Sunday, March 21, 2004
Jazz in Estonia - interview with Elena Lass
Elena Lass (22) has been working as a journalist in Klassika Raadio and written several reviews of the cultural events appearing in Estonia. While studying musicology at Estonian Music Academy she has also been teaching music to the children of the little island Prangli. Elena plays music in Bottle Circles.
What is new in jazz after Estonia declared its independence?
There’s a tendency to be less original and self-oriented in jazz, which, in general, could be related to disinclination for thinking. Pop-culture impact (for example, the Pop Jazz Department of G.Ots Music School should be re-named Pop Department). On the other hand, more and more performers have a chance to meet large audience in Estonia. Jazzkaar gains more fame than any artist alone.
Taking into account the geographical location could we relate Estonian jazz music with some so-called northern characteristics? How to describe this feature?
Yes, it could be taken under consideration. Jazz music in Estonia is less attractive at its surface but still could be found deep, full of substance. The music appears to be less eloquent than the styles of the southern Europe. The same could be recognised in the other fields in Estonia.
What are the main institutions in Estonia for keeping the jazz traditions in the state alive?
Probably we should forget G.Ots Music School and think more about Viljandi Culture Academy and Jazzkaar.
In general, how familiar is the Estonian audience with jazz artists from the times of Louis Amstrong and the musicians from the modern jazz era?
In any case the knowledge of those cultural issues is more noticable among fanatics. It is obvious that the audience does not know much about those artists.
What does the music mean to them when going to a jazz concert? Is it found as a high-culture event?
Well, it depends... Although, we could find intelligent people in Sakala Kultuurikeskus, it is doubtful whether all of those thousand listeners do have the cultural capital for this music.
Are there enough jazz performances organized for Estonian musicians?Everything seems to be in balance – when there’s a musician, there will also be concerts, and if we do no find any good enough, there is no gig. In both cases, there are no “empty seats”.
What are the most popular places for performances in Estonia among the young jazz talents?
There are different bars, restaurants and pubs, but only few of them could be found progressive in jazz. It’s good enough when one does not perform in a school auditorium. Concert on a big stage is not usual.
What needs must a young musician meet to have a performance in the international culture room?
He has to be good. Much depends on the luck one has in it. I am not sure how do they find, or who could give them those opportunities to perform abroad.
How to describe the contrast between the old jazz stars and the modern artists of Estonia?
At the present, this is exactly the case – there are no artists, only stars in music.
Do the jazz musicians of Estonia get into ideological conflict with each other?
Maybe the conflict appears among the more radical musicians. Because most of them do not show their interest in any specific genre.
Could we find any Estonian who has given lead to the other musicians in the finding of their notion of how to play jazz? Who?
Probably the few music teachers who are willing to work in poor conditions, and could be recognised as interpretators themselves do give also the lead to the others.
What is new in jazz after Estonia declared its independence?
There’s a tendency to be less original and self-oriented in jazz, which, in general, could be related to disinclination for thinking. Pop-culture impact (for example, the Pop Jazz Department of G.Ots Music School should be re-named Pop Department). On the other hand, more and more performers have a chance to meet large audience in Estonia. Jazzkaar gains more fame than any artist alone.
Taking into account the geographical location could we relate Estonian jazz music with some so-called northern characteristics? How to describe this feature?
Yes, it could be taken under consideration. Jazz music in Estonia is less attractive at its surface but still could be found deep, full of substance. The music appears to be less eloquent than the styles of the southern Europe. The same could be recognised in the other fields in Estonia.
What are the main institutions in Estonia for keeping the jazz traditions in the state alive?
Probably we should forget G.Ots Music School and think more about Viljandi Culture Academy and Jazzkaar.
In general, how familiar is the Estonian audience with jazz artists from the times of Louis Amstrong and the musicians from the modern jazz era?
In any case the knowledge of those cultural issues is more noticable among fanatics. It is obvious that the audience does not know much about those artists.
What does the music mean to them when going to a jazz concert? Is it found as a high-culture event?
Well, it depends... Although, we could find intelligent people in Sakala Kultuurikeskus, it is doubtful whether all of those thousand listeners do have the cultural capital for this music.
Are there enough jazz performances organized for Estonian musicians?Everything seems to be in balance – when there’s a musician, there will also be concerts, and if we do no find any good enough, there is no gig. In both cases, there are no “empty seats”.
What are the most popular places for performances in Estonia among the young jazz talents?
There are different bars, restaurants and pubs, but only few of them could be found progressive in jazz. It’s good enough when one does not perform in a school auditorium. Concert on a big stage is not usual.
What needs must a young musician meet to have a performance in the international culture room?
He has to be good. Much depends on the luck one has in it. I am not sure how do they find, or who could give them those opportunities to perform abroad.
How to describe the contrast between the old jazz stars and the modern artists of Estonia?
At the present, this is exactly the case – there are no artists, only stars in music.
Do the jazz musicians of Estonia get into ideological conflict with each other?
Maybe the conflict appears among the more radical musicians. Because most of them do not show their interest in any specific genre.
Could we find any Estonian who has given lead to the other musicians in the finding of their notion of how to play jazz? Who?
Probably the few music teachers who are willing to work in poor conditions, and could be recognised as interpretators themselves do give also the lead to the others.
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