An Album That Needed Time to Mature

«Pajums» — an album about womanhood, life, feelings, roles, and music that is no longer an obligation, but freedom in art

Rūta Dūduma-Ķirse’s long-awaited debut album is finally here. It reflects the combined creative efforts of the Ķirsis family: Rūta selected the poetry and shaped the overall concept, while her husband and longtime artistic partner, Jānis Ķirsis, composed the music. Together they created an album of eight compositions, recorded with an impressive lineup of musicians: Rūta Dūduma-Ķirse — vocals, Jānis Ķirsis — keyboards, electronic effects, Dāvis Jurka — winds, Rūdolfs Dankfelds — drums, Jānis Rubiks — double bass, Svens Vilsons — electric guitar, Sinfonietta Rīga string quartet: Kristiāna Krūskopa, Agnese Kanniņa, Artūrs Gailis, Kārlis Klotiņš. The album has been available on all major streaming platforms since November 7 and will soon be released on vinyl as well. In this conversation, Rūta shares insights about the creation of the Pajums suite—why she herself refers to the material as a suite, the inspirations behind the music, what growing up has meant in this creative journey, and other reflections.

Finally, you have a solo album!

Yes, I do. The first one.

How did that come about? You’ve been making music for, what, 20 years—since childhood, right?

You could say that I’ve considered myself a professional musician for about the last ten years. However, I’ve been actively involved in music since I was 14 or 15, regularly performing and working. The first thought that came to mind was: Why am I doing this so late? But the second was: everything happens exactly when it’s meant to. Maybe a year, two, three, or even seven years ago, I wasn’t ready for such an album. Perhaps I had nothing to say.

I’m also very self-critical about my vocal abilities, but now I’m no longer ashamed of how I express myself with them. I’ve found my stylistic voice and I’m sticking to it. That’s probably the best argument for why the album is coming out now—at the moment, I feel most ready.

The album feels like a family project.

Yes, a team effort between the two of us.

Jānis composed the music and texts. You chose poetry from Frīcis Bārda and other poets?

The album features poetry by several authors, beginning with contemporary voices such as Inga Pizāne and Dace Micāne-Zālīte, and continuing with Fricis Bārda, Imants Ziedonis, Leons Briedis, and Velta Kaltiņa. I bought and leafed through collections by different poets, without paying attention to the era or century in which they were written.
Reading the classics of Latvian poetry, I selected the lines that resonated most with my own feelings, as I searched for a unified concept to guide the compositions—an introduction, development, and conclusion to everything I wanted to say. It’s all connected with my nature as a woman, and with the many roles we play, as well as the «little rooms» in our minds we deal with every day.

Did you already know you wanted the album to be about this theme—about the role of women in the world—or did you find inspiration in the poetry itself? How did the concept come together?

I definitely wanted to use poetry that I could associate with myself—thoughts that were truly mine, not something artificial or unrelatable, like clichés or stereotypes. While reading, I tried to connect the poems with my own perspective on the world—about women as fragile beings who are, in fact, strong fighters; about women as Latvians and patriots who observe what’s happening in the world, including things that directly or indirectly affect the country.
I looked at women as people who want to be known and loved, who are not afraid to take risks and to be broken. And I thought of her as a mother, a wife, a friend—all these different roles. I found poems that expressed this far better than I could myself.

How do you and Jānis create music together? Did you bring your own ideas, or did you simply provide the poetry for him to interpret? Tell me about the process.

This process began about three years ago, when I was still pursuing my Master’s degree at the Jāzeps Vītols Latvian Academy of Music. I had to complete a thesis, which was an obligatory final assignment. That’s when the idea came about: to create original music. It felt like a great way to produce something of lasting value.

Two years ago, the material for this project began to take shape. I completely trusted Jānis’ vision for how it should sound. My role was to find the poems. In the end, the work became what you could call a jazz suite—a continuous sequence of stories without pauses.

At first, I felt the music was unfamiliar to my voice, and it took me a long time to get used to it. I was disappointed in myself.

But time passed, and when I returned to the project with a fresh perspective, it sounded completely different. Together, we decided the audio quality of the exam recording wasn’t good enough, so we re-recorded the material, improved it, and added instrumental innovations. Over two years, I put the material «through the centrifuge» several times, and now it sounds entirely different.

Now, singing the Pajums repertoire feels like a completely different experience compared to two years ago at my exam, when it felt like just an obligation. That obligation has evolved alongside me, and now I can recognize and freely express my emotions, which gives me much greater creative freedom in music.

How would you describe the changes you’ve gone through over these years that made you reconsider the program and start it again from scratch? What happened in your life that gave you motivation to work with this material anew?

Over the past three years, I believe I’ve undergone significant inner transformation and personal growth. The people I’ve met and the situations I’ve experienced have really changed my mindset about myself. I’ve realized that I’m not as worthless or incompetent as I once thought. On the contrary, I’m becoming increasingly aware of my uniqueness and authenticity every day.

