Let's Go Mamak @ KLPac, 2008 & 2009
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KLPac and Inner Voices present
The Flavours of Contemporary Ethnic Malaysian Music
“Let’s Go Mamak!!”
The Cultural Common Groun
The Flavours of Contemporary Ethnic Malaysian Music
“Let’s Go Mamak!!”
The Cultural Common Groun
Inner Voices heralds the beginning of a fresh, new experience in the movement of contemporary Malaysian Music.
This eclectic group of local musicians attempts to combine music from the different ethnic and cultural groups in Malaysia, bringing together Western and traditional Malaysian instruments, creating a fusion of music that will hopefully evolve into a fresh new Malaysian sound.
Let’s Go Mamak! is a showcase of original compositions and arrangements by composer Ken Hor, which will be performed by a stalwart group of local musicians under the musical direction of saxophonist Julian Chan.
Conceptually, the production uses a typical Malaysian social institution to symbolise the unification of different types of people - a place where everyone meets for a snack or a drink with friends, business clients, or even to watch a sports match.
Let’s Go Mamak! features thirteen of the most culturally diverse musical talents in Malaysia including New York-based saxophonist Julian Chan and violinist Fung Chern Hwei, BOH Cameronian Arts Awards winner Prakash Kandasamy on tabla, Jimmy Ch'ng from Hands Percussion Team, much sought-after jazz pianist Tay Cher Siang and renowned percussionist Mohd. Kamrulbahri Hussin.
JULIAN CHAN saxophones
EDDIE WEN trumpet / flugelhorn
TAY CHER SIANG piano & synths
DANIEL FOONG electric bass
MARTIN NGIM drums
FUNG CHERN HWEI violin
SHAMSUL ZIN gamelan & caklempong
PRAKASH KANDASAMY tabla
SESATRE KRISHNAN bamboo flute & bansuri
LIM HUI CHIEH guzheng
with special guests
KAMRULBAHRI HUSSIN Malay drums & winds
JIMMY CH’NG & CHEW SOON HENG from HANDS PERCUSSION TEAM Chinese drums
This eclectic group of local musicians attempts to combine music from the different ethnic and cultural groups in Malaysia, bringing together Western and traditional Malaysian instruments, creating a fusion of music that will hopefully evolve into a fresh new Malaysian sound.
Let’s Go Mamak! is a showcase of original compositions and arrangements by composer Ken Hor, which will be performed by a stalwart group of local musicians under the musical direction of saxophonist Julian Chan.
Conceptually, the production uses a typical Malaysian social institution to symbolise the unification of different types of people - a place where everyone meets for a snack or a drink with friends, business clients, or even to watch a sports match.
Let’s Go Mamak! features thirteen of the most culturally diverse musical talents in Malaysia including New York-based saxophonist Julian Chan and violinist Fung Chern Hwei, BOH Cameronian Arts Awards winner Prakash Kandasamy on tabla, Jimmy Ch'ng from Hands Percussion Team, much sought-after jazz pianist Tay Cher Siang and renowned percussionist Mohd. Kamrulbahri Hussin.
JULIAN CHAN saxophones
EDDIE WEN trumpet / flugelhorn
TAY CHER SIANG piano & synths
DANIEL FOONG electric bass
MARTIN NGIM drums
FUNG CHERN HWEI violin
SHAMSUL ZIN gamelan & caklempong
PRAKASH KANDASAMY tabla
SESATRE KRISHNAN bamboo flute & bansuri
LIM HUI CHIEH guzheng
with special guests
KAMRULBAHRI HUSSIN Malay drums & winds
JIMMY CH’NG & CHEW SOON HENG from HANDS PERCUSSION TEAM Chinese drums
PROGRAMME
Inner Voices (Ken Hor)
(soloists: Prakash - tabla, Kamrul - malay drums, Jimmy & Boy - chinese drums, Sesa - bamboo flute, Bambee - guzheng, Chern Hwei - violin)
An introduction that depicts our traditions and highlights the sounds of each culture. Eventually one sees and hears how our cultures slowly evolve with the progress of time.
