At one time, Ivars Galenieks was one of the most sought-after double bass players in Latvia, having participated in countless projects and album recordings with all the leading jazz musicians. For many years, the master has lived in Great Britain, in addition to making music, he works as a piano master and has even written a book, which gives valuable advice to those who want to buy a piano. In a conversation with Latvijas Radio 3 “Klasika”, the musician talks about how his passion for jazz began, as well as about cooperation with other musicians, the famous album “Transsiberian Express” and his current life in Great Britain.
Artūrs Sebris: What were your first steps in the game of jazz double bass?
Ivars Galenieks: At that time I was studying in the double bass class of Jāzeps Mediņš Riga Music High School, it seems, in the second year, when suddenly someone told me – a jazz ensemble was performing at the Polytechnic Institute and I definitely had to go there. I also left, and there were two ensembles – the concerts took place for two days: one was Roman Kuntsman quintet, the second – Alexei Kozlov Quartet.
From the first concert I came out jumping out. Something caught me, jazz appeared as something that my body from then on switched to the mode where it was needed…
From then on, I was also looking for every opportunity to get to know it. Of course, as in Soviet times, nothing was available. We had maybe two records in the library, and I also listened to the American voice on the small pocket radio. Of course, there was the Cold War and the Soviet “saws”, the noise of which often made it impossible to listen. Later I went to Duke Elington’s concert in Minsk – there a Chekist with a beard, an intelligent-looking man, sold an Elington plate that had been given to him – he sold it to me for 25 rubles. A dose for all men to sign, and it is a precious memory for me. From then on, Elington gave me such a good start. The swing was also introduced directly through Elington. Later, while studying at the Latvian State Conservatory, I met Mārtiņš Saulespurēns, who was very, very helpful – he helped me with many recordings, which I listened to day and night.
Speaking of cooperation with Raimonds Raubiško – I have heard that he was a very good teacher. Did you feel it in your collaboration?
(..) As a teacher, he was peculiar – he had his own absolute truth, and time was on his feet. He said – listen to my foot, it’s a rhythm! It was as incomprehensible to me as any other reality.
I was also quite stubborn, sticking to my principles, so it was not so easy to teach me because I tried to be free of standards brīv
It was important for me to follow and do the same as playing a famous bassist. The influence of them was, but more – guided by the principles of jazz and improvisation freedom. I always stuck to the idea that a person never climbs the same river twice, but now – everything flows, everything changes. Arrangements have different conditions, but otherwise it is freedom. That was my philosophy.
What was the brightest thing you remember from the recording process of the 1983 album “Paintings of Ancient Egypt”?
For me, as a young person, it was such an adventure … I didn’t quite like listening to the recordings myself – I almost didn’t accept the way I played.
That’s the problem – when you listen to the big aces of the world and then you hear howling yourself… (laughs)
It was only later that I gradually became accustomed to myself, but at that time I was quite self-critical. I wasn’t mature yet – I thought I was in the process, I still had a lot to learn. I didn’t feel it as a destination at that time. But it was already nice to have such honor and publicity. (..)
As for your solo album “Transsiberian Express” – it was not like nowadays, when you decide to record an album and do it. How did this opportunity come about?
There were compositions that I had written, but I was very shy myself… But at some point they started to sound in my ears. I drove to jazz festivals and asked my colleague, pianist Igor Dmitrijev, if he would be happy that at the moment when the jazz festival will take place in Riga, we could not only play, but also record. There was also saxophonist Anatolijs Vampirovs, I also addressed drummer Māris Briežkalns – the composition is such that, in my opinion, it was possible to succeed. Latvian Radio came along, and at the time of the jazz festival, we were given recording time in the studio, and so we recorded it within two days. The recording lay in the funds, then at one point I overcame my shyness and tried to realize the idea – it seemed that the material was good enough to release a record.
I went to Moscow with a recording roller, but there the ladies say – if there is a problem with their recording, the magnetic field has been activated or something like that.
Then Latvian Radio gave the original, I went back to Moscow. That’s how it stayed. Later, Mārtiņš Saulespurēns leveled again – his friend the artist made the design and texts for the plate.
Ivars Galenieks
Foto: Evelina Protektore
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Cooperation with Egils Straums has also been a long one – several recordings, concerts abroad. The projects with him were definitely colorful?
Yes, Egils, as the English say, is a real “fruct”, a special personality with his vision, his ideas, things should happen only this way and not otherwise. On the other hand, he is an outstanding, professional, virtuoso musician. Anyway, he was very active – Egils had a desire to go on concert tours and play in some festivals. He was the organizer. There was also a kitchen side – to achieve his own, he did not always use the most tactical and ethical techniques, but it remains to him. We have played in very interesting places in the history of our trio.
In preparation for this conversation, I stumbled upon an interesting recording from 1983, when you participated in Anatoly Vampirov’s fridge album – so this style is not unfamiliar to you either?
At that time, I discovered that there are many means of expression in fridge jazz that get out of the frames of traditional music, swing, and also classical music. Of course, these elements were also found in modern academic music, but in such a purely improvisational context, it was complete freedom to use a huge range of techniques – sounds, rhythmic and non-rhythmic techniques, noises. It is an alternative world, which not everyone understands, but by working together with like-minded people, a very interesting result is achieved.
What do you consider to be your greatest achievement in music?
That I almost learned to play jazz …
You are also currently tuning the piano, you have published a book. What’s in it?
Basically, it’s a small booklet – circumstances arose that made me do something for the cause … I was confronted with the fact that people without special care are looking for a piano for themselves, and as a professional I am asked to help transport them, but after I have transferred , asks if they could also be tuned.
I often had to find out that the instrument is so sloppy and I was completely embarrassed to tell that person that I had to make new pianos here!
These cases did not give me peace of mind – what could I do for this. I think I’ll write, maybe someone will read. I also use a lot of my photos, because I always take photos of the work.
In recent years, have you followed the current issues of Latvian jazz music?
Yes, I would throw an eye.
The thing I have paid special attention to and which I really like is the Latvian Radio Big Band – a very professional, high quality orchestra! The big names in the jazz world played by big bands are fantastic!
The orchestra is a very great achievement for Latvia, there is serious work there. Of course, jazz education is also of great importance – what happens at the Jazz Faculty of the Academy of Music. Indrikis Weitners is a very thorough person. For example, Deniss Pashkevich is also active. They are real pillars – without such people and structures it would be very difficult to keep something stable.
When you live in England, do you also get to play jazz music?
Yes, I have played in local jazz clubs all year, with interesting musicians, including Peter King. Many celebrities have come here.
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