Ilgi

Latvia's best known folk band began in 1981, back in the difficult pre-independence times, and has always been central in the gradual development of interest in music drawn from the villages but avoiding the Soviet-approved realm of colourful-happy-peasant ensembles. In all those years they've made quite a few albums, tentative at first, gaining in strength, toughened by touring abroad but until recently moving between a sometimes uncertain fragility and ventures into a rockier sound.

This time they've kept it reflective and minimal, both melodically and instrumentally. They've succeeded in maintaining a confident consistency - held together in an airy place by a well-engineered warm spacious sound - to Ilga Reizniece's gentle, intimate singing and the floating interplay of her and Maris Muktupavels's pair of soft chiming finger-picked kokles, sometimes mixed with pattering kalimba or serene violin, with touches of guitar or deeper bowed strings.

The CD's theme is the role in Latvian social and family life of pirts (sauna). The elegant digipack bears an atmospheric photo of evening sunbeams streaming through the window of the sauna room in a traditional wooden house, and its soft grey matt laminated finish is silkily strokable, like post-sauna skin - you don't get that from a download - and the soothing, quietly calm contents match the promise.

Andrew Cronshaw - fRoots

Latvia’s leading roots band, fronted by fiddler Ilga Reizniece’s soft lead vocals, continues to gently evolve its sound of kokles (Baltic zither), pipes, frets, bass and drums, in some of the many Jani (summer solstice) songs, most having the mantra-like refrain “ligo”, a verb meaning to celebrate this day of flower adorned women and fire-making men. www.platforma.lv

Andrew Cronshaw
- fRoots

With the restrictions of life in the former Soviet Union and the big changes since Latvia and the other Baltic states bailed out of it, it hasn't been easy to bring the insistent, narrow-compass minimalist melodies of Latvian traditional music to a world stage. Ilgi, led by singer-fiddler IIga Reiznice and Maris Muktupavels, player of kokles, bagpipe and other traditional instruments, have been working on it throughout that period, and it's been a long road, including collaboration with Ainars Mielavs's rock band Jauns Meness, line-up changes and set-toughening US touring.

In this set of songs of courtship and marriage, rich with nature imagery and sun, god and goddess references, the quintet (the others contributing vocals, guitar, trough fiddle, mandolin, domra, balalaika, bass and percussion) is joined for a track each by Ugandan Samite's kalimba and voice and Marc Fedder's banjo, but in general the album, while probably Ilgi's strongest yet, isn't radically different in sound from its immediate predecessors. Except, that is, for the much heftier than usual, hypnotically guitar-churning, bass- bowing, bagpipe-squealing incantatory track “Dej, Eglite, Lec, Eglite” (Fir Tree Is Dancing), a sudden leap into Hedningarna-like territory that might be the one that caught the ears of European world music DJs and propelled the album into the World Music Charts Europe. The packaging too, as usual with releases on Mielavs's Upe label, is eye-catching.

Andrew Cronshaw - fRoots - Andrew Cronshaw (Oct. 2006)

Unbelievable that Ilgi is so unknown outside the Baltic states. It’s the top of modern folk music. [es] [from the front page]

In this anniversary issue, FolkWorld publishes a poll with the most important folk artists of the past ten years. A list which reflects the personal opinions of the FolkWorld participants and is a great start for a good discussion. In my opinion there will be no discussion about the fact that Ilgi is on the list, as they are the first group from the Baltic States that exported roots rock far beyond the country borders. Especially for this edition of FolkWorld, I shall give a short introduction to the group.

Ilgi was formed in 1981 as a traditional music group, the members of which played home-made instruments and wore traditional Latvian costume. In those days the musicians were politically motivated to play traditional Latvian music and their interest in playing this kind of music arose from a special interest in Latvian history. An interest with many restrictions, imposed by the communist government that ruled the country then.

In those early years the band collected information and songs by visiting elderly people throughout the country and asking them to share their (musical) memories with them. Soon, the musicians felt that they didn’t just want to reproduce the traditional styles, but would like to experiment with different rhythms. They even decided to use an acoustic guitar, which could be considered as a small revolution in Latvian traditional music at that time. They no longer called themselves a folk group but a post-folklore band. Until today traditional music has been the basis, but the band take the liberty of interpreting it their own way.

