Devi Merakati
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Š2016 Indonesian Jazz Movement Some rights reserved. As per the terms of Creative Commons Attribution-NonCommercial-ShareAlike license.
Published in Indonesia
ISBN 978-1-4116-8691-5
Book design by Devi Merakati Proofread by Barry Likumahuwa
Dedicated to all the legendary and aspiring musicians out there. kinds of music.
INDONESIAN — JAZZ — MOVEMENT
And to all the young Indonesian who loves to explore and experience all
TABLE OF iii — i — ii
iv
Intro Prelude
1 —
Progression
2 3 — 4 41 — 42 45 — 46
Artist Highlight
Album Highlight
Event Highlight
CONTENTS
—
85
Innovation
58 59 — 60 67 — 68 73 — 74
— 86
Artist Highlight
Album Highlight
Event Highlight
Picture Credits Bibliography
INDONESIAN — JAZZ — MOVEMENT
57
Intro For the past 10 years, jazz has been one of the most popular word in Indonesia’s music scene. Jazz festivals are held in various cities in Indonesia (last time I counted we have at least 50 different jazz festivals each year). Self titled or publicly acclaimed jazz artists emerge every year with jazz albums recorded & released each year.
But what most people don’t know is, the struggle that our Indonesian jazz pioneers had to deal with on the early development of jazz in Indonesia. How they manage to play on shows with an audience less than 10 people, being shouted to get off the stage, or “dangdut, dangdut” in the middle of an improvisation, how they cope with combining jazz with other more “popular” genre. More than 40 years after that era, our generation gained the benefits of what our jazz founding father has planted back in the days, we
iii
can now enjoy jazz at hotels, clubs, malls, jazz festivals, universities, even high school.
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Sadly, not many people who call themselves “jazzheads/jazzlovers” recognize our jazz heroes that set the platform. Names like Jack Lesmana, Bubi Chen, Benny Likumahuwa, Benny Mustapha, Maryono, Margie Segers, Oele Pattiselanno, Didi Chia overshadowed by the so-called Indonesian “jazz” musicians, who some of them don’t even know Miles’ or Trane’s music.
This book explores that area, giving you series of pictures with stories behind it. You’ll definitely feel the atmosphere of the early Indonesian jazz development. If you’re already a jazz lover, you’ll fall in love with this book for the knowledge it’ll give you. If you’re a music lover, this book will bring you to a new level of being Indonesian and proud, and an understanding that jazz in Indonesian is not just about the industry or how to keep the dimes rolling, but it’s about pride, happiness, and self accomplishment.
Barry Likumahuwa
Prelude Jazz is something my cousin taught me into 7 years ago when my peers were banging their heads to punk rock music. In high school, I went back and forth about my interest in music like most teenagers of my age. For some, jazz might sounds confusing with all the spontaneity and perplexing notes. It has something unusual compared to other music genres that I’m still trying to understand even to this day. In addition to that, the sub genres are ever evolving, so the people who are new to jazz might not be familiar with names like Bubi Chen or Bill Saragih.
Looking at where we’re at now, we have names like Indra Lesmana, Dewa Budjana,
crowd, but it’s unfortunate to see them mixed up with all the popular music who just jammed in a couple bars of saxophone and get to be called jazz. Especially when those musicians are the one who carry the legacy that was handed down by all the legends. A gig after another I went to, it hit me that jazz hasn’t received the love it deserves.
Then final year came, I chose Indonesian jazz as a topic. Throughout the making of this book, it wasn’t a smooth journey, especially in getting the archives and respondents. Fortunately, there are a few people whose will to share is just as big as their love for music. Therefore I would like to thank everyone who has helped me along the way. To David Tarigan from Irama Nusantara whom I couldn’t thank enough for the content and tips. To the talented bassist, Barry Likumahuwa, who taught me that jazz is not just for older audience, and it should be shared with everybody. To all the adviser for their critics and suggestion. To all the people who are reading this, I hope you enjoy your ride through the Indonesian Jazz Movement.
Devi Merakati
INDONESIAN — JAZZ — MOVEMENT
Sandy Winarta, and the new kid on the block, Joey Alexander. They all have their own
Introducing the age of courageous people who became the main reason Indonesian jazz was born and still alive.
1 — 2
INDONESIAN — JAZZ — MOVEMENT
PROGRESSION PROGRESSION PROGRESSION
PROGRESSION
The Early Tragedy One day in the early 80s, a jazz show was performed at Teater Terbuka Taman Impian Jaya Ancol, Jakarta by Ireng Maulana and Friends. After playing several jazz instrumentals, which didn’t receive a warm welcome from the crowd, it was time for Ermy Kullit to perform. When she came to the stage,
3
people were shouting, “Turun, turun, turun!”
—
All the shouting was then followed by laughter
4
and sayings like “Dangdut, dangdut saja!” The people who came to enjoy jazz definitely felt the bleakness that the artists got.
Ermy Kullit and Ireng Maulana eventually read the situation and immediately played some bossa nova tunes. Fortunately, things were Ermy Kullit and Ireng Maulana, 1980s
getting better. The ear friendly latin jazz tune and Indonesian lyrics helped Ermy and Ireng got the crowd’s sympathy and applause.
That was just
a snippet
of what actually happened
when jazz musicians
tried to have a spot
in Indonesian show biz. To fulfil the producer’s and market’s demand, Ireng Maulana was forced to make records with bossa nova tune along with Ermy Kullit without a jazz label on it. Producers admitted
tune than the pure jazz recording.
Indra and Jack Lesmana, 1970
So is there any jazz in Indonesia? There is. No one denies the existence of Nick Mamahit, Mus Mualim, Tjok Sinsoe, Jack Lesmana, and other Indonesian jazz pioneers. And then we have younger names like Indra Lesmana, Idang Rasyidi, and Gilang Ramadhan who are still carry the legacy to this day.
