Playing in the skies, seeking other paths
Santa Šillere’s debut album serves as a bridge between Latvian and Polish musicians
For those who closely follow our local jazz scene, Santa Šillere is already a well-known figure. Recognized in various roles, Santa has finally emerged as a solo artist. Her powerful and well-trained vocals shine in full splendor on her debut album, showcasing her vocal range and tonal colors. Each piece showcases Santa Šillere’s voice and personality from a different perspective.
The accompanying ensemble members are musicians whom Santa met during her studies in Poland: Franciszek Raczkowski on piano, Jakub Mizeracki on guitar, Paweł Zwierzyński-Pióro on bass, and Stefan Raczkowski on drums. As guest artists, saxophonist Tom Rudzinskis and backing vocalist Julianna Tīruma make episodic appearances. The album’s sonic material was created in recording studios in Poland and Latvia.
The listening experience of the album begins very subtly and delicately. A dreamy piano chord, faint guitar sounds, and gentle touches on the drums create a slightly chaotic yet quite pleasant sonic landscape. It feels like the musicians are trying to grasp a thread that can logically lead the listener to the next phase of the piece. The spaciousness created by reverberations sets an ambient mood and a special atmosphere. As the sounds gradually crystallize, a more defined rhythmic structure and sequence of harmonies emerge. As the music unfolds, it becomes clear that the first track of the album («Interlude») is essentially just an introduction to the next piece, «Rotating in the Skies.»
In this piece, Tom Rudzinskis joins the ensemble, initially playing the flute but later also the saxophone. We hear Santa Šillere’s vocals for the first time – the previously heard interlude was an instrumental music fragment. «Rotājas debesis» is the album’s most elaborate and compositionally interesting piece. The stark contrast between the verse and chorus, as well as the surprise element of free improvisation, give the composition dynamic development and the ability to hold the listener’s interest until the end. The successful contrast in the improvisation section, where expressive and free collective improvisation is juxtaposed with a melancholic and melodic high-register guitar solo, adds a touch of balance and variety. The broad emotional and dynamic range, as well as the volume of musical information, leave a lasting impression. For this reason, «Rotājas debesis» could be considered the album’s title track, although this honorary title is bestowed upon another piece.
«Other Ways» could be called the group’s calling card, as each ensemble member plays a solo during an improvisation segment – vocals, guitar, piano, and bass. The dense, almost drum‘n’bass-style texture juxtaposes with the long-note-value vocal and harmonic instrument parts. The subsequent section, which is much calmer in mood, brings balance to the composition overall. Similar to the previous piece, we see a wide application of the principle of contrast, which is becoming one of the defining features of the composer’s individual style.
«Ziedonī» is an eclectic ballad where various music streams blend together. Given Santa’s previous experience in music, this seemingly unusual combination of expressive means ultimately seems quite logical. The text by poet Aspazija is woven into a musical fabric based on the harmony and structure of Johann Sebastian Bach’s «D minor Prelude.» An expansive and harmonically colorful piano prelude, followed by a brief episode with an ethnic flair, sets the stage for the textured harmonic backdrop that enriches the ensemble’s overall sound. A video version of the song has recently been released as a duet with pianist Edgars Cīrulis on Kļaviņš’ «Una Corda» piano.
The serene vibrations of chamber music are also felt in the song «It’s Spring.» The duet with nuanced piano accompaniment sounds deliberate and heartfelt. Like in the other pieces, the song’s content plays a significant role, with the text unveiling the musical content. This time, the music adjusts to the text (rather than the other way around, as is often the case), resulting in a recitative section that would fit well as a lyrical episode in a play.
The piece most akin to traditional jazz aesthetics is the lightly swinging «Two Smiles.» The harmonic language, typical of hard bop aesthetics, challenges the vocalist to perform more complex intonations, which Santa handles admirably. In the full bloom of improvisation, we can enjoy the pianist’s performance from both a technical and a musical perspective.
As the listening session concludes, it’s time for the catchiest piece on the album. In an effort to reach a broader audience and showcase another aspect of her musical personality, Santa successfully includes a piece suitable for mainstream radio formats, «No Clouds.» Here, you will find everything necessary for an easy listening experience – straight quarter notes, guitar solos, and a memorable chorus. The optimistic and affirming mood in the album’s closure is also created by the song «Crystal Light,» where listeners can enjoy another improvisation by the vocalist and guitarist. In the end, a cathartic moment is achieved with repeated choruses and escalating dynamics.