Public Diplomacy

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THE ROLE OF JAZZ IN EMERGING INDONESIA’S MUSICAL

DIPLOMACY

Daniel Areldy

6211151117

Cultural Field

ABSTRACT

In this modern days, music as a part of culture are keep developing and evolving from time
to time. Then came Jazz that rose as a new global trend. Despite its long history of development,
Jazz has expanded to many other countries in the world, and blend with the native culture in a
specific place. In Indonesia, Jazz is also starting to developed and grow gradually within the
societies. By performing in local context, Jazz in Indonesia has crossed the boundary between the
West and the East. In some ways, Jazz and Indonesia’s traditional music begin to merge and
acculturate together. Thus, Jazz can be a potential tool in popularising and nurturing Indonesia’s
traditional music to the international world, despite the slow progress of music development in
Indonesia.
Henceforth, the purpose of this paper is to explain further about the origins of Jazz, its
development in Indonesia, and its contributions in promoting the traditional music of Indonesia
as an attempt in emerging Indonesia’s public diplomacy. In elaborating the issue, the writer uses a
descriptive method with secondary data obtained from various sources, along with several theories
and concepts in international relations study.
Keywords: Jazz, music, traditional, Indonesia, acculturation
A. Background

Music has become the inseparable part of human life. In almost every day, we listen to
many different kinds of tunes and songs that entertain us. It also has become an aspect that
represents a specific culture from one region. For example, the traditional Indonesian folk music
from diverse regions like Kalimantan or Papua, with many different variations of tunes or
instruments that symbolise its origins.

From time to time, music has been evolved and produced a lot of different genres, each
with its own unique styles. The evolution happens as a result of the conflation of many different
cultures throughout the world. In this case, Jazz music can be seen as an example of genre that
fuse different culture from Europe to Latin America. As it keeps developing, Jazz now has risen as
a global trend in music. Along with its expansions to many places and regions, Jazz also has blended
with indigenous culture in a specific place.

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The development of local music in Indonesia is still lagging behind, especially when we talk
about its traditional folk music. In fact, Indonesia is a rich country that has a lot of various culture
from many different tribes and ethnics. Furthermore, there are a lot of traditional folk music
throughout the entire country that we may able to explore and develop. With the acculturation
between Jazz music and Indonesian traditional culture, the writer is confident that Indonesian folk
music may able to be enjoyed and became well-known to the international society.

Moreover, this paper aims to elucidate the contribution of Jazz in familiarising Indonesia’s
traditional music and culture to the international community. The writer uses descriptive method
with secondary data acquired from many different sources as the equipment in composing this
paper. Regarding the topic, the writer assumes that despite its complex origins and complex style
of play, Jazz truly has added some new colours to Indonesia’s traditional music. With Jazz,
Indonesia may able to create a new cultural style through reshaping and rearranging the
composition of its traditional music, so it can be adored and appreciated by everyone worldwide.

B. Research Question

Apropos of the topic and the aim of the paper, the writer therefore formulates a question
that needs to be answered through this research, which is:

“How does Jazz contribute in emerging Indonesia’s traditional music to the international
society?”

C. Conceptual and Theoretical Framework

In analysing this phenomenon, the writer uses Pluralism as the basic theory along with
several concepts of international relations. Pluralism is a perspective that consider the international
relations are not limited within the interstate relations, but there is also another relation conducted
betwixt individuals or betwixt groups of interests, in which states are not the only independent
actor in international relations (Perwita & Yani 2005).

There are several basic assumptions of Pluralism:

1. Non-state actors also played the important roles in international politics. For example,
international organisations whether it’s governmental or non-governmental, Multinational
Corporations, groups of interests, and individuals. Therefore, states are not the unitary
actor in international politics.
2. The international issues nowadays are not fixated on the topic of national security anymore,
but focusing instead to the low-politics issues such as social, economy, cultural, etc. Hence,

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the international political agenda now is expanding to a wider scope of aspects (Perwita &
Yani 2005).