The band use several traditional instruments. The kokle, a 15th century instrument which is a mixture between a kantele and a cither, plays a central part in their music. This instrument has six to nine strings, although modern versions sometimes have more. The kokle is played with both hands, the right hand plays the melody while the left hand covers the strings the player does not want to use. The instrument also has a bass string, which is played continually and gives a droning sound. Not only the sound of the kokle, but also that of the dudas, a Latvian type of bagpipe, is characteristic of Ilgi.

Especially the founder of Ilgi, Ilga Reizniece, has contributed a lot of the band’s material. From the beginning, it was she who roamed the countryside to visit farms and hear what music was still remembered. In those days Reizniece, together with Maris Muktupavels, often went on pilgrimages to the countryside searching for Teicejas women.

In the vocal tradition Teicejas women play an extremely important role. In Latvia there are many vocal groups consisting of female singers only. For centuries these women have passed on the tradition to new generations. These women have good lungs and are absolutely devoted to their music. Their singing must be loud, because the people on the surrounding farms also have to know what they are singing about.

The songs tell about life itself, about birth and death, about the seasons and harvests and the escapades of the gods. They use the seasons as symbols for life in general, with a central role for the sun, which is responsible for us having the seasons. Their songs about the sun actually are about women and songs about the moon tell us about men. It is important to know this, because otherwise you might misinterpret the lyrics. Reizniece and Muktupavels wanted to locate these women not only to learn their songs, but also to learn their singing techniques. In addition to their own fieldwork, the band also use material from Krisjanis Barons, who has compiled the most important collection of traditional songs in Latvia.

Since about ten or twelve years the band have used electric instruments. When I interviewed Gatis Gaujenieks some time ago, he said that they started to use electric instruments to break the myth that traditional music was only interesting for old people. Ilgi wanted to interest a different, younger audience in their own cultural heritage. Even after they had started using electric instruments, it took the band a few years before they actually reached this bigger audience. After the Berlin wall fell young people were only interested in one thing: music from the West. But after having heard the ‘western’ sound for a few years, people focused on their own background again. The cd Saules meita was a milestone in the Latvian history of music. For the first time a group playing and interpreting traditional music reached a large audience and Ilgi were asked to perform in the major national concert halls. Their first cd was also noticed abroad. The cd tells about the inner strength of women and is a first step towards folkrock. The kokle and bagpipe, together with the mystical female vocals, make this cd typical of Latvian traditional music.

The next cd, Seju veju, has the man as its central theme. It tells about the hard life in the countryside and, especially, about how difficult it is to find a suitable bride. During the recording of this cd, fate hit the band in a hard way: singer Mara Kalnina died unexpectedly. Gaujenieks talked about her in the interview mentioned before: ‘Besides being one of the musicians, she was also my wife. I do not have to explain to you what a traumatic experience this has been. We launched the cd at her birthday and, for us, this cd will always have a strange atmosphere hanging around it.’ The listener, who is unaware of the tragedy, will probably only notice the change from mystic female singing to earthy male songs and music. On the cd’s that follow, Ilgi also sticks to this theme. The band recorded a 45 track musical journey inspired by the Latvian poet Rainis and on their latest cd Ne uz vienu dienu they recorded traditional wedding songs.

At the time I was writing this article, they were touring the USA. Ilgi’s star seems to be rising even higher and their music is becoming internationally known and appreciated more and more.

Eelco Schilder - FolkWorld - Eelco Schilder (Nov. 2007)

Latvia's folk revival is a pretty recent phenomenon, dating from only the early 1980's. It began as a reaction to the Soviet occupation and continued to grow along with the country's independence movement. ILGI was formed at the beginning of the revival by singer/violinist Ilga Reizniece and has gone on to release eight albums. The group uses traditional folk song as a springboard for rock, jazz, and new age experimentation. Using traditional and contemporary instruments, they create a sound that is both fresh and ancient. Each song is like a miniature fable, telling a short but evocative story using imagery from folk culture and the natural world.

