The Big Band as a Jazz Identity

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A Study on the Development of the Latvian Big Band Tradition

The research is funded by the Ministry of Culture of the Republic of Latvia, project “The Cultural Ecosystem of Latvia as a Resource for National Resilience and Sustainability,” project number: VPP-MM-LKRVA-2023/1-0001.

The big band holds a special place in today’s Latvian jazz scene. Currently, more than 15 active big bands operate in Latvia, comprising three professional orchestras, several semi-professional ensembles, and various student and amateur groups. The development of big bands has been particularly dynamic over the last decade, allowing us to speak of a genuine «big band culture» in Latvia.

In contrast, in neighboring countries such as Lithuania and Estonia, only a handful of jazz big bands perform regularly. Moreover, Estonia lacks a single professional, state-supported jazz orchestra. Considering the shared history and cultural traditions of the three Baltic states, this tendency raises the following questions regarding the reasons for the development of big band culture in Latvia:

1. What historical circumstances fostered the emergence of such a dynamic big band scene specifically in Latvia, but not in the other Baltic states?

2. To what extent, and in what ways, does the history of Latvian big bands influence the development of contemporary jazz in the country?

To understand the current situation, it is essential to delve into the history of big bands — large jazz orchestras — in Latvia. Historically, Latvia was home to two outstanding, high-level big bands: the Riga Estrada Orchestra (REO) and the Latvian SSR Television and Radio Estrada Orchestra, both of which were primarily active from the 1950s through the 1990s. However, the roots of big band music in Latvia reach back much further.

Beginnings. Jazz Orchestras in Latvia up to 1940

The origins of Latvian jazz date back to the end of 1921. At that time, many jazz orchestras began to appear, with lineups ranging from small ensembles such as trios and quartets — often labeled as «jazz bands» — to larger groups. According to photographic evidence, bigger ensembles emerged in the early 1930s, reaching their peak around 1935. These were dance orchestras that primarily performed in social venues, such as dance halls and restaurants.

Jazz was a significant part of their repertoire, mainly due to the popularity of swing-era dance fashions. Yet, they also performed a wide range of other popular music — from operetta melodies to cabaret songs, couplets, and popular hits. Such a universal repertoire required highly professional musicians, capable of playing multiple instruments and mastering a broad stylistic range (from classical music to modern dance music).

It is essential to highlight the crucial role of Latvia’s most important record company of that era, Bellaccord Electro (1931–1944). Bellaccord’s recordings not only popularized jazz orchestras and their music but also preserved the sound of Latvian jazz orchestras for future generations. [1]

The Phenomenon of Sympho-Jazz in Latvia

Between 1930 and 1935, a unique jazz trend emerged in Latvia known as «symphonic jazz» or «sympho-jazz» [2], primarily influenced by Paul Whiteman’s orchestra [3], which was then the most internationally renowned jazz orchestra from the United States.

This phenomenon marked an essential stage in Latvia’s musical landscape of the 1930s. The movement was developed by composer Jānis Vītoliņš (1886–1955), who from 1926 to 1931 worked in the United States as an arranger for major American film studios, including «Paramount Pictures» and «Metro-Goldwyn-Mayer». Upon returning to Latvia, Vītoliņš founded his own orchestra «La-Si-Do», with which he gave several significant concerts in prestigious Riga venues, including the Great Hall of the Latvian Conservatory. [4] These concerts received both wide public attention and critical acclaim.

In addition to Vītoliņš’s own works, the programs included George Gershwin’s «Rhapsody in Blue», thus presenting the Latvian premiere of this piece.

Historically, the fusion of classical and jazz music has been a trend in Latvian jazz throughout the entire 20th century, marking a defining feature of its development. [5] This movement, which intertwines classical and jazz traditions, has become an essential part of Latvia’s jazz identity and remains an important direction in Latvian jazz today.

The Postwar Era: 1945–1953. Soviet Occupation and the Stalinist Regime

The Soviet occupation of 1940, followed by the Second World War and the subsequent Soviet re-occupation, had a profound impact on the development of jazz in Latvia. Many pre-war musicians were repressed, perished in the war, or emigrated. Jazz orchestras faced censorship from the occupying regime, having to adjust their repertoires in line with the demands of state propaganda.

