This compilation is posted in response to recent events here in Indonesia.

Jazz started out as dance music, then became a staple of concert halls, an entertainment.

That simplistic line omits one important ingredient: improvisation. When musicians are so completely in their zone that audiences have little choice but to follow, then magic happens. Such moments can be truly spiritual, albethey sadly rare.

The first time I went to a Pat Metheny gig, in London in 1982 (?), I didn’t know what to expect. We got sublime, saudade spine tingling melodies played acoustically, heard the fingers slide up the strings, loud synthesised orgasmic group singalongs, and Ornette Coleman free-formish what was that?

Being British, we applauded politely after each piece, some of which we recognised from the then few albums. None of us waved cigarette lighters (now camera-phones) in the air to say “Look at me, I’m at a Pat Metheny gig”, something which Americans posing as audiences are prone to do.

When they finished playing some of the tightest ensemble playing I had ever been privileged to witness ~ whoosh ~ the entire audience stood as one and roared for more. I still get goosebumps recalling that magic moment.

The group came back and stood at the front of the stage looked around, looked up, their arms around each others’ shoulders and you could almost hear their mutual thought ~ “What the f**k have we done here?” ~ as they realised that we had given them the ultimate accolade. They played another half an hour and seemed to surpass themselves. They knew we could take it.

More recently here in Jakarta, at the Tuslah gig when central Jakarta was in lockdown because Prabowo was having a hissy fit having lost the presidential election, and just last November at the Freedom Jazz Awards I felt similarly spiritualised. Tuslah played for themselves, were in their zone and we joined them. At the latter gig, Tesla Manaf, alone, got lost in his playing and we were lost with him, like rabbits caught in headlights, we were hypnotised.

As audiences, we’d been captured; entranced we entered the separate heavens created, not by gods, but by musicians seeking theirs through their playing.

Yes, there are many gods, and those who threaten us for not following their creed need to be told that they are worshipping a false idol … which is forbidden by their god!

©Terry Collins

It’s the fifth day of the fifth month …

for this compilation from IndoJazzia’s archives.

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01. Sidney Bechet – Four or Five Times
02. Hersal Thomas – The Fives
03. Jimmy Yancey – Five O’Clock Blues
04. Jack Duff Band – Five Miles Blues
05. First Avenue – Band Five
06. Guthrie Govan – Fives
07. Lenny Breau – Five O’Clock Bells
08. Giacomo Gates – Take Five
09. Pete Erskine – Jive Five
10. Keith Tippett Tapestry Orchestra – Fifth Thread
11. Neil Ardley – Rainbow Five

Trivia fact: fives is an ancient wall sport similar to squash, but hands, not racquets, are used.

While selecting tracks from the archives for the Jazz Waltzes For … compilation, several Blues For … tracks popped up.

And here they are:

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01. James P. Johnson – Blues for Jimmy
02. Tete Montoliu Trio – Blues for Perla
03. Sri Hanuraga – Blues For McCoy
04. Red Norvo – Blues For WRWA
05. Dorothy Ashby – Blues For Mr. K
06. Coleman Hawkins & Ben Webster – Blues For Yolande
07. Kenny Burrell & Jimmy Smith – Blues For Del
08. Count Basie – Blues for the Count & Oscar

09. Joe Pass – Blues For Basie
10. Herb Ellis – Blues For Janet
11. Charlie Byrd – Blues For Felix
12. Gerardo Núñez – Blues for Pablo
13. Django Reinhardt – Blues For Ike
14. John McLaughlin Trio – Blues for L.W.
15. NKRO Quartet – Blues For Wilarene
16. Joe Diorio – Blues For Jim Hall

fr. Wikipedia: The waltz (from German: walzer) is a ballroom and folk dance, normally in triple time, performed primarily in closed position. A jazz waltz is a waltz in jazz style, thus played in a syncopated 3/4.

Shocking many when it was first introduced, the waltz became fashionable in Vienna around the 1780s, spreading to many other countries in the years to follow. According to contemporary singer Michael Kelly, it reached England in 1791.

Given that early jazz was intended for dancing, it was inevitable that many of the first jazz recordings were based on foxtrots (video) and waltzes brought the previous century from Europe. Many dance crazes during the jazz age (the ‘Roaring Twenties’), such as the Charleston, were derived from dances brought from Africa by slaves shipped to America. Other dances arrived from Latin America: these included the tango, rumba, and samba.