This has been a period of self-confidence for me, during which I’ve learned to be proud of my achievements and value myself, rather than just criticize myself for my failures. I wouldn’t say I’ve become overly serious, but I’ve definitely become gentler and more compassionate towards myself. I’ve developed the habit of looking for the good and recognizing my strengths, rather than focusing only on weaknesses, which everyone has. In short, I’ve learned to appreciate myself and feel comfortable in my own skin.

Over the years, you’ve tried so many different styles and genres of music. How important do you think it is today to be a versatile musician who can adapt and change? Or do you feel that, with time, one clear direction eventually forms for you?

I’ve thought a lot about my role in the music business and how audiences perceive musicians. There’s definitely an advantage if people immediately know what to expect when they hear a particular musician’s name. However, in my case, the projects I participate in are all very different.

I’m proud of my versatility and ability to adapt to different styles. If I’m singing jazz, I switch into jazz phrasing; if it’s ethno, I sink into an ethnic sound. Even singing Latvian pop, I adapt my expression to fit the material, because it’s essential for me to feel what I’m singing and interpret it authentically. My musical world is diverse, and that’s what shapes me.

I sometimes call myself a «colorful woodpecker,» and I think that this «colorfulness» is one of my strengths. I can’t say whether I’ll ever settle into just one genre — I still feel drawn to explore new directions.

This first album is conceptual and doesn’t adhere to a single stylistic boundary — it blends jazz improvisation and ethnic elements with classical and even pop influences. I’m open to future projects in different genres — nothing is stopping me from exploring other musical territories.

Your entire album is in Latvian. How important do you think it is to expand the Latvian music catalogue with material in a style that isn’t traditionally associated with the Latvian language? With pop, it’s clear — Latvian lyrics are crucial. But in jazz, we tend to expect English. How do you perceive the value of doing this in Latvia, both domestically and internationally? You are planning to present it internationally, right?

My perspective on language in music has undergone significant changes over the past two or three years. While attending the international Voicingers workshops, one of the mentors emphasized that you shouldn’t avoid singing in your native language. Singing in Mandarin, Latvian, Portuguese — whatever it is — doesn’t change the purpose of music. Music goes beyond language. There’s no need to sing in English so that everyone understands.

I’m proud to say I’m happy to sing in Latvian. I’m also open to English, Lithuanian, and Portuguese — but Latvian is my native language. It’s unique, offering a different perspective, and abroad, it often feels exotic.

I’ve seen proof of this firsthand with my group, FRAMEST, during our tour of China. We sang in Latvian, English, and even one song in Mandarin. The audience perceived the Latvian songs as exotic and evoked a very special emotional response. I’ve felt the same myself, listening to music in other languages — I don’t need to understand every word. The mood and emotion matter.

Will you release it as a CD?

No, a vinyl.

Will you include English translations of the lyrics?

Honestly, I hadn’t thought much about it. When I presented this program for my Master’s exam, I translated the lyrics into English because one of the committee members was from Italy. But for now, I’m focusing on my Latvian audience, providing them with an audiovisual experience that feels close and familiar.

When I start presenting the album internationally, then yes — I plan to include translations, and maybe even sing parts in other languages. That will be an essential part of my creative journey, helping me reach a wider audience.

You’ve already made a video for one of the songs. I’ve noticed jazz musicians are finally becoming more active online. In pop, the strategy is typically to release a clip and a single before the album’s release. How do you envision using that approach, and has it been effective for you?

I agree — today, people experience music not only with their ears but also with their eyes. The visual side has become an essential part of how we connect with music. Many songs have sparked strong visual ideas in me, and I’ve realized how important it is to bring that vision to life.

You don’t have to spend a fortune or hire professional directors. Even a simple homemade clip can be powerful if it reflects your idea. Creativity itself drives you to create more.

There are no strict rules anymore about visuals in music — whether academic, jazz, or pop. Visual content can be its own artistic expression, independent from the music. Whether it’s through AI, self-made video, or collaborations with other artists, the form doesn’t matter. What matters is doing what feels meaningful.

Why specifically vinyl?

First of all, having something tangible lets you hold it in your hands, pat yourself on the back for a job well done, put it on a shelf, and share it with others.

Also, vinyl is back in fashion! Of course, we mostly stream music, but vinyl offers:
a) something for collectors;
b) something to give as a meaningful gift, a lasting memory.

With their vintage look and beautiful design, records are not just souvenirs or calling cards — they’re keepsakes.

Right, you can even hang it on the wall like a picture.

Exactly. Records are back in style. I don’t even own a record player myself, but there’s something so alluring about vinyl. It’s not just about playback; it’s about ritual — sitting down, relaxing, pouring a cup of tea, and letting the music play in the background. It helps clear the chaos around you and creates an atmosphere, instead of just pressing a button and rushing off. Sometimes you need to stop and breathe — everything else can wait.