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Ci giunge per merito della solerte Moonjune Records il nuovo disco di una vera e propria icona del jazz contemporaneo , ovvero Dwiki Dharmawan che con il suo disco intitolato Rumah Batu, arriva a pubblicare il sesto disco della carriera .Dwiki Dharmawan è un tastierista indonesiano che riesce a proporre la sua musica mischiando la cultura indonesiana con il jazz da questo mix nasce una musica assai particolare , ovvero un jazz dallo stampo fortemente etnico intriso dalle sonorità indonesiane che ne fanno un melting pot davvero originale diviso com’è tra sperimentalismo estremo ed alcuni episodi molto più commerciali(dove per commerciale intendiamo una fruibilità più accessibile) se vogliamo ma sempre impegnativi all’ascolto.tra l’altro il disco in questione è interamente strumentale e le voci che si sentono sono state usate come vocalizzi e quindi sono da ritenersi a tutti gli effetti degli strumenti .

Dicevamo che Dwiki è considerato un icona nel suo paese per il suo approccio culturale e l’impronta etnica del suo jazz con questo disco il nostro musicista vuole conferma questa sua concettualità inserendo nel disco alcuni brani tradizionali riarrangiati e adattati al suo stile che sono rappresentano la parte centrale del lavoro essendo per altro suonati senza soluzione di continuità , parliamo della title track che si divide in due parti lunghe un buon quarto d’ora ciascuna ,e di un’altra canzone intitolata “janger” anch’essa riarrangiata da Dwiki in modo davvero suggestivo

.La prima parte della canzone è introdotta da alcuni strumenti originali indonesiani che rendono questa versione davvero suggestiva .Nel disco il musicista indonesiano si fa aiutare da diversi colleghi di cui il più noto almeno per quanto mi riguarda è “Nguyên Lê” rinomato chitarrista francese di origine vietnamita assai conosciuto avendo collaborato con diversi musicisti quali Randy Brecker, Vince Mendoza, Eric Vloeimans, Carla Bley, Michel Portal, Renaud Garcia-Fons, Per Mathisen, Marc Johnson, Peter Erskine, Trilok Gurtu, Paolo Fresu and Dhafer Yousse.Gli altri musicisti però fanno parte dell’entourage moonjune avendo pubblicato alcuni album per questa etichetta .

Personalmente ritengo questo “Rumah Batu” un disco meraviglioso a tratti suggestivo per le atmosfere che si creano durante l’ascolto , ma mi sentirei di consigliarlo solo a chi è addentro queste sonorità avvertendo che si tratta di un disco che ha bisogno ben più di una volta ma cheuna volta assimilato saprà regalare molte emozioni . Rumah Batu vuol dire The Stone House, ossia La Casa Murada, lo studio dove è stato inciso il disco. Esiste un ristorante vegano in Tailandia chiamato Moonjun. Qualsiasi persona può intitolare il suo business con qualsiasi nome. Quindi anche un albergo a Solo, una città della Giava.

Stefano Bonelli
01. Rintak Rebana
02. Paris Barantai
03. Impenan
04. Janger (Balinese trad. arr. by Dharmawan)
05. Rumah Batu Suite Part 1 (intro trad./ Dharmawan)
06. Rumah Batu Suite Part 2
07. Samarkand
08. Selamatkan Orang Utan

Dwiki Dharmawan – acoustic piano
Nguyên Lê – electric guitar, soundscapes
Carles Benavent – bass guitar
Yaron Stavi – upright bass
Asaf Sirkis – drums

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Following on from 2016’s groundbreaking, internationally acclaimed ‘Pasar Klewer’, Indonesian icon and keyboard legend Dwiki Dharmawan has considerably upped the ante with his new album ‘Rumah Batu’ (The Stone House). Drawing from both his extensive jazz influences and rich cultural heritage, he is augmented by a stellar cast of players to deliver a mind-bending piece of work brimming with intricate and adventurous compositions.

There’s free-from jazz that really blows you away, fantastic traditional arrangements, haunting Indonesian vocals and music that stretches envelopes and ignores boundaries. Dwiki is unparalleled as a player, arranger and songwriter and his genius is such that you find yourself literally transported into his idea of what the musical universe should be like.

In places it is definitely not for the faint-hearted and will only give up its delights as a reward to your intensive listening and understanding of the culture from which this exhilarating musician takes his influence. The album chronicles its creation at the already infamous La Casa Murada. Situated in the tranquil, picturesque setting of the Catalonian wine region of Penedès, Spain, the recordings take on a definite life of their own.

‘Rumah Batu’ can be said to chronicle the continuing evolution and progression of jazz in the 21st Century, there’s definite elements of King Crimson style progressive rock in there too, you only have to listen to the Rumah Batu Suite in its entirety to understand that.