The lyrics have a colorful atavistic poetry that says more in a few short verses than many lengthy ballads do. They are set to music that has an anthemic sweep and rock-inspired drive. Vilnis Strods' assertive drumming provides a propulsive underpinning for the mix of hammered dulcimer, bagpipes, fiddle, jaw harp, electric guitar and bass. Each track has a unique personality created by varying mixes of instruments and no fewer than six different vocalists (three of them guests), each with his or her own timbre and take on the music. The sexually suggestive "Es Guleju Maigu Miegu" (I was a light sleeper) is one of the most driving tracks on the release, with fast-paced alternating male and female vocals over swirling fiddle and bagpipe. "Runa Laudis, Ko Runa" (People Are Gossiping) has a quieter, vaguely jazzy 6/8 sweep. Latvia has a fine group of musical ambassadors in this versatile, skilled ensemble.

Peggy Latkovich

- RootsWorld - Peggy Latkovich (2003)

Jani is an ancient pagan summer solstice ritual that is observed into the present day in Latvia. So it's a no-brainer that Latvia's premiere folk-rockers Ilgi would put out an album of songs celebrating the rite. Their last couple of albums ("Totari" and "Ne Uz Vienu Dienu") have been ritual-themed, using Christmas and marriage as jumping-off points for their explorations of ancient Latvian songs. They get a little crunchier on this release than in the past, with grinding fiddles, wailing pipes, more assertive drumming, and thrashier guitars. This is not to say that they've lost the ethereal side that made earlier releases so appealing; they've just upped the ante a bit on many tracks.
Most of the tunes here have a repetitive, circular nature that makes them perfect vehicles for textural layering and thematic development. The band has gone further afield in its experiments with tone color, adding some electronic burbles to the jazzy "Ta sacija, ta bij' tiesa" and some Celt-rock inspired pipes and fiddles to a couple of tunes. They use a monster giga (a cello-like instrument) and throbbing drums on "Saule brida miglajos" a juggernaut of a song about chasing away witches. They won't be back any time soon. The sound that trends through the entire release is that of the kokles, a harplike instrument with a tone similar to the Finnish kantele. It's used to add a crisp ostinato to "Janu mates pagalma" and to sweeten the final track "Ligojam, ligojam," which greets the sunrise like a sleepy whisper.
"Isakas nakts dziesmas" translates to "Songs of the Shortest Night." The night may be short, but memories of this party will go on long after sunrise.

Peggy Latkovich - RootsWorld - Peggy Latkovich (Sept. 2009)

You know what your problem is? You don't have enough Latvian folk in your musical diet. So there's no time to waste before checking out Ilgi and their latest recording Isakas nakts dziesmas or Songs of the Shortest Night out on Platforma Music. Part of Latvia's post-folk scene, with recent tours of the US and Europe and recording three CDs in the past couple of years, Ilgi is part and parcel of a fresh wave of contemporary folk that offers a fresh and fanciful slant to traditional music. Polishing and reinterpreting the folk songs of Latvia's pagan solstice festival Jani, Ilgi's Songs of the Shortest Night is pure celebration. World Music Chart fans will know their work from their CD Ne uz vienu dienu (Not Just For One Day) when they sailed to a strong number 2 on the European chart.

Juicy with clever composition and deft instrumentation, the Songs of the Shortest Night is adorned with a freshly modern folk sound and bright vocals. Tracks like the smooth silky opening number "Visu gadu Janits naca," ripe with the kokles and bagpipe or the plumy "Janu mates pagalma" with its tapping tapping rhythm and harmonized vocals make Songs of the Shortest Night positively captivating.

The drum heavy and bagpipe saturated "Sit, Janiti, vara bungas" overflows of fun with its dizzy turns of guitar and violin. "Saule brida miglajosi" goes down smooth with flashy guitar and giga lines set to a low down rock beat, laced with sweetly flavored violin and kokles sections. Ilgi finesses the listener with other gems like dreamy "Labvakari, rudzu lauks," the deliciously jazzy "Ta sacija, ta bij' tiesa" and the delightful folk number "Janu dancis," a track that is definitely danceable, although I think you'd probably should have some baskets of flowers to toss as you jig to this sparkling number.