INDONESIAN — JAZZ — MOVEMENT
that it was easier to advertise a more popular
Is there any jazz viewer or fans? The answer is yes. But are they really appreciative toward jazz? That’s the question. If we see the phenomenon that happened recently, with what people called “the jazz fever”, jazz is slowly washed off and became an overused word among people who haven’t heard a lot of jazz. 5 — 6
JAZZ FEVER JAZZ FEVER JAZZ FEVER JAZZ FEVER JAZZ FEVER JAZZ FEVER JAZZ FEVER JAZZ FEVER JAZZ FEVER JAZZ FEVER JAZZ FEVER JAZZ FEVER JAZZ FEVER JAZZ FEVER JAZZ FEVER JAZZ FEVER JAZZ FEVER JAZZ FEVER
Shows are often performed. International and local jazz musicians play on the same stage, showing off their skill in harmony. There are also jazz appreciations that grow in universities like University of Indonesia, Gajah Mada University, and Bandung Institute of Technology. INDONESIAN — JAZZ — MOVEMENT
Jazz is everywhere Those are the facts that show us how jazz in Indonesia is not always gold and glory.
And that wraps up some of the tragedy of the early Indonesian jazz movement.
ARTIST HIGHLIGHT
Back when jazz was brought to Indonesia, there weren’t many musicians who was bold enough to play such complicated and improvised music here. Especially among the famous pop and more traditional genre like keroncong. But there were some people who had the courage to introduce the perplexing note of jazz.
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Bubi Chen “Indonesian All Stars”
The First
Jazz Cats Generation
limelight all around. These musicians really put all their heart and work into it. Jack Lesmana felt underappreciated back in Indonesia and then sold his house so that his family could join his son Indra, who got a scholarship in Australia. Bill Saragih who was a law student at the University of Indonesia quit his college degree to pursue his calling in jazz. These people are not only brave, but they also very consistent on working hard. The result is what we enjoy right now. And these are the founding fathers of Indonesian jazz.
INDONESIAN — JAZZ — MOVEMENT
At first, it wasn’t a smooth road with
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Dick Lainsamputy, Jack Lesmana, Ron Reeves, Didi Chia, Benny Likumahuwa at the United States’ Embassy, 1970s
Jazz has been known in Indonesia at the same time as the birth of jazz itself, but the expansion is quite slow, because the lack of medium and facilities. INDONESIAN — JAZZ — MOVEMENT
The Endless
struggle
Bubi Chen, Jopie Chen, Benny Mustapha, Jack Lesmana, Maryono on TVRI, 1960s
After Indonesia’s declaration of independence, many upper-mid class people wanted to enjoy the nightlife to just dance or chat with their colleagues. To achieve that, some 5 star hotel opened up a restaurant or club. Wisma Nusantara’s club is among the famous places that was used by jazz musicians. To name a few,
11
there were Bill Saragih, Didi Chia,
—
Jack Lesmana, Eddy Karamoy
12
and Sadikin Zuchra, who were then became Indonesian jazz legends. They were quite often get invited to perform at the foreign ambassadors’ house.
that was also called “klub pohon asem” bred Indonesian jazz legends such as Paul Hutabarat, Marihot Hutabarat, Eddy Karamoy, Bill Saragih, Didi Chia, and many more.
INDONESIAN — JAZZ — MOVEMENT
Irama Bayu Sutera group led by Sadikin Zuchra at Wisma Nusantara club Jakarta in 1960s. The club
On one side, a jazz musician has to increase their playing skill, on the other side, they also have to be responsible for their personal life, family and their own financial condition. So it’s not uncommon to see jazz musicians play on a pop music stage, and make a recording just to fulfill the market’s demand.
The vast branch and complexity of jazz often
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made jazz musicians had trouble to learn jazz even deeper and develop their own skill.
Technically, the skill that our musicians had was not far from the international ones. Names like Bubi Chen, Indra Lesmana has the skill that often make people amazed.
agenda of Jakarta Jazz Festival ( JakJazz), but that didn’t make the international music critics and observer chose to cover Indonesia in their media. It seemed like they were too focused on American and European jazz movement.
In Indonesia, jazz music were starting to be recognized by the upper class wealthy society, who knew it just from a hobby. These elite group often held a dance party with jazzy style music as a complement.
A big band led by Tjok Sinsoe, Jakarta, 1960s
INDONESIAN — JAZZ — MOVEMENT
Indonesian jazz musicians had an annual
JAZZ RIDERS left to right Oele Pattiselanno (guitar) Benny Likumahuwa (trombone)
15 — 16
Perry Pattiselanno (bass) Jacky Pattiselanno (drums) Didi Chia (piano/keys) Dullah Suweileh (percussion)
Trisno, Didi Chia, Oele Pattiselanno, Jacky Pattiselanno as Jazz Riders at Hotel Borobudur Jakarta, 1970s
with the group Jazz Riders Dixieland, 1970s
INDONESIAN — JAZZ — MOVEMENT
Benny Likumahuwa (trombone)
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top left to right Hendra Widjaja (piano), Benny Likumahuwa (trombone), Ireng Maulana (guitar/ banjo), Karim Tes (trumpet), Roni Izani (bass) bottom left to right Ron Reeves (percussion), Benny Mustapha (drum), Udinsyah (saxophone)
INDONESIAN — JAZZ — MOVEMENT
IRENG MAULANA ALL STARS
TRIO IRAMA
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left to right Nick Mamahit (piano) Dick Van der Capellen (bass) Dick Abel (guitar)
INDONESIAN — JAZZ — MOVEMENT
Trio Irama is the first Indonesian jazz group who recorded at Studio Irama Jakarta in the early 50s.
It may be hard
to
spot
our jazz cats
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among the limelights and homogenic of POP MUSIC
POP POP POP POP
POP POP POP POP POP POP POP POP
POP POP POP POP POP POP POP POP POP POP POP POP but when you finally did POP POP POP POP POP POP POP POP POP POP POP POP POP POP JAZZ POP POP
POP POP POP POP POP
POP POP POP POP POP
POP
POP POP POP POP
POP POP POP POP POP POP POP POP POP POP POP JAZZ POP POP POP POP POP POP POP POP POP POP POP POP POP
POP POP POP POP POP
JAZZ
POP POP POP POP POP
POP POP POP POP POP
POP POP POP POP POP
POP POP POP POP POP POP POP POP POP JAZZ POP POP POP POP POP
POP POP POP POP JAZZ POP POP POP POP POP POP POP POP POP POP POP POP POP POP POP POP POP JAZZ POP POP POP POP POP POP it’s worth the try POP POP JAZZ POP POP POP POP POP POP POP
POP POP POP POP POP
POP POP POP POP POP
POP POP POP POP POP POP POP POP
POP POP POP POP POP POP POP POP
POP POP POP POP POP
POP POP POP POP POP
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They have to keep evolving, keep up with the current affair in every aspects; social, politics, economy, and culture. So when they play, they play as a full grown entertainer. - Bill Saragih
INDONESIAN — JAZZ — MOVEMENT
Technical skill is not enough for someone to be called professional musicians.
