All posts tagged jazz

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.)

In Indonesia there are some figures that without a lot of showy talk have contributed to the rise of a dynamic Indonesian jazz scene. Riza Arshad is widely recognised for his time, creativity, efforts and devotion to that cause.

A professional musician from the age of 15, Riza later pioneered many activities, such as workshops and curated evenings that gave room to the younger generation of jazz musicians to come to the fore. He worked tirelessly motivating them to create their own compositions and arrangements so that their music brought a special Indonesian colour to jazz music, not only here, but also worldwide.

A constant in his career has been the band which he founded in 1992, simakDialog. Constantly evolving, the group released seven albums, and played in countries as varied as Nepal and the USA. Local and international music critics and writers were universal in their praise.

Riza Arshad, our friend, teacher, and ‘brother in jazz’ passed away on Friday, January 13, 2017.

Companions in the music world and various media have been working together to organise a tribute evening called ‘Simak Dialog: Riza Arshad Berkarya‘. This event will be held on Wednesday February 22, 2017, at Gedung Kesenian (Jakarta Arts Building) in Pasar Baru.

•  simakDialog (Tohpati, Indro Hardjodikoro, Azfansadra Karim, Budhy Haryono, Adhitya Pratama, Endang Ramdan, Erlan Suwardana, Cucu Kurnia, Sri Hanuraga, Rudy Zulkarnaen, Mian Tiara)
•  W/H/A/T (Sri Hanuraga, Sandy Winarta, Indrawan Tjhin)
•  Tuslah (Sri Hanuraga, Azfansadra Karim, Elfa Zulham Syah)
•  Trio Gitar (Oele Pattiselanno, Dewa Budjana, Gerald Situmorang)
•  Trioscapes (Aksan Sjuman, Yance Manusama, David Manuhutu, Dony Koeswinarno)
•  Serambi Jazz Kolektiv (Mery Kasiman, Irsa Destiwi, Gerald Situmorang, Arnanado Putra, Rahel Pradika, Iwan Paul, Indra Bayu Rusady, Nicolaus Edwin, Ivan Nestorman)
•  Kroncong Tenggara (Ubiet, Dian HP, Dimawan Krisnowo Adji, Dony Koeswinarno, Jalu Pratidina, Adi Darmawan, Arief Suseno, Maryono)
•  Indra Lesmana Reborn (Indra Lesmana, AS Mates, Aksan Sjuman, Arief Setiadi, Iwang Gumiwan, Dewa Budjana)
MCs: Widyasena Sumadio & Otti Jamalus

The memory of things gone is important to a jazz musician.”
– Louis Armstrong

Joey Alexander’s nomination for two Grammy Awards has created a heightened international interest in Indonesia’s jazz scene, yet he is not the first child prodigy to emerge here playing jazz piano.

Jazz arrived in what was then the Dutch East Indies nearly a century ago, in 1919, and its entry represented a socio-cultural shift among the Dutch and Indo-European teenagers, much as the advent of rock ‘n’ roll did in the mid-fifties in the USA. Because nothing happens in isolation, it is important to consider why this was.

According to the second complete census survey of 1930, the population of Batavia population was 435,000, having grown from 306,000 in 1920, while the population of the Dutch East Indies was 60,727,233. Of these millions, just 240,417 were people with European legal status in the colony, and about 75% of those were ‘Eurasians’, the children of Dutch men who had taken ‘native’ wives for the duration of their contracts here.

There were also a number of foreign traders, including British, who were ‘in need’ of entertainment and amusement such as that experienced in Europe and the United States. This was provided by upmarket hotels which had their own house bands, theatres and a network of official Societeit Concordia which offered theatrical and musical performances with dancing at weekends.

Societeit Concordia at Weltevreden, Batavia 1910-1920

Jazz grew out of ragtime music (“ragged” rhythm) which originated in the red-light districts of African-American communities in St. Louis and was popularised by the publication of sheet music for piano performances by Ernest Hogan. Another African-American, Scott Joplin, registered Maple Leaf Rag in 1899; the earliest surviving recording of the tune is from 1906 by the United States Military Band. One can only guess at their marching routine when they played it.

Ragtime was popular in Batavia. For example, in May 1913 the Elite Cinema and Deca Park Theatre, which had live vaudeville acts, featured the American ragtime comedian and dancer Tom Richards, “who sang ‘How Do You Do, My Baby?’ and other American songs.”

On February 26th 1917 the all-white Original Dixieland ‘Jass’ Band (ODJB) recorded two sides of a shellac 78rpm disk, Dixie Jass Band One Step / Livery Stable Blues, which are considered to be the first jazz recordings. Ragtime went out of style.

Just two years later jazz, no longer ‘jass’, arrived in Batavia with the San Francisco-based Columbia Park Boys Club’s act – a group of 42 missionary boys. Their eclectic program included singing, dancing, “tumbling” (gymnastics), with marches and jazz played on cornet, trombone, trumpet, saxophone, with percussion. A reporter from the daily newspaper of the East Indies, Het Nieuws van den Dag, dismissed the Boys Club show as a “sort of cocktail entertainment”. Although he found it amusing, the “loud and noisy music” gave him “stomach cramps”.

fr.The Columbia Park Boys’ Club of San Francisco by Victor L. O’Brien, 1901

But the new music proved popular, particularly with older teenagers. As phonographs were already part of household furnishings the heavy shellac discs were brought into the country from, it is suggested, Shanghai via Singapore. Live music surfaced too in upmarket hotels whose in-house staff bands, known as ‘string’ bands because banjos and violins predominated, soon began to include jazz in their repertoires for matinee and weekend dances.