All in all, Dwiki Dharmawan has produced one of the most groundbreaking, innovative, but certainly perplexing at times, releases of 2018. It gets under your skin as it eclipses both progressive jazz and world music to be a relentlessly revealing listen.

Released 15th May 2018

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Dwiki Dharmawan is een Indonesische pianist die al eerder een album opnam voor het onvolprezen jazzrocklabel van Leonardo Pavlovic, MoonJune, het kleine New Yorkse label dat intelligente jazzrock van over de hele wereld bij elkaar weet te brengen dankzij de fijne neus van Pavlovic. Zo speelt Dharmawan hier opnieuw samen met drummer Asaf Sirkis en bassist Yaron Stavi, die met zijn tweeën zo langzaamaan de vaste ritmesectie van MoonJune zijn geworden. Maar dit keer zijn daar ook nog de Vietnamese gitarist Nguyen Le en de Spaanse elktrische bassist Carlos Benavent bijgekomen, en dit quintet nam in twee dagen tijd het album Rumah Batu op, met nog een paar extra gasten.

Ik heb al eerder met bewondering over de muziek van Dwiki Dharmawan geschreven, maar het lijkt of hij met elk album beter en gelaagder wordt, en of hij elke keer ook iets meer van zijn eigen Indonesische roots in zijn muziek weet te incorporeren. Het is bijna niet te geloven dat dit album van ruim tachtig minuten in twee dagen live is opgenomen, want als luisteraar heb ik heel wat draaibeurten nodig om alle geheimen van deze muziek te doorgronden, zo subtiel en geraffineerd zit het allemaal in elkaar.  Een absolute aanrader dus – unieke elegante intelligente jazzrockwereldfusie van een superband.

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Like many of the recent albums coming from MoonJune, this is a further exploration of one of the many fine jazz / progressive musicians from Indonesia. Dwiki is a monster player, but this is an album filled with monster players: Nguyen Le! Carles Benavent!, etc etc etc.
This is electric jazz of the highest caliber! Recommended!

“Riding the momentum of 2016’s groundbreaking, critically heralded release, “Pasar Klewer” – an album awarded a 5-star review by Downbeat, All About Jazz, and numerous others – MoonJune Records is proud to present the phenomenal new album by the iconic keyboardist, composer and producer, Dwiki Dharmawan. Drawing from both his extensive jazz influences and his rich cultural heritage, the Indonesian maestro delivers yet another spellbinding masterwork!
Brimming with adventurous compositions, ingenious arrangements and superlative performances, “Rumah Batu”(meaning “the stone house” in Indonesian Bahasa language) almost defies categorization – eclipsing both progressive jazz and world music genres. While a score of diverse ethnic flavors abound throughout, within its nucleus resides the free-spirited, unpretentious essence that epitomizes the greatest jazz.
Augmented by a stellar cast of players, vastly international in scope — including: the enigmatic French virtuoso, of Vietnamese descent, Nguyên Lê, on guitar; legendary flamenco fretless bassist, Spain’s Carles Benavent; the extraordinary flutist, also from Indonesia, Sa’at Syah, and; the proven progressive backbone of fellow Israeli-born, UK transplants, Yaron Stavi [on upright bass (yes: the album features twin basses!)] and (supreme drummer) Asaf Sirkis – this landmark recording offers an intimate glimpse into Dwiki’s unparalleled genius as player, arranger and songwriter.
The album chronicles yet another magical session created and captured at the already-infamous La Casa Murada. Situated in the tranquil, picturesque setting of the Catalonian wine region of Penedès, Spain, the studio’s recordings seem to take on a life of their own; and Rumah Batu is certainly no exception: articulating jazz’s continuing evolution in the 21st century.
For those who wondered what Messenger Dharmawan could possibly conjur as a follow-up to Rumah Batu’s unanimously praised predecessor, prepare to be amazed and perplexed — and escorted on a musical sojourn unlike any the genre has ever witnessed!”

DWIKI DHARMAWAN acoustic piano
NGUYÊN LÊ electric guitar, soundscapes
CARLES BENAVENT bass guitar
YARON STAVI upright bass
ASAF SIRKIS drums
with special guests:
SA’AT SYAH suling flute, vocals (1, 2, 3, 4, 7, 8)
ADE RUDIANA kendang percussion (1, 2, 3, 4, 7, 8)
DEWI GITA lead vocal (3)
TEUKU HARIANSYA & INDRA MAULANA KEUBITBIT Rapa’I Acehnese percussions (1)
NYOMAN WINDHA’s GAMELAN JASS JEGOG Balinese gamelan & percussions (4)
SMIT vocals and LaLove traditional Sulawesi flute (6)

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Riding the momentum of 2016’s groundbreaking, critically heralded release, Pasar Klewer, an album awarded a 5-star review by Downbeat, All About Jazz, and numerous others, MoonJune Records released the phenomenal album Rumah Matu by the iconic keyboardist, composer, and producer, Dwiki Dharmawan released July 20, 2018. This great jazz release consists of such tracks as the title track Rumah Matu, Rintak Rebana, Janger, Samarkand and much more. This album was well written, recorded, produced and performed and can be purchased from Amazon, Bandcamp, and other outlets where CD’s and digital downloads are sold.

