Global Estonian Insights: Holger Marjamaa, pianist in Chris Botti’s band

Vincent Teetsov

Of all the people who could be sitting in the audience while you play a show at New York City’s Blue Note Jazz Club, what’s the likelihood that one of them is a head of state? For pianist Holger Marjamaa, that likelihood was quite high. On December 7th, 2021, Estonian President Alar Karis was enjoying a night out and brought a box of chocolates for him as a gift.

Not only is Marjamaa an Estonian playing on the stage of a prestigious American music venue (which is celebrating 40 years of live jazz music in 2021), he is in the band of trumpeter Chris Botti, who has himself played with artists such as Barbra Streisand, Frank Sinatra, Yo-Yo Ma, and Sting. Marjamaa, Botti, and company recently performed at Toronto’s Roy Thomson Hall, and in the spare moments between two nightly shows at Blue Note Jazz Club from Monday December 6th until Sunday January 2nd, he shared a few anecdotes with Eesti Elu.

You’ve been playing music your whole life, and this has brought you to stages across Europe, Asia, and North America. What led to Chris Botti then calling you in the middle of the night, asking you to join his band?

I think the main reason was that our drummer, Lee Pearson, and one of our saxophone players, Chad Lefkowitz-Brown, recommended me for this gig. I met Lee in Tallinn about 14 years ago and we fell in love with each other’s playing. When Chris asked his band who to hire, they both recommended me. I started touring with Chris in August 2019.

Is there a particular story that summarizes your experience as an Estonian getting to know New York City for the first time, compared to how you relate to the city now?

I am a lucky individual who came to New York with certain dreams and managed to fulfill them in a way. And I didn’t do it alone. I had a lot of help from friends and sponsors.

Lea Kõiv Jaan Meri, Holger Marjamaa, and Toomas Koger at Roy Thomson Hall Dec 2.

Photo: Tiit Romet

When you make the move, you don’t know what’s gonna happen. The day I moved to New York to start my Master’s studies at Manhattan School of Music in late August 2015, I didn’t know where I would sleep and live. I remember I was with my friend from Finland in Times Square, grabbing pizza and a Coke. We had no idea where we would stay, which is a little surreal to think about.

It was my dream to live in New York, meet amazing musicians, and to build my career here. But I must say, I miss home and want to move back there eventually. Nowadays, you can travel anywhere from anywhere. When I feel that I can start working more under my own name, then I will make the move back home to Estonia. That being said, I don’t want to predict too much about my future, as so many things can change. I have my goals and I want to reach them.

You’ve competed in numerous piano competitions in Estonia, Lithuania, and the US. Take, for example, the 2018 Thelonious Monk Institute of Jazz International Piano Competition in Washington D.C, where Herbie Hancock was one of the judges. In a competition like this, how does one pianist come out on top?

It all comes down to taste. Herbie was listening only to the finalists. But every pianist in this competition was already a world-class musician and it’s hard to pick who is the best. It all depends on the jury.

Is there something that Estonian musicians specifically can bring to jazz music as an art form, or do you believe one’s contribution to jazz is completely personal? If so, what is your own approach to piano and accompaniment/ composition all about?

Well, jazz is a Black American art form, which means that we have to learn as much as possible from American players; and yes, it’s completely personal. You have to study the history of the players and the language of jazz to gain vocabulary in this style of music. I grew up with classical music, jazz, gospel, R&B, soul, funk. Also salsa and some Brazilian music. I learned and continue to learn from that. My approach is to serve good music, which I love and would fight for.

In your formal music studies, which educational or theoretical concepts were most appealing or useful to you?

I learned the most from my mentors, jazz drummer/pianist Jukkis Uotila and my classical professor Aleksandra Juozapėnaitė-Eesmaa. It’s not the school which makes you a player, it’s the people who surround you, and the inner wish to become the best, which is, of course, not possible. Estonia has very, very few amazing players, but the level is rising. There are certain things which have to be done to develop a better level.

Over the course of your residency with Chris Botti at Blue Note Jazz Club, what will you look for in each night? How will you maintain your performance endurance?

It’s a different challenge as we are playing the same tunes over and over again. So I have to find ways to be creative, to find fresh and new ideas. It’s a musical gym for creativity!

If you could enlist any musician for a new solo album and tour across North America, which musicians would you hire? What would the album sound like?

I’m currently recording my next album, which has jazz, funk, and gospel influences. It has a more electric vibe to it. I’d love to have [saxophonist and flautist] Kenny Garrett on it, [singer] Kim Burrell, and [trumpeter] Nicholas Payton, to name a few. But I’d love to tour with my trio – Heikko Remmel on bass, Jussi Lehtonen on drums – and have featured artists with us.

(This interview has been edited and condensed.)