Stylish and energetic, Ilgi serves up a sound that is smart and savvy and Songs of the Shortest Night is exactly where you'd want post-folk music to take you.

TJ Nelson - World Music Central - TJ Nelson (Aug. 2009)

Celebrating their 31st anniversary, Ilgi reveal no sign of their longevity, at least musically speaking. The atmosphere is tranquil and considered, and is comparable, the liner notes reveal, to a Latvian pirts, which is the local equivalent of a sauna. Best heard before, or indeed during or possibly after, a flogging with willow twigs, and there are certainly much worse ways of spending an evening.

MG/23.03.2012 - World Music Charts Europe

Finally, there is the contrast of Seju Veju (Tie the Wind or Sow the Wind), a recording of pure "postmodern folklore" by the group Ilgi. Steeped in tradition, these performers also are no strangers to rock; along with traditional Latvian instruments, you will hear percussion, guitars, accordions, electric bass and youthful sensibilities in touch with both the 15th and 21st centuries. The band has spent two decades exploring the ancient roots of their native Latvian culture, but there is little doubt their ears have been informed by modern European influences from rock to jazz.

The song titles, e.g. "Sow the Wind," "Blow Mother Wind," "The Sea Snarled and Hissed," all hint at the natural world's prominent place on this collection. Ilgi's distinct Latvian verses offer linguistic rhythms and punctuation that perfectly complement the accompanying instruments, whether the traditional bagpipe or the backbeat of bass guitar and trap drums. One could reach and compare the sound to other familiar European folk-rock bands but that would shortchange this well-executed album. So think of it as Latvian postmodern folk music and let it stand on its own. Far from a kind of distracting world beat pop, this album satisfies the contemporary ear. Given a different music industry in this country, the band would have a hit. Don't miss it.

Richard Dorsett
- RootsWorld - Richard Dorsett (2000))

latvian modern folklorists breakthrough wedding album ne uz vienu dienu (not for just one day)
is a collection of modern interpretations of wedding songs. but make no mistake this cd is no
ethnomusiclogical folklore study. while most of the components of latvian wedding tradition are
touched upon, lyrically ilgi is more interested in the trials and joys of beginning a new life
partnership. and while these issues may be serious, musically the cd is inspired and, for the most
part, quite upbeat. ilgi again expands and bends tradition this time with the inclusion of ugandan
ex-pat samite on kalimba and vocals and german musician mark feder on banjo. samite's sweet
voice floats over ilga reizniece's vocal on "viena saule, viena zeme" while his kalimba weaves a
dreamscape that not only creates a lush world music fusion but a subtle bridge between two
seemingly disparate cultures. feder's banjo and gatis gaujenieks' mandolin join with traditional
latvian string instruments to help fuel a bluegrass feel that is successfully fused with a latvian
melody on "skaista mana ligavina." vocals by ruta muktupavela offers a nice counterpoint to
ilga reizniece not really heard since ilgi's 1998 release saules meita. the group vocals provided
by vineta romane, marianna auliciema and aija rozentala of the latvian group saucejas are
particularly effective in helping create the proper celebratory wedding feel as group singing is an
intricate part of any traditional gathering of the country. in short, with ne uz vienu dienu ilgi has
combined the best of its storied history while keeping an eye - and ears - on pushing their
folkloric tradition to new heights. tatad uz redzesanos

Tom Frouge - radioio.com - Tom Frouge (Oct. 2006)

[Ilgi] played beautiful, heart-rendering, sylvan acoustic tapestries that were sweetened by the melding of the vocalist and violinist Ilga Reizniece. Her ancient-sounding voice, surprisingly rich and deep, along with her lilting violin, transformed the Terrace into a blissful and misty field. . . . [I]t felt like the music was bringing everyone together in some primitive way — a community in celebration.
(Review of the 2007 World Music Festival at the University of Wisconsin-Madison)

Nicholas Otto - The Badger Herald - Nicholas Otto (Sept. 2007)

Ilgi might not have huge international fame - at least not yet - by they're certainly one of the biggest names in the Baltic, banner carriers for the Latvian sound. The five-piece group, who last year issued Seju Veju, has undergone many changes in the two decades since their start as part of the folk resurgence in Latvia at the beginning of the ‘80s. But it hasn't been always been easy: even their birth was difficult under Soviet rule.