Despite this, several jazz orchestras continued to operate immediately after the war. Particularly significant was the short-lived Latvian Radio Jazz Orchestra, founded in 1946 and led by Lev Tokarev-Sinkops (1923–1991) [6], a Russian composer who had come from Leningrad. Tokarev-Sinkops also directed the Latvian Philharmonic Sympho-Jazz Orchestra, which existed from 1946 to 1948. In Riga, there was also the jazz orchestra of Benjamin Čužojs, the Riga Circus Orchestra led by Arvīds Kļaviņš, as well as several other notable ensembles.

However, soon the state authorities began to oppose and imposed restrictions actively. Already from 1946, the word «jazz» appeared in the press only in a derogatory sense, gradually leading to the systematic removal of jazz from the public sphere. With the launch of the «struggle against formalism in art» in 1948 and the state’s policy against Western art and culture, jazz virtually disappeared from official public discourse. It was regarded as a hostile cultural phenomenon. [7] It was precisely in this period that the legendary phrase appeared: «He who plays jazz today will betray his homeland tomorrow!»

The 1950s: «Armatūra» and Ivars Mazurs — The Development of Amateur Big Bands

With Stalin’s death in 1953, the political climate in the USSR underwent significant changes. The so-called «Khrushchev Thaw» (1953–1964) marked the arrival of a new generation of musicians in Latvia for whom jazz became the main passion and artistic goal. This was the so-called «postwar generation» — young musicians born shortly before the war, now around twenty years old, who began actively performing in Riga orchestras.

At that time, many dance orchestras existed in Riga — essentially big bands, judged by their instrumentation — which operated as amateur ensembles in the culture houses of Riga’s factories. These orchestras regularly played for dances and gave concerts, mainly on weekends. Their repertoire included both dance music and jazz, which was formally prohibited but nonetheless performed periodically, often by circumventing official rules and censorship in various ways.

Although formally amateur ensembles, several of these orchestras reached a genuinely high professional level, thereby «paving the way» for the emergence of professional groups. This movement essentially became fertile ground for young jazz musicians, making a significant contribution to the development of the Latvian jazz scene.
The best-known ensemble of this period was the REMR [8] Armatūra [9] Club Orchestra, led by Ivars Mazurs.

Ivars Mazurs (1929–2010)

Ivars Mazurs’s role in the history of Latvian jazz is highly significant. He was a legendary Latvian jazz musician and journalist, famous for his long-running Latvian Radio program «It’s Time for Jazz» [Ir pienācis laiks džezam]. As a physician by profession, Mazurs became a skilled jazz pianist, arranger, and bandleader through self-study. He led the big band at the Corso restaurant (1953–1955), the aforementioned Armatūra Club Big Band of the Riga Electromechanical Factory (1955–1963), and from 1963 to 1972 the big band at the Draudzība Cultural Club.

In 1953, Mazurs began working at Latvian Radio as a music editor, while simultaneously performing with the Latvian Radio Estrada Sextet, led by Igor Yakovlev. His legendary Latvian Radio program «It’s Time for Jazz» ran for more than 30 years, becoming a vital source of information and inspiration for several generations of Latvian jazz musicians and making Mazurs the country’s best-known and most knowledgeable jazz expert.

In the final years of his life, he performed regularly at Otto Schwarz’s restaurant in central Riga. In 2009, at his 80th anniversary concert at the Splendid Palace, he was awarded the highest Latvian state honor, the Order of the Three Stars, for his contributions to the development of Latvian jazz.

It was precisely from the Armatūra Orchestra that the future members of the Riga Estrada Orchestra (REO) emerged — jazz musicians who would shape the further development of Latvian jazz.

REO 1957–1976 (Riga Estrada Orchestra)

The Riga Estrada Orchestra (REO) was the first professional orchestra of popular music — or, as it was then called, estrada music — in Latvia. In essence, it was a large ensemble, legally functioning as part of the Latvian Philharmonic. REO’s main task was concert performance, though it also produced gramophone recordings. Throughout its existence, REO performed numerous concerts in Latvia, across the Soviet Union, and abroad, earning widespread recognition and popularity.

