Video

This is the shortest VoW ever. Let it play and you’ll get absolutely no idea about Joey’s next album  ‘Countdown’ which will be released on 16th September:  you are ordered to ORDER NOW!!! (but not by IndoJazzia).

Whether you do or don’t is up to you, but once his 16 seconds of extra fame ends, you’ll have a wide choice you’ll have several lengthier examples of Joey’s outstanding gift for improvisation.

Update 26.7.16
You can watch a full performance of City Lights here.

First, a mini review of  the  launch of Erik Sondhy’s album of solo piano improvisations, Abbey Road Sessions, Vol.1, last Thursday (30th June) at Paviliun 28 in south Jakarta.

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Many familiar faces, and a few new ones helped set the mood for Erik’s showcase. His album is familiar, after all it’s the first on the IndoJazzia label and why we were at the gig.  He introduced each number, but once he became immersed in his keyboard, he/we discovered hidden depths to his muse. This writer, also of the album’s sleeve notes, realised that Vol.1 is intensely autobiographical, and Erik is without doubt a major talent.

[Note: Vol.1 is getting radio airplay in the USA, France and Japan, and All About Jazz, the major jazz website, will be posting the track ‘Hope’ as their Download of the Day. We’ll let you know on our Facebook page when that happens.]

Once his well-appreciated, absorbing set had finished, the regular Thursday night jam session began. Agam Hamzah, the guitar maestro in Ligro, is the coordinator-curator and quickly demonstrated his affinity with Erik, so much so that the floated notion of recording together may yet became a reality.

And then Nesia Ardi, a pint-sized bundle of energy, took the microphone and we were ‘wowed’. A powerful voice, clear diction, yet with scatting and varied phrasing, a familiar song such as Route 66 became much more than a karaoke cliché. The synergy with Erik and Agam produced a memorable performance, one which involved all of us.

She told IndoJazzia that for her “singing jazz is a passion, I don’t expect many people to buy my CD or pay a lot of money to see me singing; the only thing I really want is just to sing, not to impress but to touch and move people’s hearts because that’s what jazz does to me.”

We have chosen a video of a recent performance she gave in Jakarta. The sound quality and camera work is poor, yet there is a quality about her talent which shines through. She says that “it is my original composition with the chord progression commonly known as a 12 bar blues. I put new melodies and lyrics on it.”

Enjoy.

*In depth analysis/rant is here.

Llyn is 81, a noted artist and a totally original singer-songwriter, with children’s doggerel interspersed with politically-charged diatribes, all in simple rhymes. He’s also a one-man band unlike any other. His instrument is a homemade contraption called the Machine, a dense, wraparound nest of scavenged and invented instruments whose crowning glory is a clump of old-fashioned car and bicycle horns.

To play his original compositions, Foulkes squeezes the horns’ black rubber bulbs, triggers a drum with one foot, strums an electric bass with the other and picks up a pair of mallets to tap out a melody on a swirl of xylophone keys and cowbells. Sometimes he beats an empty plastic water jug. Oh, and he sings too. The results are both cacophonous and catchy, evoking the sideshow carny stylings of Tom Waits and the sound-effect-laden novelty songs of Foulkes’ first idol, the 1940s musical satirist Spike Jones.

At around 24:00 he plays a ‘tribute’ to that great drummer Gene Krupa. Yes, Llyn is a jazz man.

Lyle Mays has a ‘new’ album out. His Quartet of Marc Johnson, bass, Bob Sheppard, sax, and Mark Walker, drums, were recorded at a gig in Germany in 1993. In this interview, Lyle discusses how he chooses his band mates, and how he composes, and what’s different from his playing in the Pat Metheny Group.

It’s fascinating stuff, and not just for jazz pianists..

This week, IndoJazzia is featuring a Scandinavian quartet who should play at Java Jazz, but probably won’t. The four musicians have different backgrounds, and the music is a reflection of this. Prepare for surprises.

Following the untimely death in 2008 of pianist Esbjörn Svensson, his bandmates in his trio e.s.t. have forged their own paths. Magnus Öström, the drummer, has released two albums under his own name for the ACT label, the last being released in 2011. He has also played with a host of familiar names.

Tonbruket’s founder, upright bass player Dan Berglund has been more active on the recording scene, with three albums by Fire! Orchestra, and four by his group Tonbruket on the ACT label. The most recent album, Forevergreens, was released last month.

Over the course of their three albums, the Swedish band Tonbruket have comprehensively defined the part of the musical universe which they choose to inhabit: a world on the outer boundaries of unshockable prog rock, of uncharted avant-garde folk, and of the kind of jazz where the rule-book has been thrown away. Tonbruket have been able to put down a decisive marker of their identity because each of the members is such a strong individual musician. The band represents the meeting of four people who have already proved themselves in many different contexts, and who were pleased to bring all of the vast experience that they had gathered into this new situation.

Thanks to the Live Jazz Lounge for this (via email subscription).

PS. If you’ve got the time, there’s a full concert, two hours-worth, here.

+ A video of e.s.t. with Pat Metheny at his finest in 2003.