Summer at M/Darbnīca

Every year, something new, or: how to educate people through concerts.

It must be said that the past summer was quite an interesting one for Latvian jazz, and it’s no surprise that our very own jazz home — M/Darbnīca — had a lot to do with it. Every year, the creative team at Darbnīca comes up with new ideas for events or ways to refresh old concepts, making them feel new again.

For example, this season’s traditional Wednesday jam sessions took on an international flair — many guest musicians from abroad appeared in the house band lineups. Naturally, this made the sessions even more appealing to our local jazz players — after all, who doesn’t enjoy making new connections and exchanging ideas?

Some of the good old ideas have remained, such as Jazz After Jazz — a multi-day mini-festival of concerts and jam sessions that offers a late-night program for those whose creativity hasn’t run out yet and who aren’t ready to sleep after the last note of Rīgas Ritmi.

This time, however, I’d like to take a closer look at three special events that, in my opinion, best represent M/Darbnīca — because they combine both tradition and an educational aspect. These three events are the JVLMA Jazz Festival, the concert series «Brooklyn Jazz», and a new Contemporary Music Cycle.

The Jazz Festival has already become a Darbnīca tradition — it’s been held there for three consecutive years, growing bigger each time. Brooklyn Jazz is something new — a concert series featuring different artists who create tribute programs dedicated to musicians who were part of the Brooklyn jazz scene. This time, the concerts didn’t just vanish into the ether afterward. Each one was recorded and broadcast on Latvijas Radio Klasika, featuring short interviews with the performers by Anete Ašmane-Vilsone.

All the broadcasts are available for listening on the Latvijas Radio website.

Meanwhile, the Contemporary Academic & Experimental Music Cycle is a wholly new and exploratory endeavor. The audience was invited to concerts featuring music rarely performed in Latvia, and even when it is, rarely in such an intimate setting. Usually, we hear contemporary academic music in concert halls. Still, here, listeners had the chance to experience it just an arm’s length away from the performers — offering an entirely different kind of listening experience.

Let’s take a closer look at these events!

Contemporary music

Conversation with the project manager Emīlija Paula Andersone

M/Darbnīca once again brings something new! It seems you’re never short on creative ideas, and this time you’ve decided to expand your range of musical styles by launching a new event series — the Contemporary Music Cycle. As I understand, you’re the author of this idea, so I’d like to ask — what is it, and how did the idea come about?

Yes, I’m both the creator of the idea and the project manager. Contemporary academic and experimental music has been close to my heart for a long time. For years, I mostly listened to concert recordings — until I began taking regular cultural trips to Berlin, where I attended concerts of this kind. I realized that hearing this music live is an entirely different experience. It’s specific, but exciting and beautiful — something you learn to appreciate with all your senses.

I kept thinking about this idea, and eventually decided that we should have a similar concert series in Latvia. Since I was already working with M/Darbnīca and had the opportunity to use this platform, I gathered my courage and wrote a project proposal. I wasn’t sure if the State Culture Capital Foundation would approve funding, since this type of music is relatively niche and the target audience is smaller. Still, the project was approved, which was terrific news.

I reached out to several well-known musicians in this field, including Kārlis Auziņš, who expressed interest in inviting his friend, the excellent Norwegian drummer Simon Olderskog Albertsen, who now lives in Denmark. Of course, I also contacted Platons Buravickis. Later, we announced an Open Call, which attracted the Fleitz/Muruaga/Viirakivi Trio, who happened to be traveling through Riga at the time.

Personally, I’d love to make this series a long-term project. In Berlin, for instance, they often organize such concerts in unusual spaces. I once attended one held in an abandoned apartment in a deserted neighborhood — you walked in to find a kitchen with freshly cooked soup, and a large living room where everyone sat together. That concept really spoke to me; it fits perfectly with the experimental and contemporary spirit of the music. Of course, there are differences between these genres, but improvisation plays a massive role in experimental music.

This kind of music needs free space — a place where the listener isn’t confined by structure. Instead of analyzing what they hear, they surrender to the sound and explore how it makes them feel. I love concerts in unconventional spaces, and that’s precisely what I hope to incorporate into future editions of this series.

How would you assess people’s interest in experimental and contemporary music? What kind of audience listens to it? Is there a difference between those who come to jazz concerts and those who attend them? And how could such events encourage cross-genre collaboration?

