KOINONIA

KOINONIA 

Koinonia was founded in 1980 by Abraham Laboriel and Bill Maxwell. The band had it's first public appearance at The Baked Potato, Los Angeles in 1980. The name Koinonia is from Greek, that means "partnership" or "fellowship" or "to communicate by the act of using as common." 

The "original" band consisted of Abraham Laboriel, Bill Maxwell, Harlan Rogers, Hadley Hockensmith, Dean Parks, John Phillips and Alex Auña. Justo Alamrio replaced John Phillips in 1981, and Dean Parks left because he did not want to travel. Lou Pardini joined the band in 1988. 

The band have released three studio albums and one live album. On their latest album  the group appeared in a new concept with vocal songs, and not as an instrumental group as they started. There are also realesed two compilations of Koinonia "Compact Favorites" (1989), and "Pilgrims Progression" in 1991. In 2010 there was released a box-set, containing all their albums on cd, and two dvd videos.

On their latest album "Koinonia", Dean Parks and Michael Landau played Guitar, and Michael Ficher replaced Alex Acuña on percussion. Also Chester Thompson (drums) and Buddy Nuanez (guitar) played with Koinonia on tours, but was not members. 

Koinonia was disbanded in 1991.

Alex Acuña has been a member of Weather Report.

The members of Koinonia have after the disband, been playing together as backing musicans for other artists, such as Andrae Crouch, in concert(s) where they sometimes have played the songs of Koinonia. And also Fletch Wiley.

Koinonia's albums include:

• 1982: More than a Feelin'
• 1984: Celebration (Live)
• 1986: Frontline
• 1989: Koinonia
• 1989: Compact Favorites (collection)
• 1992: Pilgrim’s Progression – Best of Koinonia (compilation)
• 2005: Celebrate in Gothenburg (DVD of live concert in 1983)
• 2010: All The Best (compilation of 4 CDs and 2 DVDs)

More Than A Feelin' released in 1983 on Royal Music. Excellent Jazz-Rock Fusion

Celebration, released in 1984 on Sparrow Records. Great live album

More Than A Feelin', released in 1984 on Cenyon Records. (Japanease Release Only)

Frontline, released in 1986 on Sparrow Records. Koinonia's second studio album

Self titled album released in 1989 on Royal Music. Kononia's first & only vocal album.

Compact Favorites, released in 1989 on Sparrow Records, is a compilation with songs from their three first albums

Pilgrim's Progression, released in 1991 on Magnus Erikson Production. Great compilation presenting the music of Koinonia.

All The Best, released 2010 is a box-set, compilation including 4 cd's and 2 dvd-video's. That is all their albums and two live video concerts: Live In Scandinavium and Live In Montreux

All The Best, 2010 on MEP, back cover

Albums by the members of Koinonia:

Abraham Laboriel

1993 - Dear Friends
1994 - Guidum
1995 - Justo Almario & Abraham Laboriel
2004 - Live In Switzerland
1993 - Notenstock with special guest Abraham Laboriel - Live In Vienna 1993
1995 - Carol Knauberm, featuring: Alex Acuña, Tom Brechtlein, Rich Fames, Brandon Fields
Jimmy Johnson, Abraham Laboriel - The Juggler
2001 - Greg Matieson, Abraham Laboriel, Michael Landau, Vinnie Colaiuta - Live at
the Baked Potato 2000
2001 - Abraham Laboriel, Greg Mathieson - Laboriel Mathieson
2005 - Greg Mathieson, Abraham Laboriel Sr., Michael Landau, Abraham Laboriel Jr. / The
Jazz Ministry - Another Night At The Baked Potato 2005

Justo Almario

1981 - Interlude
1985 - Forever Friends
1987 - Plumbline
1989 - Family Time
1990 - Marcos Ariel With Justo Almario - Rhapsody In Rio
1990 - Heritage
1995 - Count Me In
1998 - Justo Almario / Marcos Ariel - Soul Song
1999 - Tolú / Alex Acuña & Justo Almario - Rumbero's Poetry
2002 - Tolú / Alex Acuña & Justo Almario - Bongó De Van Gogh
2008 - Lothar Kosse, Ralf Gustke, Adam Rogers, Phil Keaggy, Justo Almario, Michael 
Schlierf, Andreas Gundlach, Vinnie Colaiuta, NBA, Kosho - Play Like David

