Dira J. Sugandi, WHAT A GIRL WANTS

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Sat, 06/06/2009 12:29 PM | People

Jazz singer Dira Sugandi might still be finding her way in the music scene, but she believes firmly that where there's a will, there's a way.

And she has the will.

About eight years ago, when British acid jazz band Incognito performed in Bandung, the then 21-year-old Dira stood in the front row, dancing and singing along with the band.

"I knew all of their songs so I sang along with the show," she recalls. "Then I was asked to sing on stage with the band. I sang *Still a friend of mine' and after that they asked me to go backstage after the show."

The next year, Dira was asked to sing with the band on their Indonesian tour of Bandung, Surabaya, Jakarta and Medan.

Incognito leader Jean-Paul "Bluey" Maunick told Asha Brodie from JazzReview.com "Dira turned up at one of our shows in Indonesia . in her early teens. She told me of her dream to one day sing with Incognito. When I listened to her demo, I realized that this kid was serious. So I told her to get her studies finished and work on her vocals and establish herself in her local music market as a performer."

Dira kept in touch with the band and when the band visited again in 2005, for the Java Jazz Festival, they invited Dira to sing with them in Bali and Singapore.

Since then Dira, now approaching her 30th birthday, has performed live with other acts, including the YellowJackets, Incognito, Keith Martin, and recently with Jason Mraz during the 2009 Java Jazz Festival.

"*She* has developed into a very strong live performer who is not afraid of a challenge," Bluey said of her occasional duets with the big names.

Dira did as advised and in 2006 finished her studies in classical music at Pelita Harapan University. The same year she flew to London on a self-funded trip to start recording her debut album at Angel Studios in central London with Bluey's help.

The album, with 12 songs, is a stylish and refreshing blend of R&B mixed with acid jazz, soulful house and bossa flavors, part of which was also recorded in Jakarta. The songs are sung in English, with two cuts Indonesian including "Kami Cinta Indonesia" (We love Indonesia) written by the late Harry Roesli.

Bluey brought Incognito collaborators Matt Cooper, Richard Bull, Simon Cotsworth and Ski Oakenful into the project, along with Dira's favorite male vocalist, Omar from the UK, to do a duet with her.

Although relatively new to the music scene, Dira dreams of going international, and points out that if Indonesian artists want to sell themselves to the world, they have to bring something special and "never compare *themselves* to Christina Aguilera or Beyonce".

"Who doesn't want to be like them? But just be realistic and don't offer something that the world already has."

Although aware of the possibilities if she pursues her music career overseas, Dira, who won the Indonesian Young Jazz Talent Award at the 2009 Java Jazz Festival, says she would prefer "to be still in Indonesia but known to the world".

"I have to be open to any possibilities and it might be a lot easier for me to move to England to become British singer, the way Anggun *C. Sasmi* became a singer in France. I'm not saying that Mbak Anggun didn't have to go through a lot of challenges before she succeeded," she hastens to add.

For all her faith in the power of will, Dira believes it is nothing without technique and talent to back it up. She still believes that the decision she made in 1997, when she graduated from Bandung's Taruna Bakti high school, to study classical music was the right move for her career.

"I had to choose to study classical music because that's all they have. But I've since found out that having skills in classical music is very helpful, especially for my vocal technique and ability to read music."

To bring more Indonesian flavor to Dira's album, Bluey also wrote a special song about Bali "Won't You Come with Me"; they plan to make the video clip for the song in Bali, she says.

Dira, who also collaborates with Dwiki Darmawan, Tollak Olstead and Andi Suzuki on the World Peace Orchestra project, says her album is in its final mixing stage, with mastering to be done in London after finishing recording in Jakarta.

Yet she confesses that despite her hard work, techniques, awards and performances with international acts, no Indonesian labels have offered her a recording contract. Taking up the challenge as always, Dira is optimistic that her debut album will make its way to the international stage.

"People who work with me have told me that although a lot of people will see me as a little Asian girl who knows nothing, I have to prove myself as a woman who has her own opinion and knows what I want," she says.

She says some independent labels familiar with Incognito in Japan and the UK have shown an interest in promoting the album, but she and her producer are waiting to see what happens with the major labels.

"We decided to produce my album first," she says. "Bluey believes we have pretty good material to secure a deal with a major label."

If not, she says, she will make her way without them. After all, where there's skill and a will, there's a way.

Jazz on the rocks with a twist

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Sat, 05/23/2009 1:25 PM | Entertainment

Jazz music is known above all for its complete flexibility, which is what makes it appealing to music lovers of all ages.

Jazz is popular all over the world these days and has the distinction of influencing all other kinds of music. Today, even electronic DJs and hip-hop artists include popular jazz music in their repertoires.

However, sometimes jazz is also overlooked as the kind of music you can dance to, with the emphasis instead falling on it being a serious listening experience.

In the wake of the decline of fusion jazz in the mid-1970s, jazz artists who continued to seek wider audiences began incorporating a variety of popular sounds into their music, forming a group of accessible styles that became known as crossover jazz.

The same expectation comes from Dji Sam Soe's Urban Jazz Crossover, an event that has been held in Medan, Bandung, Semarang and Jakarta, with another one to be staged at The Empire Place in Surabaya on May 29.

The annual jazz event, which started last year, blended various kinds of popular sounds in its new arrangements and improvisations, featuring musicians and singers for all kinds of music.

"We are seeking a wider audience, so we arrange the songs to be more familiar to non-jazz audiences," said music director Eki Puradiredja.

Unlike many jazz events which mostly invite foreign musicians, this event is really a local movement by local artists because all the musicians and singers are local.

"This is a new playground for many local singers and musicians to explore more about jazz music. We are not only providing opportunities for well-known artists but are also seeking new talented musicians and singers who need exposure," said Eki.

Among the talented newcomers are jazz singer Dira Sugandi who is about to release her debut album in collaboration with Incognito leader Jean-Paul "Bluey" Maunick, 20-year-old Indonesian-Filipino singer Skarmela Kartodirdjo, who released her solo album Star in the Philippines, keyboardist Ali Akbar Sugiri and drummer Rayendra Sunito.