Jazz didn’t grow rapidly in Indonesia, the reason was that our musicians were hesitating to explore jazz even further. Thinking that jazz was not theirs.
Jazz in Indonesia with all its event and musicians before the independence day was not properly documented. It’s unfortunate, knowing how great our musicians were. Because the lack of written documentation, all their activities seemed vague.
25
The main reason for that was that there
—
isn’t any financial support. At that time, it’s
26
so rare to find a person who was willing to support financially and able to maintain a contact with international jazz affair.
Most of our musicians were hesitating when it comes to exploring. Psychologically, they had some kind of bashfulness in playing Maryono and Bubi Chen discussing
jazz, thinking that jazz wasn’t theirs to dig.
a musical arrangement, 1950s Learning from Indonesia’s own history, we could say that many of Indonesian artistic branch came from the foreign’s culture.
INDONESIAN — JAZZ — MOVEMENT
Jazz Rider Dixieland, formed in 1970s top left to right Didi Chia, Jack Lesmana, Oele Pattiselanno bottom left to right Perry Pattiselanno, Sutrisno, Dick Lainsamputy, Jacky Pattiselanno
t h g u a T The Sealfnd t n e d u t S The 27 — 28
ostly usicians m m z z ja n ociety, Indonesia er class s p p u e h t came from p. utch grou the Indo D st a usic was ju m g in y la on a At first, p ing to do h t e m o s d hobby an e. spare tim
INDONESIAN — JAZZ — MOVEMENT
from tes came United Sta e th in s an were zz musici e of them Most of ja . Even som le p eo st p s er clas ns. In mo mid to low New Orlea in t ic tr is d l t e a natura e red ligh cians wer born at th si u m zz ns ja They New Orlea ronment. cases, the by the envi ed ld o m for that were e only way musicians that was th se au ec b em to t, augh vented th were self-t ity and pre n ig d r ei aintain th ute. them to m or prostit inal, slave, im cr a e becom ly cians most , jazz musi ia es n o d Indo e in In per class Meanwhil young up y, et ci so the elite . These g, Jakarta came from d Menten n u o ar d. d o live swing ban Dutch wh party with ce an d e a ally held when som group usu e serious am ec b y, obb nds, ted as a h e Netherla What star me from th ca s an ci nal musi professio , and Italy. Philippines nly a few ere was o States, th ed it n music. U e th kground in Just like in ademic bac ac an ned ad who h it who lear musicians k Mamah ic N e er w e ho took a few, ther bi Chen w To name erdam, Bu st m A a in rvatory who took at a conse ill Saragih B d an , n o oston. l piano less f Music, B a classica College o e le k er B ass at written cl
29 — 30
JACK LESMANA
Jack Lemmers was born in Jember, October 18, 1930. His name was then changed by Indonesia’s first president Bung Karno to Jack Lesmana. He was a self-taught musicians but had the courage to establish a jazz music school. It was then developed with the help of his son Indra, and other musicians like Candra Darusman and Benny Likumahuwa.
Many jazz musicians claimed to be Jack’s apprentice. Jack was known for his idealism and persistence in music. Aside from performing with Indra, Jack also held several jazz event on stage and television.
Despite all the effort, Jack felt underappreciated and outcasted in his own country. He decided to sell his house and join his son Indra who got a scholarship in Australia. Fortunately, the crowd was better there and Jack got the appreciation he deserved. Aside from teaching, he was also learning with fellow musicians. In early 80s, Jack came back to Indonesia. Homeless, with just a guitar in his hand, he stayed at a hotel and payed
In addition to playing guitar, he also played bass, trombone, and joined a band named Irama Samudra with Maryono (clarinet), Andy Sayifin (alto saxophone), Lody Item (guitar), Suwarto (piano), Tuharjo and Kadan (trumpet). Later on, Jack along with Maryono and Bubi Chen formed Jack Lemmers Quartet which eventually changed its name to Jack Lesmana Quintet.
Jack Lesmana Quintet often performed at RRI Surabaya. Jack also joined the Marine Music Associate in Surabaya. He formed Band Gema Irama in Jakarta and made some jazz recordings under Irama Record.
Jack Lesmana died at July 17, 1988 from liver cancer
INDONESIAN — JAZZ — MOVEMENT
the rent by playing jazz there.
31 — 32
BUBI CHEN At the age of 5, Bubi was taught by Di Lucia, an Italian piano teacher. “I don’t know how Di Lucia could teach me at that time,” said Bubi. He wasn’t able to read, let along understand, musical notes. He then learned classical piano with Josef Bodmer, studied Mozart, Beethoven, and Chopin. One day, Bubi was caught by his teacher playing jazz arrangement. At the end of the
true calling. Therefore, study that whole-heartedly.”
Bubi learned jazz through a written lesson in 1955 to 1957 at Wesco School of Music, New York. In Surabaya, Bubi formed a jazz group named The Circle. He also joined the infamous Indonesian All Stars.
Aside from playing solo, Bubi was also known for playing alongside jazz singer, in recordings and shows. With jazz, he could travel around Western Europe and Asia. In 1967, Bubi with Jack Lesmana, Maryono, Jopie Chen, Benny Mustapha, and Kiboud Maulana, joined Indonesian All Stars and then performed at Berlin Jazz Festival in Germany. At the same time, he also took part in recording Djanger Bali.
INDONESIAN — JAZZ — MOVEMENT
lesson, the teacher told him, “I know that jazz is your
BENNY LIKUMAHUWA
Benny was born in Kediri, June 18, 1946. His talent came from his mother who played guitar and sing. Since he was little, Benny liked to play with kitchen utensils and used them as if they were drums.
