An Unexpectedly Found Voice

True musical flexibility arises the moment you learn to listen

This interview is part of a special magazine issue dedicated to the women of Latvian jazz — different generations, different voices, and the various paths they take to arrive at music. I wanted to see this landscape more broadly: both those whose names have already become an inseparable part of the stage, and musicians who are still considered students but have already entered the professional environment with confidence and their own signature style.

Karīna Aurora Paņina is one of them. She discovered the bass unexpectedly, but today it is her primary voice — both in jazz projects and in rock music, where she is currently participating in the TV project X Faktors with the band «Tikai Mēs».

In this conversation, we talk about how an instrument can be discovered accidentally yet precisely, about teachers who change your way of thinking, about friendship as a support system, about the influence of jazz on rock, and about that feeling when four strings begin to represent an entire world.

Who are you, where do you come from, and how did your story with music and the bass begin?

My name is Karīna Aurora Paņina. Currently, I am studying at the Academy of Music. Music began for me in childhood — my parents sent me to music school. Initially, I was a saxophonist. During the first few years, I didn’t feel much excitement, but in the 4th grade, an interest began to emerge. After graduation, however, I realized that music probably wouldn’t be my path. I thought music wouldn’t be my direction.

But you ended up elsewhere anyway?

Yes. At the beginning of 8th grade, I was offered a chance to join a group, and the band needed a bass guitarist. The reasoning was funny: «You’ve graduated from music school, surely it’ll be easy for you to learn a new instrument.» Initially, I didn’t want to. I went home and complained to my parents. The next day, curiosity kicked in — what exactly is a bass guitar, and why does it have four strings? I thought — fine, I’ll try it.

And then you met Beāte Meirāne?

Yes. She was my first teacher and helped me get into Mediņš (Jāzeps Mediņš Riga Music High School). I really took a liking to the learning process. I enjoyed learning a song and playing it for my family. At that time, I was studying via distance learning, and Beāte suggested I apply to Mediņš. So, I did.

How did you feel in that environment?

During my time at Mediņš, I truly fell in love with the instrument and the learning process. I was very drawn to the people around me. After Mediņš, I realized I wanted to continue. The next step was the Academy. I enrolled together with my friends. Beāte has a similar story — she switched from saxophone to bass herself, so we often laugh about our parallel destinies. Initially, we didn’t like each other at all! The first time we saw one another, we both had the feeling: «I don’t like this girl.» Now we are very good friends.

See how interestingly everything connects. By the way, I have an observation — the younger generation of instrumentalists is much friendlier than before. Less competition, more collegiality.

I agree with that. In art, cooperation should replace competition. Of course, authority figures help you develop, but the environment is very supportive as well.

The transition from a melodic instrument to the bass — was it difficult?

No. The solfège and theory I acquired in music school helped me a lot. The physical playing of the instrument had to be developed, but theoretically, everything clicked into place.

What attracts you most to the bass?

The sound. It is minimalistic, often unnoticed, but you can’t do without it. And from a practical standpoint, bassists are always needed. There is work.

When did the double bass start?

I started playing the double bass a little bit back at Mediņš, I think in the second year, just the very basics. I am fortunate to have a current specialty teacher who knows both worlds very well — the double bass and the electric bass. He tries to give me all the information he can from both instruments, and that helps a lot.

Because of that, I feel that if I have to play one or the other, I don’t feel confused or lost. Of course, the electric bass is closer to me; it’s the instrument I feel most comfortable with. But having both foundations — both double bass and electric — is a huge plus.

When you entered Mediņš, you didn’t particularly listen to jazz yet, right?

Yes, that’s true. When I entered the «Jazz and Popular Music» program, I was more interested in the popular side. Classical music didn’t appeal to me at all. At Mediņš, of course, they began to steer me more toward jazz — both in theory and repertoire.

In the first year, I was just figuring out what was what — who the well-known artists in jazz are, what their music is like. Then I had a period where I listened to Avishai Cohen a lot. He was a huge influence on me. Not just as a musician, but as a composer, as a personality. He was the one who showed me that jazz isn’t just old Dixieland or «old school.» It can be modern, colorful, and emotional.

That opened my eyes — that there is a whole world in jazz, and that it can be just as exciting as rock or pop music. Avishai Cohen really drew me into jazz. And then I realized I wanted to study this further, more seriously.

Tell us about your experience at the Academy.

The Academy has been a phenomenal experience for me. I have grown both technically and musically. Friends who knew me at Mediņš say I’ve become more confident. Projects help you develop. I play in two wonderful bands — each has its own «thing.» The Academy also provides contacts. If I weren’t studying there right now, I wouldn’t know many people and wouldn’t be so deep into jazz. Contacts in jazz are very important. I value that highly.

You are now in your third year; have you found your unique sound?

I would say I’m still looking for it. I’ve realized my direction — jazz is very close to me, but parallel to that, my other great love is rock. It’s specifically there that I feel something very much my own. I’ve started to understand how I like to sound, what my character is, but I feel like something is still missing; there are still nuances to be discovered.

I don’t feel in a rush — I have time. I want to find that sound organically. I’ve also started mixing the rocky side with jazz-oriented thinking, and I find that very interesting. I just feel that my path hasn’t fully formed yet, and that is completely normal. I’m letting it happen bit by bit.

And rock is what you’re doing for X Faktors?

Yes. This year, I am participating with my band «Tikai Mēs.» Two out of five live shows have been filmed, and we are still in the game. I started playing in the band through contacts — I met a pianist who recommended me to the group. We clicked, and now we’ve been together for almost a year. I’ve found my rocky side, which I like very much. The fan base is growing, and everything is working out. We hope to make it to the final.

Does a jazz education help with playing rock?

Yes, definitely. My instrument is the bass, and by nature, it is an accompaniment instrument; therefore, thinking in lines is very important in both jazz and rock. By studying jazz, you understand how to build lines, how to create an accompaniment that is musical rather than mechanical. When I play rock with the band, I can immediately imagine what that line needs to be. If I hadn’t studied this, I wouldn’t have that foundation.

Jazz teaches you to adapt — it’s a genre where you do a lot of thinking in real-time, listening to other musicians, reacting. It provides flexibility. And that helps me a lot in rock. I can quickly understand what the song needs and how to deliver that to the listener.