Thailand's King - Photo credit : Oxymanus
For six decades, His Majesty the King Bhumibol Adulyadej has inspired, entertained and encouraged the Thai people in countless ways. One of these is through music, and His Majesty’s songs, ranging from jazz to classical to patriotic anthems, have been performed not just in Thailand but internationally by some of the world’s leading musicians and orchestras
On Saturday nights, a group of some 10 professional and amateur musicians, most in their 60s and 70s, gather together at Klai Kangwol Palace by Hua Hin beach for a jazz rendezvous.
These well-seasoned musicians take their time to find their seats, with instruments in hand, lips to the mouthpiece, fingers to the keys, until the band leader looks up, “Ready? …”
Suddenly, as if rejuvenated by the spell of the music, the gray-haired band members come alive with youthful exuberance, adroitly creating sounds as fresh as musicians in their prime.
On the saxophone is none other than 78-year-old HM King Bhumibol Adulyadej.
Until the wee hours of Sunday morning, the King and his Au Sau Wan Suk Band members fill the sultry air of Hua Hin with smooth jazz from a wide selection of styles — Dixieland, New Orleans, Big Band chart-toppers — sometimes with an interlude of one of the King’s own compositions.
Until his retirement from public performance some two decades ago, the King had awed Thai audiences with cool jazz, then novel to Thai society, in a weekly radio broadcast of concerts from university and public stages that ran from the early 1950s through to the 1970s.
As if a king blowing his sax for the joy of his subjects isn’t remarkable enough, His Majesty also made Thailand internationally famous for his role as a highly-recognized musician, particularly in the jazz world. His name has been listed in jazz websites and jazz encyclopedias, from the esteemed Vienna music academy in Austria to the coveted Yale music school in the US.
Marking the 60th anniversary this year of his first musical composition, the prolific King has produced 48 outstanding pieces ranging from romance to march to ballet suites, in classic, blues, jazz, pop and alma maters. Many of them have become all-time classics including Saeng Tien (Candlelight Blues) Sai Fon (Falling Rain) and Porn Phi Mai (New Year’s Greeting), to name a few. And not only in Thailand, some fine selections of his compositions have reverberated across the globe in prestigious concert halls and informal settings alike as his songs have been included in the albums of some leading jazz musicians and prestigious international orchestras.
THE KING WITH MUSICAL EARS
“To glorify His Majesty’s musical talent isn’t flattery. For, from my professional point of view, the King’s musical talent is genuine,” says a close aide to His Majesty the King, himself a distinguished musician who wishes to maintain anonymity, “He is quite extraordinary as a composer and remarkable as a musician”.
An articulate composer, the self-taught King has developed music-writing skills and become accomplished in this craft. “In his early teenage years in Switzerland, he took private saxophone lessons. The rest – jazz music and song composition – was self-taught through reading and grueling practice. The technique he has developed in music writing is so comprehensive that he could excel in it by producing outstanding works of music. He composes music with a complexity of notes simultaneous with chords, and yet maintains all the requirements of music’s rules. This is a process that only a few song writers could achieve,” says his aide.
“His Majesty’s compositions,’’ he goes on, “are diversi- fied in style and mood. When His Majesty creates a romantic song, it is truly sweet and romantic. But when he produces a march, it is filled with all the bold elements required for this martial style. And both achieve a distinct beauty.”
UNWAVERING DETERMINATION
Nevertheless, what he sees beyond HM the King’s gifts is his unwavering determination. “When the King intends to do anything, he would work hard until he achieves. The same is true in his determination to acquire musical skills,” he says.
This is evident with his mastery of skills that, sometimes, outdoes professional foreign musicians during their jam sessions.
The musician recalls a visit by the Preservation Hall Jazz Band from New Orleans some years back. The impromptu
LEFT TO RIGHT: In the late 1940s, HM the King, who is self-taught, composed music while a student in Lausanne, Switzerland.
Several of HM the King's compositions reflect his love and passion for his vivacious queen.
HM the King was the first Asian composer to receive membership in Die Akademic fur Musik und Darstellende Kunst (The Institute of Music and Arts of the city of Vienna).
CLOCKWISE, FROM LEFT: For over a decade, His Majesty has inspired the public as well as university students with his cool jazz in live performances with Au Sau Wan Suk Band.
His Majesty took the clarinet and jammed with the Dixieland Jazz Band during a reception hosted for him in Hawaii in 1960.
His Majesty the King also performed with the “King of Rock ‘n’ Roll,” Elvis Presley, during His Majesty's visit to the US in 1960.