Growing up in his teenage years, Benny learned music and musical notes by himself. Then, he formed a Latin style band in Ambon. At first, he was playing bongo. But then he saw that bass played an important role in a band. Later on, bass became his main instrument.
After watching The Benny Goodman Story movie, Benny started to feel interested in jazz. He replaced bass with clarinet, saxophone, and finally trombone.
33
Before he was into music, Benny wished to be a sailor
—
— like most Ambonese — so he went to a navigation
34
school and sailed. One day he arrived in Bangkok and met Bill Saragih. The meeting eventually led Benny to get back into music.
In mid 70s, Benny joined the Jazz Riders with Didi Chia, Oele Pattiselanno, Jack Pattiselanno, and Perry Pattiselanno. After that he joined Jack Lesmana Combo. But before that, he was once played with rock group The Rollies.
In early 80s, Benny joined Ireng Maulana All Stars. Aside from that, he also played as a freelance with other bands while teaching some jazz groups.
In 1978, he formed Ireng Maulana All Stars with
Jakarta, June 15, 1944. His musical talent came
8 other musicians like Benny Likumahuwa
from his guitarist father and mother who was
(trombone), Hendra Wijaya (piano), Maryono
a singer and pianist. Until teenager, he didn’t
(saxophone), Benny Mustapha (drums), Karim
have any interest in music. It was all until his
Tes (trumpet), Roni (bass), and Ireng himself
older brother, Kiboud Maulana influenced him
(guitar and banjo).
to play guitar. The group kept growing until they established His desire to play guitar made him went
Ireng Maulana Associates, an organization
overseas for a few years. He learned at the
for jazz musicians in Jakarta. With this group,
City Line Guitar Centre, United States. After
Ireng held the international Jakarta Jazz
that he continued to study at Konijnklijk
Festival and contributed at the North Sea Jazz
Conservatorium, Den Haag, Netherlands.
Festival, Netherlands.
INDONESIAN — JAZZ — MOVEMENT
IRENG MAULANA
Born as Eugene Lodewijk Willem Maulana in
35 — 36
BENNY MUSTAPHA
Born in September 22, 1939, Benny Mustapha
Along with Jack Lesmana, Benny held a
learned to play drums at the age of 18. His
regular jazz event at Taman Ismal Marzuki,
teacher was Bart Risakotta, a drummer who
Jakarta. Then, he played dixieland at Hotel
once played with Nick Mamahit trio. He started
Borobudur with Didi Chia, Jack Lesmana, Oele
to play professionally when he joined the bad
Pattiselanno, Benny Likumahuwa, Trisno, and
Quinta Nada in 1957. 5 years later he went to
many more. He also joined the Ireng Maulana
the United States. A year after that, he joined
All Stars.
the World Fair in New York and then travelled across Europe and Africa.
Benny was one of a few drummer who was able to play with brush. With Maryono, Jack Lesmana, Jopie Chen, Bubi Chen ,and Kiboud Maulana he joined the Indonesian All Stars. They rehearsed frequently for a year and eventually went to Berlin Jazz Festival in 1967.
His love for music was unquestionable. He
some of his college friends. In a few of
willingly left his steady job at City Bank Jakarta
Chaseiro’s recordings, Candra gave a touch of
for music, eventhough he was already at a
jazz to their songs.
higher position. Candra chose music as his way of life.
Candra Darusman was one of the initiator of Jazz Goes to Campus when he was only a
Candra led a company that produced music
student at the Faculty of Economy, University
jingle for commercials, and also active in
of Indonesia. From that time, jazz was
copyright institution. An institution that stand
spreading in the New Order Campus.
up for musicians’ right, morally and financially.
In 1986, Candra joined the jazz fusion group Karimata with Erwin Gutawa, Aminoto Kosim, Denny and Budi Haryono. At the same year they also performed at the North Sea Jazz Festival.
INDONESIAN — JAZZ — MOVEMENT
CANDRA DARUSMAN
Chaseiro was the band that he formed with
EMBONG RAHARDJO Embong learned to blow a flute since he was a kid. His teacher was his own father, R. Sunarno, a flute player for keroncong RRI Surakarta. When he was 10, Embong already joined his father on stage.
37 — 38
In early 70s, Embong moved to Surabaya and joined Maryono and His Boys for 13 years. From Maryono, Embong learned to play saxophone. The group played frequently at Diamond, a night club owned by a famous businessman Alexander Wenas.
In the 80s, night club business was starting to fall apart, including the one owned by Alexander Wenas. With the club closing, Maryono and His Boys disband. Embong moved to Jakarta and met jazz senior like Jack Lesmana and a band with Ireng Maulana.
In 1994, with promotor Peter F Gontha, Embong made a recording under the name Embong Rahardjo Project. The producer for this recording was Michael Collina, who had handled musicians like Sergio Mendes, George Benson, and many more.
Karim also produced Didi Chia’s piano
career in Surabaya. He chose music as a
recording titled Rest & Rilex. He also played at
profession because of his family’s influence.
Hotel Borobudur Jakarta to play mainstream
His brother, Awat and Dullah Suweileh was a
jazz. Other than that, he performed at Jamz
conga, percussion, and drum player. In 1972,
club with a singer named Margie Segers.
Karim moved to Jakarta and joined with Jack Lesmana to accompany a singer at the show
With his drums, Karim helped the recording
Nada & Improvisasi by TVRI.
for several singers like Ermy Kullit with Ireng Maulana All Stars. He also played for Margie
From 1979 to 1981, Karim stayed in Australia to learn and play at jazz clubs while improving on his skill and experience. He bought his own drum set as an obligation for musicians in order to work there.
Segers, Rien Djamain, and Utha Likumahuwa.
INDONESIAN — JAZZ — MOVEMENT
KARIM SUWEILEH
Karim Suweileh was born and started his
MARGIE SEGERS Margaretta Gerttruda Maria, was already taken to the Netherlands since she was little. Listening to Ella Fitzgerald and Sherley Bassey made her learn how to sing jazz at the first place. She admitted to be the apprentice of musicians like Bubi Chen, Jack Lesmana, and Mang Udel. The comedian was the one who gave her the name Margie Segers.