Let’s Go Mamak! (Ken Hor)
(soloists: Bambee - guzheng, Shamsul - bonang/caklempong, Sesa - bamboo flute, Daniel - bass, Martin - drums, Julian - saxophone)
The main theme - Mamak is the cultural common ground for all ethnic groups in Malaysia. Despite the diversity in culture and traditions, we all unite and 'hang out' together at the Mamak!
Interlude - Mamak with Tiffany I (Ken Hor)
(soloists: Chern Hwei - violin, Shamsul - bonang, caklempong)
The first interlude of three, an average Malay man remembers his hometown and then segues to Sayang Orked Sayang.
Sayang Orked Sayang (Ken Hor)
(soloists: Kamrul - malay drums, Shamsul - bonang/caklempong, Hands - gendang, Chern Hwei - violin)
A Yasmin Ahmad inspired tune, this keroncong tune tells the story of a typical Malay man based in urban Kuala Lumpur, who misses his hometown and his love, a girl still in the safe confines of her kampung.
Interlude - Mamak with Tiffany II (Ken Hor)
(soloists: Chern Hwei - violin, Bambee - guzheng,)
A modern Chinese-Malaysian thinks about old chinese culture 'back in the day'. This segues to Cha-Cha-Cha (We Love It!!).
Cha-Cha-Cha (We Love It!!) (Tay Cher Siang)
(soloists: Julian Chan - tenor sax, Chern Hwei - violin)
Cha Cha Cha (We Love It!!!) is a confluence of all sounds stereotypically Chinese. Unconsciously, some simple rhythms, intervals, and melody lines are immediately recognisable as 'Chinese' when we hear them. It reminds us of our identity, no matter whether positive or negative. This composition is an attempt to recall those memories of sounds that permeate our collective consciousness as 'Chinese' in this country.
Interlude - Mamak with Tiffany III (Ken Hor)
(soloists: Chern Hwei - violin, Prakash - tabla, Sesa - bamboo flute)
Another interlude where a modern Indian-Malaysian remembers what old Indian values were like. Segues to Chenne Ulegem.
Chenne Ulegem (re-arranged by Ken Hor, Chern Hwei, Prakash, and Sesa)
(soloists: Chern Hwei - violin, Prakash - tabla, Sesa - bamboo flute)
An old song from a TV show, this is a modern reinterpretation of a classic song. The interaction and improvisation between the violin, tabla and flute shows how modern sounds can blend with traditional music, and also how progressive traditional music can sometimes be.
INTERMISSION
Drum Talk (Ken Hor)
(soloists: Prakash - tabla, Jimmy - chinese percussion, Kamrul - malay percussions, Martin - drums)
Drum Talk is a conversation between drummers of different ethnic influences. See how modern drums can learn and talk like traditional ethnic instruments. The modern drums then talk and converse with the rest of the ethnic percussions, creating an interesting conversation piece between people of diverse cultures.
Piano Sonata in “M” Minor (Ken Hor)
(soloist: Tay Cher Siang - piano)
Piano Sonata is a re-interpretation of the Fantasia theme where a typical Malaysian music student learns the Western classical pieces and incorporates them into his current musical language, through improvisation and experimentation.
4:10AM (Ken Hor)
(soloist: Eddie - trumpet/flugelhorn)
4:10AM is a musical representation of the last hour before dawn, the quietest moment in a day. The trumpet solo in the beginning depicts the lonely voice in the night, while the tabla represents the quiet whispers and tinkering from the mamak stall or restaurant waiters. The increasing cacophony of voices and rhythms welcomes the morning as it arrives and begins the start of a brand new day.
One Flight Back To Bolehland (Fung Chern Hwei)
(soloists: Julian - soprano sax, Cher Siang - piano)
Although rife with imperfections, this country remains our beautiful homeland. Always eager to show its Boleh-ness, One Flight Back to Bolehland is Fung Chern Hwei's dedication to his beloved country, one so imperfect but so loveable all the same.
Bos Kira! Let’s Go Mamak Reprise (Ken Hor)
(soloists: Julian - flute, Cher Siang - Piano, and all percussions)
The end of the mamak session ends with a reluctance to leave, wanting to continue the conversation but knowing everyone will have to go home soon. The waiter is called upon to get the bill but it usually takes a while. The slow tango groove depicts that sense of laziness and eventually shifts the momentum to the original Let’s Go Mamak feel, showing the anticipation of the next mamak session.