The Jazz Age Waltz had a less directional and kinetic style with partners swaying back-and-forth or moving in a linear manner rather than pivoting around a circle. But partners still embraced.

It was inevitable that variations in dance steps would be developed, and given names as the waltz craze adapted to the cultures of the countries it passed through, However, it requires research beyond IndoJazzia’s competence to discover why there should be a French waltz called La Java.

In brief, the Java was a distinctly French Waltz variation danced to a bouncy 3/4 beat. The distinction between a Java and a Waltz was not a clear bright line. Bouncy moderate tempo Waltzes, which sound a bit like a Victorian Waltz-Mazurka, were definitely ‘Java’, but the film evidence suggests that individual styling and step choices were all over the map, with a lot of dancers doing their own particular favorite style to most any tempo, whether it be a Java type step or something else. (video)

With the excitement engendered through the twirling while dancing in an embrace, there is a romantic ambiance to the music. This is made even clearer when one looks at the titles; the composers often have someone in mind to compose for.

Perhaps the most famous jazz waltz of all is Bill Evans’ Waltz for Debby which was written for his niece. It was a track on his debut album New Jazz Conceptions released in 1957, and he continued to play it throughout his career. It continues to be an inspiration for jazz musicians and, indeed, is the reason for our compilation.

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Richard Thompson – Waltzing’s For Dreamers
02. Oscar Peterson – Waltz For Debby
03. Dudley Moore – Waltz For Suzy
04. Kenny Barron & Dave Holland – Waltz For K.W.
05. Tete Montoliu – Waltz For Nicolien
06. Iiro Rantala – One More Waltz For Michel Petrucciani
07. Eddie Palmier – Waltz For My Grandchildren
08. Gary Burton & Julian Lage – Waltz For A Lovely Wife
09. Ian Bellamy – My Waltz For Newk
10. Maurizio Brunod & Miroslav Vitous – Waltz For Joe
11. Mahavishnu John McLaughlin – Waltz For Bill Evans
12. Tony Bennett & Bill Evans – Waltz For Debby
13. Viktoria Tolstoy – Waltz For The Lonely Ones
14. Art Lande & Jan Garbarek – Waltz For A

Bill Evans, piano, with Chuck Israels, bass, Larry Bunker, drums

My title may suggest that you’re going to be invited to download a compilation of tracks by the likes of Balinese jazzers Dewa Budjana, Erik Sondhy, I Wayan Balawan and Kulkul, and those jazzers now resident on the island such as Indra Lesmana and Sandy Winarta.

But no, given that the ‘holiday island’ has long had a mystique among westerners, I’ve packaged up four versions of the Rainer Brüninghaus composition Bali.


1980. Eberhard Weber – Little Movements
Eberhard Weber: bass
Rainer Brüninghaus: keyboards
Charlie Mariano: soprano sax, flute
John Marshall: drums percussion

1983. Rainer Brüninghaus @ Neuwied, Germany 18.6.83
Rainer Brüninghaus: keyboards
Markus Stockhausen: trumpet
Fredy Studer: drums

1986. Masqualero – Bande À Parte
Arild Andersen: bass
Jon Christensen: drums
Jon Balke: piano, electric piano
Tore Brunborg: tenor saxophone, soprano saxophone
Nils Petter Molvær: trumpet

2002. Jan Garbarek Group @ Grieg-Hallen, Bergen, Norway 25.05.02
Jan Garbarek: sax, flute
Marilyn Mazur: percussion
Eberhard Weber: bass
Rainer Brüninghaus: keyboards

If you want more examples of Indonesian place names used in titles by westerners, there’s a compilation of exotica and prog-rock entitled Indonesiania posted here.

Like all unfamiliar forms of music, making discoveries is 99% percent of the journey.”

These words by Gordon Skene, host of the Past Daily blog, encapsulate what IndoJazzia is about, and particularly what goes into our compilations. When we start, perhaps with just one word in mind, we usually have no idea what the end result will be. And that’s half the fun.