Echo is among the few songs written by HM the King with English lyrics.
session soared to the height of its thrilling mood so much so that one trumpeter impulsively strode down the bandstand blowing his trumpet. Simultaneously, he heard another trumpet blazing down from the stand. He almost threw his own trumpet away with amazement as the crisp sound from the stand was so powerful and so distinctive. It was His Majesty the King who blew it.
Once, a young clarinetist was impressed by His Majesty’s tremendous power in performance despite his age, and asked his advice in fingering techniques to attain highpitched tones that he could not achieve. His Majesty pointed to his lips saying that it was the strength of the lip muscles, not the fingers, he recalls.
Unlike singers, whose voices may falter with age, outstanding musicians mostly can maintain their performance if they continuously rehearse. His Majesty, he further explains, is dexterous with all wind instruments and excels in all. While in session, he would start with saxophone, switch to clarinet, trumpet and sometimes trombone.
Not so many musicians could switch from woodwind to brass, since they require different techniques and skills. The woodwinds use reeds to make sound, while a brass instrument such as a trumpet doesn’t. Brass instruments use the lips in place of the reeds. The only famous jazz musician who is adroit in both instruments that I know of is the late Benny Carter, he elaborates.
IMPROVISING WITH IDOLS
Over several decades, the King’s Au Sau Wan Suk Band has received such international jazz idols as Benny Goodman, Lionel Hampton, Jack Teagarden, James Moody, Benny Carter, Les Brown, Maynard Ferguson, The Preservative Hall Jazz Band, and many more as guest musicians for impromptu sessions.
It is here with these idols that one can observe the King at his very best. Unlike when he plays with his house band, whose members are mostly amateurs, His Majesty would master his jazz supremacy with all the techniques he has acquired to match with these visitors.
His Majesty’s first encounter with an international jazz idol occurred in 1960 during his state visit to the United States. His two jam sessions with Benny Goodman in New York were reported in Time in its June 18, 1960, edition:
His Majesty went to dinner with the King of Swing, Benny Goodman, (and 94 others) at the suburban estate of New York’s Governor Nelson Rockefeller. For 90 minutes after dinner, King Bhumibol and Benny led a foot-stomping, starch-melting jam session. Next day, the King toted a sax up to the 22nd story roof garden above Benny’s Manhattan House apartment for the fulfillment of a jazzman’s dream.... The King stood them toe-to-toe for two hours, paid his royal respects to The Shiek of Araby (in 17 eardrumming choruses), savoured Honeysuckle Rose, swung low On the Sunny Side of the Street.
In the article The King of Jazz, by Harry Rolnick, published in Sawasdee magazine in 1987, American singer Patti Page described her audience with the King: It was like a dream come true. I had heard about his compositions, but only when I had them in my hands did I see how fine they were....
For two hours,Rolnick reported, she sang the works of His Majesty, with her personal accompanist, while the King made changes when necessary.
The late jazz icon Lionel Hampton was also quoted in the same article as saying: “He is simply the coolest king in the land.”
Recently, the world of jazz has literally recognized the King by putting his name in one of the recent editions of the Encyclopedia of Jazz that came out some four years ago, his close aide says: “If you flip to the B index, you will find his name and a short description of his works. He is the only Thai musician to earn such an honour.”
Back in 1964, he recalls, when HM the King visited Vienna, Austria, for a state visit, he attended a concert where five of his finest pieces, Kinari Suite, Sai Fon, Yam Yen, the Royal Marines March and the Royal Guards March, were performed. Not only was the audience in the concert hall appreciative of HM the King’s compositions but also music lovers across Austria, as the concert was broadcast live on radio.
After the concert, His Majesty received overwhelming accolades with a long standing ovation as the composer. Two days after the concert, he was conferred with the 23rd honourary membership of the world-renowned Die Akademic fur Musik und Darstellende Kunst (The Institute of Music and Arts of the city of Vienna). He was the first Asian composer to receive such an honour.
FROM CLASSICS TO JAZZ
As a school boy in Switzerland, His Majesty received early training in classical music. But saxophone lessons, which later became HM the King’s most favourite instrument, occurred by chance. In the book, Chaonai Lek Lek, Yuwa Kasat, by HRH Princess Galyani Vadhana, the Princess recalled that it was King Ananda who bought a secondhand saxophone for 300 Swiss Francs and intended to take lessons. At the last minute, he changed his mind and sent his younger brother, Prince Bhumibol to the class in his place.