Hadley Hockensmith

1986 - Hearthsongs

 

Alex Acuña

1990 - Alex Acuña & Unknowns - Thinking Og You
2000 - Acuarela De Tambores - Top Percussion (Rhythms For A New Millennium)
2000 - Matucana featuring: Charlie Mariano & Alex Acuña - Isla Negra
2002 - Los Hijos del Sol / Alex Acuña & Eva Ayllón - To My Country (Contemporary Peruvian Music)
2006 - Joe Zawinul, WDR BB, Alex Acuña, Nathaniel Townsley, Victor Bailey - Brown Street
2009 - Acuña / Hoff / Mathisen - Jungle City
2011 - Clare Fischer Latin Jazz Big Band 'Directed by Featuring', Poncho Sanchez, Alex Acuña, Luis Conte, Peter Erskin, Steve Khan, Alan Pasqua, Don Shelton, Carl Saunders, Andy Martin - ¡Ritmo!
2012 - Acuña / Hoff / Mathisen - Barxeta

 

Harlan Rogers And Smitty Price

1986 - Timeless (Hymns In Colour)
1987 - Praise (An Instrumental Medley Of 22 Praise Classics)
1988 - The Colours Of Praise Two (An Instrumental Medley Of 20 Praise Classics) 
1989 - Hymns In Colour

 

Lou Pardini

1996 - Live And Let Live
1997 - Night To Remember
1998 - Look The Other Way

Koinonia: Celebration - Live from Montreux 1984

Though less known in the United States, Koinonia established themselves as a huge sensation in Scandinavia and Western Europe, performing to sell-out crowds from 1982 to 1991 in Norway, Denmark, Holland, Sweden,

Their Latin-infused rhythms and upbeat melodies gave them a distinct and cultured sound. Taken from a Greek word used in the Bible to mean "intimate fellowship" Koinonia was notably one of the first Christian, though primarily instrumental, jazz bands.

The original members of the band, which formed in 1980, were: (leader) classically trained guitarist, Abraham Laboriel on electric bass guitar, child-prodigy drummer Bill Maxwell, Dean Parks on guitar, Alex Acuña on percussion and drums, Hadley Hockensmith on guitar, Harlan Rogers on keyboards and saxophone/clarinet & flute virtuoso Justo Almario.

Koinonia - On My Way Home

Koinonia - Jazz-Fusion/Jazz-Funk Instrumental Band Woodwinds: Justo Almario Keyboards: Harlan Rogers Guitar: Hadley Hockensmith (Amazing solo at ~5 minute mark) Bass: Abraham Laboriel Drums: Bill Maxwell Percussion: Alex Acuna

Koinonia - Frontline (Live at the German TV ''Ohne Filter'', 1986)

Koinonia perform one of their greatest hits, ''Frontline'', Live at the German TV (TV Program ''Ohne Filter'', Year 1986).

Koinonia - "Schoolbus". Live from Montreux 1984

Woodwinds: Justo Almario Keyboards: Harlan Rogers Guitar: Hadley Hockensmith Bass/Vocal: Abraham Laboriel Drums/Percussion: Bill Maxwell Drums/Percussion: Alex Acuna

Source: 

- http://www.oblibs.com/286931878

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Tjok Sinsoe

Tjok Sinsoe

Ensiklopedia Jakarta – Budaya & Warisan Sejarah - jakarta.go.id

Penata musik dan musisi jazz, nama sebenarnya George Rudolf Willems Sinsoe, lahir di Tahuna, Sangihe, 12 November 1912 dan meninggal pada 9 Juli 1974 di Bogor, Jawa Barat, dalam usia 62 tahun. Menyelesaikan pendidikannya di AMS semacam SLA sampai kelas II pada tahun 1932. Ia mahir memainkan gitar yang dipelajari dari ibunya. Ia tertarik pada biola, terkesan oleh permainan biola Joe Fenaty dalam Film King of Jazz. Bakat musiknya menurun dari ibunya, yang pandai bermain biola dan mandolin serta pintar menyanyi. Sebelum PD II, ia ikut orang tuanya pindah ke Jawa dan tinggal di Bayuwangi. Sebelum zaman pendudukan Jepang, mereka menetap di Jakarta.

