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One of the biggest jazz-related surprises of 2007, and not simply because it is Indonesian jazz, Patahan is truly something to get excited about for the twist it puts on the Pat Metheny side of jazz things. Keyboardist Riza Arshad and guitarist Tohpati Ario Hutomo really have the Pat Metheny/Lyle Mays chemistry down to a science, with feeling and virtuosity to boot. And Adhitya Pratama's basslines are delightfully sinuous and groovy. However, what sets simakDialog apart is the presence of percussionist Endang Ramdan playing traditional Indonesian instruments and the group's seamless integration of traditional classical Indonesian forms to its brand of quiet fusion jazz. The result, as heard on Patahan, is enthralling, with enough familiarity to attract jazz aficionados and enough originality to set the band's music apart from true Metheny copycats. On this 2005 live recording, the core quartet is augmented to quintet size, thanks to guest percussionist Emy Tata, and sextet size on two tracks featuring singer Nyak Ina Raseuki "Ubiet." These two tracks have the strongest local flavor, but the consistent presence of hand drums -- and the total lack of a jazz drum set -- ensures that the music always has that "different" feel, even when there are no vocals involved. Whether you prefer Hutomo's soaring electric solos in "One Has to Be" and "Kain Sigli," Arshad's thundering piano chords in "Spur of the Moment" (not to downplay his awe-inspiring handling of the Fender Rhodes), or the ethnic percussion component, you are bound to be impressed by Patahan. Highly recommended. ~ François Couture
(DIGIPACK) Compelling Indonesian electro-acoustic jazz/fusion with a distinctive cultural bent & ECM flavor. For its first international release Indonesia-based simakDialog delivers Patahan, a live recording that suggests how Pat Metheny might sound if h
Audio Mixer: Riza Arshad.
Recording information: Goethe Haus, Jakarta, Indonesia (04/16/2005).
simakDialog: Adhitya Pratama (fretless bass); Endang Ramdan (kendang); Tohpati Ario Hutomo, Riza Arshad.
Personnel: Nyak Ina Raseuki "Ubiet", Emy Tata (vocals); Tohpati Ario Hutomo (acoustic guitar, electric guitar, guitar synthesizer); Riza Arshad (piano, Fender Rhodes piano, synthesizer); Adhitya Pratama (fretless bass).
Additional personnel: Marla Stukenberg (spoken vocals); Emy Tata (kendang); Nyak Ina Raseuki "Ubiet".
Patahan Music | List Price | $16.99 (You save $3.20) | | Category | Rock/Pop Albums, Jazz CDs, Jazz Instrument, Live Performances, Fusion | | Label | Moonjune | | Orig Year | 2006 | | All Time Sales Rank |  385688  | | CD Universe Part number | 7464571 | | Discs | 1 | | Release Date | Aug 21, 2007 | | Studio/Live | Live | | Mono/Stereo | Stereo | | Producer | Tohpati Ario Hutomo; Riza Arshad; Tohpati; Riza Arshad | | Engineer | Tohpati Ario Hutomo | | Recording Time | 73 minutes | | Personnel | Adhitya Pratama - fretless bass
Tohpati Ario Hutomo - acoustic guitar, electric guitar, guitar synthesizer
Riza Arshad - piano, Fender Rhodes piano, synthesizer
Also: Emy Tata, Marla Stukenberg, Nyak Ina Raseuki 'Ubiet' |
Simakdialog Patahan Songs | 1. | One Has to Be | $1.87 | |
| 2. | Spur of the Moment | $1.87 | |
| 3. | Kemarau | $1.87 | |
| 4. | Worthseeing | $2.89 | |
| 5. | Kain Sigli | $2.89 | |
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Patahan Review
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Purchase Patahan CD To buy, Click on price to add to cart | Mike Bloomfield Super Session CD (1968) Bonus Tracks; Remastered
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A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune").
All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes on "You Don't Love Me." The only real disappointment here is that Stills, a far better singer than Kooper, never opens his mouth.
Those familiar with the Live Adventures album these two recorded at the Fillmore West know how brilliant they could be on stage, and here's another gem, recorded at the Fillmore East this time and featuring 'One Way Out,' 'It's My Own Fault' (with Bloomfield trading licks with Johnny Winter...Johnny was signed to Columbia after this gig!). Newly remastered & now with 4 bonus tracks, ...
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Photographer: Milton Montenegro.
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COME AWAY WITH ME won the 2003 Grammy Awards for Album Of The Year, Best Pop Vocal Album and Best Engineered Album (Non-Classical).
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Arif Mardin won the 2003 Grammy Award for Producer Of The Year (Non-Classical).
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A direct descendant from the pedigree of one of the 20th century's virtuosos, Norah Jones might not be on such a lofty artistic level as her dad Ravi Shankar, but certainly inherited some musical intuition from him. With nary a sitar nor raga within earshot, the young newcomer sounds very much an assimilated, western, 21st century pop-jazz singer. One thing that separates her from the pack is Ms. Jones' own piano stylings--not flashy, but deftly doubling or echoing her voice--that discreetly act as the glue holding together these airy, delicate, and beautiful arrangements.
But the centerpiece is certainly the 22-year-old's confident-beyond-her-years vocal delivery in addition to a precise diction and velvety tone. Shades of Nina Simone, vintage Phoebe Snow, and a less beatnik Rickie Lee Jones are evident throughout as the young siren coolly sashays through mostly new material by guitarist-songwriter Jesse Harris (formerly of Once Blue) and a few choice covers. Veteran producer Arif Mardin frames a most notable ...
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Guitarist John Scofield has excelled in assorted jazz contexts, from straight-ahead jazz (Charles Mingus) to funky fusion (George Duke, Miles Davis). Throughout his career, Scofield has never stood still and his latest venture, PIETY STREET, sees him accenting the bluesy side of his musical personality. The roots of jazz, blues, and much else can be heard and felt in gospel music, and STREET consists mostly ...
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Following LOST & FOUND, an album that earned Ledisi a pair of Grammy nominations, TURN ME LOOSE partially roots itself in the singer's past work and otherwise branches out from it. The album's title, as well as its cover, indicates a new, brash direction--one that makes up only a portion of the set. Throughout the opening "Runnin," "Knockin'," ...
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Few singers are as connected with sing-alongs as the New York City born and raised Neil Diamond. From rousing renditions at pubs to interpretations at karaoke clubs, his songs are vigorously sung from sea to shining sea. The incomparable Mr. Diamond's songs are made to be sung lustily, feverishly, with reckless abandon, and as one would predict, Neil himself sings them that way, making his live shows, concert events in the full-bodied, Tom Jones sense of the word. His shows are the ultimate in fan friendly entertainment, interspersed with wandering tales and sudden, direct connections with the crowd. This distinctly Diamond behavior was even the subject of a Saturday Night Live sketch that played in part off his stage digressions and in part off the passion in his songs, songs which sometimes wear arcane, wonderfully obtuse, and even pleadingly earnest lyrics on their sleeve.
The box set STAGES gathers all the live Diamond any fan might desire in five audio discs and a DVD. The performances span his formative ...
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