KIAI KANJENG

The name KiaiKanjeng brings firstly to mind Cak Nun, and secondly, the music of the gamelan. Cak Nun? Yes, because he is KiaiKanjeng's chief composer. Together, Cak Nun and KiaiKanjeng comprise collaboration both dynamic and phenomenal. These compositions introduce the essence of the KiaiKanjeng-Cak Nun collaboration, which has successfully penetrated those dimensions of cultural values and life never before managed by other musical groups. These compositions are what make KiaiKanjeng more than just a music group. That is because the music of KiaiKanjeng is not merely heard, so much as felt and experienced.

With gamelan, traditional Javanese percussion, the group has performed at many international festivals and does not shut itself from modern Western numbers: pop, blues, jazz (and has even been even invited to perform at the Jak-Jazz Festival). An entourage of 15 poets and musicians will be performing songs, poetry and prayers forming a unique spiritualistic expression, as well as presenting an exotic fusion of traditional and contemporary music.

KiaiKanjeng have performed as far away as Naples (7 April 2005), and were presented there with an international music award in appreciation of their performance. They were even asked to leave behind their notation to two of their world, Pembuko I and II, as well as a Demung instrument for the Museum of Classical Music, where Guiseppe Verdi, Robert Wagner, Guiseppe Tartini and Antonio Vivaldi once performed their works and left mementoes of their own art for posterity.

What makes KiaiKanjeng doubly unique is that they have been afforded accolades from the world of classical music yet receive precious little respect or attention in their homeland of Indonesia. KiaiKanjeng's tour of Europe served to enhance a positive view of Islam, in a world where Islam has tended to be much maligned. On 23 March 2005 KiaiKanjeng performed on the occasion of The Muslim News Award of Islamic Excellence 2005 in London; and event attended by then-Chancellor of the Exchequer Gordon Brown, who used his speech to express his enthusiasm at witnessing the performance. Once more, KiaiKanjeng are more than a musical group because they work to represent the best of Indonesia in their brand of cultural diplomacy.

Even though all musical instruments are employed, the gamelan is the essence of KiaiKanjeng's music. The name KiaiKanjeng itself originally stemmed from the gamelan that was used by the group’s arranger Novi Budianto, which was neither pentatonic nor diatonic. While the form of KiaiKanjeng's gamelan was originally born of the Javanese variety. KiaiKanjeng's gamelan is not Javanese. Instead, KiaiKanjeng have embarked upon a broad musical exploration, which has complemented their work in composing and performing for such a wide variety of audiences. These audiences begin with the ordinary people but range to the professional classes, taking in rickshaw (becak) drivers, the poor, marginalised and extending to state officials and foreign dignitaries.

KiaiKanjeng's music begins in the Javanese tradition but ranges to Arabic, pop, jazz and extending to other styles. And this is why KiaiKanjeng are more than a musical group, because they embrace their musical freedom and refuse to be cornered by any one stylistic form. Yet Kiai Kanjeng is not a group similar to other musical outfits. This is largely due to its mission of not primarily existing for music and the arts, but as a instrument of comprehensive social communication and process. This phenomenon is uncommon, and its fame is spread by word of mouth although in the Indonesian musical constellation it is rarely spoken of, especially in the modern music industry.

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01. Ilir-Ilir
02. Kelahiran
03. Raja Diraja
04. Sholawat Cina
05. Sholawat Melayu
06. Terbit Rembulan
07. Tombo Ati
08. Kepada Kekasihku
09. Jangan Bersedih
10. Ya Ampun
11. Ya Sayyidi
12. Sayang Padaku
13. Jalan Sunyi