Soul Emotion Bass

In the event of identifying one of jazz pillar instruments that can play sideways, as of being a ground base for melodic tones, or being an understated melody itself, bass may have been the answer. The notion is what Harry Toledo eager to show in his album entitled Soul Emotion Bass. It goes without saying that Harry must have unquestionable capacity over mastering bass. I am not to talk about his outstanding portfolio as a bassist, under assumption that you will find it out yourselves. 

Harry decides to choose Tiada Gunanya as the opening to Soul Emotion Bass for a reason. Tiada Gunanya possesses a very smooth and mild musical composition. The implementation of two voices lining up together strengthens the influence of pop character. Harry apparently hesitates in delivering jazz material right on the table, for there is so much time for us to digest it anytime soon. The moment comes right away as we skip to second track. The existence of Aku Ingin Bebas happens to show groovy face upon acid jazz appearance. On the other hand, Kampung Maphasay underlies more outrageous side of acid jazz. The inexhaustible improvised line and nodding pusher drum beat claim bigger enthusiasm toward a state of aggressiveness. Jazz plays hard in this case. My Soul Emotion reflects the key player’s emotion, so to speak, for the track is filled with massive punchy bass sound and frantic beat stressing. The track also symbolizes a hybrid form of jazz, casually involving rock whether in rhythm or electric guitar improvisation. Conventional mellow melodies overrule the entire song Tak Bisa Tanpa Dirimu. Piano chords accompany embellished vocal tone, as well as frequent acoustic sweetener fulfillment. 

One of the middle tracks, Survive, has a strong R&B influence inside, including too in Thinking of Him, but with much sophisticated bass line improvised technique. Harry Toledo applies similar method to most of the songs in Soul Emotion Bass, that is to make use of well organized drum beats in the introduction part, regardless of how the beat might ascends, descends, or even undergoes numerous alterations in the process. Instance is clearly evident in Terlalu and Tiada Gunanya in the second place. In Impossible Thing, Harry composes a clever set of harmony, especially a unique traditional Indian type of instrumental melody as guide to interchanging spots dispersed through several patterned areas in the song. The Indian scats are also noted significant for decorating the key song elements.