Tahun 1935 ia mendapat kontrak untuk main di Singapura dan kemudian keliling Semenanjung Malaka. Tahun 1937 ia gagal memasuki Hongkong, karena Jepang telah memasuki Cina. Di Jawa ia mendirikan orkes Hawaiian Syncopeters yang merupakan satu dari lima besar dunia. Pada masa pendudukan Jepang ia ditarik main dalam orkes symphoni Hosho Kyoku. Dalam masa itulah lahir karya-karyanya yang terkenal seperti Surya Wisesa, Embun. Penataan musik untuk film dimulainya sejak Darah dan Doa (1950), karya Usmar Ismail. Dan karyanya untuk Harimau Tjampa (1954) berhasil memenangkan hadiah dari FFA di Singapura 1955.

Pada awal 1930-an, mendirikan Hawaiian Syncopators di Jakarta. Pada 1950-an, ia bermain di Hotel Des Indes bersama Nick Mamahit (piano), Bart Risakotta (drums) sedangkan dirinya memainkan bass. Ketika TIM baru berdiri pada akhir tahun 1960-an, ia menyelenggarakan pertunjukan musik dalam bentuk big band. Acara itu sempat berlangsung secara rutin setiap tiga bulan. Dalam Expo 1970 di Osaka, Jepang, bergabung dengan Indonesia Enam, pimpinan Mus Mualim, bersama Sadikin Zuchra, Idris Sardi, Maryono, dan Benny Mustapha. Selain bermusik, tahun 1950-an, pernah main film berjudul Krisis. Awal tahun 1970-an namanya kembali muncul di dunia musik dengan rombongan Big Band-nya, yang memanggil kembali perhatian orang pada musik Jazz. Sejak tahun 1964 tiba-tiba ia muncul sebagai pelukis abstrak. Pernah pameran di TIM.

Referensi

http://www.jakarta.go.id/web/encyclopedia/detail/3405/Tjok-Sinsoe

Tjok Sinsoe

Tjok Sinsoe

Dari Wikipedia bahasa Indonesia, ensiklopedia bebas

Tjok Sinsoe (lahir di Tahuna, Sangihe, 12 November 1912 – meninggal di Bogor, Jawa Barat, 9 Juli 1974 pada umur 61 tahun) yang memiliki nama asli George Rudolf Willems Sinsoe adalah seorang penata musik dan pemain jazz asal Indonesia yang terkenal pada era 40-an. Ia adalah paman dari kakak beradik Ireng dan Kiboud Maulana.

Biografi

Tjok Sinsoe menyelesaikan pendidikannya di AMS (setingkat SMA) sampai kelas II pada tahun 1932. Bakat musiknya menurun dari ibunya, yang pandai bermain biola, mandolin serta pintar menyanyi. Pada awalnya Ia tertarik pada instrumen biola, karena terkesan oleh permainan biola Joe Fenaty dalam film King of Jazz. Ia pandai juga memainkan gitar yang dipelajari dari ibunya. Sebelum PD II, ia ikut orang tuanya pindah ke Jawa dan tinggal di Banyuwangi. Kemudian sebelum zaman pendudukan Jepang, ia dan keluarganya hijrah dan menetap di Jakarta.[1]

Pada tahun 1935 ia mendapat kontrak untuk bermain musik di Singapura dan juga berkeliling Semenanjung Malaka. Pada tahun 1937 ia gagal masuk wilayah Hongkong, karena Jepang telah menduduki China. Di Jakarta ia mendirikan orkes Hawaiian Syncopeters yang merupakan satu dari lima orkes Hawaian yang terbesar di dunia. Pada masa pendudukan Jepang ia ditarik untuk bermain dalam Orkes Symphoni Hosho Kyoku. Dalam masa itulah lahir karya-karyanya yang terkenal seperti "Surya Wisesa" dan "Embun" diciptakan. Menata musik untuk film telah dimulainya sejak film Darah dan Doa (1950), karya Usmar Ismail. Dan karyanya untuk Harimau Tjampa (1954) berhasil memenangkan hadiah dari FFA di Singapura, yang diadakan pada tahun 1955.[1]