The orchestra’s founder and first conductor was composer Ringolds Ore (1957–1959), thanks to whom the ensemble was established. A decade later, Ore would also be the initiator of the Latvian Radio Big Band.

After Ore, the orchestra was briefly led by composer Aleksandrs Kublinskis (1959–1960), followed by the young double bassist Egils Švarcs (1960–1964). During this period, despite ideological restrictions, a large portion of the repertoire consisted of jazz, strongly influenced by the swing tradition, particularly the sound of the Count Basie Orchestra. Many original compositions were performed in the swing style, alongside popular music.

One of REO’s most important arrangers was Vitālijs Dolgovs (1937–2007), who also became one of Latvia’s most significant jazz composers. Born in Ayagoz, Semipalatinsk region, Kazakhstan (January 9, 1937), Dolgovs remained in Latvia after serving in the Soviet army. He studied composition and choral conducting at the Liepāja Music Secondary School (1957–1961). Immediately afterwards, he joined REO as a saxophonist and arranger, and by the mid-1960s, nearly 80% of the orchestra’s repertoire consisted of his arrangements. In 1968, Dolgov became a staff arranger for Oleg Lundstrem’s Orchestra in Moscow, soon establishing himself as one of the leading jazz arrangers in the Soviet Union. In the 1980s, he worked simultaneously in Riga, Minsk, Moscow, and Italy. In 1999, he co-founded Igor Butman’s Big Band. Dolgov passed away in Riga, leaving a remarkable musical legacy comprising over 475 arrangements and 51 original compositions. His best-known works include «Oliver», «On the Escalator», «Sprint», «Nowadays», «Retro Style», and «Mister Chic». His primary influences were Gil Evans and the Thad Jones/Mel Lewis Big Band, and his works remain a vital part of the Latvian big band repertoire.

After Egils Švarcs emigrated from the USSR, REO was led by composer and pianist Raimonds Pauls (1964–1971). During this time, the orchestra’s repertoire shifted notably towards popular and estrada songs, with frequent collaborations with well-known singers such as Aino Bāliņa, Valentīna Butāne, Larisa Mondruse, Zdislavs Romanovskis, and many others. It was within REO that Raimonds Pauls began his path to widespread recognition and popularity, developing his signature as a composer, strongly influenced by jazz. A virtuoso jazz pianist, his style was inspired by jazz icons such as Erroll Garner and Oscar Peterson. For nearly 60 years, Pauls has been regarded as one of the most influential and celebrated contemporary composers of popular music in Latvia. Today, he stands as an absolute legend of Latvian music, highly respected and beloved.

The orchestra’s final conductor was trumpeter Aivars Krūmiņš (1971–1976). The decline of REO was linked both to changing trends in popular music (the worldwide rise of rock and pop) and financial considerations. REO was dissolved in 1976, yet many of its members went on to play in the Latvian Radio Big Band and became leading jazz musicians of their generation in Latvia — such as saxophonists Vitālijs Dolgovs, Aleksandrs Piščikovs, Raimonds Raubiško, Ivars Birkāns; trumpeters Boriss Kogans, Aivars Krūmiņš, Gunārs Freidenfelds; trombonist Aldis Amoliņš; violinist and saxophonist Alnis Zaķis; and many others.

REO made several recordings with «Melodiya», the only record label in the Soviet Union, which were released on multiple LPs. The most significant of these was the record «REO in the Rhythm of Jazz» (1971).

REO was widely known not only in Latvia but throughout the Soviet Union, celebrated for its unique sound and the high level of musicianship of its members. The legendary REO is one of the most historically significant jazz orchestras in Latvia and is regarded as a cornerstone of the Latvian big band tradition.

Latvian Television and Radio Estrada Orchestra (Latvian Radio Big Band, 1966–1995)

The orchestra was founded in 1966 as the Latvian Radio recording orchestra, with composer Ringolds Ore serving as its first conductor (1966–1968).

