“This is a special album that tries to raise the profile of Javanese traditional songs and present them through a jazz compilation,” said Gian “Jay” Afrisando of the Yogyakarta Jazz Community, who produced the album in a joint effort with Ngayogjazz.

Ngayogjazz event director Djaduk Ferianto agreed, saying the album was presented to offer alternative takes on Indonesian ethnic songs to both domestic and international jazz players.

He said the world’s jazz musicians had limited awareness of Indonesian ethnic songs. The latest internationally recognized recording of such songs he knew of was produced in 1968/1969 in Berlin, Germany.

It was not surprising, he added, that many only used Ilir-Ilir or Sepasang Mata Bola as Indonesian standards.

“This album, as expected, will act as an instrument to communicate with outside Jogja or even abroad, one that international jazz players can access,” said Djaduk, referring to the popular nickname of Yogyakarta City.

The album, which was recorded live, presents seven different jazz groups of the Yogyakarta Jazz Community with seven Javanese traditional songs.

Among the songs are Menthok-Menthok, Gambang Suling and Lesung Jumengglung, composed by noted Javanese music maestro the late Ki Narto Sabdo. They played and innovated with songs by Kenny & Mr. Dance, Yovia Project and MuchiChoir consecutively.

The other songs are Yen Ing Tawang Ana Lintang, performed by the Chick Yen Quartet, OAE Kerthi Buana by the DannyBASS Project, Cublak-Cublak Suweng by the Erwin Zubiyan Quartet and Lindri by Jay & The Bangers.

“We’ve often played these kinds of selections on Monday evenings during our weekly jazz sessions,” said Yen Chick Quartet’s bassist Orchid Phillippe at Ngayogjazz.

He said using a repertoire such as this was a matter of mixing the jazz and traditional songs together so more people would be able to enjoy them.

Orchid did not seem to be exaggerating, as what he said held true for Djoko Pekik, too. “I don’t understand jazz. But I can enjoy this Yen Ing Tawang Ana Lintang song,” said the respected artist while listening to the songs that afternoon.

Apart from bringing Javanese songs into the world’s jazz arena, the album is also meant as a form of appreciation for the Javanese culture of sesarengan, which means together or togetherness in Javanese, the central theme of the event as well.

“We lived and grew up in Jogja. Through the album we wanted to remind ourselves and the people that the city is rich in the culture of sesarengan,” said Jay, the tenor saxophonist of Jay & The Bangers.

The one-day-long 2011 Ngayogjazz was officially opened by esteemed journalist Goenawan Mohamad and lasted past midnight on Sunday. It was the fourth held since 2007.

The festival was initially scheduled for Nov. 20, 2010, but was postponed due to the eruptions of Mount Merapi in October and November of last year.

Unlike other jazz festivals, which are mostly held in downtown entertainment spots and stages, Ngayogjazz has been held mostly in villages. This is in accordance with its objective of bringing jazz music closer and making it more acceptable to a wider audience, including rural people.

One of its initiators, noted musician Djaduk Ferianto, the younger brother of prominent monolog player Butet Kartaredjasa, called this a form of investment in the future of jazz music in the country.

“Jazz will not survive without a supporting community and audience,” Djaduk said.

The first and second Ngayogjazz festivals, in 2007 and 2008, were held on the compound of his father, a noted choreographer, the late Bagong Kussudiadjo, in Kembaran village, Kasihan, Bantul. The fourth was in Djoko Pekik’s garden.

The third festival was held at Gabusan Art Market in 2009, also in Bantul, rather than downtown Yogyakarta as per the request of the local regency administration that helped fund the project that year.

What makes Ngayogjazz different from other festivals is that all performances are free.

“When the time is right, we may consider asking audiences to contribute to the event. But we will probably do in it our own style of saweran, in which we just prepare a box where they can donate money according to what they can afford,” Djaduk said.

At times, Ngayogjazz seems to have won the hearts of not only the Yogyakarta public but of those from other cities as well, including from as far as Malang and Surabaya in East Java.

On Saturday, for example, the main village road heading to the event venue was crowded with parked cars and motorcycles. The committee had to prepare two units of shuttle carts, locally known as kereta kelinci, to bring the audience to and from the parking sites.

The three prepared stages of Siter, Slompret and Tambur, were packed with concert-goers. Occasional light rain didn’t dampen their enthusiasm either. They stayed until the event’s end after midnight.

“I really enjoy performing at Ngayogjazz. This is the third time I’ve performed here. The audience’s enthusiasm makes me cry,” said participating singer Syaharani.

The venue was as stunning as the music, according to many, including Gugun of the Bali-based Gugun Blues Shelter.

“This is the first time I’ve played jazz in the middle of a jungle. Welcome to the jungle,” said the curly, long-haired Gugun in opening his performance on Saturday afternoon at the Slompret stage.

The 3-hectare garden of Djoko Pekik’s residence indeed looked like a jungle with big trees and lots of bamboo. A small river with clear water cut through the yard.

The three stages were erected the trees’ shade. The Tambur stage was on the riverbank, creating a natural backdrop with the clear river stream and bamboo trees.

Audiences had to walk small foot paths of soil and rocks from one stage to another to enjoy the performances, as if the event was part of a bush walk. In the evening, the paths were illuminated with coconut oil-fueled candle lights.

“It’s really awesome,” a visitor said.

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