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Grono takich azjatyckich wirtuozów jak Dwiki Dharmawan nie jest duże, ale wiem że taką grupę jeszcze łatwiej zawęzić biorąc pod rękę każdy projekt, który wydaje MoonJune Records. Tam zawsze wszystko przekłada się na jakość. Od debiutu tego artysty upłynęły dwa lata. Rozpływaliśmy się ówcześnie w zachwytach nad oryginalnością formy, jaką prezentuje ten indonezyjski pianista na płycie „Pasar Klewer” (2016) (TUTAJ). „Rumah Batu” jest potwierdzeniem kunsztu tego enigmatycznego muzyka. Po raz kolejny mamy tu do czynienia z podkreśleniem wielkości brzmienia pianina, aczkolwiek zakamuflowane jest to w zdecydowanie drastyczniejszej odsłonie organiki, co podobać się może jeszcze bardziej. Naszego bohatera wspierają jednak inni, ale równie uznani muzycy jak Nguyêa Le, Asaf Sirkis, Carles Benevent czy też Yaron Stavi. Całość sklepia jednak moc najoryginalniejszych perkusjonaliów. Folklor, jakim przesiąknięta jest bowiem ta płyta, w przeciwieństwie do debiutu od razu charakteryzuje korzenie tego muzyka. Instrumentarium jest niekiedy na tyle sielskie, że aż trudno uwierzyć, że tak zachowawcze kulturowo dźwięki dotarły do Europy.

„Rumah Batu” to ambitne i niezwykle ekspansywne pod względem brzmieniowym dzieło, ale do tego Dwiki nas przyzwyczaił. Co więcej? Ano, niekonwencjonalność instrumentarium, zapadające w pamięć melodie, niesamowity klimat gitary, piekielnie błyskotliwe zakończenia, wyjątkowe wokalizy, nieszablonowe improwizacje z odniesieniami do Chicka Corei etc. Elementów, które osłupiają niekiedy słuchacza jest sporo, ale to właśnie to ostatnie jest czymś, co charakteryzuje właściwie projekty tego artysty. Improwizacja muzyczna, która w przedziwny sposób popychana jest konsekwentnie do przodu, jakby samoczynnie, właściwie wpadając we własną pułapkę spontaniczności. Muzyczne perpetuum mobile, które nie ma granic.

„Rumah Batu”, czy w wolnym tłumaczeniu „kamienny dom”, to muzyka świata w czystej postaci. Muzyka zamknięta w czterech ścianach jazzu, soft rocka, etniczności i fusion. Ścian całkowicie szczelnych, które nie pozwalają na ujście pojedynczym dźwiękom, a zmuszając je do tworzenia niezwykle karkołomnej całości, która w ten czy inny sposób musi się ze sobą godzić. Niekiedy zapuszczone jest to wszystko w dzikim ambiencie world music, jeszcze bardziej konsternując już i tak skołowanego słuchacza. Idąc za tym tropem zwiększono również nacisk na liryzm, doskonale prezentującym się na tle folklorystycznej eteryczności wzbogacającej doskonale bogactwo tekstur na płycie. Album nasycony jest endemicznymi elementami kultury Dalekiego Wschodu wprowadzającymi niesamowitą na tej płycie egzotykę. Taką, która naturalnie zrodziła sobą rzecz unikalną, a przede wszystkim niekarykaturalną względem zachodnich standardów.

Na koniec wielkie ukłony dla szefa MoonJune Records – Leonarda Pavkovica. Człowieka, który jak żaden inny producent potrafi z każdego zakątka świata sprowadzić maksimum muzycznego geniuszu i połączyć rzeczy na pozór ze sobą kompletnie sprzeczne. Miłość do muzyki, jaką się kieruje jest zdumiewająca, bo tylko dzięki włączeniu w to prawdziwej pasji takie projektu w ogóle powstają. Jeden człowiek, który wykonawczo osiągnął poziom ECM-owskiego molocha. W obu powstają rzeczy przełomowe wyłącznie z faktu wizjonerskiego postrzegania różnych środowisk i kultur. Dwiki to jeden z wielu dowodów na niepowtarzalność muzycznego piękna.