PRODUCTION TEAM
Music by Ken Hor
Music Direction by Ken Hor & Julian Chen
Creative Consultant : Tan Kay Ti
Assistant Ensemble Coordinator : Eddie Wen
Video Recording ; Giovanni Chen
Music Research Assistants ; Loo Yong Sing & Lee Aik Hooi
Music Copyist : Connie Ngan
Stage & Video : Lee Pei Yee & Vivien Cheng
Sound Engineer : Pat Omar
Lighting Designer : Mazlan Mat Razi
Backstage Crew : Mohd. Suraidi
Publicity : Surenee Chan Somchit
Graphic Designer : Seshadri Kalimuthu
FOH Supervisor : Ramon Singho
ACKNOWLEDGEMENTS
Vincent Tan (OrangUtan Music)
Dennis Tan (Roland Asia Pacific)
Bernard Goh (Hands Percussion Team)
Members of the Media
Staff of KLPac
The production team also wishes to extend their condolences and well wishes to the family of the late Tan Hooi Song, the creator of the “24-Festival Drums”. We would like acknowledge the contribution of the late Tan Hooi Song to the Chinese music scene in Malaysia.
Inner Voices (Ken Hor)
(soloists: Prakash - tabla, Kamrul - malay drums, Jimmy & Boy - chinese drums, Sesa - bamboo flute, Bambee - guzheng, Chern Hwei - violin)
An introduction that depicts our traditions and highlights the sounds of each culture. Eventually one sees and hears how our cultures slowly evolve with the progress of time.
Let’s Go Mamak! (Ken Hor)
(soloists: Bambee - guzheng, Shamsul - bonang/caklempong, Sesa - bamboo flute, Daniel - bass, Martin - drums, Julian - saxophone)
The main theme - Mamak is the cultural common ground for all ethnic groups in Malaysia. Despite the diversity in culture and traditions, we all unite and 'hang out' together at the Mamak!
Interlude - Mamak with Tiffany I (Ken Hor)
(soloists: Chern Hwei - violin, Shamsul - bonang, caklempong)
The first interlude of three, an average Malay man remembers his hometown and then segues to Sayang Orked Sayang.
Sayang Orked Sayang (Ken Hor)
(soloists: Kamrul - malay drums, Shamsul - bonang/caklempong, Hands - gendang, Chern Hwei - violin)
A Yasmin Ahmad inspired tune, this keroncong tune tells the story of a typical Malay man based in urban Kuala Lumpur, who misses his hometown and his love, a girl still in the safe confines of her kampung.
Interlude - Mamak with Tiffany II (Ken Hor)
(soloists: Chern Hwei - violin, Bambee - guzheng,)
A modern Chinese-Malaysian thinks about old chinese culture 'back in the day'. This segues to Cha-Cha-Cha (We Love It!!).
Cha-Cha-Cha (We Love It!!) (Tay Cher Siang)
(soloists: Julian Chan - tenor sax, Chern Hwei - violin)
Cha Cha Cha (We Love It!!!) is a confluence of all sounds stereotypically Chinese. Unconsciously, some simple rhythms, intervals, and melody lines are immediately recognisable as 'Chinese' when we hear them. It reminds us of our identity, no matter whether positive or negative. This composition is an attempt to recall those memories of sounds that permeate our collective consciousness as 'Chinese' in this country.
Interlude - Mamak with Tiffany III (Ken Hor)
(soloists: Chern Hwei - violin, Prakash - tabla, Sesa - bamboo flute)
Another interlude where a modern Indian-Malaysian remembers what old Indian values were like. Segues to Chenne Ulegem.
Chenne Ulegem (re-arranged by Ken Hor, Chern Hwei, Prakash, and Sesa)
(soloists: Chern Hwei - violin, Prakash - tabla, Sesa - bamboo flute)
An old song from a TV show, this is a modern reinterpretation of a classic song. The interaction and improvisation between the violin, tabla and flute shows how modern sounds can blend with traditional music, and also how progressive traditional music can sometimes be.
INTERMISSION
Drum Talk (Ken Hor)
(soloists: Prakash - tabla, Jimmy - chinese percussion, Kamrul - malay percussions, Martin - drums)
Drum Talk is a conversation between drummers of different ethnic influences. See how modern drums can learn and talk like traditional ethnic instruments. The modern drums then talk and converse with the rest of the ethnic percussions, creating an interesting conversation piece between people of diverse cultures.