"Some of them have exposure only in the limited jazz community," said Eki.

Because improvisation is one of the most important features of jazz music and the rate of improvisation is an indication of the music's quality, the jazz event has tried to include local content such as traditional Indonesian music in its musical arrangements, as well as exploring all kinds of sounds, ranging from semi-classical music, rap, Latin jazz, R&B, hip hop, dance and rock.

Among the 22 songs performed in the event, titled "Music you know with a twist", are Radiohead's song "Creep", which is performed by the progressive rock band Discus' singer Yuyun in sinden (traditional Javanese singing style) in collaboration with R&B singer Glenn Fredly in Cuban jazz style.

We can also hear U2's "Sunday Bloody Sunday" in two-step swing by rocker Andi/rif with the semi-classic vocals of Daniel Christianto and the strikes of rapper Pradana Rizky.

"The arrangement is absolutely different from the original song so I needed to tune in to the song but luckily I like being challenged. In the end, I decided to take part in this event because I enjoy the way I can sing in a different style," said Andi, who performs five songs in the event including his own hit "Raja", the Rihanna hit "Umbrella" and Coldplay's "Clock", which he sings in a big-band style.

Dji Sam Soe's brand manager Stephanus Kurniadi said so far the event had received an enthusiastic response from jazz lovers.

"We are satisfied that every show was marked with full audiences and, most importantly, they stayed till the end of the show," Stephanus told reporters ahead of the fourth show, held Friday at the Ritz-Carlton Pacific Place in Jakarta.

There are more artists this year than in last year's event, which featured only Maliq n D'essentials, Glenn Fredly, Andi/rif, Audy, DJ Cream, rapper Pradana Rizky and the Urban Jazz Crossover All Stars band.

"The only criticism we have received is about the duration of show, which some audience members have said is too short," Stephanus said.

Adopting and absorbing characteristics from the music of other cultures has become one of the defining traits of jazz music.

And perhaps because it has a form that is ever evolving, jazz has many facets, making it very difficult to define. In the mid-1970s saxophonist Grover Washington, Jr. started to incorporate elements of funk and R&B into a sound based in hard bop, singer Al Jarreau blurred the lines between jazz, pop and soul and Spyro Gyra injected their pop-flavored instrumentals with Latin rhythms and electronic keyboards.

Given this, it is only to be expected that events such as this could come along to satisfy the thirst for high-quality but marketable jazz music. Because, unlike the related genre smooth jazz, crossover jazz always retains an emphasis on improvisation but tries to make the improvisation commercially viable by couching it in a various marketable formats.

As Eki Puradiredja put it, "Our main concern is not the number of people in the audience but the quality of the show. An average number of audience members is enough as long as they are really willing to see and appreciate the show."

Major tobacco label digs into jazz music promotions

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Fri, 05/22/2009 1:22 PM | Headlines

Jazz is famous for being a completely flexible musical genre, allowing it to appeal to music lovers of any age, and any culture.

Jazz has sometimes been described as offering "a serious listening experience," rather than being the type of music one could dance to, but this is not always the case.

An annual five-city concert tour has been organized, this year aiming to draw bigger crowds to jazz by blending it with other music genres such as hip-hop, funk, pop, rock and even traditional Indonesian music.

After its first show last year, the Dji Sam Soe Urban Jazz Crossover is back with a tour titled "Music you know with a twist," the first three shows of which took place in Medan (North Sumatra), Bandung (West Java) and Semarang (Central Java).

The fourth performance will take place at The Ritz-Carlton Pacific Place in Central Jakarta on Friday, and the last will be at The Empire Place in Surabaya on May 29.

The Jakarta show will feature renowned singers including pop singer Ari Lasso, rocker Andi/rif, R&B singer Glenn Fredly, as well as newcomers including jazz singer Dira Sugandi (who is about to release her debut album in collaboration with Incognito leader Jean-Paul "Bluey" Maunick), and 20-year-old Indonesian-Filipino singer Skarmela Kartodirdjo who released her solo album, Star, in the Philippines.

"We are seeking a wider audience, so we have compiled music more familiar with non-jazz audiences," said music director Eki Puradiredja.

The Urban Jazz Crossover features no less than 22 songs would include more local and even traditional musicians, claimed Eki.

"Imagine how fantastic it would be if Radiohead's song *Creep' was presented in traditional Javanese vocals combined with Cuban jazz style," he said.

Dji Sam Soe brand manager Stephanus Kurniadi said so far the event had received an enthusiastic response from jazz lovers in the first three cities.

"We are satisfied that every show has been booked out, and most importantly audiences stayed until the end of the show," he said. "The only criticism we have received so far is that the shows have been too short."

Franki Raden: Building cultural bridges

Matheos Viktor Messakh , THE JAKARTA POST , JAKARTA | Tue, 03/31/2009 11:29 AM | People

JP/R. Berto Wedhatama

Franki Raden knows what it’s like to see the world from the other side.

With extensive experience and more than 16 years studying and lecturing around the world, he has earned the authority to judge the social engineering of Indonesia’s art and culture.

He agrees that the country’s indigenous art and culture have been abused by the state for propaganda about our heritage, but he does not agree that foreign scholars and artists should be permitted to exploit or study that heritage without contributing anything to its preservation.
“After all this time, we are so proud of our traditional art and cultural richness, we talk about it all the time, everywhere, but we do nothing about it,” Franki says.

“On the other hand, many scholars and foreign artists come here to learn about us. Some take their material from our culture and built their portfolio and work without even mentioning Indonesia.”

Concerned that the country’s art and culture were being undervalued by Indonesians and exploited by outsiders, Franki and his colleague Serrano Sianturi founded the Sacred Bridge Foundation in Jakarta in 1998.

“My concern is with empowering people who have been living with their culture for hundreds of years. It’s so ironic if these people have tremendous expertise but they can’t make a living out it,” he says.

“Why is it people who study computers for five years can make a living out of their expertise but not these people?”

The foundation has attracted the attention of many people concerned about the preservation of world culture, including Japanese national living treasure Tsutomu Yamashita, who become chairman of the advisory board of the organization, and the former director of Unesco Jakarta, Stephen C. Hill, who is a member of the advisory board.