Eventually, King Ananda joined the class with his clarinet. The one-hour, twice-weekly classes with Alsace musician Mr Weybrecht were split into two half-hour classes to accommodate King Ananda on clarinet. For two years the classes continued and often ended with an hour-long trio session with Mr Weybrecht and King Ananda on clarinet and Prince Bhumibol on saxophone.
Despite their classical music training, both King Ananda and Prince Bhumibol were more inspired by the exciting beats of blues and jazz, containing rousing rhythms and freedom of expression. The teenage royals started collecting gramophone recordings of jazz icons with King Ananda preferring Louis Armstrong and Sidney Bechet,while Prince Bhumibol opted for Duke Ellington and Count Basie. King Bhumibol practiced his instruments to the strains of blues and jazz from these recordings. He played along with recordings of Sidney Bechet’s soprano saxophone, Johny Hodges’ alto saxophone and Duke Ellington’s piano.
His Majesty’s favourite instruments are the saxophone, clarinet and trumpet. He also plays guitar and piano.
AN ASPIRING COMPOSER
It was during 1946, when the then18-year-old Prince Bhumibol visited Bangkok, accompanying King Ananda, that his potential in music writing was taken seriously.
Encouraged by King Ananda, the aspiring prince started composing where his heart was the blues. He wrote fragments of scores and showed them to HH Prince Chakrabandhu Bensiri Chakrabandhu, himself a musician, who, in turn, asked the young prince to complete the compositions and offered help with lyric composition.
In April 1946, his first composition was accomplished. It was named Saeng Tien (Candlelight Blues). Soon afterwards, his second composition, Yam Yen (Love at Sundown), rolled out, again with the help of Prince Chakrabandhu on the lyrics. By the time Prince Bhumibol tried his third piece, he smoothed the scores out almost effortlessly within a single day. Sai Fon(Falling Rain) was its name.
Over a span of five decades, the King has created 48 musical numbers. Out of them, five include lyrics and melody by the King himself: Echo, Still on My Mind, Old- Fashioned Melody, No Moon and Dream Island. Two of his compositions were created from lyrics about patriotism: Kwan Fun An Soong Sud (1971) and Rao Su (1976).
Having excellent ears for music and a quick wit, HM the King is admired for his ability to compose a song on the spur of the moment, without any assistance of a musical instrument. “Sometimes, we got music scores on a piece of scrap paper or an envelope with bars and notes on it. When the King was inspired, he would write the melody out of what he heard in his head. Later on, the melody would then be completed with a piano,” the close aide says.
How His Majesty composed the song Rak (Love, 1995) was quite extraordinary, he adds. His Majesty blew his sax while reciting the lyrics. His close aide would write down the notes from what he blew. After finishing, he asked for the rough notes to be completed, after which the arrangement was done.
Alexandra, a song to welcome Princess Alexandra, was written in a similar prompt fashion, upon the visit of the princess in 1959. In “The King of Jazz,” the late former prime minister and musician MR Seni Pramoj recalled the princess's visit: “I remember when we were waiting for Princess Alexandra to arrive. About 20 minutes before the plane landed, His Majesty came over to me with a sheet of music. He had written a welcoming song for Princess Alexandra and he expected me to write a poem to go with the music! Of course with royal command like that, I had no choice but to write it.”
In similar impromptu fashion, Porn Phi Mai (New Year’s Greeting) was swiftly composed on New Year’s Eve, 1951. Wishing to bless his subjects with a song, His Majesty together with Prince Chakrabandhu took turns to alternately compose the melody with a saxophone until its completion that evening. The song became an instant hit and has been played during New Year celebrations for over 50 years.
THE KING’S BANDS
From his early trio sessions in his Alsace teacher’s studio in Switzerland, both King Ananda and the then Prince Bhumibol often took pleasure in musical companionship. During their visit to Thailand in 1946, King Ananda and Prince Bhumibol invited some amateur musicians for casual weekend sessions.
After King Bhumibol ascended the throne and subsequently returned to Switzerland, he continued the pastime by inviting Thai students to join music gatherings both in Switzerland and in Paris.
Upon his return to Thailand for a permanent stay in 1950, he initiated a jazz band and named it “Lai Khram.” The band members included M.L. Vimvathit Rabibadhana, M.C. Waewchakra Chakrabandhu, M.L. Dej Snidvongse, M.C. Kamolsarn Jumbala, M.C. Chumpokbutr Jumbala, M.L. Udom Snidvongse, M.R. Pong-amorn Kridakara, M.R. Seni Pramoj, Surathern Bunnag and M.L. Praphand Snidvongse. The band’s regular singers included M.C. Murathapisek Sonakul and M.C. Kajornchobkitikuna Kitiyakara.