Piano Sonata in “M” Minor (Ken Hor)
(soloist: Tay Cher Siang - piano)
Piano Sonata is a re-interpretation of the Fantasia theme where a typical Malaysian music student learns the Western classical pieces and incorporates them into his current musical language, through improvisation and experimentation.
4:10AM (Ken Hor)
(soloist: Eddie - trumpet/flugelhorn)
4:10AM is a musical representation of the last hour before dawn, the quietest moment in a day. The trumpet solo in the beginning depicts the lonely voice in the night, while the tabla represents the quiet whispers and tinkering from the mamak stall or restaurant waiters. The increasing cacophony of voices and rhythms welcomes the morning as it arrives and begins the start of a brand new day.
One Flight Back To Bolehland (Fung Chern Hwei)
(soloists: Julian - soprano sax, Cher Siang - piano)
Although rife with imperfections, this country remains our beautiful homeland. Always eager to show its Boleh-ness, One Flight Back to Bolehland is Fung Chern Hwei's dedication to his beloved country, one so imperfect but so loveable all the same.
Bos Kira! Let’s Go Mamak Reprise (Ken Hor)
(soloists: Julian - flute, Cher Siang - Piano, and all percussions)
The end of the mamak session ends with a reluctance to leave, wanting to continue the conversation but knowing everyone will have to go home soon. The waiter is called upon to get the bill but it usually takes a while. The slow tango groove depicts that sense of laziness and eventually shifts the momentum to the original Let’s Go Mamak feel, showing the anticipation of the next mamak session.
PRODUCTION TEAM
Music by Ken Hor
Music Direction by Ken Hor & Julian Chen
Creative Consultant : Tan Kay Ti
Assistant Ensemble Coordinator : Eddie Wen
Video Recording ; Giovanni Chen
Music Research Assistants ; Loo Yong Sing & Lee Aik Hooi
Music Copyist : Connie Ngan
Stage & Video : Lee Pei Yee & Vivien Cheng
Sound Engineer : Pat Omar
Lighting Designer : Mazlan Mat Razi
Backstage Crew : Mohd. Suraidi
Publicity : Surenee Chan Somchit
Graphic Designer : Seshadri Kalimuthu
FOH Supervisor : Ramon Singho
ACKNOWLEDGEMENTS
Vincent Tan (OrangUtan Music)
Dennis Tan (Roland Asia Pacific)
Bernard Goh (Hands Percussion Team)
Members of the Media
Staff of KLPac
The production team also wishes to extend their condolences and well wishes to the family of the late Tan Hooi Song, the creator of the “24-Festival Drums”. We would like acknowledge the contribution of the late Tan Hooi Song to the Chinese music scene in Malaysia.
Band Profile
Inner Voices made an impressionable appearance during their first musical showcase at the Pentas 2, Kuala Lumpur Performing Arts Center (KLPac) entitled "Lets Go Mamak!" last year. Composer/arranger Ken Hor and music director/saxophonist Julian Chan along with 12 other contemporary/ethnic Malaysian musicians bagged 4 BOH Cameronian Arts Awards for their performance under the Music Category: Best Group Performance, Best Music Direction, Best Composition & Kaki Seni Audience Choice Awards.
Inner Voices heralds the beginning of a fresh new experience in the movement of contemporary Malaysian Music. Inner Voices will bring the essence of the music combining four of the main cultures present in Malaysia, bringing together Western and traditional Malaysian instruments, to showcase and highlight the beauty of harmonizing of these elements, creating a fusion that will possibly evolves into a whole new sound.
Having had a higher music education and a career in the United States, composer/arranger Ken Hor visualized and envisioned a concept of music(s) that maximizes the potential and flavor of Malaysian culture. In search of a 'new' sound where both contemporary/western and ethnic Malaysian music can be fused together as one, Ken returned home to assemble 12 of the country's finest Malaysian talent from both traditional and western musical influences.
Under the musical direction of Julian Chan, every part of the Inner Voices Band's music falls carefully but not conclusively into different styles of music such as jazz, pop, traditional and world music. If there was a specific music genre description of this band, it would be as close as being coined 'Contemporary Malaysian Music'. After all, elements of traditional Malaysian music in its rich culture of the 3 main races are showcased and fused in to frames of western and contemporary music styles.