Pada tahun 1950-an, ia pernah bermain di Hotel Des Indes, Jakarta bersama Nick Mamahit (piano) dan Bart Risakotta (drum) dengan format Jazz Trio. Pada tahun 1968 Ketika Taman Ismail Marzuki baru dibuka, ia menyelenggarakan pertunjukan musik dalam bentuk Big Band. Acara itu sempat berlangsung secara rutin setiap tiga bulan sekali. Kemudian Dalam "Expo 1970" di Osaka, Jepang, ia bergabung bersama Indonesia VI, pimpinan Mus Mualim, bersama teman-teman musisi yang lain seperti: Sadikin Zuchra, Idris Sardi, Maryono, dan Benny Mustapha. Selain bermusik, pada tahun 1950-an, ia pernah juga bermain film yang berjudul Krisis. Awal tahun 1970-an namanya kembali muncul di dunia musik dengan rombongan Big Band-nya, yang menjadi perhatian orang khususnya kalangan pecinta musik Jazz. Sejak tahun 1964, ia juga memulai hobi barunya melukis dan sempat menyelenggarakan pameran lukisan abstrak di Taman Ismail Marzuki, Jakarta.[1]

Pada tahun 1972 saat tampil di Taman Ismail Marzuki, Tjok bermain dengan format big band bersama 25 pemain anak buahnya. Beberapa orang adalah anggota korps musik Angkatan Laut dan beberapa lagi dari Orkes Simfoni Djakarta. Untuk pembuka ia memainkan lagu "In The Mood" ciptaan Joe Garland yang terkenal itu. Meskipun tidak segesit Glenn Miller namun terlihat semangat Tjok yang masih seperti biasa yaitu ingin memajukan musik jazz di tanah air. Dalam kesempatan itu ia memainkan repertoar-repertoar Big Band, antara lain: String of Pearl, Temptation, Mood Indigo,Bags New Groove yang totalnya berjumlah hampir 31 buah lagu. Sekali ini Tjok muncul dengan bantuan Henny Purwonegoro dan Maya Sopha. Acara tersebut diadakan 18 jam setelah kepergian sang maestro Sam Saimun, yang seharusnya dijadwalkan juga turut menemani Tjok untuk menyanyikan Selendang Sutera ciptaan Ismail Marzuki dalam pembukaan acara Big Band tersebut.[2]

Referensi

1. Tjok Sinsoe di Jakarta go.id, http://www.jakarta.go.id/web/encyclopedia/detail/3405/Tjok-Sinsoe, diakses 27 April 2011

2. Tjok Sinsoe di Jejakmusik, jejak musik, diakses 27 April 2011

http://id.wikipedia.org/wiki/Tjok_Sinsoe

Jazz In Indonesia: A Capsule History

Jazz In Indonesia: A Capsule History
by Paul W. Blair & Rully Mangunsong 

Although the musical style known as jazz was first synthesized in the United States in the years just before the First World War, it is today a music that knows no international boundaries. Good jazz is now being played on every continent. What’s more, some its most talented musicians - and the most fervent fans- are Asian.

Jazz first began to be heard in Indonesia in the late Thirties when it was played by the visiting Filipino musicians who had come to Indonesia to earn their livings as entertainers. Through their playing, many Indonesian listeners first had the opportunity to hear wind instruments (trumpets, saxophones and so on) usually then featured only in so-called “serious” music played in an exciting new way. That early jazz-influenced music had quite an impact on young people of the day and represented a real contrast to the staid European heritage that then represented “high culture.”

Among the other musical elements introduced by these visitors from the Philippines were Latin rhythms - rumbas, sambas, boleros, and more. Many old-timers still recall the names of the more prominent of the visiting Filipino stars: Soleano, Garcia, Pablo, Baial, Torio, Barnarto, and Samboyan. Some stayed for long periods in Jakarta and were even featured as soloists with the Indonesian Radio Orchestra. Others found opportunities to play in cities in various regions of the country. Samboyan, for example, became leader of the Bandung Studio Orchestra. Through the process of observation and osmosis, these new musical influences began to be reflected in the playing of young Indonesian musicians.

Where were theses intriguing new orchestras and smaller groups being heard around Indonesia in the late Thirties? Filipino musicians were entertaining and playing for dancers at Hotel Des Indes (on what is now the site of Duta Merlin Plaza), at Hotel Der Nederlander (there are government offices in that location today), at the Savoy Homann Hotel in Bandung, and at the Orange Hotel in Surabaya. At these and other popular spots, the Dutch mingled on occasion with upper-crust Indonesians.