Franki, whose real name is Franki Suryadarma Notosudirdjo, is an ethnomusicologist, composer, cultural critic and multimedia artist who has received numerous awards and fellowships from prestigious research and arts institutes including the Social Sciences and Research Council (SSRC), The Ford Foundation, The Henry Luce Foundation, Asian Cultural Council, The Arts Council of Jakarta (DKJ) and The Indonesian Film Festival (FFI).

Franki finished his studies in his music composition at the Jakarta Art Institute (IKJ) in 1986. Two years later, he became a visiting artist in New York sponsored by the Rockefeller Foundation. He later studied composition with Chou Wen-Chung at Columbia University and Stephen Dembski at the University of Wisconsin-Madison, where he earned his PhD in 2001.

His research has always focused on issues at the intersection of the arts, religion, the media and politics in Asia, as well as colonial arts and culture in Indonesia, and Asian-American contemporary arts. He spent two years researching jazz in the Afro-American community in Chicago, as well as teaching in the Fine Arts Cultural Studies program, at the Faculty of Fine Arts at York University in the UK and the Visual and Performing Arts program at the University of Toronto in Canada.

His studio work, which demonstrates his strong interest in combining elements from both Western and non-Western cultures, has been performed in Indonesia, Japan and the United States.

After years overseas, Franki decided to bring his family back to Indonesia, stopping for one year at the National University of Singapore, where he was a lecturer on studies in Asian Art and Popular Culture in Southeast Asia.

During his 10 years of back and forth to Jakarta running the Sacred Bridge Foundation, Franki and his colleagues designed and organized numerous events on a global scale, such as the legendary Sacred Rhythm Festival in Bali and Kyoto, the Interfaith Music Clinic and Concert at Borobudur Temple, and Cultural Healing for the Tsunami Survivors in Aceh.

The foundation’s programs, all of which take an interdisciplinary approach, are based on four domains: Intercultural dialogue, cultural education for children, preservation of indigenous arts and capacity building.

Franki believes Indonesia has great potential to contribute to world music but that no significant steps have been made.

“It takes the whole continent of Africa to have a variety of music heritages but it only takes one country, Indonesia, to have a thousand musical traditions. Why shouldn’t we do something?” he says.

“We don’t want to just be hired as an instructor if one of our original instruments is taken by a foreign artist or institution.”

Franki said his long-term goal is to bridge groups or cultures around the world to bring about a better future. “Indigenous cultures everywhere are a huge repository for cultural values and civilization, but they have been neglected everywhere.”

The best way to approach these cultures as an ethnomusicologist, says Franki, is to become an insider and work with people to empower their culture. He himself once lived in a Dayak community in Tanjung Manis, East Kalimantan, to reinvent their long-defunct mouth organ, which was generally used in rituals.

“We are not going to represent anybody or any culture, because every representation has its own bias and that’s very dangerous.”

But, he adds, indigenous peoples should not be left to deal with these problems on their own.

“They won’t be able to solve their own problems because it has become too complicated, requiring a multidisciplinary approach. They need people who understand their problems, understand how the system works and help empower them,” he says. “Government
can play a role here. They can think of a system where the economy is integrated with art and culture.”

Mining the world's musical riches

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Tue, 03/31/2009 3:23 PM | Features

On the move: Musicians practice during a rehearsal session of the Rhythm Salad Music Clinic held at the National Gallery Jakarta in 2008. Eighteen people from various musical backgrounds, both traditional and modern, gathered for a few days to find new possibilities for musical practice. (Courtesy of The Sacred Bridge Foundation)

In a world stuck in a musical rut, the rich traditions of Asia - especially Indonesia - could provide fresh ideas, with one group of musical experts setting out to make that happen.

Ethnomusicologist Franki Raden, who has spent more than 16 years studying and teaching world music both in Indonesia and abroad, says the world is waiting for a feed from Asia, especially from Indonesia, as artists in North America and Europe stagnate, regurgitating similar ideas in their work.

"Indonesia should make a larger contribution to world art and cultural heritage," Franki said.

He points out that Indonesian artists and musicians rarely come up with new work based on the country's tradition heritage, and that any such work rarely attracts international attention.

Only a few artists now in Europe or North America have been able to produce relatively new, interesting and original ideas and work, he said, adding that critics who have recognized and spoken out about this stagnation tend to be alienated by the larger community, "especially in Europe, with its old establishment, *where* new ideas are not easily accepted."

Indonesia, he said, should stand up and be heard on this point. "We should come up with something original but which has a global impact."

But this issue, he added, is too complicated and too big in scope to be managed by a few concerned parties.

"It is impossible to let it become the concern of a few countries or people only. We need collaboration between people who realize the importance of reformation in the musical world."

The concern about the lack of innovation in music, said Franki, began sporadically in the 1970s, but getting people together to come up with a solution was not easy.

But neither is it impossible.

Involving children: Children learn Saman, a traditional Acehnese dance, during an event for the cultural and psychological healing of tsunami survivors at an art center in Gampong Pande in Kuta Raja, Banda Aceh. The program, called “Rising Above the Tsunami”, was held by the Sacred Bridge Foundation in 2006. (Courtesy of The Sacred Bridge Foundation)

The Sacred Bridge Foundation, which Franki established in 1998, is setting out to address the issue by holding a workshop and musical clinic with the aim of providing directives for musicians of the 21st century.

"Gaung: 21st Century Global Music Education", to be held at the Bali Classic Center in Ubud from April 23 to May 2, will bring together internationally renowned experts in music and music-related sciences and technologies.

During the 10-day program, the experts will share and discuss their work, visions and experiences, ranging across topics such as musical and spiritual practice, acoustic science and technology, and creative musical thinking.

Among the facilitators and gurus involved in the workshop are percussionist/composer Stomu Yamash'ta, French composer Jean Claude Eloy, acoustician and scientist Yoshio Yamasaki, jazz-rock pioneer Larry Coryell, Zen Buddhist monk Yamada Sosho, Sufi maestro Marzuki Hasan and Kejawen spiritual guru Sumarah.

