Talking to You

Soegeng Sarjadi is perhaps one of jazz musicians who have overcome a mountainous hard work. You can tell easily whether or not a person does an unmistakable dedicated job. With tremendous help of many reputable jazz artists, this album concludes fascinating artistic values in diversity. Nonetheless, Soegeng’s well accented acoustic play facilitates distinguishable influences to a delightful craftsmanship. However, I am still unsure if Soegeng fully considers himself as a genuine jazz guitarist, for he deliberately binds his listeners of this album with contemplative, melancholic to some others, state of feeling in the introduction chapter supposedly consists of the three songs. Sigh of Emptiness, Tears of Knowing You, and I’m Talking to You are good synonymous examples of it. 

First, they have simple harmonic structures. Second, they rather create unchallenging melodies, despite unarguable skillful technique. Three, solitary yet independent acoustic melodies serve as main melody. And fourth, Soegeng tends to stay away from jazz harmonies for a while, remembering that the songs lay emphasis on the sense of solitude and heartfelt contemplation, rather than extending experiments. That explains a lot in a row. But Soegeng organizes the sequence of the tracks with a surprising factor, which I am much grateful of. What a relief to realize that he somehow places a fusion reggae-jazz track, We Find Love in the middle of those three dramatic songs, to the second track. Even though the particular song has a laid back rhythm, but unless it is not where it is now, I am afraid this album would miss its goal, that is to say Soegeng’s goal. This song reflects quite an impressive acoustic improvised line, precisely Soegeng’s work you see there, and pretty much everywhere. 

As the album enters the second half chapter, a new part I consider as real jazz jumps back to business, with a rich and witty song, Ten Ni Hen Ciu. Literally meaning “Waiting you for so long,” the song presents a theme of simple song of a couple who are horribly in great love, consequently drives up the rhythm and melody to exciting composition. I think we have reached the pivotal point of Talking To You song so much, remembering I am a Chinese Indonesian. Well, partly that is one of the reasons, but wait up, Ten Ni Hen Ciu really plays an influential role to the evaluation of this album. Besides inserting conventional Chinese short repetition, the sense of smooth jazz is very clear. Soegeng acts further by improvising bluesy melodies in the middle breaking session. Simple does not mean shallow, as Soegeng maintains comprehensible diatonic melodies, in the same time principle instruments such as drum and bass adhere to make an evenly warm tonality. 

On second opinion, I’m Still Here also appeals the same height of praise as the previous song. On this occasion, the stylistic jazzy tunes of big band era absolutely takes effect, and the light colorful melodies in the opening repetition suits best to the song. An intriguing part is right there in Samba of Our Sole. It goes without saying that Soegeng experiments in the tonal melodic line of Samba, in accordance with jazz hybrid form that commonly would have used piano as a tool of melodic embellishment. However, the distraction in the beginning that implements short jazz funk scene is what is beyond imagination. Mahatma, Tum Kider He offers conventional Indian harmonic structure, but with punchy percussion and high perseverance. One day, In a Moment resembles Soegeng’s style in bringing smooth jazz. As a matter of fact, the tracks played in this album has one thing in common, the well patterned keys upon repertoire that is easy to comprehend, easy to digest, yet rich in sound variety.