Aku & Wanita

This album is so exceptional on account of its compilation taken up from previous respectfully Indonesia’s song writers. Meanwhile, Glenn‘s colorful vocal stages up the presumption as of what is considered jazz competent singer. It starts with his self-written track, Tega, a very typical kind of early slow jazz style. This song inherits a genuine feel of 1920s jazz mood, relying on subtle background instruments such as light percussion, rhythmic bass string and piano chord, with an appearance of wind instrument like trumpet in turning part after chorus. Every second feels like running so slowly, very soulful. Besides, Glenn really optimizes the moment to explore his vocal color throughout not only in this part, but also the whole recording. However, he chooses to put only one kind of Tega in the opening of this album. I spot the majority of the tracks inflict the dance music style, or else showing off more forward drum punches. For instance in Aku Cinta Padamu and Benci Tapi Rindu, where the songs seem jump out of the blue guiding the listener to a faster track but remain intimate. 

Talking about intimacy, the next song Belaian Sayang gives an interesting theme influenced by the low line of melody and by far, the lyric mentioning a reflection to nationality. That makes it a rare undertaking. The middle track, Sepanjang Jalan Kenangan contributes an interesting point, in which Glenn converts the chord arrangements, from the first stanza till chorus that still plays according to its previous version, all of a sudden diverges into minor chord in the second round to the end. To be honest, I do not really approve of this radical change. To think of it, Glenn attempts to arrange a fusion jazz by mixing blues to the song that does not have the platform to do so. Furthermore, there are several songs which I think a bit over-possess dance style, like in Dansa Yok Dansa, Good Times and Sudah Berlayar. Well of course the one I mentioned in the first place speaks for itself. 

I sense the album has gone further away from jazzy tunes. Generally speaking, the format of Aku & Wanita and other genuine jazz genre basically differs in the way Glenn does not mean to leave pop music, the mainstream which has made him big ever since. Pop encompasses wide scale of genre. Its flexibility is what Glenn uses as a tool of creativity. And luckily jazz has a strong influence in Aku & Wanita. Another good fortune is that after passing the doubt regarding several disapprovals above, a natural born to jazz music Don’t Sleep Away the Night catches up, and the line of melody coming out of saxophone can’t be more agreeable. It is like the culmination point, in that the music is catchier than its original version by Daniel Sahuleka, though a single part of famous ending melody remains intact. Those who have got familiar with this song would understand what exactly I am talking about. Two, Glenn proves himself that he never loses his will to improvise, and most of all, the quality sound of saxophone brings back all it needs to illustrate melodious jazz.