I KNOW YOU WELL MISS CLARA

Incredible Jazz-Rock Fusion from Indonesia with guitar prodigy Reza Ryan and keyboard genius Adi Wijaya in the leadership roles. I can definitely see why Moonjune Records is backing this band and album.

1. "Open The Door, See The Ground" (10:17) for the first 2:15 of this song, keyboard maestro Adi Wijaya and his rhythm section perform over a chord progression that feels Crimsonian, UZedian, and eerily dystopian. But then bassist Enriko Gultom and drummer Algiah Akbar establish a totally new rhythm structure to support the odd chords while Adi switches to Fender Rhodes for tinkling his ivories for a bit in a Chick Corea kind of style. Then at 3:42 Reza Ryan makes a bold entrance with his loud and heavily-distorted (and compressed) electric guitar, playing in a dynamic and dissonant style that could be called a blend of Larry Coryell with hints of Allan Holdsworth and Tevor Rabin The next motif feels almost Zeuhlish with some really odd guitar note play over some weird Yes-like "The Solid Time of Change" (first section of the song "Close to the Edge") only speeded up as if on steroids. This section crescendos then leaves us at the edge of a cliff looking down into a great canyon of limited movement, limited life (a recapitulation of the song's opening Fender Rhodes-created theme). A brilliant song and a great album opener! I KNOW YOU WELL MISS CLARA definitely have my attention--and full respect (already)! (19/20)

2. "Conversation" (8:02) another sparsely supported Fender Rhodes opening using odd chord progressions--this time sounding more jazz-oriented: like something from a John McLaughlin album. Reza's guitar joins Adi in the second half of the second minute, playing off and with Adi's chord progressions, and then the bass and drums kick in, though with minimal form and flow thus far, while Adi moves to supportive chord play as Reza steps up to lead the melody making. Surprisingly, Adi soon steps up to play off of, against Reza's note play: not as a duel but more as a curious but shy friend trying to mimic or copy his friend. Quite cool! Such clever ideas being rendered with such creativity and dexterity. (14.25/15)

3. "Pop Sick Love Carousel" (6:16) opening with a very cool ominous ECM jazz rock fusion sound and motif, the moody, spacious music takes about 1:35 to really form out of what feels like a very pungent primordial soup. The melodies and funky Jazz-Rock Fusion tune that emerges is surprisingly organ-centric for a bit before a full-band breakout early in the fourth minute reminds the listener why Jazz-Rock Fusion fits under the Progressive Rock umbrella. There are some really cool sounds used here--as well as some really interesting (and super cool) engineering choices (really up- close and personal--like you're sitting in the chairs of the musicians!): from the guitar, keys, and even engineers. Each motif is great and feels continuous--like it all fits just the way it was meant to. And the solos from Reza are nothing short of astounding! Some of the best I've heard in the 21st Century. (9.75/10)

4. "Reverie #2" (14:51) the first song that has me thinking of "What if Herbie Hancock's Headhunters and John McLaughlin's Mahavishnu Orchestra ever composed and performed together"--like the Santana-McLaughlin album Love Devotion Surrender. Bass player Enriko Gultom is sure having fun with his wah pedal and other effects while Adi's Herbie-like chord exploration is beyond prediction or comprehension and Reza's blaring-with-feedback guitar sound gives Mahavishnu's decibel level a whole new category. The guitar sound and style of play in the first motif of the song is so similar to that of EEF ALBERS' "Wingless" and "Orion" from FOCUS' 1978 album, Focus Con Proby. Cool, cool song! One to be studied for years to come! (28/30)

5. "Love Letter From Canada" (4:26) post-apocalyptic atmospherics (from a world nearly void of any activity signifying the presence of life) from Adi and Reza with subtle, minimal help from Enriko and Algiah. It sounds very much like something the ECM label would have fostered and/or created. (8.875/10)

6. "Dangerous Kitchen" (9:04) more heavily-treated guitar--this time coming in single-strummed chords progressing up and down the fretboard--starting out very starkly accompanied by subtle cymbal play and walking bass line that gradually fills and speeds up while sax and rest of the drum kit join in. In the third minute there is a coming together of the full band with a bridge of chords before releasing time and space to the walking bass drum shuffle before a second whole-band bridge. Adi emerges from this second bridge on his piano, soloing with both hands seeming to be trying to get on the same page together. Fascinating! If I didn't know better I almost would have guessed that there were two different pianists playing on two different tracks, neither having a clue as to what the other was doing. Bridge and up front steps Nicholas Combe--but I find myself still glued to paying attention to Adi's fascinating "two- mind" piano chord play beneath. Reza enters in the seventh minute with a very creative choppy solo--even trebling up his sound with two other tracks of heavily-treated guitar backing his own soloing from each of the wings. The band comes back together, livening things up with some more energetic whole-band spirit, for the finish. Fascinating song: definitely unusual and highly creative. Not sure (yet) whether I like (18.25/20)