Composer, arranger, and conductor Ringolds Ore is one of the most critical figures in Latvian jazz. As mentioned earlier, it was thanks to Ore that both the REO (Riga Estrada Orchestra) and later the Latvian Radio Estrada Orchestra were established, with Ore himself leading both ensembles during their formative years. His contribution to the development of Latvian jazz orchestras can hardly be overstated.

Ore was born in Jelgava and graduated in 1957 from the composition class of Jānis Ivanovs at the Latvian Conservatory, while working simultaneously as a sound engineer at Latvian Radio. That same year, he became conductor of REO, laying the foundation for the orchestra’s formation. Later, he served as artistic director of the «Melodiya» record label (1959–1961) and in 1962 became a lecturer at the Latvian Conservatory. In 1966, Ore created and conducted the Latvian Radio Light and Estrada Music Orchestra (also known as the Latvian Radio Big Band) until his death in 1968. Unfortunately, Ore’s artistic legacy has not yet been adequately recognized, nor is it widely available in recordings. Worth mentioning are his symphonic jazz works, music for film, and symphonic compositions, which once earned him the reputation as Latvia’s leading jazz composer.

After Ore, the orchestra was conducted for many years by violinist, saxophonist, composer, and arranger Alnis Zaķis (1968–1994). In the orchestra’s final year, it was led by jazz pianist and arranger Aleksandrs Smirnovs (1994–1995).
The orchestra made countless recordings with practically all Latvian estrada singers, providing song accompaniments and instrumental compositions, including jazz works by V. Dolgovs, R. Pauls, A. Zaķis, and others. The bulk of the arranging work, however, was carried out by the legendary Latvian trumpeter and jazz composer Gunārs Rozenbergs.

Gunārs Rozenbergs (1937–2007) is regarded as one of Latvia’s most outstanding jazz musicians and arrangers. Initially trained in percussion, he later taught himself the trumpet. Rozenbergs gained international recognition at the 1967 Tallinn Jazz Festival as a member of the Soviet Army ensemble «Zvaigznīte». In 1970, he founded the free jazz quartet «2R+2B», along with R. Raubiško, B. Bannih, and V. Boldyrev. From 1966 until the early 1990s, Rozenbergs was a member of the Latvian Radio Big Band, doing much of its arranging work. He performed with Grover Washington Jr. in the United States, at the legendary Ronnie Scott’s Jazz Club in the UK, as well as in Germany, Greece, and elsewhere. From 2004 to 2007, he led the «Mirage Jazz Orchestra». His creative legacy comprises more than 150 instrumental compositions, approximately 50 songs, and numerous arrangements, including pop songs, music for puppet theatre productions, films, and other works. Of particular importance is his 1979 LP «Laura», as well as numerous recordings with the Latvian Radio Big Band. Rozenbergs is one of the most significant Latvian jazz composers and arrangers, and his legacy is rightly considered part of the «golden treasury» of Latvian jazz.

By the 1980s, the Latvian Radio Big Band had become one of the finest big bands in the Soviet Union, renowned for its distinctive and unique sound, as well as the individual style of its performers and arrangers, which distinguished it from other Soviet jazz orchestras. Among the orchestra’s prominent musicians at various times were saxophonists Egils Straume, Raimonds Raubiško, Ivars Birkāns, Jurijs Smirnovs, Jānis Zirnis; trumpeters Gunārs Rozenbergs, Julo Usenko, Zigurds Linde, Francis Raudis, Vladimirs Škeņevs; trombonists Zigurds Bilzonis, Juris Jaunalksnis, Pauls Mierlejs; drummers Zigurds Rezevskis, Māris Briežkalns; bassist Jurijs Širokovs; pianists Madars Kalniņš, Harijs Bašs, Aleksandrs Smirnovs; and many others.

Unfortunately, after Latvia regained independence in 1991, Latvian Radio began to experience funding problems, and for economic reasons, the orchestra was disbanded at the end of 1995. Some musicians continued to perform in other ensembles, such as the professional Wind Orchestra «Rīga» and elsewhere. Some continued in the amateur big band «Volo», and later in the «Mirage Jazz Orchestra».

After long efforts and negotiations with various state institutions, the Latvian Radio Big Band was re-established in 2010 under the leadership of Kārlis Vanags.