Franki Raden said the workshop and the clinic would focus on music, but approach it from the perspective of multiple disciplines, such as "the science of music, performance of music, the business side or cultural economics of music and even the ritualistic side of music."

"We are trying to combine the very advanced side, which is science, and the spiritual side of music," he said. "As far as I know, this is something very new."

Training ground: Musicians practice during a rehearsal session of the Rhythm Salad Music Clinic held at the National Gallery Jakarta last year. (Courtesy of The Sacred Bridge Foundation)

As well as classroom sessions, field work and self-exploration, the musicians will rehearse for concerts to be held. The concerts will be performed by different groups of participants as a means of exploring new combinations, based on technical capability, musical orientation and interest.

The performances will be presented as works in progress, with live audiences invited to provide direct feedback.

Ubud in Gianyar was chosen as the venue because of Bali's long contribution to the development of modern music, starting with performances at Europe's 1931 World Exhibition - most of the musicians who participated in the exhibition came from Ubud.

Franki said that many foreign artists who drew on Indonesia's musical heritage or collaborated with local artists produced phenomenal work although "some did not even mention Indonesia as the source of their work", he added.

One such internationally acclaimed work is Robert Wilson's visionary piece I La Galigo, a dramatic work inspired by an epic poem of the Bugis people of South Sulawesi.

I La Galigo has been performed in famous theaters around the world, from its world premiere at Theatres on the Bay in Singapore in March 2004 to its last production at the Teatro degli Arcimboldi in Milan, Italy, in February 2008.

It was also performed at Het Muziektheater in Amsterdam, Teatro Espa*ol in Madrid, Les Nuits de Fourviere Rhone France in Lyon, the Teatro Alighieri in Ravenna, Italy, NY State Theater in New York, Teater Tanah Airku in Jakarta and Melbourne's State Theatre.

I La Galigo features a cast of 50 Indonesian performers, with the music researched and composed by Indonesian Rahayu Supanggah. The project was by a team of scholars, from Sulawesi and abroad, who advised on the development of the epic for the theater.

"So far, the people who have drawn on Indonesian heritage have not been Indonesian," said Franki. "This is because we don't see ourselves from the outside so we never know what our position is."

No one can predict the final output of the workshop and clinic, said Franki, but it is expected to alter participants' perspectives and deliver new ways of performing music, or even a new instrument.

"It doesn't have to be a mainstream at all. What is considered mainstream now might have been alternative once," he said. "We are initiating a new thing so we do not expect it to be popular straightaway."

AMONG THOSE AT THE WORKSHOP

Stomu Yamash'ta will speak on musical synthesis, including about the spiritual, scientific and technological foundations of music.

During his career, Stomu has experimented with various musical genres including rock, jazz, avant-garde experimental and world music. In the 1970s, he founded a super group called "Go" in Europe; the other members were Al Di Meola, Klaus Schultz, Michel Reeve and Steve Winwood. In the 1980s, he developed a stone-chime orchestra called Sanukit. Since then, he has devoted his life to practicing Zen Buddhism.

Composer Jean Claude Eloy will speak on possible directions for music in the 21st century in the context of East-West cultural encounters. In the 1970s, Eloy co-founded an electronic music studio called Xemamu. Much of his work has been inspired by Asian philosophy and culture, and his orchestral pieces have been performed extensively in Europe and beyond.

Yoshio Yamasaki will be speaking on the development of music and technology, as well as new and future directions in music

Yamasaki is known as the inventor of the 16 and 1 bit digital portable recorder. A professor in physics at the Global Information and Technology Institute at Waseda University in Japan, he has been active in research in the field of music and acoustics.

Syaharani: Exploring her comfort zone

Matheos Viktor Messakh, , The Jakarta Post, , Jakarta | Sat, 01/03/2009 10:33 AM | People

Syaharani likes to swing to many things in life, but she only chooses those that suit her soul and mind.

SYAHARANI: Courtesy of Syaharani

That was why the 37-year-old jazz singer recorded her first album when she was 28 although many recording offers had come her way since she was only a high school student.

Born in the small town of Batu in Malang, East Java, Saira Syaharani Ibrahim's father is of mixed Indian and Sulawesi decent, and her mother is of mixed Greek and Central Java Surakarta blood.

Syaharani was never formally trained, but her mother Elly Zapantis, a soprano singer, was a great influence on her.

"My mom has given me a lot of sense. We used to sit around her, watching the moon, singing and talking. This pastime is still the best stress release for me," she said.

Although she has been aware of the works of jazz legends like Nat King Cole, Shirley Bassey and Frank Sinatra since her childhood, becoming a jazz singer was not her dream.

As a little girl, Syaharani was more into sports -- she was a sprinter and a badminton shuttler at school.

If she had not injured her ankle during the final stages of recruitment for a regional training camp, she would probably be known today as a badminton player.

Her first encounter with music industry was back in 1987, when she moved to stay with a relative, a music producer, in Jakarta three years after the death of her father, Hasan Ali Ibrahim.

Through her relative -- who has arranged tours for world-class musicians like Miami Sound Machine, Tina Turner and Stevie Wonder in the country -- she became familiar with the industry and even became a backing vocalist for Titi DJ.

She was encouraged by friends, including rock musicians like Ian Antono, to enter recording industry, but she declined.

"It's not my character to be a rock star. I prefer something cool and calm, and that's really jazz."

After finishing high school, Syaharani returned to Malang.

But due to economic reason, she abandoned her dream to become an architect and started to work as a customer service officer at a private bank while studying accountancy at university.

She continued singing at night as the vocalist of two university bands, which she joined at the same time.

Juggling he job and her singing career was not easy, and wanting to be honest with herself, she quit her job.

"I like to sing and it's not fair to tell my boss that I will stop singing," she said.

Her life took a twist when she went to live with a relative in Bali after breaking up with her boyfriend.

In Bali, she ventured into singing jobs now and then until she was offered a job after a show at Tavern Club in Kartika Plaza Hotel.

Syaharani said her mother opposed her decision, but she was able to persuade her to agree with her even though it meant she would have to stay longer in Bali.