7. "A Dancing Girl From Planet Marsavishnu Named After The Love" (10:48) as the awesome song title suggests, this is a song inspired by and imitative of the Mahavishnu Orchestra. The open motif is quite like something from the First Incarnation of the MO, using an ascending chord progression of unusual chords to build the song around. In the third minute solos break out from keyboardist Adi Wijaya's electric piano and Nicholas Combe's alto sax, and then Reza's guitar. All the while bassist Enriko Gultom and drummer Algiah Akbar keep things moving: at first continuing the same ascending chord progression from the opening motif, but then, beneath Reza, switching to a more centralized groove. At the end of the seventh minute the rhythm section changes pace, slowing things down a bit with a swirly swing within which Mr. Combe takes the lead again. This swirling passage is quite hypnotic, allowing Nicholas lots of room to shine--and shine he does--but then the song is suddenly over! Faded out right in the middle of a great groove! Too bad! A great song! Listening to it again I can also see where those King Crimson albums of 1973 & 1974 (Larks' Tongues in Aspic, Starless and Bible Black, and Red) came from. (19/20)

Total Time 63:44

This record has such an intimate sound and feel--as if you're there creating the music with the band. At the same time, the individual musicians are so creative--as are the constructs of the wonderfully-creative compositions and melodies. I feel that keyboard player Adi Wijaya is well-steeped in everything HERBIE HANCOCK (maybe even figured out how to channel the Sly Chameleonic Butterfly), whereas Reza and the rhythm crew seem to hold Mahavishnu John McLaughlin close to their core.

A/five stars; a masterpiece of modern-day Jazz-Rock Fusion that pays respect to (and draws from) so many of the masters of classic Jazz-Rock Fusion! HIGHLY RECOMMENDED.

Always wondering where such an explosive, magmatic energy comes from, on having a listen to this opus.

This album "Chapter One" was released as the debut album by an Indonesian fusion unit I KNOW YOU WELL MISS CLARA. I hear they have been strongly inspired by the Canterbury / Jazz Rock Scene like Soft Machine or Matching Mole, but actually I feel their dissected perverse originality via the melodic / rhythmic component in this creation regardless of Canterbury-oriented impression. In Japanese progressive fusion scene, so to speak, I can find similarities like Bandvivil meet Next Order.

"Open The Door, See The Ground" has almost all of their sound essence. From the magnificent departure by Adi's edgy, crazy freaky keyboard plays, Their grand theatre gets started. The mysterious but strictly complicated atmosphere is pretty spiritual. In the middle part, what a dangerous wonder the guitar's hard cry or sensitive weep is. Their sound chase full of heavy, improvised appearances is also thrilling. The last keyboard remark is just a sublimation. This masterpiece reminds us of a soldier who is going to a battlefield filled with a combined feeling of tragedy, anger, and hard decision.

On the contrary the following track "Conversation" has less heroic but more and more relaxed and soft-touched jazzy one, in that all instruments are perfectly unified and refined, just like a good Champagne bottle. It's our pleasure to enjoy such an opposite side from the previous gem. "Pop Sick Love Carousel" is one of the catchier, most acceptable songs all around their creation. Harmonies of twin guitars, or delicious and melodic keyboard plays are charming really. Therefore, "Reverie #2" would show quite a dissonant, distorted impression for the audience. Massive criticism against the current pop / rock scene could be heard here there everywhere. Anyway such a sound dissection must absorb some progressive rock fans definitely, let me say.

"Love Letter From Canada" ... the same titled song got a smash hit in Japan over 40 years ago, actually ... I expected the same vein like the Japanese old-fashioned one, but completely different. Quiet hallucinogenic ambience bared on lyrical keyboard works catches our heart badly. One of my favourite songs in this album. In "Dangerous Kitchen" lots of unique elements along with free-jazz-ish instrumental synchronization, that reminds us of some funny funky essence like an Osakan jazz rock giant Djamra, also as for the title itself. Bubbling keyboard sound, smooth slide guitar dance, delightful saxophone freedom ... all are of our comfort. Through the last "A Dancing Girl From Planet Marsavishnu Named After The Love" flexible improvised guitar typhoon seasoned with sensitive aromatic saxophone fascination drives us mad. This mysterious texture we cannot frequently meet. Something magnificent could be found in their jazz rock creativity.

Their soundscape is delicate and fragile but simultaneously powerful and energetic. And needless to say critical, a bit sarcastic view to the world rock scene should be attractive and addictive for the audience. A big one.

Indonesian quartet I KNOW YOU WELL MISS CLARA was formed back in 2009, originally a rehearsal band only, but when a gig proposal came their way they decided to take this project a step further. They were later signed to the US label Moonjune Records, which released their debut album "Chapter One" in the late summer of 2013.

