Back to Gita Asmara, at one point in time we had a small group that learned a gamelan Kotekan on electric guitars and drum kit, and that was improbable and weird, and fun to do. More strange and delightful to my ear was listening to Gambang Kromong — a sort of mashup style of gamelan music from Jakarta. This recording of Stambul Bila includes gamelan instruments, Hawaiian style slide guitar, and Dixieland trumpet. I love it.
For several years the music director of our gamelan was Dewa Ketut Alit, one of the most amazing and unusual composers I’ve ever known. He’s written some great music for Çudamani, and for the ensemble he founded in 2007, Gamelan Salukat. Alit’s music might combine multiple gamelans of different modes, or incorporate Western instruments — whatever he does, it is always surprising (if not downright shocking) and exciting.
Among the best concerts I ever attended was a sold-out show by Robert Ashley and Jacqueline Humbert at Vancouver’s Western Front. Ashley, who died in 2014, was a deeply iconoclastic composer of what is referred to as opera, but bears little resemblance to Puccini, Wagner, or any other opera I’ve listened to. The first piece of Ashley’s I ever heard, "Automatic Writing" —