The Latvian Radio Big Band was, in its time, a legendary orchestra, and its fame remains undiminished. Its unique sound and long-standing activity remain among the key factors that have shaped the popularity and traditions of big bands in Latvia to this day.

The Period After 1991

After Latvia regained independence in 1991, several new amateur big bands emerged. Their formation was encouraged by the strong movement of amateur wind orchestras in Latvia at the time. A considerable number of wind orchestra members were students of brass and woodwind departments — future professional musicians, many of whom had a lasting interest in jazz. This new generation of musicians became the foundation for the further development of big bands in Latvia.

VOLO

Around 1990, a big band was formed within the amateur wind orchestra «Sīriuss», under the leadership of conductor Jānis Ābols. After conflicts with the conductor, in 1992, the big band became an independent ensemble under the name «VOLO». Guitarist Uldis Sebris took over the leadership. Its lineup included former members of «Sīriuss», many of whom later became significant Latvian jazz musicians, such as R. Stašāns, O. Švembergs, G. Stepanovs, G. Pabērzs, I. Veitners, A. Smuidris, and many others.

After the dissolution of the Latvian Radio Big Band in 1996, several of its musicians also joined «VOLO», including Julo Usenko, Jānis Pinkulis, and Bruno Jurgenbergs, among others. In this way, «VOLO» became, to some extent, a successor to the sound and traditions of the Radio Big Band.

In 1996, «VOLO» released a CD album titled «Elza» and appeared several times on Latvian TV programs, including producing Latvia’s first jazz music video that same year («Elza Dances» by U. Sebris, arranged by A. Smirnovs). However, the band’s activity gradually declined, and it ceased operations in 2000.

The «VOLO» Big Band played an essential role in the development of Latvian jazz during the transitional period following the dissolution of the Latvian Radio Big Band in 1996. It maintained and continued Latvian jazz traditions while also serving as a school for a new generation of musicians. By the late 1990s, VOLO was virtually the only active jazz orchestra in Latvia with significant public resonance, keeping alive the idea of the necessity of a professional jazz orchestra.

The Riga Circus Orchestra

During this period, the Riga Circus Orchestra also played an important role. Although it was not a jazz orchestra in the strict sense, its lineup was essentially that of a big band, regularly including both musicians from the Radio Big Band and representatives of the younger generation.

After Latvia regained independence, the Riga Circus faced several difficulties, including disputes over property ownership, legal proceedings, and severe financial problems, which led to changes in its management and, consequently, the orchestra. For a fairly long period, the orchestra was conducted by Raitis Ašmanis, under whose leadership many young musicians performed in the Circus Orchestra, which became an essential professional training ground for them. Thus, the Riga Circus Orchestra undoubtedly played a role in the growth, experience, and performance practice of new generations of Latvian professional jazz musicians.

The history of the Riga Circus Orchestra and its significance in the context of Latvian jazz history remains an essential subject for future research.

Professional and Semi-Professional Big Bands After 2000

After the year 2000, new orchestras and ensembles began to form, essentially comprising young musicians. At the same time, musicians of the older generation continued to perform, creating a link between generations and ensuring the transmission of Latvian jazz traditions — particularly within ensembles such as the Mirage Jazz Orchestra.

A crucial impetus for the development of jazz orchestras emerged with the establishment of the jazz education system in the early 2000s, which gradually enabled the revival of the big band movement in Latvia.
Below is a list of active Latvian jazz orchestras, as well as student and amateur big bands.

Jelgava Big Band (founded 1991)

The Jelgava Big Band was founded in 1991 and is, in fact, the first Latvian jazz orchestra established after Latvia regained independence, and it continues to operate today. It continues to be supported by the Jelgava municipality and is considered a professional orchestra. Under the long-standing leadership of conductor Raitis Ašmanis, the big band has performed extensively throughout Europe and the United States, receiving awards at many jazz competitions. The ensemble has collaborated with numerous Latvian jazz and popular music artists and has recorded two CDs: its first, released in 2007, featured Raimonds Pauls, Intars Busulis, Ieva Kerēvica, Olga Pīrāgs, and Laimis Rācenājs. A second CD, «Latvijas sajūtas» (Latvian Feelings), was released in 2020, featuring arrangements of Latvian popular songs and compositions created by the legendary arranger Michael Abene.