39 —
In the 70s, she was known as a duet with his brother,
40
Jimmy. They both sang blues and were influenced by their parents who happened to be a musician.
In 1975, Margie once made a jazz recording with Jack Lesmana. “It wasn’t salable because it wasn’t commercial enough for the market,” said Margie. She more often sang at night clubs and upper class hotels like LCC, Flamingo, Maxim, and Hotel Indonesia. In 1980, she recorded an album titled Jazz Vocal Indonesia with Ireng Maulana.
INDONESIAN — JAZZ — MOVEMENT
Jazz is more than a minor chord progression.
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ALBUM
INDONESIA’S VINYL PRODUCER HAS BEEN KNOWN SINCE THE AGE OF COLONIALISM, THERE WERE CANARY, ODEON, AND HIS MASTER VOICE — ALL IN SURABAYA. THE FIRST JAZZ LP WAS RECORDED IN THE EARLY 50s BY STUDIO IRAMA.
HIGHLIGHT
41
by Irama recording company in the early 50s. It was played by a group called Irama Special Quartet, led by Nick Mamahit. The studio was owned by Suyoso Karsono, also known as Mas Yos. At that time, the studio was built in a garage at Jalan Gereja Theresia. Then eventually moved out to Jalan Cikini Raya.
INDONESIAN — JAZZ — MOVEMENT
The first jazz recording in Indonesia was produced
It’s safe to say that Irama Studio has produced some of Indonesia’s jazz legend such as Nick Mamahit, Mus Mualim, Jack Lesmana, Kiboud Maulana, Ireng Maulana, Sadikin Zuchra, Jopie Item, and Benny Mustapha to name a few.
43 — 44
Rindu by Nick Mamahit Trio and Bubi Chen &
Other than that, there is the government’s
Kwartet Instrumentalia LP recorded at Irama
recording studio in Solo called Lokananta.
Studio, Jakarta
They often record a more traditional genre like keroncong, the only jazz recording was by Bubi Chen and Jack Lesmana in 1959. When cassette rose to public’s knowledge, vinyl was slowly drowned in the market. In addition to the expensive price, vinyl was also not quite practical to be carried around.
In the 1990s, Karim Suweileh came out as a producer for Didi Chia in an album called “Rest & Rilex”. Ireng Maulana recorded the guitar from Oele Pattiselanno. Peter Gontha made the Bhaskara 85 records, Embong Rahardjo Project. Meanwhile, Indra Lesmana made a recording with Nebula jazz group in the U.S called “No Standing”. But before all that, in 1967, the legendary group Indonesian All Stars made a recording with Tony Scott called “Djanger Bali” under the MPS Record Label in Germany, and was never distributed in Indonesia.
recording of Djanger Bali with Tony Scott in Germany (left) Djanger Bali’s 1967 LP cover (below)
Djanger Bali is categorized as a rare album. It’s also loved by Indonesian jazz enthusiast for the memory that brought by Indonesian All Stars when they traveled across Europe. At October 27, 2015, exactly 48 years after the first recording, Demajors Independent Music Industry officially announced that Djanger Bali is ready to be released in CD format.
INDONESIAN — JAZZ — MOVEMENT
Jopie Chen (contra bass) and Maryono (saxophone) during the
EVENT HIGHLIGHT
JAZZ FESTIVALS HAS BEEN AROUND SINCE A LONG TIME AGO, IN MANY PLACES ACROSS THE UNITED STATES, EUROPE, AND AUSTRALIA. INDONESIAN JAZZ MUSICIANS ALSO PERFORMED THERE, AND EVEN ESTABLISHED THE FIRST JAKARTA JAZZ FESTIVAL. 45 — 46
I
ndonesian jazz musicians had performed in many
international jazz festivals. For example, in 1967, Indonesian All Stars’ Jack Lesmana, Bubi Chen, Jopie Chen, Maryono, Benny Mustapha, and Kiboud Maulana performed at Berlin Jazz Festival in Germany with Suyoso “Mas Yos” Karsono as their promotor. In 1985, under Peter F. Gontha’s initiative, Bhaskara Band — Bambang Nugroho, Karim Suweileh, Dullah Suweileh, Uddin Syach, Kiboud Maulana, Luluk Purwanto, Didi Haju, and Perry Pattiselanno — performed at North Sea Jazz Festival in Den Haag for the first time.
INDONESIAN — JAZZ — MOVEMENT
Back in Indonesia, the jazz fever kept on spreading everywhere. Since 1988, there was Jakarta Jazz Festival (also known as JakJazz) that had many world class musicians performing from countries like the United States, Australia, Europe, Japan, and Philippines. Apart from all the big international caliber festival, jazz was also spreading sporadically at universities like Bandung Institute of Technology, University of Indonesia, and Gajah Mada University.
The People
His full name was Suyoso Karsono. After
Behind The
graduating from a marketing school in
Stage
1942, he joined Tjodantjo, then became a pilot for the national Air Force, and later on he retired in 1952.
The person who was often called The Singing Commodore was inseparable with Indonesian jazz scene. He built Irama studio in his garage and then made the first jazz recording with Nick Mamahit, Dick Abel, Dick van der Capellen, and Max van Dalm. Later, he also recorded Bubi Chen, Jack Lesmana, and Mus Mualim.
47 —
Mas Yos gathered musicians like Jack
48
Lesmana, Bubi Chen, Maryono, Benny Mustapha, and Kiboud Maulana to rehearse at his house for a year, night and day. The group which was called Indonesian All Stars was preparing for Berlin Jazz Festival in 1967.
His love for music encourage him to established Elshinta Radio in Jakarta.
MAS YOS
It was also the first private radio that had its jazz segment. After that, he initiate the FM stereo radio Suara Irama Indah that also aired jazz songs.
PETER F. GONTHA
Peter F Gontha is a businessman who, not only loves jazz, but also willing to support financially to pay several jazz events. He sent Indonesian jazz musicians to the North Sea Jazz Festival in 1985. The 1948 born was also good at piano and often played with jazz musicians in a club and events held at his own house.