Soon, she became familiar with some of the country's jazz musicians. One of them, drummer Gilang Ramadhan, introduced her to bassist Todung Panjaitan, who recognized her talent and repeatedly asked her to move to Jakarta, which he argued was the best place to nurture her jazz career.

She finally changed her mind in 1995, moving to Jakarta where she got along very well with the country's leading jazz musicians.

With Todung, Andi Ayunir, she then formed the group Cyano, as well as becoming a vocalist for the Thief Band with Indra Lesmana and Dony Suhendra.

Three year later, jazz musician Benny Likumahuwa asked her to join his band, which included noted musicians Bubi Chen, Sutrisno, Cendy Luntungan and Oele Pattiselano.

"Thank God, I have so many seniors who teach me a lot. This is why I like being a musician. This is the environment I want, not the one I saw when I was in high school, where fans line up waiting for their idol."

The rest of her career is a mixture of friendship and professionalism.

With the band, Syaharani launched a debut of her original music by releasing the compilation album What a Wonderful World in 1998.

One year later, she embarked on a solo career, recording her first solo album Love.

The complexity and diversity of jazz seems to find deep resonance with Syaharani's authentic performance style, becoming a star attraction who enlivens the show with her playful and inspired vocal.

With her sultry voice, Syaharani has performed in some prestigious domestic and international jazz events, including the annual Java Jazz and JakJazz Festival as well as the North Sea Jazz Festival in the Netherlands in 2001.

Her talent has made some world-class musicians like Al Jarreau, Dave Koz, Keith Martin and the Yellowjackets share their stages with her during their concerts in the country.

While jazz vocals are her mainstay, in 2002 Syaharani also ventured into what she called psychedelic music by releasing her album Magma, comprising songs with touches of jazz, fusion, ethnic and trip-hop.

She admitted that Magma was not a very successful venture. She returned in 2004 with her third album Syaharani.

In her creativity process, Syaharani does not fear to navigate the fine line between the realm of the pop singer and the genuine jazz vocalist.

She has even attempted to cross the line, by holding her first solo concert titled Cross Genre Music at Taman Ismail Marzuki in 2004.

For her fourth album Untuk Kamu (For You) -- a crossover jazz project -- she tried to make jazz "ear-friendly", blending in the influences of pop, soul, jazzy groove and a bit of rock 'n' roll and blues.

And she is not only exploring and combining different music style, but also begins to expand her talent into theater.

She performed in theatrical musical acts Nyai Dasima (Madame Dasima) and Gallery of Kisses as well as in music flick Garasi (Garage). She also wrote theme song and lent her vocals to the movie Betina (Female).

Early last month, she released her first book, Life Stage Delight, a personal reflection of her life as an entertainer.

When many musicians put their career in the hand of the industry, she runs the management of Syaharani & The Queenfireworks with four of her friends.

She said the independent label was good for young musicians to learn how to manage themselves and if they were lucky, they could become entrepreneurs.

"It's difficult, but it's a challenge. Independent label is a picture of ourselves. If we undermine our own works, we never get the real picture."

Monica sings from her cultural roots

The Jakarta Post | Wed, 12/03/2008 7:51 AM | People

MONICA AKIHARY: (JP/Ricky Yudhistira)

JAKARTA: Lead singer of the Amsterdam-based group Boi Akih, Monica Akihary, said she sings almost exclusively in her father’s native language, Harukunese, because it is one of the most perfect languages to sing.

“This language is the perfect language for the singer because it has open vowels, which is good ... for melodies and also for improvisation. It’s a really beautiful language,” she told reporters on the sidelines of the JakJazz festival over the weekend.

In Harukunese, the language spoken on the Indonesian island of Haruku, in Maluku, Boi Akih means “Princess Akih”.

“Before we started Boi Akih, we listened to a lot of music from Africa. I didn’t understand the words but I really loved the African music. Then Niels (Niels Brouwer, Boi Akih’s guitarist) suggested I sing in my father’s language,” she said.

She added she often asked for her father’s help when writing song lyrics, because she barely understood the language.

“I grew up with Moluccan Malaysian and Bahasa Indonesia, not with Harukunese,” said the woman who studied sculpture at the Indonesian Arts Institute in Yogyakarta from 1989 to 1990.

“We perform a lot in Europe and also in Africa, and I have to say people don’t understand the words but they really love the atmosphere of our music,” said Monica. — JP/Matheos V. Messakh.

'It all started with the blues,' says Zue

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Sun, 11/30/2008 10:34 AM | Headlines

It often rains on jazz nights -- but that didn't stop fans from hearing world-class and local noted musicians on the second night of Jakjazz 2008 on Saturday.

Some 30 performances were staged around and inside the Bung Karno Sports Center in Central Jakarta.

Local Agam Hamzah Acoustic Connection featured British-born Zue Bonnington, who opened the show entertaining hundreds of spectators.

"I've got two missions here. First is the regeneration of jazz. It's good that so many people love jazz now but it's not going to be enough just to have your favorites from seniors. We also have to think about the new generations," Zue told the audience from the stage.

"We have to give them opportunities like JakJazz. My second mission is to bring blues to everybody in Indonesia."

"The blues is where everything began. Without blues there would be no rock 'n roll, there would be no jazz. It's not a mission impossible," Zue told The Jakarta Post after the show.

Both local band Iga Mawarni and Friends and Amsterdam-based Boi Akih band drew nearly 1,000 spectators to their respective shows.

Iga Mawarni and Friends, formed in 2005, opened their show with "From Now On"; and the audience sang along to top hits such as "Andai Saja" (If Only), "Masquenada" and "Dansa Yo Dansa" (Dance lets Dance).

"I sang this song because I know that even in a crowded city like Jakarta, many people are lonely," Mawarni said after singing "Alone", as her fans shouted in approval.

Amsterdam-based Boi Akih mostly performed in the Maluku Malayan and Harukunese dialect, a language spoken on Haruku Island in Maluku province.

Boi Akih also performed Indonesian folk songs such as "Nona Hitam Manis" (Sweet Dark Girl), "Ole Sio", as well as "When Evening Falls", a song written in a combination of English and Harukunese.