Like VOLO, the Jelgava Big Band has for many years (and still does) served as a school for young jazz (and not only jazz) musicians. Over its existence, nearly the entire younger and youngest generation of Latvian jazz musicians has performed with the Jelgava Big Band, which remains an integral part of Latvia’s jazz scene.

Mirage Jazz Orchestra (founded 2004)

The Mirage Jazz Orchestra was founded in 2004 by trombonist Lauris Amantovs, in collaboration with legendary trumpeter Gunārs Rozenbergs and saxophonist Deniss Paškevičs. To a large extent, Mirage Jazz Orchestra continues the musical legacy of the first Latvian Radio Big Band, whose last conductor was Rozenbergs. Several former members of the Latvian Radio Big Band still perform in the orchestra, which regularly plays arrangements by Rozenbergs and Vitālijs Dolgovs.

The Mirage Jazz Orchestra performs frequently in Latvia and abroad, collaborating with international soloists such as Ola Onabulé, Massimo Morganti, and Hermine Deurloo. Its 2008 album «My Favourite Things» is dedicated to Rozenbergs’s contribution to Latvian jazz and stands as the last album recorded by him.

Liepāja Big Band (2006–2015)

The Liepāja Big Band was created by clarinetists Uldis Locenieks, Valērijs Šestilovskis, and conductor Jēkabs Ozoliņš. The orchestra brought together professional musicians from the Liepāja Symphony Orchestra, the Latvian Navy Orchestra, as well as older-generation musicians from Liepāja with a background in jazz. Officially established as a «public foundation,» the ensemble rehearsed weekly and primarily operated as a so-called project orchestra.

During its existence, it gave regular concerts and collaborated with various soloists and groups, including the band Autobuss Debesīs. The ensemble ended its activity in 2015.

National Armed Forces Big Band (2009–2019)

In 2009, following the reorganization of Latvia’s military orchestras, the National Armed Forces (NAF) Big Band was established in Liepāja under the leadership of conductor Captain Lieutenant Uldis Locenieks. The orchestra was formed from musicians of the former Land Forces Orchestra and the Navy Orchestra. The NAF Big Band created several concert programs with which it performed regularly in Latvia and abroad, also appearing at various festivals. In 2014, the orchestra released the CD «Gatavs!» (Ready!).

In 2019, the NAF Big Band was once again renamed the Navy Orchestra, returning to a full wind orchestra format. The big band was integrated into the ensemble alongside other groups, such as trombone quartets, saxophone quartets, and wind quintets. In 2022, a special program dedicated to the big band was released — the CD «Dedication to the Folk Song», featuring arrangements of Latvian folk songs explicitly created for the Navy Orchestra Big Band by Lithuanian composer Rimantas Giedraitis.

Latvian Radio Big Band (2012)

The Latvian Radio Big Band was successfully re-established only in 2012, thanks to long and persistent efforts with state institutions. Today, formally operating under the agency «Latvijas Koncerti», it is one of the most active and professional big bands in Latvia.

Under the leadership of saxophonist Kārlis Vanags, the orchestra has collaborated with such renowned musicians as James Morrison, Seamus Blake, Randy Brecker, Kurt Rosenwinkel, Marius Neset, Allan Harris, Jojo Mayer, Richard Bona, Michael Pipoquinha, Ruthie Foster, Diane Schuur, and many others.

The Latvian Radio Big Band has released no fewer than 14 records, including projects with internationally acclaimed jazz stars, and has performed in prestigious venues such as Lincoln Center in the United States.

The orchestra performs intensively both in Latvia and abroad, records regularly, and today stands as the leading professional jazz ensemble in Latvia.

National Guard Big Band (2014)

The National Guard Big Band, established in 2014 as a smaller unit within the National Guard Wind Orchestra, operates together with the National Guard Orchestra in Riga under the leadership of First Lieutenant Andis Karelis. The orchestra, consisting mainly of young professional musicians, represents and promotes the National Guard to the broader public by performing regularly at concerts, official ceremonies, city festivals, and various other events.

