19 years in jazz

As it approaches its 20th anniversary, Ventspils Groove 2024 once again brings together an international team of artists at the high school.

Continuing an annual tradition, for the nineteenth year in a row, the Art Education Competence Centre Ventspils Secondary School of Music once again dedicated a week to the sounds of contemporary rhythm and jazz music. This summer, the school hosted an international festival for students, graduates, and teachers from music schools, secondary music schools, and music academies.

The festival took place from August 26 to 30. Participants aged 16 and older had the opportunity to study instrumental performance or vocals in the mornings, attend ensemble (Combo) classes in the afternoons, and enjoy a rich program of concerts and jam sessions.

This year’s program was especially colorful:
On August 26, the opening concert of the festival took place outside the Latvija concert hall.
On August 27, Windau Coffee hosted a jam session with the masterclass teachers.
On August 28, the venue VIETA, KUR būt presented a concert by the teachers themselves.
On August 29, another jam session followed at Windau Coffee, featuring outstanding musicians Kristians Kalvs (trumpet), Toms Timofejevs (double bass), Pauls Ķierpe (drums), and Beate Estere Mačtama (keyboards).

Finally, on August 30, the Ventspils Groove 2024 festival concluded in the amphitheater of the Latvija concert hall with performances by the masterclass participants and the Matīss Čudars Trio (Matīss Čudars – guitar, Edvīns Ozols – double bass, Ivars Arutjunjans – drums).

This year’s faculty included guitarist Florian Fleischer, vocalist Līva Dumpe, saxophonist Toms Rudzinskis, pianist Avishai Darash, drummer Alessandro D’Anna, and double bassist Juuso Rinta.

Since last year, we have asked only the teachers about the festival and its significance. This time, we decided to talk with both a teacher and a student to create a fuller picture of how everyone experienced the event—both those who teach and those who learn.

Our conversation partners are guitarist Florian Fleischer, a teacher at the Ventspils Groove festival, and vocalist Rebeka Rēķe, festival participant. Let’s hear from them about what was special this year, what left the strongest impression, what will be useful for the future, and why it’s worth spending an entire week immersed in music.

Rebeka Rēķe

To start, tell us a little bit about yourself—who are you, where are you from, and where do you study?

I’m Rebeka Rēķe, and I come from the Riga Cathedral Choir School. I’m about to begin my third year studying jazz vocals. My teacher is Inga Bērziņa, and I came here specifically because of Līva Dumpe—I wanted to hear what she had to say. Of course, I also wanted to jam with others and participate in combo classes with different teachers to learn as much as possible.

How did you find out about the festival and the masterclasses?

I heard about the festival and the masterclasses from my musician friends who had taken part in previous years. Last year, I already wanted to come, but it didn’t work out. This year, when I found out that Līva would be here, I knew I had to come study with her and learn new things. This is my first time.

And how did you first learn about Līva?

I knew she was a graduate of my school—she had finished her studies alongside Kristīne Cīrule, who teaches solfège at our school. Inga had also told me about Līva, and I had listened to her latest album, which had recently been released. I also knew she lives in Amsterdam, in the Netherlands, and I wanted to ask her questions specifically about composing and the various vocal techniques she has learned from her teachers there.

What was your personal experience at the festival this year, and what was in the program?

Initially, we had approximately three to four hours with our specialty teachers. With Līva, we did numerous great exercises focused on breathing, rhythm, and improvisation, and we also had the opportunity to share our own experiences. Afterwards, each student had a short individual session to ask questions, discuss theory, or work on a song. I really enjoyed that.

I would have liked to have more time for individual lessons, or to organize the schedule so that there was more one-on-one work with the teacher. There are many musicians at different levels, and for example, I might have very different questions from someone who is singing jazz for the first time. I think it would be great if, in the future, it could be organized so that everyone has the chance to ask questions that are most relevant to them.

Overall, though, everything was very good. I especially liked that Līva recommended many artists she listens to daily, and she talked about her composing process, how she works with her voice, and what she does and listens to regularly. Afterwards, we were divided into combos, and mine was led by saxophonist Toms Rudzinskis and drummer Alessandro D’Anna. I really appreciated having these two leaders—especially Alessandro, who provided a lot of helpful advice. He shared his experiences from Helsinki and offered suggestions when we played pieces. That was really useful and interesting. I also loved that they joined the jam sessions, allowing us to perform standards together with the teachers and simply make music side by side. That was exactly what I enjoyed most.

Did you attend all the concerts?