INDONESIAN — JAZZ — MOVEMENT
Peter’s involvement in jazz was whole-heartedly. In 1992, he established a jazz club named Jamz in Kebayoran Baru, Jakarta. He also restored a student radio and turned it into a jazz radio for college students. Apart from sponsoring, Peter also sent local musicians who had a big potential to learn and improve their skill overseas. The lucky musicians were Uddin Sach, Bambang Nugroho, Embong Rahardjo, and Didi Hadju.
Indonesian jazz movement was affected by the political situation. In 1960s, jazz was played in secret, to prevent them being called an imperialist. 49
Maryono, Uddin Syach, Embong Rahardjo, and
—
Benny Likumahuwa at North Sea Jazz Festival, 1990
50
From
Festivals To
Clubs
Even in an uptight condition, there were still promotors who daringly brought famous jazz musicians and held a big show. An institution for American - Indonesian cultural partnership, presented one of the big names, Tony Scott.
The same institution also invited Buddy Rich, the famous drummer at that time. There was also Mike Manieri, a vibraphonist. These musicians once played at Studio Lima RRI, Jakarta. At that time, RRI was the place for musicians who accused jazz to be an imperialist’s music.
In 1980s, after the emerging of Perhimpunan Jazz Indonesia, jazz events that were slowly disappear started to came back to the surface. Jazz began to be heard at 5-star hotels in Jakarta. And then there was Himpunan Penggemar Jazz Indonesia. That was the manifestation from people who were unsatisfied with PJI that they claimed deviated the real aim of jazz event.
INDONESIAN — JAZZ — MOVEMENT
Jazz Riders at Jamz Club Panglima Polim, 1990s
Jakarta All Stars in a preparation gig for the 1997 North Sea Jazz Festival in Den Haag.
Benny Likumahuwa (trombone), Uce Haryono (drums), Eka Bakti (keyboard), Didi Chia (piano), Kiboud Maulana (electric guitar), Yance Manusama (electric bass), Embong Rahardjo (alto saxophone)
JAMZ CLUB A businessman named Peter F. Gontha eventually merged into the jazz scene as a financier. This lit the sparks for the young jazz musicians to play jazz, especially with a touch of fusion. Peter Gontha established Jamz, a club located in Jakarta that played jazz exclusively. Jamz also invited foreign jazz musicians such as Bob James,
51
Chick Corea, and Keith Jarret.
— 52
Chick Corea at Jamz Club Jakarta, 1994
JAMZ Matra Big Band for Graha Bhakti Budaya Taman Ismail Marzuki, May 1996
BLUE NOTE with the presence of Blue Note, an influential jazz club from New York. This club also host shows for world class jazz musician and singer like Sadao Watanabe and Astrud Gilberto.
INDONESIAN — JAZZ — MOVEMENT
Jazz scene in Jakarta grew even bigger
53 — 54
Maryono (saxophone), Lodi Item (guitar), Wiharto (flute), Awat Suweileh (bongo), 1960s
Jazz in
Surabaya
Jazz expansion in Surabaya had a close
For economic consideration and the
relation with Surabaya being the marine
growth of their music itself, many
base in the Netherlands and Japan’s
Surabaya’s musicians moved out to
colonialism. At parties, foreign military
Jakarta or other big cities. To name a few,
who were good at playing music often
there were Jack Lesmana, Maryono, Awat
joined a jam session. That was a chance
Suweileh, then followed by his brother,
that couldn’t be missed by Surabaya’s
Dullah and Karim. Including Abadi
musicians to improve their knowledge
Soesman, Pattiselanno brothers, Andi
and performing skill.
Syaifin and many more.
INDONESIAN — JAZZ — MOVEMENT
Surabaya is the biggest port city, and had been the navy bases for Netherlands, England, and Indonesia. This city provided many entertainment places and work fields for musicians.
Jazz in
Bandung
55 — 56
Since the Japan’s colonialism ended, Bandung turned into a sea full of talented jazz musicians. From this city we had: Eddy Karamoy, Sadikin Zuchra, Hasbullah, Iskandar Erom, Benny Corda, Leo Masengi, Benny Pablo, Dolf Kornmann, Bram Sutisna, Tatang Yogasara, Boy Hager and many more. Few years later there were Elfa Secioria, Benny Likumahuwa, and Oele Pattiselanno who expand his experience in music in Bandung.
Jazz in Bandung became huge with the help of intelects/academics from Bandung Institute of Technology. They often brought not only local musicians but also international musicians such as Tony Scott.
KLCBS Radio is the only station in Bandung who was bold enough to claim jazz as their main signature. It all started from a hobby and the love for jazz that came from Ir. Noekman and Ir. Soedibyo who later aired mainstream to fusion jazz.
INDONESIAN — JAZZ — MOVEMENT
Bandung is one of a few cities that has many talented jazz musicians. Even some of them eventually became the leader in Indonesian jazz movement.
INNOVATION
RISING THROUGH THE CLICKS, SHINING THROUGH THE SCREEN.
INDONESIAN — JAZZ — MOVEMENT
THE DIGITAL GENERATION:
ARTIST HIGHLIGHT
There are young rising musicians in every medias you go through. TV, radio, your local gig spot, and most importantly, the internet. Talent show, school, and cafes seemed to be the only way for someone to be scouted. Now, they could be spotted through your internet connection.
As technology develops, so does the invidual musicians who are utilizing the current technology at its best. One experiment after another eventually
59
generate a more youthful color of jazz.
—
Although fusion has existed for a while,
60
this new generation that society called “the millennials” seems to excel at that aspect. They even have the courage to elevate and incarnate jazz without losing respect for the older generation.
The New
Jazz Cats
TR
Jordy often joins collective projects. He usually performs alongside other young rising musician at events like Mostly Jazz to the big Java Jazz Festival. The 1993 born trumpeter is now among Indonesia’s best newcomers in jazz.
Jordy Waelauruw at Indonesian Jass Festival, August 2013
INDONESIAN — JAZZ — MOVEMENT
Jo UM rd y W PE ae T lau ru w
Generation
The Balinese drummer has been playing in the
DRUMS
jazz field for a long time. But 2010 is when his
Sandy Winarta
name sky rocketed as he joined group like LLW (Lesmana Likumahuwa Winata) and made his own group, Sandy Winarta Quartet.
