Buaian Asmara

Bubi Chen is unquestionably at the peak of his artistry as a leading jazz pianist in Indonesia. His latest album nevertheless compiles a very strong stylistic character he intends to convey. But the eminent distinction in this album lies in the technique it is recorded. Experiencing track by track, the listener will be sort of taken back to the early golden times of influential American Jazz. Buaian Asmara makes little effort in the re-mastering process to reach the finest sound of the solo instrument, in this case piano, and deepest sound of background rhythms. Instead, it sounds more like it is recorded in a black plate. A strong sense of hissing sounds, rough piano keys pressed by Chen’s fingers, plus the restless and dynamic bass stomping, all of which understate the quality of the music produced as if we are enjoying a set of gramophone. 

The tracks are a mixture of pre-soft Jazz in its original form and bebop. It starts with the single Buaian Asmara. Representing the title, it takes a very slow pace, nurtured by a very strong grip of rhythmic bass, then Bubi leads with his dynamic combination of keys, making us feel at ease. After the first track slowly ends, the next moves to Semalam, a bebop style in the highest tune. Bubi’s latest album leaves us with prominent patterns inside, among which are how versatile Bubi is a soloist regarding getting upside down with his piano. He can abruptly change course when pressing a single tune as a set of melody to blending them into sets of rich melodious keys. Another is the naughty side of Bubi where he keeps playing with our senses of hearing, thus our mood, as he switches the conspicuous tempo of each sequential track over and over. Along the way, Bubi introduces the string melody, an electric guitar, allowing it to play side by side with his piano, as in Sri Ajuda and following tracks. The tension grows heavier in Lajang Lajang. The guitar play goes freer, in addition to the upbeat tempo orchestrated by the seldom appearance of bold percussion. One focal point in this album is in Hampa, the second last song, as it creates a sorrow nuance, yet includes a typical native melody. However, the feeling does not last forever, because like I say, in this album Bubi has made clear intention to repeatedly swivel your mood. Listen to the last.