Amateur–Student Orchestras

City Jazz Big Band (2007)

The City Jazz Big Band was founded in 2007 by saxophonist Kārlis Vanags, pianist Ritvars Garoza, and saxophonist Renārs Lācis. Through regular activity, the big band quickly became a vital ensemble for the professional development of the younger generation of musicians.

Following the re-establishment of the Latvian Radio Big Band in 2012, with Kārlis Vanags as its conductor, part of the City Jazz Big Band initially formed the core of the new Radio Big Band. Nevertheless, City Jazz Big Band continued to operate, and in 2012, its debut CD album, «Introducing The Band», received a nomination for Best Jazz Album at the Latvian Music Recording Awards.

The big band continues to serve as a creative workshop for young musicians interested in jazz, where, alongside rehearsals, they can also learn the fundamentals of improvisation and jazz theory.

Ventspils Big Band (2010)

Founded in 2010, the Ventspils Big Band consists of students and teachers of the Ventspils Music Secondary School under the leadership of saxophonist Renārs Lācis. The orchestra is divided into several groups — junior, youth, and senior bands — all of which perform regularly in Ventspils and abroad.

The ensemble has received numerous awards, including first place at the international big band competition «Corendon IBBC» in 2018. For over ten years, the Ventspils Big Band has been the resident ensemble of the «Ventspils Groove jazz festival», performing alongside leading Latvian and internationally acclaimed jazz musicians.

JVLMA/RDKS/JMRMV Big Band (2018)

Founded in January 2018, the JVLMA/RDKS/JMRMV Big Band is a collaborative project involving students of the Riga Dome Choir School (RDKS) jazz department and the Jāzeps Mediņš Riga Music Secondary School (JMRMV). The orchestra is led by saxophonist Dāvis Jurka, a graduate of the very first class of the JVLMA Jazz Department.

The big band has already performed with internationally renowned big band composers such as Darcy James Argue (Canada), Espen Berg (Norway), and Eirik Hegdal, as well as guest soloists including trombonist Pete Madsen (USA), vocalist Derrick Fox (USA), guitarist Jaak Sooäär (Estonia), and Latvian singers Daumants Kalniņš and Kristīne Prauliņa, among many others.

Traditionally, the big band performs annually at the Music Academy’s concert dedicated to International Jazz Day in April, and also prepares a special concert for the contemporary music festival «deciBels». One of the ensemble’s most important events is the semi-final concert of the International Big Band Composer Competition, which has already been held for five consecutive years.

Other Big Bands

In addition to the orchestras already mentioned, a range of other jazz orchestras operate regularly in Latvian cities, performing and promoting jazz music. Several of them, such as those in Sigulda, Rēzekne, and Valmiera, have existed for many years, their longevity primarily due to the dedication of their leaders, who are local jazz enthusiasts. Others have been formed more recently, often in connection with the development of jazz departments at music secondary schools in those cities.

Rēzekne Big Band: an amateur ensemble supported by the Rēzekne Municipality, based in the Rēzekne concert hall GORS, led by trombonist Lauris Amantovs.

Daugavpils Big Band: an ensemble of students of the Daugavpils Music Secondary School, led by Romāns Saikovskis.

Liepājas bigbends: the big band of the Liepāja Music Secondary School, established by saxophonist Deniss Paškevičs, led by drummer Andris Buiķis and saxophonist Kārlis Auziņš.

Valmieras Puikas Big Band: an amateur orchestra of the Valmiera Cultural Center, led by Gunārs Geduševs.

Liepāja Music Orchestra: a project ensemble founded by trumpeter Jānis Ivuškāns, former leader of the Liepājas bigbends, ex. Melngailis School Big Band.

Sigulda Big Band: an amateur orchestra in Sigulda, bringing together jazz musicians and students from Sigulda and its surroundings.

Timeline of Latvian Big Bands, 1991–2024

Professional ensembles are highlighted in blue, while amateur and student groups are shown in green.

Conclusions

There is no doubt that the big band occupies a significant place in Latvia’s jazz tradition and stands out as a phenomenon in the contemporary Latvian jazz scene.

