Bossanova Jawa

Talking about bossa nova, its origin comes from Brasil where the fusion between jazz and the traditional music output occurs perfectly. Then a further curiosity arises, “bossa nova java?” How do you put Java and Latin American together? Which predominates? Which foundation prevails? I could have guessed better, like any other listeners, of the core issue that taken from the title, the rhythm positively derives from bossa nova. Subsequently, the product of Java culture carries the lyrics alongside chord progression. To think of it, simply imagine an imported Brazzilian coffee is thrown out to the island of Java, and then the local people start to sip it, before speak their opinions toward the coffee.

The band is led by a regular voice of soft and long stretched female vocal, not to mention the fluency of Javanese pronunciation, accompanied by modern pillars of jazz instruments, for instance keyboard, acoustic, soprano saxophone, and a usual shape of drum configuration. The melodious, yet traditional keys and tones seem overrule the each tracks compounded in bossa nova java. The only given space to improvise is generally in the brief introduction part, clearly exhibited in Keno Godho and Pupus Tresno, another is in the looping chapter after repetition in most of the songs.

Terminal Tirtonadi as opener draws a quick impression by inserting a line of flute tones, a symbol of Javanese characteristic, through all parts of the song. The song, representing the others as well, lacks of syncopated beat and vocal melody, which in turn only relies on the particular bossa nova style as frontline element of surprise. As we know, it takes a lot more than that to produce a highly regarded jazz composition. However, the band fully deserves a compliment form everyone, including me, for manifesting the idea. The most delight form of bossa nova java is found in Janjimu, in which the chord progression heads a bit farther away from the path it used to play in Javanese musical pattern. Bocah Ndeso presents a cheerful composition, a kind of which rarely encountered in regular pattern of the local music. It does not mean that the traditional music described on this occasion has created all nuances except uplifting. But, to compare it with the real bossa nova first hand players back across the sea, the feel seem to have undergone a radical difference. 

The interpretation of Southern American playing jazz in the form of bossa nova is noted unrestricted, swinging and body moving, whereas in Java the presence of strictly patterned repertoire, and typical composition here, there, everywhere seems unequivocal. In other word, Javanese culture affects deeply the foreign music it collides with. Get this, can you think of the local community holds a massive party on the south or north beach of Java wearing the safari dress code, smoking Cuban cigar to each other, hugging and kissing while dancing, and powered by a party to death live bands in every open bars in town, those sort of things we normally see in Copacabana or Acapulco? It is even hard to dream of. However, the album enjoys huge success, as the label has made sequential releases up to bossa nova Jawa III.