"The system during the Soviet era for bands or ensembles was such that each musical collective that hoped to perform in public had to be "attached " to one of the regional cultural organizations or societies, as were Ilgi," recalled bassist Gatis Gaujenieks."Independent music groups were not allowed. All performances had to be approved by the government department of culture. Musical collectives would submit music and lyrics for approval, and the performances themselves-costumes, hairstyles also had to be OK'd before any public performances. Anything deemed too nationalistic or extravagant was vetoed. Even the names for these musical collectives had to be approved."

And Ilgi, which translates as spirits of the dear departed, was seen as unfitting for a group containing young girls. It was a common problem at the time, Gaujenieks, explained, "because of the fact that they explored their national heritage. At the time the folklore movement was more of a political statement than a musical trend. Singing and playing was inevitably linked to Latvian history, archeology, ethnography, mythology and traditions and the nascent independence movement. Since all of these subjects were, if not banned outright, at least partly forbidden and not a topic for discussion under the Soviet occupation and communist regime, song and dance became an intricate part of the preservation of Latvian culture. As a result folk ensembles became de facto centers of national and cultural studies. References to "pagan" Gods that appear in many a folksong, were also causes of concern to Soviet censorship. It was forbidden to mention any folklore ensemble in any of the medias. Apartments of the leaders of folklore groups were searched for any books of a nationalistic nature."

Band member Maris Muktupavels remembered being asked to go the local KGB precinct in Riga for "friendly conversations" where he had to explain where he found the reference materials for their songs. And harrassment at work was common. Muktupavels's brother Valdis, an expert on Latvian folklore, set up a folklore division in the Latvian Conservatory of Music; it didn't last long. Violinist Ilga Reizniece had a degree in music that protected her, and Ilgi, from being classed as nonprofessional musicians, and thus banned.

Reizniece, one of the band's founders, was also the driving force behind the group's research into Latvian mythology and traditions, according to Gaujenieks. She "knew a few people who were involved with Latvian folk music. These people were deemed as social misfits. She often arranged interviews with older people who remembered and knew many of the specific regional songs and melodies, and explored reference materials to get more of an insight on the matter. Many of the ancient folksongs sing of these "pagan" Gods and their actions, so becoming more familiar with Latvian folk music also made her more familiar with Latvian mythology and traditions. At that time in Latvia, the folk music that was "allowable" was very up-tempo and cheery; sort of the sugar coated version. The more somber and sincere music was very much frowned upon, and these sincere folk melodies were the ones that appealed the most to Ilga."

With the fall of Communism, things have opened up a great deal, and Ilgi now tour internationally, not just around the Baltic, but throughout Europe, the U.S., and even Canada. Their most recent show at home, in the Latvian capital of Riga, pulled one of the largest audiences in the city's history. They've won the Latvian equivalent of Grammys, and been widely feted. But have they helped bring awareness of the folk tradition to a new generation?

"Our last two albums, Saules Meita and Seju Veju, did increase interest among students and the younger generation. In a recent magazine interview, one of the most knowledgeable music ethnologists in Latvia, Martins Boiko, stated that amongst his students at the University of Latvia, Ilgi is by far, the most widely liked folklore ensemble. While the post-Soviet era, where the "kid in the candy store " syndrome (where everything from the west is the best, ranging from clothes, electronics, music, etc.), has calmed down a bit, the acceptance of youth to explore their heritage musically is pretty slow. I myself own and operate a recording studio in Riga, and help to produce many an album with new bands. I'd have to say that around 90% of the music recorded and performed, is some derivation of western rock, jazz, contemporary classical, and dance."

Not that it's a lost cause, by any means. The band continues to try and educate, touring schools and teaching students about their heritage. Reizniece teaches music, and passes on her knowledge of folk music at fiddle clinics and summer seminars, where she teaches Latvian folklore and traditions. Percussionist Mikus Cavarts has also taught at childrens' music camps, showing the kids the various Latvian percussion instruments - and how to make their own.