Inner Voices delivers an intimate experience that will allow the listeners' audible imagination to vividly visualize how condensed and intricate a composition can be when played by an ensemble comprising of both western and ethnic instruments. The band members boast of an array of authentic traditional instrumentalists from the Malay, Chinese and Indian culture. It is only in Malaysia that one can experience a diversed-cultured band performing onstage side-by-side. Why not bring their cultural musical-ethnicity along? This ensemble is not only rich-sounding in tone colour, timbre and styles but also in versatility and adaptability as they collide in melody, harmony and rhythm.
Objective
The main objective of the ' Lets Go Mamak' performance, as intended by the musicians and composer of Inner Voices, is to
Conceptually, the production metaphors a typical Malaysian social institution, called MAMAK, to symbolise the unification of different types of people (races, culture or ethnicity) - a place where everyone meets for a snack or a drink with friends, business clients, or even to watch a sports match.
Inner Voices made an impressionable appearance during their first musical showcase at the Pentas 2, Kuala Lumpur Performing Arts Center (KLPac) entitled "Lets Go Mamak!" last year. Composer/arranger Ken Hor and music director/saxophonist Julian Chan along with 12 other contemporary/ethnic Malaysian musicians bagged 4 BOH Cameronian Arts Awards for their performance under the Music Category: Best Group Performance, Best Music Direction, Best Composition & Kaki Seni Audience Choice Awards.
Inner Voices heralds the beginning of a fresh new experience in the movement of contemporary Malaysian Music. Inner Voices will bring the essence of the music combining four of the main cultures present in Malaysia, bringing together Western and traditional Malaysian instruments, to showcase and highlight the beauty of harmonizing of these elements, creating a fusion that will possibly evolves into a whole new sound.
Having had a higher music education and a career in the United States, composer/arranger Ken Hor visualized and envisioned a concept of music(s) that maximizes the potential and flavor of Malaysian culture. In search of a 'new' sound where both contemporary/western and ethnic Malaysian music can be fused together as one, Ken returned home to assemble 12 of the country's finest Malaysian talent from both traditional and western musical influences.
Under the musical direction of Julian Chan, every part of the Inner Voices Band's music falls carefully but not conclusively into different styles of music such as jazz, pop, traditional and world music. If there was a specific music genre description of this band, it would be as close as being coined 'Contemporary Malaysian Music'. After all, elements of traditional Malaysian music in its rich culture of the 3 main races are showcased and fused in to frames of western and contemporary music styles.
Inner Voices delivers an intimate experience that will allow the listeners' audible imagination to vividly visualize how condensed and intricate a composition can be when played by an ensemble comprising of both western and ethnic instruments. The band members boast of an array of authentic traditional instrumentalists from the Malay, Chinese and Indian culture. It is only in Malaysia that one can experience a diversed-cultured band performing onstage side-by-side. Why not bring their cultural musical-ethnicity along? This ensemble is not only rich-sounding in tone colour, timbre and styles but also in versatility and adaptability as they collide in melody, harmony and rhythm.
Objective
The main objective of the ' Lets Go Mamak' performance, as intended by the musicians and composer of Inner Voices, is to
- Collaboratively research into defining the Malaysian sound, and to encourage the ever-evolving spectrum of what “Malaysian Music” can be interpreted as.
- Present to the audience fresh new approaches to the making of Malaysian Music
- To expand the interpretation and spectrum of the presently defined scope of music; in both contemporary and traditional styles
- Promoting the evolution of music development in Malaysians, cultivating new ideas and cultural awareness
- Increase the standard of local arts and culture through advancement of Malaysian-based music ; and
- To expand the sounds of Malaysian music, its industry and talents to international horizons.
Conceptually, the production metaphors a typical Malaysian social institution, called MAMAK, to symbolise the unification of different types of people (races, culture or ethnicity) - a place where everyone meets for a snack or a drink with friends, business clients, or even to watch a sports match.
| IM Magazine Feature "Perspire to Inspire" |
Inner Voices Band with our respected late Mr Gambus Farid Ali in 2009 Concert, together with Elvira Arul and Vince Chong.