It wasn’t long before high school and vocational college students decided to form their own dance bands playing the new music. However, it wasn’t in Batavia but in Makassar, Celebes, now Sulawesi, that the first band was started. In 1920, W.M. van Eldik formed the Black & White Band with his violin playing 17 year old brother-in-law Wage Rudolf Supratman, now better known as the composer of the country’s national anthem Indonesia Raya. They played at weddings and birthday parties. (There’s a photo of the band in the Youth Pledge Museum on Jl. Kramat Raya, Central Jakarta,)

The Batavia Jazz Band formed in 1922 with a line up of six (!) banjoists, two C-melody saxophonists, a pianist, an acoustic bassist and drummer, all of whom had Dutch names. However, Pater who played the trombone and Geduld the cornet were possibly from Suriname, the Dutch colony in the Caribbean. All were amateur, but their influences stretched to Ted Lewis and Paul Whiteman as interpreted from sheet music.

The following year the band folded and two of the banjo players, brothers Wim and Piet Bruyn van Rozenburg joined with four other students at King Willem III School to form The Royal Jazz Band, but on violin and alto sax respectively. They took their name from Koningsplein (King’s Square, now Monas).

King Willem III School – the land in Jl. Salemba is now occupied by the National Library.

Another band on the scene at the time was prosaically called The Original Jazz Band. It is now notable for its drummer: Moh. Aroef was the first recorded Indonesian jazz musician.

In 1926, a number of Filipino jazz musicians enlivened the scene, and 1928 saw the visit of a real American jazz band, that of drummer Jack Carter touring south-east Asia after finishing a contract at the Plaza Hotel in Shanghai. Their live sound being so much better than recorded ‘platen’, they inspired the young local musicians.

A new band was formed at the end of that year with saxes, trumpet and trombone, with Moh. Aroef on drums. They secured regular gigs in the restaurant of the Deca Park Theatre (north side of Koningsplein) on Saturday evenings after the film show, and at the Railway Hotel whose manager was Paatje Vos. At the end of 1926 he became manager of the newly opened Tjikini Swimming Pool at the Zoo (now Taman Ismail Mazurki), and the band, now called the Swimming Bath Orchestra, played the Sunday matinees, which started at 11am.

The visitors first had a swim for half an hour and spent the rest of the matinee dancing to the lively music. At two o’clock they went home for their afternoon nap.”

Yes, it was a time of leisure for the very few.

Bands came and went as the personnel left school, were posted outside Batavia or returned to the Netherlands, so we jump to 1930 and the entry of Charlie Overbeek Bloem to the scene. Born in 1912, he was just six years old when he took his first step to fame by playing Paderewski’s Minuet in G at Schouwburg Weltevreden, now Gedung Kesenian.

Photo ©Tropenmuseum, part of the National Museum of World Cultures

Bloem was to prove a musical driving force not only in Batavia but also nationwide. At 18 he was leading a trio, the Jazz-O-Maniacs, which played in the King Willem III School hall. He was also a key player in The Silver Kings, named after a cigarette brand. They had gigs at élite hotels such as the Hotel des Indes, the Batavian Yacht Club and other society venues such as Societeit Concordia in Bandung., regularly broadcast live and radio broadcasts.

In 1936 the semi-professional band recorded two sides of a 78rpm disc for HMV, Dinah and Ma, He’s Making Eyes At Me, which, sadly, doesn’t seem to have survived.

In early 1938, Bloem resigned from the band and focussed as a solo pianist broadcasting live on Saturday nights on the government approved radio network heard throughout the archipelago. On December 7th, 1941, when Pearl Harbour was attacked, jazz in the Dutch East Indies came to an abrupt end as all able-bodied men were mobilised and despatched to their defensive positions to prepare for the Japanese invasion.

The next chapter in A History of Jazz in Indonesia began in late August 1945 when Charlie Overbeek Bloem was released from the Japanese internment camp in Bandung.
First published in the Indonesia Expat magazine.

Having posted Jazz Africa, I realised that perhaps the most important jazz album which explicitly addressed “the stench of slavery and bondage” was Max Roach’s Freedom Now Suite released in 1960. The lyrics were written by Oscar Brown Jr., who also sang about the issue of black freedom on his own albums, particularly Sin & Soul…And Then Some!! which was recorded the same year.

I haven’t to date posted an album on this blog because I hope my compilations encourage listeners to purchase the albums I’ve taken the tracks from: musicians deserve royalty payments.

However, I’m making an exception for the Freedom Now Suite because anyone who takes an interest in jazz, not only listeners but perhaps especially musicians, should be aware of the source of their muse.

Tracks (inc. sleeve notes)
01. Driva’ Man
02. Freedom Day
03. Triptych- Prayer-Protest-Peace
04. All Africa
05. Tears for Johannesburg

Sleeve notes only

West to East

Long before Indonesian musicians adopted western music forms, western musicians were influenced by Indonesian music forms, especially gamelan. Of note are classical composers such as Claude Debussy (1862 – 1918), Erik Satie (1866 – 1925), and Steve Reich  (1936 – )

Read this and listen to more examples of the influence of Indonesian music on the west. It has also been a trend in jazz. Of special note is Neil Ardley’s Kaleidoscope of Rainbows recorded in 1976 with noted British jazz and prog-rock musicians. It is largely based around the five note Balinese pelog scale. Listen here.

Download and enjoy these tracks.
1. Andy Summers – Umbrellas Over Java
2. Ana Alcaide – Debajo de los tilos
3. Don Cherry – Brown Rice
4. David Sylvian – Words With the Shaman – Part 3 Awakening (Songs From the Treetops)
5. Herbert Joss-Joe Koinzer Duo – Artetak
6. Food – Mictyris
7. Bill Bruford w. Ralph Towner & Eddie Gomez – Splendour Among Shadows