Een nieuw epos van de Indonesische toetsenist Dwiki Dharmawan helemaal in het verlengde van het alom bejubelde ‘Pasar Klewer’.

Net als op zijn ‘Pasar Klewer’ vinden we hier bassist Yaron Stavi en drummer Asaf Sirkis terug en ook net als vorige keer laat Dharmawan zich omringen door een hele waslijst van gastmuzikanten. Onder hen deze keer de Vietnamese gitarist Nguyên Lê en de Spaanse bassist Carles Benavent. De acht nummers variëren in lengte van zeven tot veertien minuten en vormen hoofdstukken van een muzikale fantasy-wereld boordevol dito sfeerscheppingen.

De openingstrack ontplooit zich als een zonsopgang, met fluit en piano die het kleurenpalet bepalen. Geleidelijk aan belanden we in een meer drukke en hectische wereld. In ‘Paris Barantai’ is het de zang à la Avishai Cohen (de bassist) en de vingervlugge pianopassage die de toon aangeven. De vloeiende baslijn verhoogt het verhalende aspect. In het middenstuk zorgt gitarist Lê voor een verrassende plotwending. Fluitist Sa’at Syah wendt op zijn beurt de verhaallijn af. ‘Impenan’ klinkt dan weer als een mix van “krotjong” (een populaire Indonesische muziekstijl) en tiki exotica. Couleur locale gegarandeerd maar dan wel met een lyrisch geïnspireerde pianopassage van Dharmawan. Verdere referenties reiken van Afrikaanse trance tot pure dance grooves. Hoogtepunt waarin al deze elementen verweven zitten, is de verslavende titeltrack onder de vorm van een suite in twee delen.

De manier waarop telkens steeds nieuwe contouren opduiken en het aanwenden van traditionele instrumenten (fluit, gamelan, zang) maken van ‘Rumah Batu’ een heel afwisselende luisterervaring gedrenkt in een Indonesisch kleurtje. Opgenomen in de Catalaanse studio La Casa Murada. Wereldmuziek in de breedste zin van het woord.

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Moonjune Records keeps the fusion fuse burning brightly. Here are three recent releases that confirm the dynamic nature of the animal.

Indonesian pianist Dwiki Dharmawan teams up with a dynamic core of Nguyen Le/g, Carles Benavent/b, Yaron Stavi/b, Asaf Sirkis/dr and guests including Sa’at Syah/fl-voc and Ade Rudiana/perc for a mix of rocking rhythms exotic harmonies. Syah’s woody folk flute glides over the peppy percussion on pieces such as “Rintak Rebana” while riding the wondrous and dramatic waves provided by keyboards and guitar during “Imenan.” Dharmawan’s piano can go romantic as he teams with wondrous voices on “Rumah Batu Suite” while he leads the team through intricate themes and dizzying side roads during “Janger” and the climactic “Samarkand.” Rich South Asian voices and harmonies give a glorious optimism to “Selamatkan Orang Utan,” mixing spicy sounds like a curry. Welcoming themes.

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Guitarist Mark Wingfield creates “soundscapes” with a team of Yaron Stavi/b, Asaf Sirkis/dr and Dominique Vantomme/synth on a sublime melding of colors. Wingfield displays a wide vibrato on his string giving emotion to pieces like the snappy “The Fifth Window” and the lyrical “Sunlight” with support by Stavi’s fretless strings. The team gives a hint of Pat Metheny’s optimism on upbeat and driving “The Place Up Against the Sky” while getting funky on “A Wind Blows Down Turnpike Lane.” Ominous moods create dark clouds for the plodding “I Wonder How Many Miles I’ve Fallen” and the sinister “Ten Mile Bank” while the band gets folksy on “The Green-Faced Timekeepers.” Modern movements.

Who’d ever make a bet on the music of Bela Bartok and King Crimson being featured at the same concert? Well, guess again, as KC alumnus David Cross brings his violin to join in with a lion’s share of the material performed by Nelson Coelho/g, Gabriel Costa/b and Fred Barley/dr. The first eight pieces are from the pen of modern classicist Bela Bartok, and the themes work amazingly well. The team thunders to Costa’s bass on “Stick Game” and does some fiendishly intricate work on the dark “Peasant Costume. With Cross joining the stage, the band has some kinetic metal give frantic sharp corners on “Mikrokosmos 113” before digging into his days with Robert Fripp. Misty pulsations and strings make up “Exiles,” hard hitting thunder shakes the foundations during “Tonk” and Coelho’s guitar sears along with the frantic “The Talking Drum.” Acute angles are created during “Larks’ Tongues in Aspic, Part Two, and wondrous landscapes close things out on “Starless.” 21st Century fusion man, indeed!

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