In addition to elaborate the issue, the writer uses Soft Power and Cultural Diplomacy
concepts. Soft power—a concept developed by Joseph Nye—is the ability to getting others to want
the outcomes one desires through attraction and co-optation, rather than through coercion such
as military threat or bribing as a means of persuasion. Hence, soft power rests on the ability to
shape preferences of others. Soft power is more than just persuasion or the ability to move people
by argument. It is also the ability to fascinate, and fascination often leads to acquiescence. In other
words, soft power can be called as attractive power. The behavioural outcome of others would be
the point that distinguish between hard and soft power. The soft power of a country rests primarily
on three resources; its culture, where it is attractive enough to others, its political values, and its
foreign policies when they are seen as legitimate and having a moral authority (Nye 2004).

Acknowledging that culture is one of the resources of soft power, the concept of cultural
diplomacy rises as the continuous form of soft power. In order to understand cultural diplomacy,
we have to understand first about the definition of culture itself. Culture is the set of values and
practises that create meaning for a society. It has many manifestations. It is common to distinguish
between high culture such as literature, art, and education, which appeals to elites, and popular
culture, which focuses on mass entertainment (Nye 2004). Additionally, Oxford Learner’s
Dictionary defines culture as the beliefs and attitudes about something that people in a particular
group or organization share.

Henceforth, from the definitions given above, cultural diplomacy therefore may be
specified as the exchange of ideas, information, art and other aspects of culture among nations and
their peoples in order to foster mutual understanding. Cultural diplomacy may refer to institutions
and activities that aim to spread certain ideas and values; it may signify the way in which state or
other transnational actors attempt to influence other actors; finally, it can describe the process of
communication between actors of international relations. Cultural diplomacy includes activities
that aim at presenting countries broadly understood cultural heritage (Woroniecka 2016).

Furthermore, Woroniecka explains that one key component of cultural diplomacy is

cultural exchange—i.e. all kinds of art programmers, exhibitions, concerts, spectacles etc. that are
usually prepared directly by cultural institutions. In this perspective, dimensions of cultural
diplomacy include, among others, musical diplomacy or arts diplomacy (focused on the so-called
high arts: music, literature, painting), historical diplomacy, as well as teaching and popularizing
languages. The target groups for such exchange are foreign societies, groups (scholars, artists) or
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even individuals. One key difference between the standard diplomacy and cultural diplomacy is
that the latter engages foreign audiences.

With many variations and colours, culture has become one of the core aspects of
Indonesia’s soft power and public diplomacy. In this issue, Indonesia’s traditional music verily has
encountered a stagnancy in its development. Hence, Jazz appears as a tool for most of Indonesian
musicians and artists nowadays to rearrange and popularising the traditional music itself. The
government also see this opportunity and support the local musicians and artists in their efforts.
Afterward, the writer shall discuss and elaborate how Jazz reshape Indonesia’s traditional music
and later, gain a positive appreciation within the international society.

D. A Glance into The History of Jazz

When we talk about Jazz, there are several misconceptions among people’s mind. Most
assume that Jazz music was developed by the ex-slaves in United States. Thus, people believe that
Jazz was a music that belongs to the black people or African-American or Black-American. These
assumptions basically are not true at all. Indeed, Jazz was born and developed in the United States,
but its harmonisations came from the Classical Music in Europe, and its rhythms are taken from
many different regions in Africa, where slaves were also taken around the 16th century. During that
time for almost 400 years, slavery was conducted for the first time by the Dutch colony when they
came for the first time to Maryland, Virginia in United States (Daudsjah 2016).

Professor Tjut Nyak Deviana Daudsjah in her public lecture concert (2016), furthermore
explains that the true meaning of the word ‘Jazz’ itself is still debated amongst the history experts.
But if we look from the slang terms from the French language, the connotation of the word ‘Jazz’
tend to be directed to a sexual intercourse context.

Advancing to the early 20th century, Scott Joplin—a composer and a pianist from United
States—developed in what he named as ‘Ragtime’, with some of his most famous compositions like
‘Maple-Leaf Rag’ (1899) and ‘The Entertainer’ (1902). This Ragtime style is considered as the
earliest form of Jazz (Gioia 1997).

