by David Austin

This week at The Jazz Gallery pianist-composer-programmer Kengchakaj presents Yon Yæng, the sequel to his debut album Lak Lan. The piece finds Kengchakaj exploring the traditional sounds and contemporary politics of Thailand while using improvisation and live coding to interface between musical worlds. We caught up with Keng to talk about the project’s development and how the diverse musicians in the band interact with the musical material.

The Jazz Gallery: Can you tell me how Thai politics has played into your songwriting?

Kengchakaj: During the pandemic I had all the time in the world. So I got a chance to dig back into the things that I’ve had questions about, but never have had a chance to explore. I did some research on the politically-based massacre on October 6, 1976 at Thammasat University. An authoritarian dictator had fled the country following being overthrown by the student movement, and they were protesting his return. The protestors, however, were accused of defamation and attempting to overthrow the royal family.

There was this one journalist named Supsiri Virayasiri สรรพสิริ วิรยศิริ who was able to film and broadcast the violence aimed at the protestors that day. He was the only Thai press who was able to get in and insist on reporting this, but the government tried to hide his footage and he was fired from his position. In one of my compositions, I use his vocal narration of the events as an element of the sound. If not for this journalist, we probably would not have known as much as we know about that day. I was inspired by his actions and his courage to amplify the truth and I wanted to see myself doing the same thing.

I also learned that a lot of the individuals that were on counter-protest side had either direct or indirect ties to the CIA or were affected by the CIA’s agenda, and their account of the story was meant to create anti-Communist dissent.

So much of the information surrounding this event is not available. A lot of these CIA documents became available to the public very recently. This is just one story that shows the push and pull between like the old power, like the royal family, and the new emerging voices.

TJG: I thought the king was very well respected in Thailand?

K: He was. I grew up respecting the king. He was well known as the “jazz king”, and he was US-born. They actually flew in a number of jazz musicians to play with the king, and there’s a famous photo of him playing with Benny Goodman in the US. My understanding is that he was unpopular at first, but then the CIA stepped in to help change his reputation. He was pushed as this democratic figure, which is so ironic because just the idea of a king is inherently anti-democratic before you even start looking at the character of the individual himself.

TJG: It seems like it’s been difficult integrating what you’re learning into what you were taught. Perhaps you’re not sure what to believe?

K: Yeah, and this is Lak Lan, which comes from this saying Lak Lan Yon Yang. Lak Lan is like a mismatch and Yon Yang is like paradox. So the whole phrase is something like mismatch and paradox constantly go at each other, but stay together.

TJG: Why did you decide to compose music based on this growing political awareness?

K: Part of me just wanted to explore this subject matter on a deeper level and try to develop a better understanding. In a way, the music is an expression of that process.

TJG: Something like a meditation.

K: Yeah. I like to think of both as incomplete—my understanding of the politics and the music as well.

I look at my artist collective, Elekhlekha, and my live coding practice for example, as an expression of the oral and aural history that’s been passed down in Southeast Asia. There isn’t a final product or an album that’s produced; the focus is more on performance as a continuation of the tradition.

Also, in some of my compositions I use a tuning system from Southeast Asia. This one of the things that I've had in the back of my head for a while now too. I grew up playing piano, and whenever I tried playing with Thai music, it was out of tune. Now I wonder, what is it out of tune compared to?

The more I dug into these tunings, the more I learned there isn’t really a system—it’s all passed down from generation to generation, and depending on where you hear the music, it may have a different sound or even different intervalic qualities. I actually want to resist to use the word tuning system. This sound isn’t really based on any system; it’s based on what you were taught. From one family to another, or from one band the sound may not be the same. There was a mathematician, Alexander J. Ellis, who published a theory that attempted to codify the sounds into a 7-note equal temperament tuning system, but this is a myth. I did my best to translate the sounds into my synth off of the original instrument, the ranat.

It was this sound that led me to learn more about music technology. I can’t tune my piano like this so I began asking how I could realistically present this type of material in a live setting.

This all led to synthesized and soundscape-types of music. This is another area I’ve wanted to explore, but I've always been hustling, so I never got a chance to do it.

