This
album wouldn’t be possible hadn’t Tohpati reached the point of maturity, on
account of his musical competence. He underlies the importance of long-spanned
stage capability in order to enrich trait. In this album, Tohpati is very well
referenced with sets of arrangement, in addition to a much wider scope to
attribute instrumentation accompaniments. The dominant harmony is more playful,
intricate, yet has not identified as complex. Meanwhile, he insists on tracking
a sense of duty to implement various indigenous tonal lines, an authentic
symbol of Tohpati’s way of delivering art of hybrid jazz.
The instance speaks for itself as the album goes off with Dancing Kids as opening track. Cendrawasih brings a beautiful harmony to its composition and secondarily, the arrangement. Even though the melody somewhat faces edgy nuance, listeners still can comprehend the visualization the song intends to draw. It is quite hard to describe this song, as hard as telling about how a fusion jazz puts the pieces together. My Dream underlines Tohpati’s desire in building a natural imagination through acoustic instrument. Provided by the presence of distinctive background ornaments, ranging from nature’s timbre to Indian’s one of a kind scats. The guitar melodic line mimics the harmony, creating balance intensity along with the chord progression, although Tohpati plays a bit in scrutiny in this part, which in return might possibly causes a nerve-pulling to audience.
The next two songs would certainly be associated with Tohpati’s emotional style. Untuk Diingat clearly expresses the intrinsic value regarding the guitarist’s playing characteristic. The melody is very detail, the rhythm goes nice and slow, and in a sense could be considered having catchy repetitive parts. Meanwhile, Kedamaian possesses a laid back harmony, which is supported by similar drifting sound of instrumentation applied. It starts with a part of rapid acoustic rhythm. Another presence of frantic melodious line occurs in Dewata. However, this time Tohpati tends to play on major chords in the introduction part, practically to the whole song, so to speak. Referrring to the song title, the arrangement includes the typical Balinese scats to decorate the background. And it gets more tense as flute timbre is on the go.
Furthermore, It's Time presents acoustic line produced by rapid fingers of Tohpati. The song extends a fast tempo, but instead of underlining drum beat, the song places melodic lines as the rhythm basis. Nevertheless, percussion still accompanies to the last just to insert some colorful scenes. The album also reflects a tribute over Aceh in its present condition. More to it, Tohpati has successfully created the atmosphere, encompassing a grim past time, with the use of predominating minor chord, and a majestic feel through immense traditional harmonic structure. It also has uneven rhythm, which adds up the difficulty of arranging the particular track.
Gembala, exactly sharing the same characteristic, demonstrates country composition and rhythm, yet has a binding free jazz influence. Kata Hati confidently makes its way through bluesy improvised line. The feel really gets down to it. A counterpoint has taken a place on account of trembling electric guitar, frenetic and spontaneous. On the other side, a handful of bass lines twists like free jazz non rhythmic style. It’s Time as Tohpati’s third album gives an unprecedented spectrum to his jazz competence, with a dominant in depth and at length colorful harmony.
The instance speaks for itself as the album goes off with Dancing Kids as opening track. Cendrawasih brings a beautiful harmony to its composition and secondarily, the arrangement. Even though the melody somewhat faces edgy nuance, listeners still can comprehend the visualization the song intends to draw. It is quite hard to describe this song, as hard as telling about how a fusion jazz puts the pieces together. My Dream underlines Tohpati’s desire in building a natural imagination through acoustic instrument. Provided by the presence of distinctive background ornaments, ranging from nature’s timbre to Indian’s one of a kind scats. The guitar melodic line mimics the harmony, creating balance intensity along with the chord progression, although Tohpati plays a bit in scrutiny in this part, which in return might possibly causes a nerve-pulling to audience.
The next two songs would certainly be associated with Tohpati’s emotional style. Untuk Diingat clearly expresses the intrinsic value regarding the guitarist’s playing characteristic. The melody is very detail, the rhythm goes nice and slow, and in a sense could be considered having catchy repetitive parts. Meanwhile, Kedamaian possesses a laid back harmony, which is supported by similar drifting sound of instrumentation applied. It starts with a part of rapid acoustic rhythm. Another presence of frantic melodious line occurs in Dewata. However, this time Tohpati tends to play on major chords in the introduction part, practically to the whole song, so to speak. Referrring to the song title, the arrangement includes the typical Balinese scats to decorate the background. And it gets more tense as flute timbre is on the go.
Furthermore, It's Time presents acoustic line produced by rapid fingers of Tohpati. The song extends a fast tempo, but instead of underlining drum beat, the song places melodic lines as the rhythm basis. Nevertheless, percussion still accompanies to the last just to insert some colorful scenes. The album also reflects a tribute over Aceh in its present condition. More to it, Tohpati has successfully created the atmosphere, encompassing a grim past time, with the use of predominating minor chord, and a majestic feel through immense traditional harmonic structure. It also has uneven rhythm, which adds up the difficulty of arranging the particular track.
Gembala, exactly sharing the same characteristic, demonstrates country composition and rhythm, yet has a binding free jazz influence. Kata Hati confidently makes its way through bluesy improvised line. The feel really gets down to it. A counterpoint has taken a place on account of trembling electric guitar, frenetic and spontaneous. On the other side, a handful of bass lines twists like free jazz non rhythmic style. It’s Time as Tohpati’s third album gives an unprecedented spectrum to his jazz competence, with a dominant in depth and at length colorful harmony.
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