From Ragtime, Jazz developed into a new style called ‘Two-Beat’. This development
happened when slavery was being abolished by the US government, a governor in New Orleans
disagree if the black people has the equal and the same rights with the whites. Moreover, the new
segregation policy was issued by the government, where those black people are again considered
as the progenies of slave. This policy gave a huge impact upon the social condition in US,
specifically in New Orleans. For example, back at the time there are a lot of opera houses in New

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Orleans where the pianists that play classical music at the opera show. Those pianists were mostly
mixture of European and African progenies, also called as ‘Creole’. When the government exercise
the segregation policy, these people went away from the opera house and moved to a region called
the Red-light District, or we may know it as prostitution district, in where these Creoles gathered
with other African-American people and play their instruments together. This tradition until now
called as ‘Jam Session’, a term that defines a leisure time where musicians gather and play any songs
together. The Creoles gave inspirations to other musicians about the harmonisation from classical
music because back at the time, other musicians are mostly focusing to rhythms. With the mixture
of this harmonisations and rhythms, Jazz later developed into a style called the Two-Beat.

The development of Jazz doesn’t stop until there. Its evolution later makes Jazz became a
music for a ballroom dance, with the new style called ‘Swing’ that is still and considered the most
popular style of Jazz until now. During the Swing era, Jazz encountered a significant growth of
popularity with the appearance of musicians that compose a lot of new songs with the Swing style.
For example, the pianist Thomas Fats Waller with his ‘Honeysuckle Rose’ and Isham Jones’s ‘It
Had to Be You’ that was composed in 1924. Another example is the trumpeter Louis Armstrong,
whom has a very huge influence in Jazz music. In the early development of Swing, Armstrong in
his 1938 record of ‘When the Saints Go Marching In’ uses a unique style of singing named ‘Call
and Response’, in where the vocal sing a lyric, the audience will follow and sing the same lyric. This
style was influenced by the slavery regimes, that when the slaves are working, the foreman will sing
a song and the slaves will give respond by singing the same lyric.

During the same age with Swing, there is also a development of a new style called ‘Gypsy’
or ‘Gypsy Jazz’ pioneered by a guitarist Django Reinhardt and a violist Stéphane Grapelli. This style
of Jazz was dominated mostly by guitar instrument along with the minor chord harmonisations.
Example of Reinhardt and Grapelli’s famous compositions are ‘Minor Swing’, ‘Nuages’, and a
French song named ‘J’attendrai’.

Jazz later developed further to the ‘Big Band’ era, where Jazz compositions are played as the
orchestra style with a band formation consists of four trombones, four trumpets, five saxophones,
one contrabass, one piano, and one drum. The most famous Big Band composer are Duke
Ellington and Glenn Miller with his song ‘In the Mood’.

Furthermore, around the 1940s, as a result of many anti-colonialist war and also the World
War, Big Band musicians were slowly diminishing due to a lot of people went to fight in the war at
the time. Thus, the remaining musicians often conduct many jam sessions in several clubs.
Moreover, they created a new style of Jazz called ‘Bebop’. This style is mostly dominated by a lot of
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improvisations along with fast tempo or ‘Uptime’. Bebop also creates a unique singing style called
as ‘Scat’ that is still popular and influencing the contemporary style of Jazz. Scat is a vocal technique
where the voice is made to sound similar like a musical instrument. Example of musicians that
popularised Bebop are the saxophonist Charlie Parker and trumpeter Dizzy Gillespie with their
compositions of ‘Anthropology’ and ‘Confirmation’, the pianist Thelonious Monk with his ‘Well
You Needn’t’, and the most famous scat singer Ella Fitzgerald with her song titled ‘A Night in
Tunisia’.

In the beginning of 1950s, new style of Jazz called ‘Cool Jazz’ began to develop with Miles
Davis the most famous Jazz trumpeter as its pioneer and innovator. Cool Jazz is no longer contains
many complex improvisations like Bebop, but tend to be a soft and relaxing style of Jazz. In terms
of its harmonisations, Cool Jazz is also influenced by the Classical music. This happens because
Miles Davis himself were once graduated from his Classical music education in Julliard School in
New York. His most famous compositions of Cool Jazz are ‘So What’, ‘Blue in Green’, and ‘Seven
Steps to Heaven’.

