Dewa Budjana, with
Jimmy Johnson & Vinnie Colaiuta
Surya Namaskar
MoonJune Records
MJRO63 (2014)
Tohpati, featuring
Jimmy Haslip & Chad Wackerman
Tribal Dance
MoonJune Records
MJRO64 (2014)
It sounds like an intriguing musical combination. Take an
Indonesian guitarist, well-versed in Western progressive and fusion music yet
not forsaking the structures and sonorities of his native land; and pair him with
a rhythm section comprising a bassist who has played with Allan Holdsworth and
a drummer who has played with Frank Zappa. A rare concoction, right?
Not if you are Leonardo Pavkovic, whose MoonJune label
specializes in prog and jazz fusion with ethnic flavors and a flair for the
unusual. In 2014, he managed to release CDs from not one but two different trios
of the same ethnic and musical combination described above. That’s two extraordinarily
talented Indonesian guitarists fronting incredible trios.
Surya Namaskar
features guitarist Dewa Budjana, bassist Jimmy Johnson, and drummer Vinnie
Colaiuta. It was recorded in Los Angeles in September 2013. Tribal Dance features Tohpati (as he’s
billed) on guitar, Jimmy Haslip on bass, and Chad Wackerman on drums. It was
recorded in January and October 2013. In Los Angeles (except for one track
recorded in Jakarta earlier this year). For a city sitting on top of so many
fault lines, it was very risky having both these dynamic trios recording in
L.A. in the same year.
According to Pavkovic, “Tohpati has a very big profile in Indonesia, mostly
in the pop world as a top session player, composer, and arranger for many pop
stars. But Dewa Budjana is huge in Indonesia, his band, called GIGI, is one of
the most famous in the country. What I am able to capture of them on MoonJune
is maybe 0.5% of what they do in their careers.”
Of the two CDs, Surya
Namaskar is the more progressive-sounding, very muscular and daring with
the unexpected twists and turns one expects from a prog recording. Fully
instrumental (except for a vocal on the largely improvised “Kalingga,” which
also features Sundanese violin and harp), the album’s sound is fleshed out with
important contributions from such notable musicians as Gary Husband
(synthesizer on the King Crimson-esque opener, “Fifty”) and Michael Landau
(guitar solos on “Campuhan Hill,” which Dewa composed after his first meeting
with Holdsworth). The music is impressive and relentlessly energetic. In spite
of their power and ability, Johnson and Colaiuta show great restraint; each is
fully capable of taking over a tune or a session with their virtuosity (which
nevertheless is on display throughout, especially for Colaiuta on “Lamboya”
where he becomes a cyclone under Dewa’s restatement of the theme), but the
spotlight is firmly on Dewa throughout the CD and he shines.
Tribal Dance, in
contrast, is more of an East-meets-West affair, largely in the realm of jazz
fusion with ethnic influences. This trio is a bit more democratic, with Haslip
and Wackerman getting a few spotlights of their own; in particular, Haslip takes
a nice solo on “Run” and Wackerman turns up the heat at the end of the title
track, the middle of the following tune, “Red Mask,” and “Supernatural.”
Several of the songs open with exotic chants or percussion before leading into
the composition proper, as if Indonesia was setting the table for the American
musical feast to follow. The one exception is the closer, “Midnight Rain,”
which stays largely in the East (in fact, it is the only track recorded in
Indonesia). Tohpati is a very fluid and nimble player who uses effects
sparingly but effectively. One can detect traces of Di Meola and Scofield in
his playing, but he is very much his own artist.
If these CDs are any indication of the talent that exists in
Indonesia (the fourth most populous country in the world), more Western
musicians and labels should be heading out that way to mine the apparently very
rich veins of musical ability to be found. If they do go there, they will find
that Pavkovic has had a head start.
“There
is great talent in Indonesia,” he says, “but also great diversity. For example,
Tohpati is ethnic Javanese, from Java, so he has certain influences, both
genetic and musical, that might be different from Dewa, who is ethnic Balinese,
which is a minority in Indonesia. I am also working with Dwiki Dharmawan, a
well-known pianist and keyboardist; guitarist Reza Ryan from I Know You Well
Miss Clara, who has more European influences, such as Terje Rypdal, Jan
Akkerman, and Phil Manzanera; and two other guitarists, Agam Hamzah and Tesla
Manaf Effendi. They are all very different from each other.”
As for these two recordings, it is always nice to see the
trio format utilized; it is, in my opinion, the structure that requires the
most awareness, instinct, and communication among the musicians. In the jazz
world, some of the greatest recordings of all time have been made by trios, and
these two releases add considerable luster to the form. Both guitarists are
well worth watching out for.