Other than that, he has released a new album with his old group Sarimanouk which accepts nothing but great feedback. Sandy Winarta at Java Jazz Festival, March 2011
61 — 62
VOCALS Dira Sugandi People first noticed her when she sang “Lucky” alongside Jason Mraz at Java Jazz Festival 2009. Long before that, she was a cafe singer and later discovered singing along in awe to Incognito when they held a concert in Bandung.
Eversince then, she has been a golden girl to Jean-Paul “Bluey” Maunick, the leader of Incognito. And eventually signed a recording contract in the U.K, Expansion Records Dira Sugandi at Mostly Jazz, July 2011
The Heirs JAZZ IS THEIR BIGGEST HERITAGE.
VOCALS Eva Celia
after finishing her school in the U.S. The bloodline of Jack and Indra Lesmana is known for her talent in singing and often sings lovely tunes from Billie Holiday to the new faces of R&B.
Eva Celia at Indonesian Jazz Festival,
Her father’s music influence is clearly
August 2015
shown and Eva can always handle the pressure from people who look up to her as the daughter of Indra Lesmana. She recently released her first single titled “Reason” which she wrote by herself.
INDONESIAN — JAZZ — MOVEMENT
Eva came back to Indonesia circa 2010
BASS Barry Likumahuwa
Since he was little, Barry had been surrounded by talented musicians. His love for music grew since he discovered Benny
63
Likumahuwa’s electric bass and started
— 64
to play it. Benny saw the talent in his son Barry Likumahuwa at Java Jazz Festival, March 2015
but didn’t want to force him to play jazz. Eventually Barry fell in love with jazz.
Barry Likumahuwa at @america, October 2011
INDONESIAN — JAZZ — MOVEMENT
p in nshi a y m aft s wh is cr hat i h T . h e g c d hrou ente dien ise t r au g tal r e n g y u r n o r u y ms. n Ba ther or yo d whe albu le” f th o i s r b i i i w t) an e s d s up ojec e th “au r 2010 c o z r P u z e g d a a y ro mor ing j ahuw man out em p n m i h mak u d t d k n i e fi L ed volv ople help arry he in r pe P (B and e L s g B n n u icia was e yo mus band mad n y i l s a u m scio His bcon u s y the z. t jaz abou
65 — 66
PL FE Feel what you l y p a
— Barry
Likumahuwa
INDONESIAN — JAZZ — MOVEMENT
PL FE Play what you f e e l
— 68
THE RISE OF DIGITAL RELEASES FROM INDONESIAN JAZZ CATS. THIS IS THE TIME WHERE GETTING AN LP IS JUST A CLICK AWAY.
HIGHLIGHT
67
ALBUM
ALBUMS THAT SET THE HIGH STANDARD THIS DECADE
JOY JOY JOY Java Jazz
SARIMANOUK
Sarimanouk
NO WORDS W/H/A/T Quartet
Indro Hardjodikoro
LOVE LIFE WISDOM LLW
DAWAI IN PARADISE Dewa Budjana
RIOT Tohpati Bertiga
SURYA NAMASKAR
Dewa Budjana
GADIS SHANGHAI The Fingers
INDONESIAN — JAZZ — MOVEMENT
FEELS FREE
2009/2010 Indra Lesmana, Gilang Ramadhan, A.S. Mates, Donny Suhendra, and Dewa Budjana.
InLine Music/Demajors Independent Music Industry
2010 F.A Talafaral, Julian Marantika,
69
Doni Sundjoyo, and
—
Sandy Winarta
70 Demajors Independent Music Industry
2010 Sandy Winarta, Sri Hanuraga, Riza Arshad, and Indrawan Tjhin
Ragadi Record Label
2010 Indro Hardjodikoro, Demas Narawangsa, Lal Intje Makkah, Tohpati Ario Hutomo, Irfan Chasmala, and Oele Pattiselano
Indro Hardjodikoro/Demajors Independent Music Industry
2011
Barry Likumahuwa, and Sandy Winarta
InLine Music/Demajors Independent Music Industry
2011 Dewa Budjana, Shadu Rasjidi, Sandy Winarta, Sophia Latjuba, Ronald Fristianto, and Saat Syah
Demajors Independent Music Industry
INDONESIAN — JAZZ — MOVEMENT
Indra Lesmana,
2012 Tohpati Ario Hutomo, Indro Hardjodikoro and Adhityo Wibowo
Moonjune Records
2014 Dewa Budjana, Jimmy Johnson,
71
Vinnie Colaiuta, Gary Husband,
—
Michael Landau, Mang Ayi, Kang
72
Pupung, and Kang Iya
Moonjune Records
2015 Indro Hardjodikoro, Fajar Adi Nugroho, Andy Gomez, and Yandi Andaputra
Demajors Independent Music Industry
leg-a-cy | \’legesē\ INDONESIAN — JAZZ — MOVEMENT
something handed down down down down down down down down down down down down down from the past
EVENT HIGHLIGHT 73 — 74
FROM BIG STAGES OF THE ANNUAL JAVA JAZZ FESTIVAL TO THE INTIMATE SET OF MOSTLY JAZZ. INVITING BIG INTERNATIONAL NAMES TO THE FRESH AND YOUNG TALENTS.
2010s
is the season for all things trendy on social
media. It all started when someone post something and then reposted by another person and so on. Back then, the only way to promote is through word of mouth and medias like poster and radio program. Now, promotion is on a whole another level. A gig could easily tracked through the band’s social media accounts. This includes big event like Java Jazz Festival who also utilize the power of social media.
INDONESIAN — JAZZ — MOVEMENT
Since we are moving on to the digital era, information comes fast and easy. The internet really connects people with what they like and provide an access when they are separated by distance. Live streaming is a popular thing in this decade since people can watch performances, even the live one, through YouTube. Events like Java Jazz Festival, Mostly Jazz Jakarta, and Jazz Gunung each provide a channel so that people could watch and enjoy live performances wherever they are.
The annual jazz festival was the brainchild of Peter F. Gontha, who eventually initiated Java Festival Production to organize and bringing international musicians to Indonesia. At first,
J A AJAZZ V
Java Jazz Festival was intended to drew the world’s
attention to Indonesia through music among the
shadow of terrorism that hit the country years ago.