Jazz keeps evolving from time to time and it also gained a lot of influences from what we
called as ‘Latin’ music or the music that originates from Latin American States. Latin music itself
are categorised into two which are ‘Brazilian’ and ‘Afro-Cuban’. The difference between the two are
located in the rhythm that they use. Afro-Cuban Jazz tend to use a rhythm called ‘Montuno’, whilst
Brazilian Jazz tend to use the ‘Samba’ as its rhythm. For example, Dizzy Gillespie whom popularised
Bebop, often joining the Afro-Cuban musicians such as Mongo Santamaria and Tito Puente. As a
result, Gillespie composed an Afro-Cuban Jazz song titled ‘Manteca’ around the midst of 1950s.
Other than that, a song called ‘El Cumbanchero’ that was rearranged by Tito Puente also became
a famous Afro-Cuban Jazz composition. Advancing to the 1960s, ‘Bossa Nova’ that is the derivatives
of Brazilian Jazz, began to reach its popularity. One of the most famous Bossa Nova compositions
is a song called ‘The Girl from Ipanema’ as a result of collaborations between the singer Astrud
Gilberto and legendary saxophonist, Stan Getz.

Entering the 1970s decades, along with the fast development of technology and the
appearance of electronical instrument such as moog and synthesiser, plus the popularity of Rock and
Roll’ music, Jazz also evolved into a new style called ‘Fusion’. This style was influenced by the Rock
and Roll’ music in its rhythms and mostly uses synthesizer and moog, but still with the approach
of Jazz in terms of its harmonisations and dynamics. Weather Report is a band that emerge this
style of Fusion Jazz in its early development. Pioneered by their pianist Joe Zawinul, Weather
Report composed a popular Fusion Jazz song titled ‘Birdland’. Besides Weather Report, other

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bands that popularise Fusion Jazz are Miles Davis Electric Band with its rearrangement of Michael
Jackson’s ‘Human Nature’ and also Headhunters led by Miles’s student named Herbie Hancock
that produced several Fusion Jazz album called ‘Headhunters’ in 1973 and ‘Thrust’ in 1974.

In this modern time, Jazz is keep evolving and expanding its reach to other states. In Herbie
Hancock’s ‘Imagine Project’ album for example, he combines several cultures from West African
and Celtic. This proves that Jazz can blend with any cultures from any part of the world. In
Indonesia, Jazz has moved beyond the local traditions and culture, whilst keep growing despite the
political dynamic in both domestic and international. Henceforth, the writer will elaborate and
explain further about Jazz in Indonesia starting from its early history to the present development
in Indonesia.

E. Jazz and Indonesia

Little are known about the early development of Jazz in Indonesia. During the early
development of Jazz itself in the US, we know that Indonesia are still struggling to gain its freedom
from the Dutch colonial. On the other hand, the Dutch colonies were also brought the popular
culture influence to Indonesia, including Classical music and also Jazz itself.

It turns out that the creator of Indonesia’s National Anthem and one of the National
Heroes, Wage Rudolf Supratman contributes in popularising Jazz in Indonesia. Supratman and his
brother-in-law, W.M Van Eldik during their life in Makassar, form a Jazz band called ‘Black and
White’ in 1920 where Supratman play the violin for the band. The name ‘Black and White’ band
itself symbolise the cooperation between white Dutch people and the brown-blackish native
Indonesian people in the band. During that time, The Black and White often invited to play at
birthday and wedding parties. Sometimes on Saturday night, they are also playing at the town hall
in front of the Dutch high officials. Black and White Jazz band furthermore, became the most
popular and famous band in Makassar for almost four years until Supratman retired from the group
and became a journalist to support Indonesian independence (Sularto 2012).

After its independence in 17 August 1945, Jazz in Indonesia continues to develop with the
rise of new Indonesian Jazz musicians between 1950s and early 1960s such as Bill Saragih.
However, during that time Classical and Jazz music were considered as high-class music to be
played on a public places or concerts. Thus, Jazz music are mostly played at the fancy hotels and
ballrooms during a formal event. Also during that time, President Soekarno insisted to ban several
music traditions such as Pop, Rock and Roll’, and Jazz that marked as the western cultural product,
due to the President’s anti-west sentiment during the Cold War between United States of America

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and Soviet Union. Hence, during the older regime Jazz in Indonesia encountered a temporary
stagnancy.

When the new order of Indonesian government under President Suharto rise in 1966, the
anti-west sentiment was removed. During this decade, Jazz in Indonesia began to develop again
with the rise of many well-known and talented musicians for instance, Jack Lesmana and Bubi
Chen. Together, the two composed and produced an album titled ‘Bubi Chen and His Fabulous
Five’. Additionally, they also formed a band named ‘Indonesian All Stars’ and produced a legendary
album called ‘Djanger Bali’ that was recorded in Austria, with aid from the American Jazz clarinettist
and arranger, Tony Scott. Indonesian All Stars also got a chance to perform at Berlin Jazz Festival,
Germany in 1967. Moreover, Bubi Chen also produced an album called ‘Kedamaian’ in 1989, that
marked as an early inspiration of the acculturation betwixt Jazz and Indonesian traditional culture
(Collins 2015).