TJG: Your solo performance at The Jazz Gallery, Atta Anatta was very soundscapey. This time you’re bringing a full band including a vocalist. How will that interaction work? Will this largely be another soundscape-type of set?

K: I’m going to be presenting a lot of different types of material and I want to give a lot of freedom to the rest of the band. I want my bandmates to make sounds that are a reflection or a reaction of the story I'm trying to tell.

In one of the songs, I’m going to use the tunings I learned form ranat ek, and I’m not going to tell Alfredo (Colon) anything except that it’s not going to be in 12 tone. We're going to be playing pieces together, and he can try to find his way.

TJG: Are you giving him notes that aren't on the horn?

K: I’ll be giving him the closest note to match.

TJG: Oh, that's gonna be crunchy.

K: I’m going to ask him to match the pitch as closely as he can, but yes—I actually want that crunchy. In the traditional sound, you may have two instruments on different tunings, so I want that effect.

TJG: Have you guys had a rehearsal yet?

K: No (laughs). A lot of it is just going to be trying things out. I'm just grateful that I have this opportunity to try things out on the stage.

TJG: You also said there will be a singer-songwriter element to the show?

K: Yes, for the songs featuring Rose (Stoller) I’ll be using regular tunings.

TJG: This sounds like a widely varied show. Like we’ll be bouncing between Joni Mitchell and Ornette Coleman.

K: Yeah, that’s the goal. I’d like to explore multiple musical contexts in the show and expose the audience to emotional content that they might not have experienced before.

TJG: Speaking about different musical contexts, can you speak a little bit about live coding and that element of the show? How did you get into live coding?

K: Well, for one, I have to credit my partner, Nitcha, who is also doing live visuals for the show. She was trying to convince me to get into live coding even before the pandemic hit. At first I wasn’t into it, but when the only musician I could play with was my computer, that changed things.

TJG: What language are you using?

K: There are so many languages you can use. You could either put in specific directions or you can write an algorithm to have the program evolve over time. A lot of the programming language is actually open-source and you can even do some directly in a web browser. I use an esoteric programming language called “ORCA,” made by this couple duo called 100 Rabbits, who happen to live and develop their software on a boat. It allows me to algorithmically send MIDI signals to several programs or synths at once.

TJG: We’re still talking about jazz, right?

K: Well, the word jazz is problematic in itself, right? I don't want to say jazz because in a way, I'm not from that community. But also I am very much am. In my artist statement I would say I’m a pianist, a composer, improviser, electronic musician, and there is an aesthetic from Southeast Asian culture, and Black American culture. I want to give credit back to those communities.

Overall, I want the music to be inclusive and take into account all different kinds of mindsets. Music should not be affected by colonialism.

TJG: You’re suggesting it has been?

K: Modern society is constructed with colonial framework, so yes—in many places. In Thailand, there used to be a syllable or a code for the notes being used. Now, the notes are taught through solfege. We don't want Thailand to be colonized so we adapted; we assimilated to western practice.

TJG: Let me finish with this, So over the two, three years of the pandemic, you become a completely different musician. What are your goals as an artist? What do you want to be playing? EDM Festivals?

K: I actually have played an EDM festival with my live coding stuff.

TJG: Where?

 K: In Thailand. I’m not sure about my exact goals as an artist yet, and that’s the best answer I can give. But overall, with my recent growth, I want to be able to move freely through the in-between spaces that current labels do not apply to and create more spaces for myself, my practice, and folks like me who the current system was not designed for.

The Jazz Gallery presents Kenchakaj’s Yon Yæng on Thursday, June 8, 2023. The group features Kengchakaj on piano/synth/electronics, Rose Stoller on vocals/guitar, Alfredo Colon on saxophones, Mike Haldeman on guitar/electronics, Almog Sharvit on bass, Kobi Abcede on drums, and Nitcha Tothong on live audio-reactive visuals. Sets are at 7:30 and 9:30 P.M. E.D.T. $20 general admission (FREE for members), $30 reserved cabaret seating ($20 for members), $20 livestream access (FREE for members) for each set. Purchase tickets here.