Yes, I did. I especially loved Līva’s concert by the sea. The location was stunning, and with the sunset in the background, they played compositions by both the pianist and the guitarist. It was fascinating to hear how each of them approached their instrument. Of course, my focus is more on vocals, and I wanted to hear Līva’s approach—how she improvises. It was really interesting to see what style she chose in her improvisation, how she made the pieces more modern and contemporary. That was what I loved most. Without a doubt, it was my favorite concert.

What would you suggest changing for next year’s festival? What did you feel was missing, apart from more individual time?

I think it would be great to have more jam sessions. We only had two. The schedule was that concerts started at seven, and then jams went until eleven. You had to rush to squeeze in a tune, quickly find someone to play with, and time always ran out. After the concert, there wasn’t much left until eleven. I think everyone would enjoy it more if there were more jam sessions, not just twice a week. Many people want to participate, and this experience is truly important.

Another approach might be to group participants by their skill level. I know that’s not easy, but it could help if people with similar experience were in the same combo, while beginners were placed in another. I’ve heard from other musicians who have been coming for four years that they sometimes end up playing with a 12-year-old drummer, and misunderstandings can happen. But overall, the festival is really great!

What was the most valuable thing you learned during the festival—something you’ll definitely use in your musical future?

The most useful thing came from Līva Dumpe. I asked her a lot of questions because I was especially interested in composition and improvisation. She showed us a recording by Michael Mayo, in which he improvised and discussed transcriptions. She gave me an exercise that Michael Mayo himself had recommended during a masterclass he taught in Amsterdam. Līva showed us several exercises he uses in improvisation and how they’re integrated into his singing. I thought it was so cool that she had actually met him—I really like his music!

If you had to come up with a slogan or motto for the festival, what would it be?

A slogan or motto… I think this year, especially, our combo experienced what it was like to play with a Lithuanian drummer, and that international atmosphere was really amazing—it gave us the chance to meet new people.

Our combo’s name was “Bunda jau Latvija” (“Latvia is Awakening”), which reflects the Baltic musical atmosphere, but in Latvian. So when we perform today, in just a couple of hours, we decided to name our combo that way—and for me, that’s the motto of this year. We even worked with the vocalists to write lyrics about Latvia for a tune that only had a theme but no words. Alessandro suggested we could make it about Latvia, and all these ideas fit perfectly with our name.

Florian Fleischer

First, please introduce yourself to those who don’t know you—where are you from, and what do you do?

I’m Florian Fleischer, a guitarist from Germany. I live in Cologne and work there as a freelance musician. I also teach at a music university in Osnabrück, which is about three hours away.

How did you get involved with Ventspils Groove?

That happened through my friendship with saxophonist Toms Rudzinskis. We met in Denmark some years ago while studying together, and we stayed in touch. Later, he invited me to join the teaching team here at the festival.

What are your impressions of this year’s festival? What was special for you?

I think it’s wonderful that so many young musicians from different places come together here, sharing the stage and their experiences. For me, it’s very inspiring to see their motivation and curiosity. They really want to learn, and they’re very open to new ideas.

This year, I also noticed how strong the sense of community is. Even outside of classes, people are constantly playing together, asking questions, or discussing music. That’s not something you find everywhere, and I think it makes this festival unique.

What did your daily work with the students look like?

In the mornings, I worked with my guitar students. We focused on technique, sound, and improvisation—everything from shaping a phrase to developing your own ideas. In the afternoons, I led one of the combos together with the other teachers. That’s always one of the best parts, because you get to work on a piece collectively, arrange it together, and then perform it at the end.

Was there anything new for you as a teacher this year?

Yes. Every time I come here, I learn something new—not only from my colleagues but also from the students. They ask questions that prompt me to think differently, and they bring their own cultural background and musical experiences into the room. For example, some students come from very strong choral traditions, others from classical training, and others straight from jazz or popular music. That mix is very enriching.

You also took part in the concerts and jam sessions. How did you feel about that side of the festival?

I really enjoyed it. Playing alongside my colleagues is always a highlight—we don’t often get to share the stage outside of festivals like this. And the jam sessions are especially important for the students. They can apply what they’ve learned during the day, on stage, in real-time, and with us. For me, it’s great to be part of that energy.

What would you say to a student who’s thinking about whether to come next year?

I would say: absolutely come! It’s a very safe, supportive environment where you can try things out, make mistakes, and learn quickly. You will meet inspiring teachers, make new friends, and, most importantly, spend a whole week immersed in music. That’s an experience that can really change your perspective.