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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
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
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).
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
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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