Kuba: Laukumi

A long-forgotten gem of the Latvian music scene has finally returned. The band, known as Kuba, is an ambient/jazz-rock/post-rock/krautrock—or, in a nutshell, nu-jazz—collective formed in 2001 that quickly became one of the brightest stars on the local scene.

In 2002, the band released their acclaimed debut album, 15 Episodes of Kuba (Microphone). Later, Kuba began working on their second album, but in 2006, the band split up, leaving the album unfinished. However, they have reunited, and after 22 years, they have finally released that second album, Laukumi. A fun fact: Mareks Ameriks, the band's drummer, is also the owner of one of the most prominent jazz labels in the Baltic States, Jersika Records.

Laukumi begins gently with the ambient track "Laukumi 01," which is seamlessly interwoven with the next piece, "Laukumi 02 / Baku," gradually transitioning into post-rock. Throughout the album, the Latvian nu-jazz ensemble consistently wandering between post/kraut-rock and ambient genres. As one listens to Laukumi, one might pond how much jazz is present.

The drumming is the jazziest element of the album. Ameriks' drumming makes it clear that jazz is always lurking around the corner, with swing, bebop and post-bop rhythms recognizable. However, it is not just the drumming that brings Laukumi closer to jazz. Jazzy guitar chords (for instance in "Laukumi 07 / 3/4"), unconventional to post/kraut-rock structural choices (for instance in the middle of "Laukumi 02 / Baku"), and, last but not least, Mikus Solovejs saxophone parts, all give a legitimate right to use the jazz label. However, it must be noted that jazz in Laukumi is subtle, taking a backseat to the rock and ambient music aesthetics. This approach makes Laukumi a charming and rewarding album.

Nu-jazz may have passed its prime in the last millennium, but Laukumi offers a quality opportunity to remember the genre and indulge in a mild and crisp musical journey. This journey embraces the fluidity of krautrock pioneers CAN, ambient dreaminess, echoes of Don Cherry's later sound, post-rock textures, and subtle touches of minimalism.

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