Moving to 1980s-decade, Jazz in Indonesia, specifically Fusion Jazz style are keep growing
and developing. In 1984, a Fusion Band named ‘Krakatau’ was formed by their bassist Pra Budi
Dharma and the most famous Indonesian Jazz pianist, Dwiki Dharmawan. Sadly, the group doesn’t
last for long due to the deteriorating prestige of Jazz in Indonesia. Eventually the group had several
times of member reorganisation. Later in 1991, ‘Krakatau Reunion’, a new continuous form of
Krakatau was formed with new member formations including Jack Lesmana’s son, Indra Lesmana
on piano and Trie Utami on vocal. Some of the best of Krakatau Reunion hits are ‘La Samba
Primadona’, ‘Kau Datang’, and ‘Gemilang’.

After the new order regime of President Suharto falls in 1998, Indonesia undergo a heavy
economic crisis along with a high rate of inflation. The new President of Indonesia, B. J. Habibie,
accumulates several policies that are slowly healing economic condition in Indonesia whilst
developing the technologies and communications system. As a result, Jazz in Indonesia were also
continued to grow slowly with the appearance of Jazz café in urban places and Jazz festivals such
as Jakarta International Jazz Festival or ‘Jak Jazz’, and Jazz Goes to Campus initiated by the student
council of Economic Faculty in University of Indonesia (Universitas Indonesia).

Nowadays in this 21st century, Jazz in Indonesia are still evolving with the rise of new and
remarkable contemporary Jazz musicians such as Tompi, Barry Likumahuwa that later forms his
own band called ‘Barry Likumahuwa Project’, Sri Hanuraga, Dira Sugandi, Idang Rasdiji, and the
most notable and young pianist, Joey Alexander whom nominated three times for the Grammy
Award. He also has ever played together with legendary Jazz musicians such as Herbie Hancock
and the trumpeter Wynton Marsalis. Joey’s achievements and the past footages of Jazz
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development in Indonesia, shows that Jazz have evolved and blended slowly within the indigenous
people along with its culture and traditions.

F. Reharmonizing the Traditional Tunes

We have seen how Jazz grew and developed gradually in Indonesia for decades, despite the
dynamic in both domestic and international political conditions. The development of Jazz in
Indonesia turns out to add new colours to the traditional and folk music of Indonesia. Hence, many
Jazz musicians in Indonesia are trying to produce and rearrange the traditional tunes with the
combination of Jazz harmonisation.

As explained previously, the idea of acculturating Jazz and traditional music have been
conducted with the release of Bubi Chen’s ‘Kedamaian’ album in 1989. Accompanied by ‘kecapi’
(Sundanese zither) and bamboo flute, his playing flows over Sundanese melodies. The similar work
also produced by Krakatau Reunion under Dwiki Dharmawan’s guidance in the early 90s. Later in
1993, ‘simakDialog’ band led by Riza Arshad was formed, and had produced five albums with the
theme of ‘ethno-Jazz’ as a result of the mixture between Jazz and traditional music (Basuni 2009).
In this modern age, there have been more ethno-Jazz compositions such as, Dewa Budjana’s ‘Surya
Namaskar’ album in 2014 that conflates Fusion Jazz and Balinese culture; and Indra Lesmana’s
brand new album that recently released in the early 2018 named ‘Surya Sewana’.

One of the musicians that also contributes in acculturation development of Jazz and
traditional music is Professor Tjut Nyak Deviana Daudsjah. During her stay in Germany and
Switzerland for 36 years, Deviana authored the curriculum, validated by both German and Swiss
government, for modern music study by combining Classical and Jazz music. Upon her return to
Indonesia, Deviana together with the legendary pianist Nick Mamahit, established the Daya Music
Institute (Institut Musik Daya) in 2000 to provide an advanced music education to young talent
(Simanjuntak 2014). Moreover, Deviana also produced a Classical Jazz composition called ‘Tales
of Indonesia’ in 2013, that consists of rearranged Indonesian traditional folk songs from many
different region and ethnics such as ‘O Inani Keke’ from Minahasa, North Sulawesi; ‘Yamko
Rambe Yamko’ from Papua; and ‘Aceh Lon Sayang’ from Nanggroe Aceh Darussalam. She also
played her arrangement of ‘Bungong Jeumpa’ on Java Jazz Festival 2013.

