Absolutely in Her Element

Where the low frequencies begin: The story of Beāte Meirāne

In the Latvian jazz and pop music scene, female bassists are a rarity — and it is even rarer to meet a musician who feels equally natural behind a double bass, a bass guitar, and a drum kit. Beāte Meirāne is precisely such a case. From piano and saxophone lessons to a church rock band, from being self-taught to studying at the Academy and collaborating with Maestro Raimonds Pauls — her path to the bass guitar hasn’t been straight at all, but that’s exactly what makes it so interesting.

Today, Beāte is one of the few bassists of the new generation in Latvia who maintains an active concert life, plays in several projects, participates in recordings, and finds time for her other big hobby — horses. In this conversation, she discusses why the loud saxophone was replaced with low frequencies and how the bass helps her better understand drummers.

Let’s start from the beginning: tell us who you are and how you started playing the bass.

It’s actually an interesting story. I’ve been around music since early childhood. Before school age, I played a bit of kokle and xylophone. My mom is a piano teacher, so it seemed self-evident to study piano at a music school. I studied for four years and then announced: That’s it, I’ve had enough, I’m quitting. Then I was talked into switching to another instrument — I chose the saxophone. I graduated from the Jugla Music School with a degree in saxophone performance.

Then I thought about what to do next. I realized I should maybe try jazz, although I didn’t really know what that was — what I would have to do there. I enrolled at Jāzeps Mediņš Riga Music High School to study jazz saxophone.

Can you still play anything?

I can; I remember the notes. But I’ll be honest — I didn’t have a great knack or talent for the saxophone. I also lacked the work ethic. I didn’t like how loud it was — everyone could hear you when you were practicing. It turned into an endless hamster wheel: I don’t like playing because I feel it doesn’t sound good enough, but if I don’t play, how can it sound better?

The bass has its own story. I go to a congregation where, about 10 years ago, they told me that the local band could use another bassist: «Come on, learn the bass.» Me: «What’s there? Four strings, I don’t even know what that instrument does — you can’t even really hear it.» But fine, I took a couple of private lessons, and everything else I played was self-taught, playing mostly rock music in the church group and learning from YouTube.

At Mediņš, there was a very real shortage of bassists back then. I realized I liked this instrument. Of course, again — another instrument change, no guarantee I wouldn’t quit. But this time it was the right choice. At the end of the first year, I switched to bass guitar at Mediņš.

Then I wanted more. In the third year, I said I wanted to play the double bass too. They gave me one they had there — a «dinosaur» pulled out of the classical department with baroquely high strings. I thought: How can anyone even play this? Later, though, it was adjusted for jazz needs, making it more comfortable for finger-style playing, and I quickly became fascinated with this large instrument.

But the double bass is also loud, isn’t it?

It is quieter and less «annoying» to me than the saxophone in the long run. No wonder I fled from the saxophone to the bass. Low frequencies leave a calmer impression — though you can play quite restless things on the bass too. You can plug a bass guitar into an amp and crank it up very loud if you want, but you can also practice with headphones, which is what I did back then. But the double bass itself isn’t too loud acoustically, so at least it couldn’t be heard so much in the adjacent classrooms when I practiced.

So it means you had to «pull up» your level on the bass and double bass quickly to be on the same line as your classmates?

I had been raising that level even before the official switch. I had started learning walking bass on my own — that’s a must-have in jazz. I played unofficially in ensembles at Mediņš because there were few bassists. There was a situation where, during an exam, while still officially a saxophonist, I played about 20 songs on the bass guitar — just playing along for everyone. In my opinion, it turned out better, and I liked it much more. There was also a demand for it.

You play the drums too, right?

Yes. Not jazz, though — more popular music and rock. I started playing drums 3 years ago in that same church group. The drummer left, and I jumped into his place. I think it’s easy to jump from one rhythm instrument to another — the logic is similar. It turned out that in that one group, I filled the deficit positions for both bassist and drummer. Now I play drums every week. Today it actually turned out that way — drums in the morning, double bass and bass guitar in the evening.

How does the bass help the drums and the drums help the bass?

A lot. When I play bass, I read drummers much better — the fills, the thought process, the structure. When I sit down at the drums myself, I finally understand how it all comes together. And vice versa — playing drums, I think: what would I, as a bassist, want to hear in this spot? It helps create a shared groove.

How did you decide to apply to the Academy?

I realized that I needed to stay in the loop — with the right people, in the right environment. The Academy allows you to continue building your knowledge and skills while state-funded spots are still available. Without deadlines, practicing at home efficiently «evaporates.» The Academy put things in a framework: you have an exam, there is a program; if you don’t raise your level, you don’t move forward.

Did you think about going to study abroad?

Not really. Many people say, «What are you doing in Latvia?» But I see myself more here. There are many things, hobbies, that I didn’t want to leave — for example, horses. I like going on «short bursts» — masterclasses, camps, a week or two of intensive learning. I was at the IASJ Helsinki jazz meeting, for example. That was a good kick-start to understand where I actually stand. There, I realized that, in my own eyes, I lagged quite a bit behind the level of most participants, but I gained irreplaceable experience and motivation to continue developing.

