Intertwined - Debut album is out
My debut album Intertwined, which was written in residency at BIMHUIS, was released on March 10, 2023 with BIMHUIS records.
Link to my Bandcamp page, where you can order/listen the album.
Very grateful to have been a new maker for the talent development project at BIMHUIS from the end of 2021 till beginning of 2023. I had the luck to be supported by Fonds Podiumkunsten and BIMHUIS.
The album release show concert took place on March 11 at The Roode Bioscoop and along with the trio, featured guest on saxophone Ben van Gelder and the string quartet.
Album (extended online version) liner notes
The opening track, ‘Intertwining’, was written 5 years ago when I moved to Amsterdam. It was one of the first compositions I ever wrote. Before being called as it is, the song found itself nicknamed as ‘E Pedal’ and ‘Scriabin in the Elevator’. When I first played it to the band, drummer Eloi thought it sounded like a song little dwarfs in their caves would be working too. Regardless of the different associations, ‘Intertwining’ represents two beings guided by faith, chance or randomness. The beings come across each other and shape a shared experience, and thus creating a fabric of the moment in time where two become one. When I was younger, I was inspired by Carlos Castenadas’ book The Teachings of Don Juan. I read how shamans, in states of expanded awareness, could see the energies of humans radiating outwards like thread of yarn. Energies of one person can intertwine with those of another.
‘More Samba’ is influenced by Brazilian guitarist Baden Powell. The track shows a more percussive, groovy and ‘feel-based’ approach to the guitar.
‘Seymour Filling the Void’ counteracts the mellow songs I usually write. I was also experiencing feelings of frustration, not belonging and being misunderstood in the male-dominated jazz instrumentalist world. This was my statement song. It was my way of sarcastically fighting back and standing my ground.
‘Waiting for Something That Will Never Happen’ is a composition that reflects doubts and feelings of uncertainty, hopelessness and pointlessness.
‘Riff for You (David)’ was written for David, the band’s bassist.
‘Midsummer Visions’ is inspired by the summers in my home country, Latvia. From my window I could see the sun melting into intense colors on the horizon. Often, I would go outside to watch the sunset. I would see the meadow swing and dance in the soft breeze. I could feel the warm air embrace me and see all a myriad of shades of red, yellow and pink melting away. I would hear birds singing their songs. It’s a magical place, where silence makes it possible to hold still for once, and allow me to listen to my heart.
There’s one specific summer in particular, where I found inspiration in the music of Ravel and Debussy. To obtain that orchestral sound I started composing for a string quartet. ‘Learn, Know, See’ was initially written as a solo piece for nylon string guitar and vocals, but it ended up as the piece with most instruments and parts. I’m incredibly grateful to have Tineke Postma on soprano saxophone featured on this piece.
In time you'll learn, in time you'll know, you'll see
That you're just a grain of sand in the desert
Why can't I see the rest?
You're just a grain of sand in the desert
Why don't I choose to see the rest?
The ‘L.K.S. Reprise’ is a breath of quiet relief.
The record ends with three jazz standards. All songs I really love. ‘Lilac Wine’ is written by James Shelton. I discovered the piece through renditions of Jeff Buckley and Nina Simone, who’s performances deeply resonate with me through their rawness and the vulnerability in their voices, apparent in each sound and word they utter. ‘A Flower is a Lovesome Thing’ is a composition by Billy Strarhorn, one of my favorite jazz composers. ‘I Loves You Porgy’ comes from George Gershwin’s opera from 1935, Porgy and Bess. ‘Porgy’ has been meaningful to me ever since I heard Bill Evans’ version on Live at the Village Vanguard, back when I was seventeen years old and started learning more about jazz and the guitar.
Music has always been a way for me to experience the world, to learn more about myself and everything around me. I'm eternally grateful for the chance to share my music with others.
Biggest, eternal thank you and love to my late mother, Linda. Thank you to BIMHUIS and Mijke Loeven for the opportunity. To the productions department and the rest of the team I got to work with: Remy van Leeuwen, Isla van Hout, Sydney van Nieuwaal, and Frank van Berkel. To Studio 150 Bethlehemkerk: a beautiful place that always feels like home. To Joeri Saal for the recording and mixing, and to Peter Riebeek, and Tom Geenen. Many, many thanks to Tineke Postma: an inspiring musician and teacher. I am super thrilled and honored to have her as a featured guest. To the string quartet: Joshua Herwig, Ida Widner, Wouter Torringa and Noah Hassler. You did a beautiful job. To Performing Arts Fund NL for financial support and the possibility to achieve some of my dreams, to support the recording and everything else that helped me grow and develop. To David Macchione and Eloi Pascual with whom I spent so many hours learning and developing this music. We shared many important experiences, which now are all fond memories. My trio besties. To my dear sister Liga, who supported me. To my whole family. To Zane Hanele for the artwork and photos. To Jesse van Ruller for lending the amplifier and effect pedal for the album recording.
In loving memory of the girl who sang of love while standing on a rock in the middle of a meadow, my mom, Linda.
Ella Zīriņa