75 — 76
Every first weekend of March. JI EXPO Kemayoran, Jakarta.
F ES T I V A L
The very first Java Jazz Festival was held in 2005 at Jakarta Convention Center, Senayan. Approximately 45.000 people attended the three-day events at its first debut. Every year the number grow to a massive hundreds of thousands visitors. Because of that, Java Festival Production decided to move the venue to a much bigger place like JI Expo Kemayoran.
Java Jazz Festival provides an annual event for
It often becomes a place for reunions and tributes to Indonesian jazz legends.
INDONESIAN — JAZZ — MOVEMENT
Indonesian to enjoy world class musicians.
BRINGING THE WORLD TO INDONESIA TASTE THE SPIRIT OF JAZZ IT’S A
FESTIVAL FOR ALL
77 — 78
JAZZIN’ UP REMARKABLE INDONESIA JAZZ UP
THE WORLD HARMONY UNDER ONE NATION IN REMARKABLE INDONESIA
WHERE JAZZ FINDS A HOME BRINGING THE WORLD TOGETHER
HARMONY UNDER ONE NATION IN REMARKABLE INDONESIA
WHERE JAZZ FINDS A HOME
TASTE THE SPIRIT OF JAZZ
BRINGING THE WORLD TOGETHER IT’S A FESTIVAL FOR ALL JAZZIN’ UP REMARKABLE INDONESIA
BRINGING THE WORLD TO INDONESIA
INDONESIAN — JAZZ — MOVEMENT
JAZZ UP THE WORLD
Indonesian Jazz Festival was meant to connects jazz enthusiast and musicians, fresh faces and legends. This was also made to projects positive nationalism. The biggest hope is to unite the nation through
INDONESIAN
music, and more importantly to develop Indonesian jazz music
JAZZ FESTIVAL towards a better path.
79 — 80
They use the national flag
themed logo as a signature. They also held the annual festival in August, not long after the Indonesia’s independence day ceremony, at Istora Senayan. ALBA Production was the initiator and organizer. Apart from their two-day event, Indonesian Jazz Festival also held a pre-event that usually consist of an audition for young talented musicians.
JA SSss JA Z ZZ Z
whether it’s
it all comes down to the attitude
INDONESIAN — JAZZ — MOVEMENT
or
81 — 82
”
Indonesian Jass Festival still drew the attention of local jazz enthusiasts.
INDONESIAN — JAZZ — MOVEMENT
“
Aside from the slight procontra regarding the name,
Red & White Lounge is one of the manifestation to Indra Lesmana’s late father, Jack Lesmana’s dream in the past.
MOSTLY Z Z A J MOSTLY Z Z A J MOSTLY Z Z A J MOSTLY Z Z A J Z Z A J MOSTLY Z Z A J MOSTL Z Z A J MOST Z Z A MOS Z Z MO M Z
83 — 84
Mostly Jazz at Red White Lounge, Kemang
With local jazz talents performing 5 days a week
JAZZ JAZZ JAZZ JAZZ JAZZ JAZZ JAZZ AZZ ZZZ
for local jazz musicians with Mostly Jazz gig series since 2010. The schedule became more intense since October 2011. Changing from a weekly event to 5 times a week, Wednesday - Sunday. Some performers have repeated schedule, some would perform only once.
There is also a jam session later that night following every performances. Since November 2011, Mostly Jazz was accessible through live streaming. “Now everyone in the world could watch jazz in Indonesia Providing another renowned jazz club in Jakarta since 2010
through live streaming,” said Indra Lesmana.
INDONESIAN — JAZZ — MOVEMENT
JAZZ
MOSTLY
The jazz club used to be the gathering point
PICTURE CREDITS page
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Shunsuke Izumimoto
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Jazz Indonesia
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Private Collection
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Barry Likumahuwa Family photo album
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Private Archive
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David Tarigan
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Irama Nusantara’s Archive
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Demajors Independent
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Music Industry
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Online catalogue
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Er Moerad, Deded. Jazz Indo. Jakarta: Matra, 1995.
BIBLIOGRAPHY
Likumahuwa, Barry. Personal Interview. January 30, 2016. Tarigan, David. Personal Interview. March 3, 2016. “Sejarah Musik Jazz di Tanah Air.” September 6, 2010. https://www. facebook.com/notes/indonesian-music/sejarah-musik-jazz-ditanah-air/439459177365, March 1, 2016. Prasetyo, Bobby Agung. “Persembahan Ireng Maulana untuk Jazz Indonesia (Part 1).” March 23, 2016. http://www.djarumcoklat.com/ article/persembahan-ireng-maulana-untuk-jazz-indonesiapart-1, April 2, 2016. Wartakotalive. “Sejarah Java Jazz Festival Indonesia.” January 30, 2013. http://wartakota.tribunnews.com/2013/01/30/sejarah-java-
Kurniawan, Riandy. “Red White Jazz Lounge: December Calendar.” November 30, 2011. http://jazzuality.com/jazz-events/red-whitejazz-lounge-december-calendar/, April 2, 2016. Anggoro, Thomas. “Indra Lesmana Quintet membuka launching Red White ( Jazz) Lounge.” October 3, 2011. http://www.wartajazz. com/news/2011/10/03/indra-lesmana-quintet-membukalaunching-red-white-jazz-lounge, April 2, 2016. Kurniawan, Riandy. “The Resurrection of Phenomenal Album Djanger Bali (1967).” October 27, 2015. http://jazzuality.com/jazznews/the-resurrection-of-phenomenal-album-djanger-bali-1967/, April 2, 2016.
INDONESIAN — JAZZ — MOVEMENT
jazz-festival-indonesia, April 2, 2016.
AUTHOR’S BIO
Devi Merakati is a 1994 born student who spends most of her time in front of a laptop and taking care of her pet, Putin. Aside from her college duty, Devi is dealing with several projects. She once involved in “the murmur house” literary community as an art director. In 2015, she joined an art collective called “Buka Warung” and participated in some exhibitions.
Although publication was her main focus, she wishes to learn other fields like illustration, craft, or cinematography. On weekends she’s either hanging out or staying in. And on weekdays she could be seen around campus in the hope of becoming a Bachelor of Arts.