Historically, this tradition developed thanks to the activities of legendary ensembles such as REO and the Latvian Radio Big Band, as well as the professional work of important arrangers and composers like Vitālijs Dolgovs and Gunārs Rozenbergs, among others, whose creative legacy remains an integral part of Latvian jazz today.

It can be concluded that the big band movement plays a notable, visible, and active role in today’s Latvian jazz environment. Since 2006, its development has been closely linked to the evolution of jazz education in Latvia. At its core lies the new generation of Latvian jazz musicians shaped by the country’s relatively recent jazz education system. Thus, big bands play a crucial role in jazz education in Latvia, and most Latvian jazz schools can take pride in having their own orchestras.

The big band tradition in Latvia continues to evolve, as evidenced by the formation of new orchestras and initiatives, such as the International Big Band Composer Competition, which has been organized for the past five years by the Jāzeps Vītols Latvian Academy of Music and the Latvian Radio Big Band. This competition is a testament to the big band’s significance and position in Latvian jazz, which continues to evolve in a highly creative, diverse, and original manner.

References

[1] The recordings of «Bellaccord Electro» can be listened to online on the website of the National Library of Latvia, in the section «Latvia’s Historical Sound Recordings.»
http://audio.lndb.lv
[2] The so-called «sympho-jazz» is a fusion of classical orchestration and setting with jazz elements and instruments, which was especially popular in the 1920s in the United States and Europe.
[3] Paul Whiteman (1920–1930) was one of the most essential and famous leaders of early jazz orchestras in the United States. George Gershwin’s well-known «Rhapsody in Blue» was commissioned by him and premiered at the concert «An Experiment in Modern Music» at Aeolian Hall, New York, on February 12, 1924. Following this concert, there was great interest in the new «symphonic jazz», and Whiteman’s style was widely imitated. His influence can be traced in the works of jazz arrangers such as Don Redman (1900–1964) and Duke Ellington, and is audible in many recordings of 1920s jazz orchestras, particularly those of white bands.
Whiteman’s orchestra was the best-known American jazz orchestra in Europe, which he visited twice on extensive tours. It is therefore no coincidence that European musicians sought to imitate his style and sound.
In Whiteman’s conception, the fusion of symphonic music with jazz was expressed as a combined string and jazz orchestra performing symphonically oriented compositions enriched with jazz elements. As jazz developed, symphonic jazz became increasingly experimental and innovative. This concept reached its peak in the 1950s–60s in the United States with the cool jazz offshoot known as the «Third Stream». The most notable examples of this direction are the recordings of Miles Davis with Gil Evans’s orchestra — «Miles Ahead», «Porgy and Bess», and «Sketches of Spain» — which have since become jazz classics.
[4] December 9, 1932
[5] Elements of symphonic jazz can be heard, for example, in the works of Raimonds Pauls, Ringolds Ore, and several other Latvian composers. One of the most notable examples is Ģederts Ramans’s «Concerto Leggiero», composed in 1970.
[6] Lev Ivanovich Tokarev was born on December 24, 1923, in Uralsk. From 1941 to 1942, he studied composition at the Moscow Conservatory in the class of G. Litinsky. In 1946, he founded the Jazz Orchestra of the Latvian Radio Committee, and from 1946 to 1948, he served as conductor of the Latvian Philharmonic Symphonic Jazz Orchestra. From 1948 to 1961, he was the musical director of the Song and Dance Ensemble of the Baltic Military District. He died in 1991.
[7] The «struggle against formalism in art» was initiated by the decision of the Central Committee of the All-Union Communist Party (Bolsheviks) of February 10, 1948, «On V. Muradeli’s Opera The Great Friendship.» By «formalism in art,» was meant ideologically inappropriate, non-proletarian expressions in art that prioritized form over ideologically correct content. In the international political context of the time, jazz music in the USSR was, of course, regarded as an expression of formalism that had to be eradicated.
[8] Rīgas Elektro-Mehāniskā Rūpnīca — Riga Electromechanical Factory
[9] The club was located in Riga, at 130 K. Barona Street.