» less maybe in «Surprise.» But, perhaps, there are chances by teaming up with a symphonic composition or a more mainstream artist [laughs] — purely for winning the prize. But its representation is already quite good and pleasing.
Indriķis: And, unquestionably, there is a growing trend. A few years back, we wouldn’t see much of that.
Kaspars: A significant reason or cause for this is that with Anete Ašmane-Vilson, we are on that jury; we are the ones pushing jazz into one or another, or third category; further, it’s a public issue, of course.
Indriķis: But it’s normal because it’s about fair genre representation in decision-making institutions, and it actually applies to anything, including educational institutions, ministries, and so on. The trend is actually cool.
I think I’ll agree with Indriķis; it’s correct that representation is there, as jazz events in society are happening more broadly and frequently, and to ignore them means to ignore a part of society.
Kaspars: «Kilograms kultūras» tries to maintain its quality standard; that’s the fundamental premise; creative industry people and the public have believed in it, so the significant presence of jazz here is commendable and meets the high-quality standard that this award holds.
Should we move on to the next award maybe?
Indriķis: Yes, I think in this context, it’s more appropriate to talk about the «Lielā Mūzikas Balva» because the correlation between «Kilograms kultūras» and the LMB is more direct and the «Zelta Mikrofons» is something else. In LMB, we can be proud that the Latvian Radio Big Band has secured its place, and that’s a significant achievement. In this case, it’s very high official recognition and appreciation. Also, Vadims’ nomination [Vadims Dmitrijevs in the «Young Musician of the Year» category]. Then again, there is a question: what were the aspects and arguments that led to this result? Are these again personalities, or can we talk about some trend?
Personnel can be seen on the LMA website; they don’t hide.
Indriķis: Yes, and all those people are absolutely competent and open to jazz.
Kaspars: I think the initial pusher of jazz is Mareks Ameriks, who has deliberately been admitted to the jury poll, and others then try to judge along and listen.
Indriķis: We have a specific advocate, and therefore a chance to raise this genre, give recognition.
Kaspars: The decision of LMB to focus explicitly on jazz was marked last year when the concert «M/Darbnīca» by Matīss Čudars trio was recognized as the concert of the year. It was a sign that doors were opened for jazz, and this year there is stability in the result, I would say.
Indriķis: I think there are no doubts that it’s well-deserved, absolutely correct. The radio band works tirelessly — so many concerts played with various things; it’s absolutely impressive. What do we think about ideas for special awards for jazz in particular? In this context, it’s quite relevant.
Kaspars: Do you mean within LMB?
Indriķis: Yes, that’s what Mareks is trying to do in this case.
You know, maybe it’s a good idea because judging from the current situation, we seem to be everywhere but at the same time almost nowhere — VKKF has long considered us as academic music, but the academic music award (LMB) only started to notice us in recent years. Maybe it would be good to stabilize a category for jazz. The only concern I have is that discussions and disputes could start about the need for more detailed classification because jazz has too many facets.
Kaspars: I think there’s a danger there — as soon as such a jazz award appears, jazz could disappear from the other nominations. Now it’s like the little brother — one of the three musicians is Dmitrijevs, one of the three ensembles is «LUPA,» and one of the three performances is the big band. [Outstanding performance of the year] One of three — it’s a clear hint that it has to be that way. As soon as we give jazz its own house, then maybe it can compete with the other houses… [laughs]
Indriķis: Jazz — the little brother? That could be an excellent article title! [laughs] But Kaspars is right; it slightly leans towards that, doesn’t it? That’s why I wanted to talk about LMB right after «Kilograms kultūras» because the situation is similar there too.
Kaspars: There are similarities, yes.
Indriķis: And that similarity is not due to specific jury members but a testimony to the status in society, culture. How we are positioned and perceived.
Well, yes, we might be the little brother, but at the same time, it’s even more exciting when the little brother receives something — last year it was Arta Jēkabsone as the young musician of the year, Rīga Dome Choir School’s Music Department in the public sympathy vote, Čudars trio’s concert in the «Concert of the Year» category, and this year the Radio Big Band and Vadims Dmitrijevs.
Indriķis: In any case, that’s visible and resonating in the public sphere, and I dare say that it changes society’s attitude towards the genre — gradually but noticeably.
Kaspars: I would even say very quickly! It has become sort of trendy in that sense that «let’s go to a jazz concert for a change» — that seems to work, I believe. But if we’re talking about awards, I would also mention the «Lielais Kristaps,» where Ivars Arutjunjans received the best composer award [for the film «Shameless»].
Wasn’t Denis [Paškevičs] also nominated for something there?
Indriķis: Yes! Well, I’m saying — it’s a trend! Looking in from the outside, our position is visible, and accordingly, we can look at where we need to move.
