Virtuoso

In 1995, Bubi Chen presented Virtuoso, an untimely classy album dominantly consisted of famous Western everlasting jazz pieces, among which are My Funny Valentine, Fly Me to the Moon, Antonio’s Song, etc. Meanwhile, there are three self written songs, of such Frog Walk, Ku Lama Menanti, and Home, out of twelve songs entirely. To be honest, I am a bit reluctant to write a review for foreign songs, derived from my consistency to focus specifically on local made songs. The matter to me is like a dilemmatic issue, considering that on one hand, the picked songs are not home-made, but on the other hand they are played by Indonesia born musicians. However, the doubt begins to subside a couple of seconds after I allow myself to be indulged by the excellent piano touch out of Bubi’s fingers. With all respect, Bubi undisputedly has the skill to turn upside down the arrangement of each track into a whole brand new experience. To paraphrase it, he amazes us tremendously. Forget heterogeneous new breed jazz styles. Bubi brings classical atmosphere to his audience, a quality of which he always carries on. And to me personally, it is the greatest gift he could have given to anyone fortunate enough living in his time. 

Bubi chooses to start with a ragtime sound alike musical composition, Frog Walk. The rhythmic variation represents best the particular style, on account of its simplicity and easy to memorize pattern. Bubi has a tendency to compose upbeat tunes, like what he clearly shows in his album which respectively containing none but his own tunes, Buaian Asmara. The second song, Bluesette, continues to play at relatively high tempo. It adheres to repetition, the verses go on and on that you could barely notice whether there is any chorus in it. Despite its perpetual composition, the song is very magnetic, supposing that the melody brought in is perfect form. Louis Soliano as the vocalist who leads the main melody can endure dense pitch variations with his eccentrically straightforward voice. And the way he scats, incomparably beautiful. Furthermore, the song descends deeper and deeper to its core as he frequently casts the spell bluesette..bluesette..bluesette.. So charming. He maintains the so called character in the later Antonio’s Song. Bubi does not quite go far away in terms of the conventional melodic line with the familiar Blue Bossa, but he opens a creative playground in the arrangement. First, the rhythm runs frantically. Second, Bubi inserts a new improvised line at the end of verses, which I think a little bit over-exposed, yet compelling. 

Moody’s Mood for Love renders a laid back feel for a constant slow tempo beat, and vocals based melody. This duet song now involves an enchanting voice of Yvette Atienza, hand in hand creating delightful mix. Softly as in a Morning Sunrise explores a bebop style along with extra dynamic bass play. And if you search for an intimate listening experience, there is nothing better than two values cooperating together, between a vocal and Bubi’s piano accompaniment. Bubi’s another own song, Ku Lama Menanti, remains supporting a speedy tempo, together with dense structure and hard core improvisation. The mode turns to classical heartfelt swing in Body & Soul. The song creates a low mood nuance as the rhythm goes natural, and the chord progression feels  soothing. Similar in nuance, different in form, Here’s That Rainy Day possesses heart calming harmony, only packed by differing style, which is the irresistible, dreamy bossa nova. The other third of Bubi’s tunes, Home, as the third of Bubi’s own songs in Virtuoso, has an influential bluesy feel. Jazz and blues could blend harmoniously in Bubi’s perspective. Home is the ultimate proof of what he tries to explore. No doubt he succeeds in delivering it.