‘Murmuration’ is one such word which popped up, and not a word you read every day. This photo is worth a thousand words of explanation …

That murmuration is a gathering of several thousand birds of a feather, probably starlings, flocking together in the evenings before settling in to their favourite roost in trees. Just as bats ‘flock together’ when leaving their daytime roosts in caves around the same time, what is happening is a collective defence against birds of prey: there’s safety in numbers.

Perhaps more relevant to a music blog is this image …

birds on a wire sing like a choir


01. Andy Summers – Low Flying Doves
02. Madeleine Peyroux – Fickle Dove
03. Natalia Mateo Turtle Dove
04. Lol Coxhill – Two Little Pigeons
05. Chris Cundy – Hello Pigeon (for Lol Coxhill)
06. Michael Naura – Black Pigeon
07. Jacob Karlzon Trio – Bye Bye Blackbird
08. Mara Rosenbloom – Red-Winged Blackbirds
09. Bill Frisell – Hawks
10. Marilyn Crispell & David Rothenberg – The Hawk and the Mouse
11. Miroslav Vitous – Eagle
12. Oregon – The Swan
13. Kenny Wheeler, Norma Winstone & London Vocal Project – Bereaved Swan

While you are waiting for the folder, have a listen to a dawn chorus in London.

Note: these birds aren’t caged and are pleased to greet the day.

It’s the fourth day of the fourth month, so here for you is the month’s round up of jazz fours.

I was in a calendar frame of mind, so the tracks are in chronological order of release.

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01. Paul Tremain and His Aristocrats – Four Four Rhythm
02. Edmond Hall’s Celeste Quartet – Jammin’ in Four
03. Lonnie Johnson – Four Hands Are Better Than Two
04. Ivory Chittison & Banjo Joe – My Four Reasons
05. Manhattan Transfer – Four Brothers
06. Kenny Graham – Four o’Clock Hop
07. Thelonious Monk – Four In One
08. John Abercrombie – Four On One
09. John Abercrombie & John Schofield – Four On Six
10. Misha Alperin – Fourth Impression
11. Avishai Cohen & Nitai Hershkovits – Four Verses.Continuation
12. Don Grolnick – The Four Sleepers
13. John Surman – Four Bridges
14. Michael Shrieve – Four Winds
15. Skydive Trio – Four Words

Trivia fact
Four is the only cardinal numeral in the English language that has the same number of letters as its number value.

Long before branding became something other a personal mark burnt with a hot iron onto cow hides and slave skins to determine ownership, record labels garnered loyalty due to the uniqueness of their artist rosters and the type of music record buyers could expect. Or maybe not, because the dawn of the 70s was a time of ‘new’ music, of ‘bulge’ (UK) and ”boom’ (USA) babies having a freedom to express themselves quite unlike any other generations.

For example, in the UK (and Jamaica) Island took Bob Marley onto international stages. and also brought us the likes of Traffic and John Martyn whose albums still sell nearly fifty years later. For a while Virgin, especially through its sub-label Caroline (1973-76), guaranteed interesting listening, as did the Harvest label which primarily released progressive rock recordings From 1969 to the mid-70s Vertigo released “prog-folk-post-psych” music.

All these labels, and others such as Deram, focussed on British acts, and the newly enfranchised record buying public weren’t particularly interested in the ownership of the companies. Richard Branson (Virgin), Chris Blackwell (Island) and Peter Jenner (Harvest) had impeccable taste, and noticing their label logos in record shop racks (or second-hand bins in charity shops) provoked the opening of our wallets.

That these labels have either folded or been subsumed into capitalist consumer conglomerates is a matter of record or nostalgia.

In 1969, while the above were building a record buying public in the UK, Manfred Eicher in Germany was creating a record label which to this day is still independent and continues to build an ever-growing and loyal following: his ‘Edition of Contemporary Music’.

In the pre-CD and internet days, when the postman still came to call, if you couldn’t get to a record store, or you weren’t sure what you wanted to buy, major record companies.issued ‘samplers’, compilations of tracks by artists they wished to promote. At just $1 for a single album and $2 for a double one, they were a bargain, especially as all it took was a coupon cut out from a magazine or newspaper filled in and posted off with a cheque. And who could resist one that was free, eh?

