Latvia’s Guitar Gem in the Netherlands

Ella Zīriņa: From JMRMV jazz pianists to Europe’s big stages with a guitar in hand

The 2024 «Grand Music Award» included the category «For Outstanding Performance in Jazz.» Three jazz heavyweights were nominated: Ivars Arutjunjans, Kārlis Auziņš, and Toms Rudzinskis. However, higher up in the «Young Artist of the Year» category, the name Ella Zīriņa shone through. In my view, Ella Zīriņa is a gem who left Latvia at an early age for the Netherlands in search of personal growth. In a very short span of time, she transitioned from student to mentor. She has performed at BIMHUIS, North Sea Jazz, Südtirol Jazzfestival, Rīgas Ritmi, and the Oslo Jazz Festival. She has shared the stage with Jesse van Ruller, Reinier Baas, Ben van Gelder, and others. Ella has a very distinct signature style that can be heard on her latest album, Boundless Blue, Sunset Hue; yet, one senses a calmness and composure in her, along with a well-formed awareness of what she wants from music. In this conversation, we discuss recent events, her rather unique path, in which the guitar was merely an elective instrument, her nomination, Amsterdam, her sound, and female instrumentalists in today’s jazz world.

In 2024, you were nominated for the «Grand Music Award.» Did this cause you astonishment or surprise? What was your reaction?

I was happy, but it wasn’t something I expected. I tend not to get attached to things and ideas. Of course, I am very grateful to be on this list of nominees, as it includes musicians I respect deeply — for example, Kārlis Auziņš, Ivars Arutjunjans, Toms Rudzinskis, and Pēteris Vasks.

Have you had any awards or nominations abroad?

In the Netherlands, I was nominated for the «Edison Awards», which are similar to our Latvian Music Award. I was nominated in the young artist category there as well. Also, a couple of years ago, my trio won something in the «Virtual Jazz Competition,» but it was more of a remote contest where you just applied.

I believe that for the rare musician, an award is an end in itself. Most say: «It’s nice, but I don’t really care.» However, it seems to me that if you are nominated, there has been a reason for it — at the very least, that this past year has been rich for you in terms of concerts and new music. Highlight the most vivid moments.

There have been so many events that it’s hard to remember them all. Usually, there are about 100 concerts a year. I am definitely happy about what I accomplished with my trio this year. I fulfilled a dream by playing at the Netherlands’ largest festival, «North Sea Jazz», where legends perform. I am also pleased with the concerts we gave with my trio; we played in Germany, Estonia, and the Netherlands. I’m happy I managed to present the album at many great Dutch venues. It’s also a joy to give masterclasses — I conducted a few in Basel. Sometimes I play solo repertoire, but mostly the trio and I are bouncing around Europe.

How long did the work on the latest «Ella Zirina Trio» album, Boundless Blue, Sunset Hue, take?

Everything had to be prepared very quickly — the music, the arrangements. Projects had to be submitted; in the Netherlands, I applied to four places. This was my third album, so I knew what to expect. The whole process started around January, and by the end of April, we were already recording. After that came the post-production work, which just needs a bit of supervision.

A cliché question, but who has been your mentor in jazz guitar? Perhaps tell us from the very beginning — who pushed you forward?

Everyone has people in their lives without whom they wouldn’t be where they are. I might start the story by saying that my mother pushed us to study music. I started at Riga Secondary School No. 6, where I studied piano with Ļizete Stapāne. She definitely pushed me forward during my teen years; the school even granted me an extra piano lesson. I was very interested in music and the piano, and I think people saw that. Later followed the Jāzeps Mediņš Riga Music High School (JMRMV). There, my mentor was Elvijs Grafcovs. Initially, I enrolled in jazz piano. My teacher, Raimonds Petrauskis, was incredibly cool; he allowed me to switch to guitar, which I really appreciated. Meanwhile, Elvijs asked me what I could do. Back then, I played some Jimi Hendrix piece. In the second year, he put me in an ensemble, even though the guitar was just my elective instrument. He simply gave me the opportunity to play with people. Without that, I wouldn’t be where I am. Basically, I had two choices for what to do next — JMRMV or the Jānis Rozentāls Art High School. I was learning to paint because that was also one of my great passions. I loved both, but I chose jazz piano. Generally, in Amsterdam, I also happened upon teachers who were immensely supportive of me.

