Untukmu

I guess there is no need to start with an introduction to describe this second to none jazz lady, and the album she stars, due to her luxurious tone, and definitely jazz vocal competence. Backed by Ireng Maulana and the band, Ermy Kullit finds her top level performance with little effort, and the audience would also agree as of what a definition of quality music should be. Despite the sounding melodies and compositions are close to conventional Indonesian old memory tunes, the musicians have applied an immense work to this album that the track sequence provide sincere jazz attitude in front of the listeners. Furthermore, to put it in a nice way, Untukmu works best in giving an impression toward individuals who endeavor to seek 80’s reminiscence. 

It starts with one of the neighbor countries everlasting track, Sinaran. The track’s composition is based on light tempo, simple beat variation, and as usual, it won’t complete without saxophone as decorating instrument. There is also an additional male vocal accompanying Ermy. Mentioning back vocal, the album uses frequent male voice as assistance for Ermy in the form of diatonic tones. Untukmu is one of the instances. And it normally takes place in the chorus repetition. Dia provides a dynamic tempo, acoustic and flute improvised melodies, and short range main vocal which in turn creates a catchy melody, essentially in the refrain. 

For the first time, the supporting male vocal who is used to assist the main vocal in several songs before dares to take a different path in Menggapai Bahagia. Instead of shadowing Ermy’s main melody, the back vocal diverts to more independent direction, even posing himself side by side with Ermy in bringing the melody. Didadaku Ada Kamu goes on without much alteration in the arrangement. Only Ermy’s soothing voice could blow a wind of change into it. Otherwise, the song would not undergo significant distinctive music style. Cerita Lama serves a very cheerful rhythmic variation, not only in the chord progression, but also the beat form. The existence of flute is very noticeable, and there is a smooth conversion to samba melodic element in the middle-breaking session. The following track, on the other hand, delivers a contrast nuance to the previous one. Layu Sebelum Berkembang gives a sense of cool, laid back melody. The arrangement in this case retains the nostalgic nuance typically found among selected oldies Indonesian songs. Saxophone plays decent role in most of the occurrences, as what it shows in Mulanya Biasa Saja.  Furthermore, faithful local tracks listeners would be fully aware of how intimate the past atmosphere clings to ears, then to minds. 

Ermy surely has overcome decades of ups and downs in her career. And it feels like she condenses them all unintentionally in every moment she sings. The album walks a steady line as the second last song, Sampai Menutup Mata, still conforms to cool, monotonous music sensation like the songs from the very beginning. The closing track serves a deeper impression of smooth jazz. It is conclusive from the unchallenging chord progression as well as the simple melody which take parts in. Jerat appears to step on ahead of other songs in terms of the time line. It gives you a more modern sight than the rest songs in the album, using the often used tempo instrument at the time, excessive keyboard embellishment, electric guitar second line accompaniment, and saxophone short fill in tones.