It is said that the first song composed by an Indonesian specifically to entertain (and using a standard song pattern) was one called “Als de Orchideen Bloeien” (“When The Orchids Bloom”) by Ismail Marzuki. The lyrics were in Dutch and the date of publication was November 1939.

Western-influenced music was banned by the Japanese during their occupation. However, Asian music was allowed. And so was keroncong, which was regarded as traditional music. But with the expulsion of the Japanese and the new availability of Western recordings, a broad musical revolution began to occur. Certain individual musicians began to garner local reputations for the clever ways, they adapted overseas influences as a part of their own styles. Pianist Marihot Hutabarat, for example, played with a flair not unlike George Shearing’s. He often accompanied singer Sal Saulius Hutabarat, whose baritone voice was said to resemble Billy Eckstine’s. Bing Slamet’s singing, on the other hand, reflected the influence of Bing Crosby’s popular records.

Over sixty Dutch musicians came to Indonesia in 1948 with the intention of organizing a symphony orchestra made up primarily of local musicians. Before they returned to Holland around the time of independence, they had established the Radio Philharmonic Orchestra. Among the best known of these Dutch musicians were Baarspoel, Fritz Hintze, Henk te Strake, and Jose Cleber. Some of them lingered beyond their original period of commitment and helped to form ensembles of other sorts.

Cleber’s Jakarta Studio Orchestra featured big band arrangements that sounded a lot like what Stan Kenton’s band was doing in California around that time. Other prominent groups of the time included The Progressive Trio (with Dick Able as guitarist, Nick Mamahit on piano, and Dick van der Capellen playing bass); Iskandar’s Sextet and Octet, which played modern jazz arrangements; The Old Timers, led by Eto Latumeten on tenor saxophone and playing a Dixieland repertoire.

In 1955, Bill Saragih formed the Jazz Riders with himself on piano, vibes, and flute, Didi Chia on piano, Paul Hutabarat as vocalist, Herman Tobing on bass, and Yuse on drums. A later edition featured Hanny Joseph playing drums, Sutrisno playing tenor saxophone, Thys Lopis on bass and Bob Tutupoly as featured singer.

As the jazz style became more popular, other names gained prominence: pianists Taslan Suyatno and Mus Mualim, trumpeter Ari Tess, drummer Benny van Dietz (Benny Mustafa), and many others. The leading lights in Surabaya between 1945 and 1950 were Jack Lemmers / Jack Lesmana (bass), Bubi Chen (piano), Teddy Chen, Jopy Chen (bass), Maryono (saxophone), Berges (piano), Oei Boen Leng (guitar), Didi Pattirane (guitar), Mario Diaz (drums), and Benny Heinem (clarinet). During the Fifties and Sixties, the big names on the Bandung jazz scene were Eddy Karamoy (guitar), Joop Talahahu (tenor saxophone), Leo Massenggi, Benny Pablo, Dolf (alto saxophone), John Lepel (bass), Iskandar (guitar and piano), and Sadikin Zuchra (guitar and piano). 

Among the younger musicians who began to be heard in Jakarta during the Seventies and Eighties are the Maulana Brothers, Ireng Maulana & Kiboud Maulana (guitars), Perry Pattiselano (bass), Embong Raharjo (saxophone), Luluk Purwanto (violin), Oele Pattiselano (guitar), Jackie Pattiselano (drums), Benny Likumahuwa (trombone and bass), Yopie Item (guitar), Karim Suweileh (drums), Wimpy Tanasale (bass), and Abadi Soesman (keyboards). Some of these younger players leaned toward rock and fusion, but occasionally had opportunities to play in a jazz context: Bambang Nugroho (piano), Elfa Secioria (piano), Candra Darusman (keyboards), Christ Kayhatu (piano), Joko WH (guitar), Indra Lesmana (keyboards), Idang Rasjidi (keyboards), and many others.

There are doubtless many other names deserving of mention. The lists above represents only a cross-section of musical talent in past decades. The musical scene in Indonesia today is a busy one, with many chances for talented players to earn their livings playing for television, in nightclubs and as back-up for pop singers. But many of them would like to have the chance to play real jazz more often because it’s music that stimulates and challenges them. As lovers of this music, we should support them wherever and whenever we can. Our enthusiasm will allow them to keep the music as vital and as omnipresent as it should be!


Courtesy:
http://jakjazz.blogspot.com/2005/01/jazz-in-indonesia-capsule-history.html

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