Banyumas Bamboo Gamelan
View record and artist detailsRecord and Artist Details
Label: Nimbus
Magazine Review Date: 7/1998
Media Format: CD or Download
Media Runtime: 70
Mastering:
DDD
Catalogue Number: NI5550

Author: ssteptoe
This CD gives a rare glimpse into the exuberant world of the calung (pronounced “chalung”). Originating from an area known as Banyumas in Central Java, the music played on these bamboo instruments is quite unlike anything the more usual bronze gamelans of Java have to offer.
The pieces represented here are a worthy sample of the popular and classic and all display the flamboyant vocal parts (including plenty of yelps, shrieks and cries) and virtuosic drumming so characteristic of the region’s music. The performers, led by singer Yusmanto, are, for the most part, from the small village of Wanton. All have considerable experience of playing in calung groups and impart to each piece a remarkably consistent degree of energy and verve.
In general, the recordings tend to favour the vocals and drums over the bamboo instruments (with the possible exception of the principal gambang – a sort of xylophone), and perhaps a more balanced approach might be preferred by some listeners. Although background resonance from the recording venue also contributes to this effect, its presence, none the less, helps to strengthen the sense of immediacy and freshness that these recordings exude.
The booklet-notes by Bradley Smith are comprehensive and informative and display a clear knowledge of both the performers and their music.'
The pieces represented here are a worthy sample of the popular and classic and all display the flamboyant vocal parts (including plenty of yelps, shrieks and cries) and virtuosic drumming so characteristic of the region’s music. The performers, led by singer Yusmanto, are, for the most part, from the small village of Wanton. All have considerable experience of playing in calung groups and impart to each piece a remarkably consistent degree of energy and verve.
In general, the recordings tend to favour the vocals and drums over the bamboo instruments (with the possible exception of the principal gambang – a sort of xylophone), and perhaps a more balanced approach might be preferred by some listeners. Although background resonance from the recording venue also contributes to this effect, its presence, none the less, helps to strengthen the sense of immediacy and freshness that these recordings exude.
The booklet-notes by Bradley Smith are comprehensive and informative and display a clear knowledge of both the performers and their music.'
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