Actually, I feel like we’ve somewhat sidelined the «Zelta Mikrofons.»
Kaspars: Clearly, we need to discuss «Zelta Mikrofons» separately, as it’s a different matter. There is a separate jazz category.
Indriķis: «Zelta Mikrofons» excellently showcases jazz production; it’s unmistakably visible. Jazz nominations are rapidly becoming one of the biggest categories. How many albums were submitted in total? 16!
Kaspars: Yes, I have also judged this category; as Indriķis correctly mentioned, there were 16 albums.
Indriķis: I can say from myself that it was extremely challenging to select and evaluate. The level has become so high that it’s horrifying to grasp and analyze extensively or completely based on subjective analysis, what I think is better or worse. Whether I like it more or less. There are no recordings that are entirely unqualitative.
Kaspars: «Zelta Mikrofons» tends to pull in the funk and soul. It’s funny that in the final category name, they could have removed funk because only jazz remained.
Indriķis: I will continue to dig into this; it genuinely bothers me, and honestly, it’s not right.
Kaspars: There’s nowhere to put it.
Indriķis: But that’s not an argument.
Kaspars: But that argument has always been there — if there were another twenty funk albums submitted, a separate funk category would have been created.
Indriķis: I understand, but by definition, it’s not right because the difference is very clear — those are two completely different cultures. On the other hand, the existence of this category is the only good thing for me why I’m there because I can listen to all the albums and get a very good overview at the end of the year; it’s interesting and very useful. I believe that jury discussions are a very interesting thing, and it’s the most valuable thing happening there because such a platform actually doesn’t exist anywhere else. People don’t really talk so much elsewhere, and there aren’t really places to meet representatives of such diverse genres. Of course, we can talk about why not all albums are there, but only those that are submitted.
Kaspars: The argument that you have to submit yourself and pay for it (this year, apparently, there was no fee) doesn’t really hold up to criticism because the same applies to the «Grammy» award, and no one seems to have noticed that. That award also has contenders who submit, and there’s a fee involved, so «Zelta Mikrofons» is nothing unique in that regard. The situation was different with the «AustrasBalva»; maybe it will return soon, where the jury searched for everything that came out and nominated; there was no need to submit anything. In any case, the status of «Zelta Mikrofons» will remain as the main award that combines all music genres; the status determines that musicians feel they should be there.
Indriķis: Yes, and for now, it’s an excellent way to observe the genre’s development. I always include folk music in the evaluation process, and it’s very interesting to see how it changes every year — sometimes it’s more traditional, some years modern things appear, and how they interact with each other.
Kaspars: So, what are the trends we see in jazz?
Indriķis: The new generation is coming in strongly. Čudars, Rudzinskis, Buiķis — they are indeed the new generation. Another thing — the number of «Jersikas» albums — «Take Your Time» (Matīss Čudars Trio), «M/Darbnīca» compilation, «Satiksmes Mezgls» (Miķelis Dzenuška and Uzvaras Bulvāris), «Linda» (LRBB), «Imagination» (Jason Hunter Baltic Quartet) — a third! That’s hugely commendable!
Maybe suggest a public vote for the best «Jersikas» album of the year! [laughs]
Indriķis: Another point — when we look at people, we see two complete Radio Band albums, but foreign events are relatively sparse. In fact, the only album involving foreign musicians is Jason Hunter’s «Imagination.»
Well, that’s logical; it’s a local award, after all.
Indriķis: But if we look abroad, there are significantly more collaborative projects.
Kaspars: A member of «FunCOOLio» is from Estonia.
Indriķis: Yes, those are more exceptions, but collaborations with foreigners can’t be seen as a trend, which means it’s a potential for the future. It also implies that we still gather in our own little garden.
Yes, Indriķis, you also have a guitarist from Lithuania and Ēriks Miezis.
Indriķis: Yes, that’s a point I deduce from the selection.
But maybe it also means that we are self-sufficient.
Indriķis: Perhaps, but is that good?
Kaspars: Regarding Toms Rudzinskis’s album — there, everyone is a foreigner too. And it was the winner.
Indriķis: Yes. In any case — it’s a trend worth keeping an eye on and seeing what the future holds. Essentially, it should grow.
Seems like all the important points have been addressed! Maybe some closing remarks for the finale?
Indriķis: Yes, the last thing I want to say that strikes me — the absence of the older guys. Where are Madars Kalniņš, Viktors Ritovs, Andrejs Jevsjukovs, and so on? Inga Bērziņa? Perhaps even older guys?
Kaspars: Everything is swiftly evolving in jazz.
Indriķis: There’s a visible generational shift.
Kaspars: I agree with that, yes. I just want to add that I hope the awards will maintain their status and jazz will become increasingly prominent. Let’s wait and see.