Boi Akih's vocalist Monica Akihary said they were so impressed by the response of the public to their songs, especially those in the local dialect -- even though the audience might not have understood the words. Many Indonesians have not heard of Haruku.

"It seems that this language is actually perfect for singers because it has open vowels especially for melodies and also for improvising. It's really a beautiful language," Monica said after the show.

"We have performed a lot in Europe and also in Africa ... people don't understand the words but they love the atmosphere of the music, they really feel it inside their body. As a musician, it is the best compliment you can get," she said.

Apart from enjoying the music, young and old visitors munched at the foodstalls and painted T-shirts to take home.

Among other international performers late Saturday were the Australian Michelle Nicolle Quartet, Dutch Daniel Sahuleka, Japanese DJ Shuya, Open Hands Project Abraham Laboriel of the United States, French Roland Tchakounte and Malaysian Bassgroove100.

World-renowned Mexican bassist Abraham Laboriel, who has over 4,000 recordings and soundtracks, became emotional when a reporter asked about the difference between jazz 30 years ago and today.

"We have teenagers and children coming to watch. Thirty years ago we were playing jazz and now we are able to play jazz with our children. The best way to inspire your people to fall in love with music is to explain to them that music is really alive. It is not an art form to put in a museum. It's a lifestyle," Laboriel said, who has been awarded a honorary doctorate degree in music by the Berklee College of Music in the United States.

Other local bands such as Indra Lesmana Reborn, Barry Likumahuwa Project, Ireng Maulana & Friends and young stars Afgan and Andien also powered up the night on each of their respective stages.

Rossa celebrates her music career with concert

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Sat, 11/29/2008 11:33 AM | Entertainment

Rossa performs on stage during her “Persembahan Cinta” (Gift of Love) concert Wednesday night at the Plenary Hall of the Jakarta Convention Center in Senayan, South Jakarta. (JP/Ricky Yudhistira)

Rossa's stage Wednesday night reflected her career -- it had its ups and downs.

Singing 18 songs, her concert, titled Persembahan Cinta (Gift of Love) and performed at the Jakarta Convention Center's Plenary Hall, was a lifetime achievement for Rossa.

Dressed in a turquoise flared skirt, the mother of one opened her show with "Nada-Nada Cinta" (Rhythm of Love), sung in a cappella, causing a hush to fall over the audience and giving the impression she owned the stage.

The Erwin Gutawa Orchestra and Erwin Gutawa Band appeared from behind large sliding screens on two separate moving stages and accompanied Rossa till the end of the show.

Her next song was, "Terlalu Cinta" (So in Love) from her seventh album Yang Terpilih (The Chosen One), which had won her a Malaysian Anugerah Industry Muzik award in 2006 for best foreign artist.

The next 90 minutes were filled with 15 chart-topping songs, combining fast- and slow-paced melodies.

With some new up-tempo arrangements of her songs by noted composer Erwin Gutawa, Rossa -- who is known for her slow and mellow songs -- at times joined in with the 24 dancers from United Dance Works.

The 2003 hit "Malam Pertama" (The First Night), which became the soundtrack for the soap opera of the same title, had been rearranged to a fast salsa beat, which had the audience moving and shaking.

Rossa had five dress changes, with noted designers Sebastian Gunawan and Sally Koeswanto in charge of her wardrobe.

The Erwin Gutawa Orchestra played a significant role in the pop-classic collaborative concert, not only by smoothly filling the transition of one fast dress-change to another, but also by leaving no doubt that this truly was a concert.

Art director Jay Subijakto also fulfilled his promise to bring his architectural talent to the stage, allowing Rossa and the dancers to move freely during some fast rhythms.

Rossa, accompanied by the Erwin Gutawa Band, dances on stage during her Nov. 26 concert, which was considered a lifetime achievement for the 30-year-old singer. (JP/Ricky Yudhistira)

Jay, who has directed 14 concerts, also provided the Erwin Gutawa Orchestra and Erwin Gutawa Band with a separate stage one level above the quadrilateral moving stages.

Returning to the stage after her first dress change, Rossa performed hits from her fourth album Aku Bukan Untukmu (I am not for you). Almost in tears, she told her fans how her progression to the top of her career had also been filled with much frustration and pessimism.

"In 1999, after I finished my first adult album, I was very frustrated because I couldn't find a song that I thought would become a hit. Then my producer came along with one that make me strong and brave," Rossa said before singing "Tegar" (Brave).

Rossa, who was born in Sumedang, West Java, on Oct. 9, 1978, started her career young in 1988. Little Rossa, whose real name is Rossa Roslaina Sri Handayani, caught the attention of a record company when she attended a vocal test with her mother, a local singer from Cianjur.

The company gave her a contract and she began working with musicians such as Franky Sahilatua, James F. Sundah, Uce F. Tekol and Areng Widodo, who helped her prepare her first album Untuk Sahabatku (For my Best Friend), an album of children's songs.

However, the album failed to meet the selling target and Rossa took a long hiatus before returning to the music industry eight years later with her second album Nada-Nada Cinta (Rhythm of Love).

Although she started to gain popularity through her second album, it took three years before she hit her stride and began launching albums every two years.

"I started my career at a very early age, but I never imagined I would reach all these (achievements)," Rossa said from the stage.

Throughout the concert, Rossa thanked those who had helped her throughout her career, including her best friend Melly Goeslaw and her mother.

The song her mother used to sing for her as a bedtime serenade was the only piece performed that did not come from one of her albums. She asked her mother to stand up before the crowd before singing "Bubui Bulan", a traditional song from West Java.

Ungu Band, which collaborated with Rossa on the soundtrack album for the movie Ayat-ayat Cinta (Verses of Love), appeared on stage in soft purple lighting, as vocalist Pasha sang with her in the duet "Tercipta Untukku" (Created for Me).

"The music was great and Rossa's performance was perfect, but there were some annoying flaws, such as when the microphone cracked (midway through a song) and (one) big screen that didn't work properly," Agus Wisman, a member of the vocal group Elfa Singers, who was watching from the audience, told The Jakarta Post after the concert.