We’ve hosted several experimental cross-genre concerts at M/Darbnīca, and the audience reactions have been very mixed. Usually, if there’s no strong planning or effective marketing, people don’t come to these events. There have even been cases where some audience members left mid-concert and asked for a refund. I’m deeply passionate about this idea and continue to support it, but it does take courage — this genre is still thoroughly unpopular and not yet fully understood in Latvia.

Typically, the audience consists of niche musicians who want to broaden their musical perspective or art students who may have studied abroad and become familiar with the genre. Contemporary dancers also find this kind of musical experience inspiring. But defining the audience exactly is difficult — it depends mainly on people’s openness and willingness to explore new musical forms and sensations.

Contemporary academic and experimental music can vary greatly. Sometimes it features unusual melodies or strange rhythms. Still, for example, Kārlis Auziņš has created contemporary music albums that are deeply harmonic and melodic — even using prepared piano sounds that create a very special atmosphere. Many people have misconceptions about experimental and modern music, and those stereotypes aren’t always accurate.

Another critical point — this is our first season, and audience building is key. In the future, the idea is to organize concerts in unconventional locations to attract artists from diverse genres and create unique live experiences. For example, inviting painters to create art during performances could make for an inspiring and memorable event. If the painter works in real time, drawing inspiration from the music and creating abstract works, it becomes a beautiful moment — especially in live performance. It gives both listeners and artists the chance to experience something truly unique.

One of the main reasons I started this series is my fascination with theatre — where cross-genre collaboration thrives, blending different forms into a unified whole. In theatre, dramaturgy creates structure and boundaries; in these concerts, we break them. I love these kinds of musical experiences because they involve real-time improvisation — something genuinely beautiful and alive. When many artists can resonate together within that improvisation, it’s something magical and valuable — and absolutely worth cultivating.

In your opinion, what kind of mindset or spiritual state should a person be in when attending these kinds of concerts, so that they don’t end up wanting a ticket refund afterward?

The situation where audience members asked for refunds actually happened during the Jazz After Jazz festival. Although the event was called Jazz After Jazz, some attendees clearly weren’t expecting experimental jazz, and, feeling dissatisfied, left the hall. It’s possible they hadn’t carefully read the concert description, which explained what kind of performance it would be. The most important thing is that people understand beforehand what type of event they’re going to. If they come with an open mind and a willingness to experience something new, that will undoubtedly foster a more positive attitude.

From my own experience, when I was growing up, my grandmother often took me to all kinds of concerts, mostly classical music events. Even now, I go to a lot of concerts — jazz, alternative music, and more. Because of this, I’ve developed a strong musical foundation, but it also means my analytical thinking can sometimes kick in and prevent me from fully feeling the music. In a concert space, it often helps to turn off that analysis, to truly enjoy the experience. Everyone has their own mechanisms, and for me, it’s about consciously shifting focus from analysis to what I feel in my body.

I always explain that one should try to notice where the sound resonates and what sensations arise. In Berlin, I’ve had moments when I close my eyes and experience something like abstract visions or a deep meditative state. These moments are special because they allow you to let go of everyday stress and immerse yourself completely in the music, which is essential when attending concerts of this kind. By surrendering to the experience, people can connect with music on a much deeper and more personal level.

Brooklyn Jazz

Conversation with the author of Brooklyn Jazz, Maija Moira Mazanova

It seems that every year M/Darbnīca introduces new projects, and this one is exciting because it’s both entertaining and educational — not only for listeners but also for the musicians themselves. Could you tell us a bit about Brooklyn Jazz — what it is, how the idea came about, and everything related to the project?

The idea for Brooklyn Jazz actually came to me this February, when I was in Brooklyn, New York. I went to visit Matīss Čudars, and during our conversations, the thought came up that both our musicians and audiences in Latvia might find it exciting to hear something connected to the Big Apple. I was pleasantly surprised to discover that musicians were genuinely eager to create such concerts and design programs around that theme.

What’s most fascinating is that even before the first cycle had finished, we already received at least five new ideas for the next series of events. That’s amazing — it’s an opportunity to honor the musicians who have contributed so much to the development of jazz while also showcasing the professionalism and artistry of our own performers. I genuinely believe this is a valuable contribution.

The concert series also had a special element — video projections by Sandija Trautmane, which made the experience more accessible in our increasingly digital environment. Perhaps that visual aspect helps listeners who don’t usually attend jazz concerts realize that jazz isn’t something overly complex or challenging to understand. The main goal was to make jazz more open and inviting to a broader audience, including those who might not normally engage with the genre. Jazz is sophisticated, interesting, and deeply professional music — and we have so many fantastic musicians who can bring these programs to life. For me, the most important thing is not just coming up with the idea for a program, but having the people who can bring it to life. Without musicians to play it, it doesn’t work — and we are lucky to have them.