While the young Latvian folk scene isn't flourishing yet, Gaujenieks, said, "there are a few new folk music ensembles, mostly traditional, often charting the same roads that IlgI charted years ago. Hopefully, after exploring what the rest of the world has to offer (after all, Latvia was a closed country for 50 years, and it's only been 10 years since the wall fell) the younger generation of musicians will tap into their own musical heritage."

Obviously, over the course of 20 years, Ilgi's music has changed, and developed. While they began as a traditional folk ensemble, sticking to traditional music "we started experimenting with the music, inserting different musical themes," said Gaujenieks. "Eventually we started to compose our own music, based on the old, utilizing ancient Latvian texts. Ilgi was the first to coin the phrase "Post Folklore". The music was very meditative, but then Maris was asked to join a newly formed rock group called Jauns Meness (New Moon). They wanted to use Latvian folk instruments in their concerts-soon Ilga was asked to join as well."

The biggest change occurred when "Latvia regained its independence and suddenly tons of information on music throughout the world began pouring in. Interests in Celtic music began to flower-World Music was accepted throughout the world. Members of Ilgi came and went, these new members obviously changed the sound of the band and brought their musical influences with them. Independence also brought Latvian nationals throughout the world to Latvia, and a few of them even joined the group I was a member of one of the premiere Latvian rock groups in the US. My cultural heritage was firmly ingrained in me and I decided to move to Latvia-50 years to the day after my mother left during World War 2. I had a brief stint in Jauns Meness and got to know Ilga and Maris better. I decided to leave the band for many reasons, but remained good friends with them.

When Zane Smitt, one of the singers of Ilgi left, I suggested Ilga try out Mara Kalnina, who was involved with another Latvian ensemble –Marana. Marana was not at all a folk music ensemble, they were sort of a cross between Penguin Café and Manhattan Transfer. They were not performing actively and Mara was looking for a musical outlet. She had never sung in a folk music ensemble, but had such a free approach to music that it did not scare her off. Things worked out well, so when Ilgi was ready to record Saules Meita, they turned to me. I suggested that we experiment with drum loops on the album, as well as to put down bass (my instrument) on a few tracks. From that point on I was so pleased to be involved in an original, truly Latvian project, that I became a member of Ilgi. To perform these songs in concert we had to invite a drummer into the fold. This changed the sound again. And when an opening for a guitar player arose, I asked my old friend and musical colleague from the US, Arnolds Karklis to join, who had also moved to Latvia. All these changes have moved Ilgi from a meditative acoustic music ensemble to the livelier world music group it is today," as can be heard on "Tumsa Tumsa Kas Par Tumsu." Mara Kalnina, sadly, died in an auto accident in 1999.

2001 sees the band celebrate its 20th anniversary, holding a special concert with former members taking the stage, the whole event being taped for video. Then it's off to Sweden, austria, Norway, Holland, and the U.S., followed by a trip to China. And, Gaujenieks, concludes, "we've been commissioned to write the music for a play based on one of Latvia's most revered authors, Janis Rainis. The play is a representation of how Latvia has survived through various occupations and wars. Due to the dynamics of the action, we have to prepare a very wide palette of sonic accompaniment. This will involve the use of samplers, synths, electric guitars, orchestral accompaniments, etc. This in no doubt will again broaden our musical horizons."

www.globalvillageidiot.net/Ilgi.cfm - Global Village Idiot

Developing their favourite themes of ancient Latvian mythology and traditional way of life, Ilgi here deliver a lush rendition of traditional Latvian wedding songs. From the dramatically strummed guitars and mandolins, the rich harmonies and evocative violins, it’s clear that they expect this marriage, at least, to last for ever (the title translates as ‘Not For One Day’). An unexpected twist to Latvian folk music is added by Ugandan-born Samite, who guests on thumb piano on ‘One Sun, One Earth’. Restrained and yet refreshing.

MG/22.05.2006 - World Music Charts Europe (May 2006)