In 1952, His Majesty established a radio station within the Amporn Satharn Palace and named it after the initials of the palace as “Au Sau Amporn Satharn Radio Station.”. Through broadcasting, the dynamic Lai Khram band thrilled its radio audiences with vibrant selections of jazz numbers. It performed along with several bands including the Kaset band under the supervision of HH Prince Chakrabandhu Bensiri Chakrabandhu.
Eventually the Lai Khram band members grew in number. To accommodate them all, His Majesty expanded the band and called it Au Sau Wan Suk (Friday Au Sau). A special characteristic of the band was that His Majesty would join in on its live broadcasts every Friday evening. His Majesty would select music as well as recordings for the programme and encouraged call-in requests. Occasionally, it was His Majesty himself who personally took the calls.
On weekends, the band members would convene at Klai Kangwol Palace for private musical sessions with the King. The fun-filled event sometimes lasted till sunrise as band members marched down the beach with their instruments in the crisp morning breeze to greet the day with their jazz.
Past and present members of the band have included M.R. Seni Pramoj, M.L. Praphand Snidvongse, Uthis Dinakara na Ayudhaya, M.L. Seri Pramoj, M.L. Usni Pramoj, Manrat Srikranond, Dej Thiewthong, Thavorn Yaovakhan, Suvit Ungsavanond, Nondha Buranasomphop, Kavee Angsawanond, Apichitr Sukchand, Uab Hemaratchata, Santhad Tanthanand, Aniruth Thinnakorn na Ayudhaya and Dr Phathorn Srikranond. Singers have included Khunying Savitri Srivisarnvaja, Khunying Chamari Snidvongse na Ayudhaya, Khun Kanda Thammamongkhol, Thanpuying Suvaree Dhepakam and Pallop Suwannamalik.
During the early period of its establishment, the band ventured beyond the radio station and palace boundaries into the public, especially in universities. Apart from playing music for generations of university students, His Majesty also composed alma maters for Chulalongkorn, Thammasat and Kasetsart universities.
Eventually, the Au Sau Wan Suk band gradually faded out of public performance owing to His Majesty’s increasing engagements in rural development projects.
But the band’s jazz spirit is still alive and well. “Our band is still going strong playing regularly with the King,” says Rear Admiral ML Usni Pramoj, a privy councilor and band member. “His Majesty’s arduous tasks have been so overwhelming that we wish the music would help in releasing his stress. For everyone has to have a way to relax. And music is one of the best. We are so honoured to have the chance to serve him.”
Not only did His Majesty become an inspiration for professional musicians, but a mentor for those amateurs working in different fields. In 1986 His Majesty gathered those working with him in several rural development projects, including agriculturists, volunteer doctors, court of- ficials, aides and security officers to form a brass band, naming it “Sahai Pattana” (Development Friends). Instead of exercising as routinely scheduled, His Majesty sacrificed his evening hours to train the brass band members, with Her Royal Highness Princess Maha Chakri Sirindhorn first on the list.
THE MAESTRO
A maestro in his own right, the septuagenarian King has been lauded for his role not only as a great king but also a great musician. His splendid music legacy has left its mark on numerous albums both locally and internationally.
“Jack Teagarden asked royal permission to include a royal composition on his album. So did the Les Brown Big Band, which asked for six compositions, as well as the Claude Bolling Big Band from France and Ted Peace,” says his close aide.
Already, a committee has been set up to screen requests for public performance and recordings of the King’s compositions. “In the past, there were those who inadvertently adapted or changed the King’s compositions, which is inappropriate,” says the musician. “They should respect that anyone who composes does not wish to have their pieces rewritten. The committee, therefore, is set to screen and approve requests.”
Although the King’s latest composition, his 48th, called Menu Kai (Egg Menu) came out in 1995, he believes that it would not be the last. “I think the King is still working on his compositions. And more will be coming out to the public.”
By Hua Hin beach on Saturday nights, the indomitable music maestro still serenades his modest audience. The strains of his sax have “echoed” throughout the country, entertaining millions of his subjects, from the past to the present, who have heard and appreciated their King’s compassion through his music.
As one of his English-language compositions, Echo, goes:
“Of it is nothing left
But the echo
Though time is unforgiving
I know
Our love will
Linger on
For eternity”
Oxymanus : Echo is a very beautiful song indeed !!!!!!!! Please listen .
Note : Article was published in the Bangkok Post on January 20, 2006 on the ocassion of His Majesty's 60 years of ascension to the Thai Royal throne.
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