Starting from September 10, the Brooklyn Jazz concerts could also be heard on Latvijas Radio Klasika, with short interviews by Anete Ašmane-Vilsone before each broadcast. Listeners could enjoy the concerts for twelve evenings in a row. Could you tell us who initiated this collaboration?

Anete and her husband, Svens Vilsons, often visit M/Darbnīca — Svens also actively participates in our jam sessions. One evening, after a conversation, Anete suggested broadcasting the concerts on Latvijas Radio Klasika for three consecutive Tuesdays. She thought it would make for high-quality programming — and I couldn’t agree more.

I think it’s significant. It means that all this music will remain in the Latvijas Radio archives, which is very important. We need to make an effort to document everything that’s happening in our musical community. The next goal is to release an album featuring these concerts — we have twelve performances, everything has been recorded, and we’ve selected one composition from each concert — that’s enough for a full album. I believe it will be a valuable contribution, something tangible to preserve.

That would indeed be an excellent idea! It’s just a pity the video projections can’t be included on a vinyl record. By the way, could you tell us a bit more about that collaboration?

I actually had the idea for the video projections quite some time ago — at least three years back. I always have many ideas, but not all of them can be realized, primarily because of limited resources and the extra costs involved. Of course, our projects are supported by the State Culture Capital Foundation and the Riga City Council — otherwise, none of this would be possible.

Speaking of the projections — they were created by Sandija Trautmane, who also works at M/Darbnīca. Over time, I became familiar with her work, and at one point, I invited her to join this project. Sandija usually works with electronic music, but this time she embraced the jazz format. She delved deeply into the content of each concert. In fact, the process was educational for her — she researched, read, listened, and watched documentaries about the history behind the music.

From the audience’s reactions, it’s clear this format is absolutely worth investing in. Each concert featured visual projections — except one, the open-air performance on August 31, which took place on our terrace.

So far, every concert in the series has sold out, which gives me confidence that this is only the first cycle — and there will definitely be more to come. I don’t yet know precisely what it will look like, but it feels inevitable. I’m very proud of it, because these concerts don’t just stand alone — they form a cohesive whole, which makes it easier for the audience to absorb and connect with the music on a deeper level.

I should also mention that the jury of the Latvian Grand Music Award regularly attends our concert cycles. So perhaps we’ll be hearing something from them as well…

Džeztivāls

For the third year in a row, students of the Jāzeps Vītols Latvian Academy of Music (JVLMA) have had the good fortune of taking their final semester exams in their major and ensemble performance subjects under real concert conditions.
Playing exams this way is undeniably easier — there’s no overwhelming sense of being judged, which in turn helps students play better. I can confirm this from my own experience. In a classroom setting, when you’re being listened to only by your teachers and you know that this isn’t just about making music but about being graded, all the artistry tends to disappear, leaving only stress about technique, melodic passages, vocalises, études, improvisations, alterations, and so on. In those moments, creating art is the last thing you want to do.

But when you’re on stage — with real listeners, proper lighting, sound, and the overall feeling of a concert — the art immediately comes to the forefront. And that, in my opinion, is precisely what we want to hear (and see) in our students’ performances.

Of course, teachers are different too. Some want to hear precisely what was worked on throughout the semester, while others want to see how young musicians express themselves as artists. After all, we are training performing artists — and it’s not only important to prepare them for real-life situations but also to give them the chance to experience them. Some students may never have the opportunity to perform a full concert otherwise. And how can we grant someone a professional performer’s diploma without allowing them to embody that role?

That’s why the ongoing collaboration between the JVLMA Jazz Department and M/Darbnīca is truly invaluable — the students are always warmly welcomed there.

«If you want to hear what the newest wave of Latvian jazz sounds like — who the people are that will soon become the next stars of Latvia — then this is the place to come and see them at the very start of their journey.»
— Indriķis Veitners, Head of the JVLMA Jazz Department

With this invitation, M/Darbnīca announced the Jazz Festival, which was free to attend on all three days.
June 4: performances by the first group of students
June 5: the second group and the third-year ensemble
June 6: the vocal ensemble, plus combo groups from the first and second years

The festival was hosted by Adams Vaicis, a student of the Latvian Academy of Culture, and Václav Šebesta, an exchange student from the Academy of Fine Arts in Prague, who created its visual identity.