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Moonjune Records has performed a service for progressive-rock and jazz-fusion aficionados by propagating an influx of stellar albums by Indonesian artists and bands that morph Western traditionalism into a distinct sound spectrum. One such ensemble is the power trio Ligro that, in Indonesian lingo, translates to "crazy people." Formed in 2004, its second release, Dictionary 2 is a propulsive exposition, sparked by unanticipated shifts in direction, demanding time signatures, metallic grooves and more.
Guitarist and band founder Agam Hamzah's stinging guitar solos and brazen chord voicings complement a democratic group mindset, and the musicians' regimented manifesto cannot be undermined. In essence, they steer a proverbial roller coaster ride. Adi Darmawan opens "Stravinsky (with Bach Intro) with a classical motif, surging the band forward with badass lines, into a hardcore prog rock jaunt where the trio dishes out torridly maniacal riffs via bloodcurdling velocity. At times, the musicians gel to a dizzying pace as if they were living on the edge, but their diversity is expressively highlighted during various segments, evidenced by the Jimi Hendrix Band of Gypsys- like "Don Juan." Here, the band morphs the psych-rock component into a fast-break schematic, tinted with nanosecond-style speed.
The trio oscillates the momentum with spacey interludes and intricate dialogues amid stirring ebbs and flows. Ligro operates on 12 cylinders, but shrewdly tempers the dynamic in such a way that parallels plot development. A stunning program that borrows from the godfathers of jazz-rock and prog rock, while also enlightening the present with an artistic flair, often exercised with high-decibel output.
Track Listing: Paradox; Stravinsky (with Bach Intro); Future; Don Juan; Bliker 3; Etude Indienne; Miles
Personnel: Agam Hamzah: guitar; Adi Darmawan: bass guitar; Gusti Hendi: drums, percussion.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.