Jersika Records

By Ken Waxman

A music lover  a vinyl purist, and a Latvian nationalist Mareks Ameriks has combined all his passions in the Riga-based Jersika Records, which since 2017 has released 37 sessions, 25 in its Analogue series and 12 in its Digital series, with seven also available as reel-to-reel tapes. “It all started because I was able to build my own little studio with two professional vintage studio tape recorders, “ recalls Ameriks, Jersika’s founder and producer. “Then it was clear to me that we needed to record music for real. And it was immediately clear that it should be jazz label. So I started to approach local musicians and encouraged them to record their own albums in an analogue way. It started locally but I would like to go internationally.”

Lativa celebrates Proclamation Day, commemorating its birth of a nation in 1918 and Jersika, whose slogan is “Baltic Jazz Since 2017”, is concentrating on music recorded and released on the shores of Baltic sea. As Ameriks puts it: “I think every particular place impacts your creativity, your state of mind, thoughts, approach to things etc., and we can hear it on records.”  As the Latvian “jazz scene expands local musician are playing with those from other countries and Jersika reflects that as wellt. One album features Riga saxophonist Karlis Auzins Double Trio with an international line-up and upcoming is one a featuring Lithuania reedist Liudas Mockūnas, Switzerland’s Samuel Blaser and France’s Marc Ducret “Today I would say Jersika, could release  artists from any place, but the recordings should be made here,” Ameriks affirms.

“You could say there is an intense collaboration going on between Jersika and me,” notes Vilnius-based Mockūnas, who reveals that material exist for two more albums. “We’re friends. They care about their releases: distribution, reviews, you tube, etc. Good sound engineer and usually nice choices of recording places. Also I like the idea of a regional record label which is serious and has a common taste as mine. You can’t send them a ready recording. They are not interested in music recorded somewhere else by somebody else.” Confirms Auzins “Jersica is dedicated to documenting and releasing jazz (and other) music from Latvia and the Baltics, thus painting a picture of the scene in the region, which I find very important.”

Reflecting its roots the Jersika name references the Jersika castle,  the economical and political centre of ancient Latgalians, who were part of Latvian nation. More prosaically it reflects Riga’s Jersika street, near where Ameriks lives and where he organizes a yearly Vinyl day event. “Jersika can sound like woman’s name and is easy to pronounce,” he notes.

Although Latvians have played Jazz since the 1930s, very little was on disc, although by the 1960s Latvian Radio regularly recorded the music. Since Ameriks tries to offer listeners a complete view of his country’s Jazz, besides recording contemporary players Jersika has a historical series as well. For the most part the material comes from radio archives with licences for it purchased from the network and the local copyright agency.

That’s just part of the label’s financial situation. Initially Ameriks financed the label with his own money to. But now the Latvian State Cultural Foundation provides support, which coupled with sales keeps the label solvent. Occasionally musicians contribute as well, bringing in already recorded music, contributing their grant money or agreeing to buy a number of records in advance. “What I always do is to pay for photos, video and design and give 10% free copies as royalties,” declares Ameriks. Although essentially a one-man operation, others help out, including his brother Edgars, who helps with design, while his wife Zane look’s after Jersika Instagram profile.

Another Jersika impetus is the label’s hands-on approach. “I have released on other labels, but. I’d say the uniqueness of Jersika hides in openness towards my ideas. That they take care of all the practicalities thus allowing me to focus on music only (which is very rare these days), the flexibility and  the quality of their work, “ notes Auzins, and Mockūnas agrees “They want to be a part of the process from very beginning to the end.”

In a world of CDs and streaming why only release sessions as LPs or reel-to-reel tapes? “For me vinyl is a king. I love this format,” admits Ameriks “I think invention of vinyl is in some way similar to the piano. Today you can play synths and imitation piano even at your phone but the real piano stays and it doesn’t matter that it’s big and not easy to transport. It’s very nice that today we can listen to music  everywhere and vinyl will never be the mainstream format again. But when it’s time to listen for real, then I choose vinyl. The human factor is so big in vinyl production. When it’s done well it sounds different and takes more of your attention, I have nothing against CDs but I think CDs are the bridge and the first step to streaming. Why should I listen to CD if I can do it with hi-res digital files? If there would be a serious distribution offer for CD releases though I would adapt my catalogue for CDs. As for exclusive tape editions, there are people in the audiophile community who want to hear all-analogue recordings, the first copy from the master tape.”

Adds Mockūnas: “Of course releasing a vinyl is special. The artwork looks much nicer on vinyl, the sound is also specific, not necessarily better sometimes. But you have to accept it. I also like their philosophy of sound. It’s usually analog recordings. Just like in the old days.” Emphasis on vinyl “is  very logical especially in Baltics, because CD market is not really here anymore, which is bit different than in Germany for example. There’s also  a certain hype about vinyl. Since I often play in Germany and other countries, it would be easier to take CDs with me, but I’m sure, if that was something I wanted to do it would be possible somehow.”

Readily available Jersika’s few reel-to-reel sets are an expensive option, costing between 450 to 800 euros each. In the opposite vein, all Jersika releases are available on streaming platforms and digital versions can be purchased, although Ameriks notes those sales contribute very little to the label’s bottom line. One area in which Ameriks would like Jersika Records to expand though is film and video. The label already has an official YouTube channel, put together by video editors and camera operators Theo Poncet and Zi that offers album teasers, chronicles, conversations, concert videos, broadcasts and documentaries. “We’ve already made three documentaries and it would be great to continue”, he adds.

Usually 300 to 500 copies of each disc are initially pressed, with the ability to re-press up to 1,000 copies in total. Some Jersika sessions  that have sold well include pianist/composer Raimonds Pauls historical recordings, discs by the Latvian Radio Big Band and electric jazz band Lupa’s first album, Kārlis Auziņš’ double trio and pianist/composer., Lubomyr Melnyk’s discs.

Since  one of Ameriks’ aims is to spread the word about Lithuanian jazz internationally, no artist has an exclusive contract with Jersika. “For me it is absolutely OK that artists release their music themselves or on other labels,” he says. Actually I will be very glad if release on Jersika would help an artist make a deal and sign with some bigger and legendary label someday.”