Tell us about the horses.

I «caught the bug» with horses back in 2011. I started training, and at some point, a dream of having my own horse emerged. The most interesting part is that I bought the horse by giving private saxophone lessons. Truly — I was about 15 at the time, studying, working, and saving up. I successfully combine horses with music — it’s my way of restarting my head. You go out into nature, spend time in the stable, and your mind disconnects from the daily rush. It indirectly inspires — when you are rested, creative ideas come more easily. Of course, it’s becoming increasingly complex to devote time to it.

Now you are no longer studying. Where do you get your discipline outside of the Academy?

From projects. Right now, there is simply no option to let things slide. For example, now we are creating a joint project with Maestro Raimonds Pauls — a dedication to Stradiņš Hospital. That project is like a gift to the hospital’s doctors — there are compositions like «I’m going to the doctor,» «The young doctor,» «Nurses,» «Lunch at the hospital.» The Maestro says — this is the music of his youth: swing, the atmosphere of Oscar Peterson’s world. I am a sort of «NHØP» wannabe in his eyes. He has chosen the double bass as the lead voice of the trio, and that requires serious technique from me because, usually, as a bassist, I’m happy to «hide» behind the band. I’m not the most virtuous player; I don’t have «outer space» fingers. So I have to specifically plan what I will play in which spot, rather than hoping I’ll improvise on the fly. It’s a good challenge. We are also planning an album recording — it’s a very unusual tribute, but that’s precisely why it’s cool.

What do you feel when you play music?

It depends heavily on the music. I am quite picky — I often participate in projects where someone else chooses the repertoire. Those rare songs that truly touch me are worth their weight in gold.

It’s important to me to have good sound. Even good music is hard to enjoy if the sound engineering is bad. It’s essential to me how the bass sounds: the double bass — so it «growls» at the bottom and sings at the top, exactly as I imagine it in my head; the bass guitar — so I hear and physically feel every note played. I don’t like «fighting» with the sound, but sometimes it’s inevitable.

When the instrument and the sound coincide with my internal «sound,» then there is genuine enjoyment.

Do you feel like you are in your place?

Yes. Definitely. I don’t really see myself on any other instrument — especially in jazz and pop music. The drums are like a cool side field, but my instrument is the bass — both double bass and bass guitar.

Are you happy that you chose the path of a musician?

Yes, absolutely. It’s cool to realize that you are doing what you are meant to do and what gives you satisfaction. My work isn’t something I have to «tolerate» so that I can do what I like in my free time.

It’s cool when you can combine them — work and joy are the same thing.

Of course, there is also the unknown: you never really know if there will be concerts next month. Sometimes it feels like you have to grab everything. But I’ve noticed — if you skip something, free up time, a bigger project often comes along that I didn’t expect at all. Regarding teaching at music schools, there have been offers, but for now, I don’t really see myself in that role. I think everything will come in its own time.

What do you play when you play only for yourself?

At home, I «mess around» more — trying the bass as a solo instrument: chords, small motifs, playing with pedals, effects. Sometimes I take a specific piece and rework it, or learn transcriptions that I will most likely never use in a live performance.

Do you write your own music too?

I think about it all the time. Right now, I have two pieces that have been played live but haven’t been recorded yet. It’s in the plan, maybe even to record next year.

What inspires you?

The people around me — both musicians and non-musicians. Good music. From bassists — definitely Henrik Linder from «Dirty Loops.» I’ve been to their concerts three times already. I know I will never reach his level, but it’s not a depressing «that’s it, I’m quitting the bass» feeling. On the contrary, it makes me want to go home, put on the album, and marvel again at what people are capable of doing.

Have you faced burnout?

During my time at the Academy, there was one such period. In the third year, I started thinking: Why am I doing this? Until then, I had been «skating by» — always good grades in exams, and I didn’t understand why. I thought: maybe because I’m a girl playing bass? Then one semester, I really put everything off until the last minute — I prepared the exam program on the final night. I didn’t play worse than other times; there just wasn’t any noticeable progress. As a result, I got a much lower grade. And I realized: no, it seems it’s not all «for nothing.» There was simply an attitude and work before that I didn’t appreciate myself. And yes — that worst grade actually helped me pull myself together and rise to new heights.

Have you felt that you are judged differently because you are a girl?

In terms of teachers, no. They have ears and a head; they know what they hear. If anything, it’s the opposite — an advantage. At concerts, many are explicitly drawn to the fact that there is a girl on bass. Sometimes it feels like people hear a better performance from me than I think of myself. I am pretty critical; it seems to me that I gave my worst performance, but then people come up with compliments and even offers to study, for example, in London for a Master’s, or even in America.

Now there are more and more girls playing instruments. I think that’s a good trend.

Of course, and I think we are all people, and it doesn’t matter that much which gender plays which instrument. The main thing is the result — how you play, not who is playing.