As far as debut albums go, I Know You Well Miss Clara have made themselves a fine one with "Chapter One". A creation that first and foremost merits a description as an elegant and sophisticated venture, with room for some details of a more intense nature but with a main focus on smooth arrangements, subtle details and careful reverbs. Those who have a soft spot for instrumental jazz rock described in such a manner should find plenty to love on this disc.

Never let it be said that I don't do my research, so here are a few facts regarding IKYWMC's home country, Indonesia. While many people, especially those from the Northern Hemisphere, may be working under the assumption that it is just a small group of islands somewhere north of Australia, it is, in terms of population, the fourth largest country on earth (behind China, India, and the US) with a current estimated population of 250 million, which is somewhat different to the UK's 65 million and NZ's 4.5!! It is an archipelago that comprises over 17,000 islands, which go to form a land mass equating to 1,919,440 square kilometres (735,355 square miles) which means that it is the 19th largest country in terms of land. As well as being one of the largest countries in the world they are also mad on music, which is why Leo spends so much time down there unearthing real gems, and yet again he has made a rock solid find with the debut from this instrumental quartet.

These guys have been influenced by progressive rock, psychedelic rock, improvisational jazz and other forms and have brought it all together in an incredible fusion album showing elements of Jimi Hendrix, Soft Machine, Mahavishnu Orchestra, Miles Davis and Hatfield & The North among others (just to name a few). Incredibly, this album was recorded in just 18 hours, with most of the material being either first or second takes. Although there are large elements of 'free jazz' in what they are doing, there is also a great deal of structure and the melodies and intricacies are sublime. They are also very conscious of the arrangements and need for space, and it is not unusual for there are to be long passages where only one or two are actually playing and the others let them get on with it. It is going to be very easy for the rhythm section of bassist Enriko Gultom and drummer Alfiah Akbar to be overlooked, as although they display incredible skills and intuitive playing they are there for the supporting roles behind the two writers and soloists, guitarist Reza Ryan and keyboard player Adi Wijiya. They combine, separate, let each other take the full spotlight, with a delicacy of touchy and fluidity of playing that is quite inspired. Adi's playing, especially when he is using piano, is full of emotion and lightness of touch while Reza is for me channelling the skills and dexterity of a young John McLaughlin. Although the closing song "A Dancing Girl From Planet Marsavishnu Named After The Love" may not have the spelling quite right, I am sure that it is a tribute to the man himself, and is one of two where they feature some wonderful guest sax from Nicholas Combe who sounds right at home.

The album is a delight from start to finish, and I have to concur with the statement from Sid Smith that is included in the digipak "The time you spend getting to know this music will be time well spent indeed". If this is their debut, what on earth are they going to come up with next? Fusion really doesn't get any better than this.

Christmas started earlier this year

Two days ago, a neighbor called to inform me had received a package of CD's for me, so I went to his house and found that my good friend Leonardo "Moonjune" Pavcovic had sent me several albums, so, as soon as I got back home, placed a green CD thinking it was by SIMAK DIALOG (My favorite jazz band from Indonesia), but then I noticed it was by another band from the same country called I KNOW YOU WELL MISS CLARA, so with little expectation listened it?But the surprise was huge, this band's debut called Chapter One is simply delightful, and as good as any SIMAK DIALOG release.

Let's start saying that Chapter One is much more eclectic than the normal Fusion band, combining elements of Rock, Psychedelia, Avant Garde and of course Jazz. The massive use of keyboards (Adi Wijaya) and aggressive guitar solos (Reza Ryan) almost in a contrapuntist style make of each song a battle with strong references to MAHAVISHNU ORCHESTRA, keeping the listener at the edge of the seat.

Of course no band can sound well without a solid rhythm section and Alfia Akbar (Drums) with the accurate interplay of Enriko Cultom (Bass) make an outstanding work. Unlike most Indonesian bands, the guys of I KNOW YOU WELL MISS CLARA don't use native Kendang Percussion, which allows them to be one of the few ensembles from this part of the world, who abandon the characteristic folk sound in favourr of an exploration of different Rock and Jazz sub-genres, with special emphasis in mysterious and extensive Avant Garde passages.

I won't even try to make a song by song review, because each track is a different universe and would take me at least 10 pages to make justice to what this guys are doing, but of course will mention my favorite pieces, starting with the trippy Open The Door, See The Ground in which Adi does an amazing piano work.

Another track that impressed me is the almost haunting Pop Sick Love Carousel with abundant jamming and a clear Canterbury Scene aroma..

Last but not least, I must mention the impressive guitar based A Dancing Girl From Planet Marsavishnu Named After The Love which is obviously a homage to John Mc´Laughlin's band, specially Inner Mountain Flame.

Even though this pieces are the first ones that come to my mind, would be dishonest not to say that all the material they present us is first class with no weak moments, so I really recommend Chapter One to fans of good music.

Oops, almost forgot the rating?..4 solid stars that could easily be 5, but as most people here know, I don't rate debuts with the maximum number of stars, because I always expect more from the next album, and this guys have the skills to offer us a complete masterpiece.