Rossa's best friend Melly Goeslaw stole the show for a while when she appeared on stage in Japanese makeup and a Samurai-style outfit to duet with Rossa in "Hati Yang Terpilih" (The Chosen Heart).

Near the end of the show, Rossa appeared in a black Arabian-style gown, hypnotizing the crowd with her latest hit "Ayat-Ayat Cinta" with an Arabian rhythm. She opened the song with a Koranic recital.

The 30-year-old mother closed the show with "Nada-Nada Cinta" (Rhythm of Love) in a fast jazz style.

"Nothing is perfect. Although we had a little (microphone) problem in the middle of the concert, it didn't disturb Pasha and I and we finished the song perfectly," she said after the concert.

JakJazz swings into life with Lica Cecato, Zarro

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Sat, 11/29/2008 11:30 AM | Headlines

Hundreds of music lovers turned out at Istora Senayan Stadium in Central Jakarta on Friday for the opening of the 10th Jakarta International Jazz Festival, known as JakJazz.

Sultry Brazilian singer Lica Cecato and local band Zarro wowed the audience at the Amphitheatre stage with a sizzling combination of excellent music, vocals and dance.

The performers had rehearsed together for only a few hours, Cecato said, "but we could feel the connection during the performance. I found out that this country is a musical country ... The artists are catching up with music (trends) very fast," Cecato said after the show.

Eighteen-year-old student Vidi Aldiano stole the show with his performance of 10 songs, including five from his latest album, released two weeks ago.

The newcomer kicked off his set with "Masquenada", following it up with "Friday Night", "Tomorrow" and others from his new album.

The show just got hotter as Aldiano brought Keenan Nasution, J-Flow and Tohpati onto the stage.

"This was my first performance at JakJazz. I was a bit nervous at the beginning but when I was on stage I felt free," Aldiano said after the show.

"Jazz is difficult but good to listen to, with lots of variation."

Local band Kunokini hypnotized their crowd with their unique combinations of traditional and modern instruments. The audience laughed and sang along with the reggae version of the traditional Ambonese song "Rasa Sayange", a jazz version of a re-mixed Javanese traditional tune "Gundul Gundul Pancul" and Bob Marley's "Get Up, Stand Up".

Little-known Abe Simpson Trio, featuring young singer Alexandro, had the honor of starting the action at the Jazz on Green stage, watched by a crowd of about 40 people.

Other international acts in the lineup were Ray Harris & The Fusion Experience, Kyoto Jazz Massive, Marina Xavier & Enrique Marcos and Kiboud Maulana & Friends.

Rain delayed the schedules of some shows and some performances overlapped but, as with most festivals, crowds roamed around before deciding where to stop for a listen.

Anti-cigarette protest mars Rossa concert

Sat, 11/29/2008 11:29 AM | Entertainment

Rossa's concert on Wednesday evening was marred by a protest involving around 40 demonstrators from the Indonesian Tobacco Control Network, the National Commission for Children Protection and the Total Ban Alliance.

They came to the Jakarta Convention Center's Plenary Hall to protest the tobacco industry's sponsorship of the concert.

Citing the example of Alicia Keys, who asked Philip Morris International to pull down billboards and posters promoting her concert in Jakarta in July, the protesters said by using such sponsorship the concert was indirectly encouraging children to smoke.

They also said that the National Commission for Child Protection had sent a letter on Nov. 22 to Rossa's management asking them to cancel it -- but it was to no avail.

"We understand that it might be impossible to cancel sponsorship just a few days before the concert. We just want them to not have any cigarette promotional materials during the concert. But if it's impossible, we just hope that it will be the last concert Rossa holds that uses them for sponsorship," protester Lisda Sundari told The Jakarta Post.

Responding to the protest, producer Erwin Gutawa said: "We are happy to have any sponsor. Please tell us if there are other companies who are willing to support us besides the ones that support us now." -- JP/Matheos Viktor Messakh

Sys NS blames govt for high ticket prices

The Jakarta Post | Sat, 11/29/2008 7:33 AM | People

SYS NS: (JP/Ricky Yudhistira)

JAKARTA: Actor and director Sys NS said he blames the government for not fully supporting the development of the music industry in the country, which has led to expensive ticket prices for concerts.

Sys, who is also the secretary general of the United Regions Party, said it wasn’t’ fair to put the blame solely on the tobacco industry, which usually provided the main sponsorship for music concerts.

“It’s kind of a dilemma. The music industry really needs support but nobody wants to support it, except the cigarette companies,” Sys told The Jakarta Post on the sidelines of Rossa’s concert Wednesday night.

Sys lamented that Jakarta, as the country’s capital, had no decent concert hall. “We are supposed to have a concert building with a larger capacity than that of the Jakarta Convention Center, which can only hold about 3,000 people,” said the man who co-founded the Democrat Party in 2001 but withdrew from the party in 2007.

The 52-year-old, who turned to politics in 1999 and was appointed as a member the People Consultative Assembly from 1999 to 2004, said the government needed to provide a large concert hall as well as pose reasonable taxes on the music industry.

“The government should look at art as means to attract revenue. For example, the film industry in the U.S. is the second largest contributor to the country’s economy after the weapons industry,” said the man who was named Indonesia’s best disc jockey in 1975. — JP/Matheos V. Messakh

Jay incorporates his architectural skills

Matheos V. Messakh , The Jakarta Post , Jakarta | Sat, 11/22/2008 11:25 AM | People

JP/Ricky Yudhistira

JAKARTA: Although he has not made a career out of what he learned at university, choreographer and art director Jay Subijakto said he always tried to use his architectural skills in his work.

“In designing a stage, I used many architectural skills in order to accommodate the choreography, but also in order to come out with the best quality sound,” Jay said on the sidelines of a press conference at the JustSteak restaurant in South Jakarta on Wednesday.

The man who has been the art director for more than 12 musical concerts lamented the country’s arts and music facilities.

“We all know that we are a big country with lots of arts and music heritage, but there is no building feasible for a concert. That’s why we have to play in convention centers,” said Jay, who earned his degree in architectural engineering at the University of Indonesia.