The work of Jazz musicians in Indonesia doesn’t go unnoticed. There are many positive
appreciations towards the Indonesian ethno-Jazz compositions. For instance, two simakDialog’s
album titled ‘Patahan’ and ‘Demi Masa’ that released on 2007 and 2009 were released internationally
by MoonJune Record label based in New York, United States (Basuni 2009). Also, Krakatau band

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with their ‘Salendro gamelan’ arrangement under Dwiki Dharmawan’s lead, has gained several
positive compliments from the foreign society with their appearances in several shows for instance,
Lincoln Center Out of Door Festival 2004 in New York, North Sea Jazz Festival 2005 in The
Netherlands, Montreux Jazz Festival 2005 in Swiss, and more performances in another European
and Asian states (Collins 2015). Krakatau’s traditional music arrangement has gained international
appreciations and are included in the ‘Worlds of Music’ journal in US (Sutton 2009). Dwiki
Dharmawan himself also produced his own ethno-Jazz masterpieces such as, ‘Pasar Klewer’ album
in 2016 featuring the rearrangement of traditional Sundanese song ‘Bubuy Bulan’. Aside than that,
Dwiki also contributes in several cultural festivals such as recently in Vortex Jazz Club in London,
where Dwiki with his ‘World Peace Trio’ played several Indonesian ethno-Jazz songs including
‘Bubuy Bulan’, that achieved a very good impression from the audiences (Ministry of Foreign
Affairs 2017).

A month ago, also in London, a group of Gamelan player consists of British people played
several tunes such as ‘Janger’ and ‘Bangkyang Ngegol’ that collaborates Jazz and Indonesian Gamelan
music in a special event of Jazz and Gamelan collaboration initiated by the Gamelan Composer’s
Forum in London, and supported by the Embassy of the Republic of Indonesia in UK. This event
also features the performance of legendary Indonesian Jazz guitarist, I Wayan Balawan with the
song ‘Forest’ and ‘Take and Give’ that fascinate almost 250 audiences that attend the event
(Armenia 2017).

From the explanation above, we may see how the individual actors (musicians) have
managed to explore more about Indonesia’s traditional music in every of its aspects, with Jazz as
an approach in recomposing the original tunes that may sound quite nondescript. Henceforth,
there’re also several efforts of spreading and introducing the taste of the music to the international
world through several projects and music festivals. The results are not dissatisfying. Gradually,
foreign people begin to understand the true nature and the taste of Indonesia’s traditional music.
Some of them even choose to learn more about the original culture itself, and later form a
community like the one mentioned before in London. This proves that Indonesia’s musical
diplomacy has the capability to affect and fascinate people’s mind and behaviour to like and adore
the traditional music of Indonesia.

G. Conclusion

Music is a universal language that speaks through its tunes and harmony. Through music,
we may understand one’s culture and identity. Indonesia in fact has a lot of different cultures along
with its own traditional music styles. In this context, Indonesia’s musical diplomacy is trying to tell
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the world about its unique diversity between many ethnics from Sabang to Merauke. Thus, Jazz
appears as a tool for the local musicians in reharmonizing the traditional music by adding some
variations, but still keeping its ethnical character as the core of the music itself.

The development of Jazz and its acculturation with Indonesia’s traditional music are still
going to grow further, knowing that there are still many Indonesian culture that are yet to be
explored. Indonesia’s musical diplomacy are currently facing a challenge in nurturing the traditional
music, due to the development of other trends and cultures such as what we recognise as ‘Korean-
Pop’ that expand and influence Indonesian society as well. In overwhelming this challenge,
governments are advised to foster the art and music education to the society. Also, musicians and
governments must increase their cooperation for instance, supporting the initiatives in composing
new projects or in organising cultural events that involves the performance of ethno-Jazz music to
both domestic and international audiences. Henceforth, the writer confident that in the end,
Indonesia will be able to create a new trend of music with the conflation betwixt Jazz and many
traditional music throughout the land.

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