Why did you decide in favor of Amsterdam? Did you want specific teachers, or were you just interested in the specific school?

I think it was a gut feeling. I felt I needed to be in a different environment. It was just intuition telling me I had to leave. Elvijs recommended Amsterdam at the time. I had also heard about it because of Toms Rudzinskis, Matīss Čudars, and Kaspars Kurdeko. The school seemed like the best place in Europe to me. I did my research, listened to the music, and felt a connection. I wanted to be part of that environment.

The world of guitarists is very complex. Many people play the guitar, and the sound can vary widely. How did you find your sound?

This is a very good question that one could talk about for hours. I know that in Amsterdam, I saw that all the guitarists I resonated with had a strong individual voice. I tried to understand what made the voice of each of my favorite guitarists so special. If something from that resonated with me emotionally, I incorporated it into my own playing. I have always liked playing with many open strings because it creates a very resonant sound. It reminds me of the piano sound, where you can also use a sustain pedal. I always try to absorb information like a sponge — for instance, while listening to the music of Alexander Scriabin. I remember listening to Maurice Ravel; one of his pieces started with fifths in a very low register. Then I thought about how I could apply this to the guitar. I made up an exercise for myself where I could play fifths all over the fretboard. I really do take those small things I like from any genre or style of music.

What is your practice routine like?

It is very variable. When I had to prepare for the album, I isolated myself for a week and composed from morning until night. I don’t have a very strict playing routine. There are times when I have to be in a different country for a week, so I can’t maintain a set routine. I usually prepare for a specific project rather than some long-term plan.

A relevant question nowadays — what is it like to be a woman in the jazz world? Previously, the instrumentalist environment was very masculine, but now that proportion is changing. Do you have any observations?

This is a question that could also be discussed at length. In the Netherlands, people are more aware that there isn’t a sufficient and equal balance between genders. I’ve had men tell me that women get opportunities for political reasons. People are trying to be more inclusive, so you hear comments from many that you only got the chance to play somewhere because you are a woman. Many concert halls are also starting to put more images of women on posters. At some point, this can create doubts about our work and value. Men try to invite women into their lineups because they want diversity, which is very good. When I arrived in Amsterdam, I didn’t see a single woman playing guitar. I know it sounds dramatic, but that was how I felt. I often hear many guitarists playing with a very large and masculine energy. I’ve had moments when I think I have nothing to give the audience because I constantly compare myself to them. This is a very complex issue. I feel we are in a strange phase. Men think opportunities for women exist only because they are women. However, according to festival statistics, women make up only a third of participants.

We can also look at big band lineups. I don’t see any predominance of female instrumentalists there.

Yes, definitely. Strangely, people emphasize the fact that I am a woman so much. Reviews also mention that you don’t often see a woman playing guitar. Even after concerts, people have told me that I play very femininely. Then the question arises — what does that mean? I think there are men who play perhaps even quieter and softer than I do. I feel that one simply has to stop listening to the comments.

Do you have a crazy dream?

I do — to play a duo with Bill Frisell. Overall, I’d say it would be cool to play together with my idols and the people who inspire me. Currently, I don’t have a plan for a new album; I’ve focused on this one for the last two years. I think I will just look for ideas now. I also have a dream of writing a program with a string quartet and a trio. I’ve also had a dream of orchestrating more music for larger ensembles. I wrote for a big band once; I’d like to work with large groups — I love orchestral music and all the colors it offers. That is a lot of work ahead.

How would you assess Latvia’s role in European jazz now?

There are many Latvian jazz musicians in the Netherlands. All of them here are very goal-oriented and hardworking. They dedicate energy and time. Sometimes one meets people from other cultures who are more lighthearted, yet there is something deeper within Latvians regarding music. In Latvia, jazz music is something relatively new, yet so much has happened in the last 15 years. We have excellent musicians who have been abroad and returned to Latvia. We have a great many talented musicians, but as a whole we are few, so the jazz audience in Latvia is significantly smaller than in other countries. There are many gifted musicians in Latvia.