In 1980, Warner Brothers, who distributed ECM albums in the USA, added a double vinyl album of ECM tracks as one of their series of ‘loss leaders’. That meant that although they would barely cover the costs of producing them, they hoped to recoup their investment through the album sales of the artists they included.

You can learn more about the Warner Brothers loss leaders here.

Magazines often included a compilation CD with their issues, presumably in return for a paid advertisement, and the record companies also sent out ‘promo’ samplers to radio stations. And that is how we can now offer you three ECM ‘official’ compilations as a complement to the two already posted here which were sourced from the IndoJazzia archives.

Warner Bros/ECM 1980 ‘loss leader’ Music With 58 Musicians, a double album in one folder.

ECM Story 1969 – 1994 – a freebie with an Italian music magazine.

ECM Promo 1995, i.e. not for sale.

If you haven’t done so, please do download ECM A-J and ECM K-Z.

It’s the weekend, time to relax and maybe go to a jazz gig.

Of course, if you’re a jazz musician, this may well be the time when you’re busier than on other days. But hey, we all need breaks and who better than jazz musicians to provide them?

Here are sixteen interludes at an average of two minutes each.

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Jazz is viewed by many as the music of freedom, of creativity and emotion, yet it arose out of the stench of slavery and bondage.

Americans are proud of their heritage, and many are happy to proclaim that it is the home of jazz.  On February 26, 1917 in Chicago, the Original Dixieland Jazz Band, an all-white band from New Orleans, recorded Dixie Jass Band One-Step, for the Victor Talking Machine Company having previously auditioned for, and been rejected by, Colombia.  One-Step was a dance; on the other side of the shellac 78rpm disc is Livery Stable Blues, a foxtrot.

The previous dance ‘craze’ was ragtime, itself a hotchpotch of influences.

The ‘light rag’ was based on a dance called the Cake Walk which was performed at minstrel shows. This dance was based on a dance called the Pride Walk performed by black plantation workers, descendants of African slaves. This dance in turn was a parody of dances performed by their masters.”

The entertainers in minstrel shows were blacked up white people. This ‘tradition’ lasted until the emergence of the Civil Rights Movement in the 1960s.

The genesis of jazz was among African slaves who retained something of their music culture as they were transported across the Atlantic. Once started, jazz soon circled the globe and reached Batavia just two years later, in 1919. Local senior high school students started their own bands using sheet music and a few 78rpm discs to forge their sounds.

In 1928, they were treated to a real American “negerband“, that of the orchestra of drummer Jack Carter*, whose sound was much better than their scratchy recordings. But that’s another story.

Jazz and African music have both since transcended regional and political borders. Just four of the musicians who head up my compilation are (or were) African-Americans, and Jimmy Dludlu is the only musician whose music has left Africa rather than vice versa. He is South African, as is Steve Eliovsson but whose only album was recorded for the ECM label in Germany while he was living in the States. (Jazz recorded in Africa deserves a separate compilation.)

The late Johnny Dankworth was a major figure in the post WWII British jazz scene, and a mentor to many of the UK’s finest, including John McLaughlin and the recently deceased Kenny Wheeler and John Taylor, who played in his various bands. Dankworth also travelled widely and played with the likes of Duke Ellington, Benny Goodman,and Oscar Peterson. His 1961 recording of Galt MacDermot’s African Waltz peaked at No.9 in the UK Singles Chart, and remained in the chart for 21 weeks.

Of the rest, few need an introduction to the Americans Jack DeJohnette and Bill Frisell. Bass player and cellist Lars Danielsson is Swedish – check your ECM and ACT album sleeve notes. Accordionist Régis Gizavo was born in Madagascar and guitarist Nguyên Lê in Vietnam, while bass player extraordinaire Krzysztof Scieranski is Polish.

01. Jack DeJohnette w. Bill Frisell – Ode to South Africa
02. Johnny Dankworth Orchestra – African Waltz
03. Jimmy Dludlu – Afrocentric
04. Chico Freeman – Kings of Mali
05. Duke Ellington, Charles Mingus & Max Roach – Fleurette Africaine
06. Lars Danielsson – Africa
07. Régis Gizavo & Nguyên Lê – South Africa
08. Steve Eliovsson – Africa
09. Krzysztof Scieranski – African Cargo

* Jack Carter is seen and heard here singing Happy Feet in London two years later.)