Jay, who is also a film director, and composer Erwin Gutawa are busy preparing the first solo concert for singer Rossa, which will be held on Nov. 26 in the Plenary Hall at Jakarta Convention Center. — JP/Matheos V. Messakh

Widi finds yoga good for health

Tue, 11/25/2008 7:24 AM | People

WIDI: (JP/Ricky Yudhistira)

JAKARTA: A move by Malaysia to ban yoga has failed to deter singer-actress Widi AB Three.

The singer, who started practicing yoga before the birth of her baby boy in May this year, said she would continue to practice yoga because of its benefit to her health.

“I don’t want to get involved in religious issues but I have felt many advantages of practicing yoga for my health, so why shouldn’t I continue practicing it?” the singer said Monday.

She was responding to the possibility that yoga could be banned for Indonesian Muslims following the move by Malaysia’s National Fatwa Council to issue an edict banning Muslims from practicing yoga. The council argued the Indian physical exercise contained elements of Hinduism and could corrupt Muslims.

“I think our relationship with God is a personal matter. Every single person has their own space for God in their heart. I have seen no problem with practicing yoga.” —JP/Matheos V. Messakh

Hehanusa too busy for politics

Mon, 11/24/2008 11:33 AM | People

JAKARTA: While other celebrities are turning to politics, singer Andre Hehanusa said he still has lots of entertainment work to keep him busy.

"I have no interest in getting involved in politics, because I think I still have many things to do creatively rather than become a politician," he told The Jakarta Post over the weekend.

The singer, whose real name Andre Ronald Benito Hehanusa, said he was busy preparing his new album Living in Harmony, which would be launched in January 2009.

The album, he said, was themed on national harmony. He added he dedicated the album to the people in eastern Indonesia, which is where he was born and raised.

"We cannot just live for ourselves like nobody else matters in the world. The problem in our country is exclusivism ... many people talk big but actually they only live for themselves," said the artist who was born in Makassar on July 24, 1974.

Andre gained popularity during the 1990s through hits such as "Kuta Bali", "Bidadari" (Angel), and "Karena kutahu engkau begitu" (Because I know you're like that). -- JP/Matheos V. Messakh

Rossa, celebrating her singing career

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Sat, 11/22/2008 12:56 PM | Arts & Design

It took 10 albums before pop singer Rossa had enough courage to perform her first ever solo concert.

The concert, titled Persembahan Cinta (Gift of Love), will be staged Nov. 26 in the Jakarta Convention Center's Plenary Hall. It has been six months in the making, assisted by noted music director Erwin Gutawa and concert director Jay Subijakto.

"The concert is the answer to my prayers," the 30-year-old singer said. "I have been dreaming that one day I would have my own concert which would be seriously and carefully prepared but also entertaining."

Erwin has rearranged her songs, especially some of her mellow songs, to give different nuances. Different songs have been given different treatments to produce, for example, Arabian or Latin nuances.

"This is my homework and the test will be Nov. 26," Rosa said, whose real name is Sri Rosa Roslaina Handiyani.

Erwin said it did not take much effort to improve Rossa's performance, just needed to "expand her musical atmosphere".

"Everyone knows that her genre is pop but we will combine all kinds of music to make her performance different...," he said.

The concert will also be supported by more than 60 members of the Erwin Gutawa Orchestra, comprised mostly of young musicians, including a 15-year-old female drummer.

During the two-hour concert, Rossa will sing 18 of her hits including Nada-nada Cinta (Rhythms of love), Tegar (Brave), Hati Yang Terpilih (The chosen heart), Wanita Yang Kau Pilih (The woman you choose), Atas Nama Cinta (In the name of love) and Ayat-ayat Cinta (Verses of Love).

To prepare for this event, Rossa also canceled all of her shows across the country these past two months.

The concert will also feature Melly Goeslow, one of Rossa's best friends who wrote some of her songs, including her latest hit Ayat-ayat Cinta, as well as the Ungu band who collaborated with her on her latest album.

Jay Subijakto said he agreed to support Rossa because she knows how to deal with the trivialities of the country's music industry.

"She has lots of hits and this is something we have to support. A singer must have his or her own value and character. Many singing competitions now only rely on quantity rather than quality.

"Rossa knows how to deal with herself and with the music industry. While everyone else only relies on SMSs (text message) to boost their popularity, Rossa tries many channels to express her talent," Jay said.

The stage will be designed to accommodate some fast paces in a few of the new arrangements, which will be performed by 24 dancers from the United Dance Work (UDW), he said.

"We want people to know that Rossa is able to sing more than just slow and mellow songs."

Erwin said music is a way of expression.

"So when we hold a concert, not just the singer owns the concert. Everyone involved in the concert also has their own responsibilities, including me and Jay.

"We will combine our ideas and efforts to present our best," said the composer and conductor who established the Erwin Gutawa Orchestra in 1993.

Erwin said Rossa deserves to have a solo concert because of her many achievements, adding that usually a singer or musician will hold a solo concert after they have enough hits.

"A concerto in Latin means the best performance of an artist or a singer. So in the context of the music industry its a present to the audience after having many hit songs .... It means they must show their best."

Rossa, who was born in the West Java town of Sumedang, released her first album Nada-Nada Cinta (Rhythms of love) in 1996 and since 2002, she has released an album every year.

More than 180,000 copies of her soundtrack album Ayat-ayat Cinta (Verses of love) -- for the popular film of the same title -- have been sold. The album went platinum in March 2008.

Rossa, MTV Indonesia's best female singer in 2000, also received Malaysia's AIM Award for best foreign singer in May 2008.

Rossa's manager Intan said that about 95 percent of the tickets had been sold, and about 5 percent had been sold to countries where Rossa's albums are also released, such as Brunei Darussalam and Malaysia.

They are expecting 27 fans from Brunei, 52 from Malaysia and 40 from Hong Kong, she said.

"For a long time she did not have the courage to hold her own concert, and even after Erwin and Jay gave their support, she still hesitated," Intan said. "I think this is the right time for Rossa to show her best."