“Music has always shaped civilizations. It influences identity, memory, protest, healing, and unity. In today's polarized world, music can become a soft power for peace. As an advocate for peace and the environment, I believe music should raise awareness — about humanity, about coexistence, about our responsibility to the Earth. If my music can inspire even one person to become more compassionate, more thoughtful, or more open to dialogue, then it has achieved its purpose.”

Dwiki Dharmawan: Music & Humanity

“Anagnorisis” (2025), the latest in Dwiki Dharmawan’s series of widely varied and impeccably crafted albums for MoonJune Records, might well be the most fully realized expression yet of his expansive musical vision. While deeply grounded in the sophisticated melodic and rhythmic intricacies of his land of origin, where he’s long been celebrated for his work bridging serious and popular realms, Dharmawan also looks beyond his native traditions for inspiration, joining with players from disparate cultures to blend the best of their respective worlds into a meta-music of depth, beauty, and vitality that transcends mere collage. Anagnorisis - “recognition” in Greek - is a superb case in point, and indeed is emblematic of the governing MoonJune ethos, bringing the Indonesian master together with eminent Israeli-born saxophonist and writer Gilad Atzmon (The Orient House Ensemble, Robert Wyatt, Pink Floyd) and a quartet of simpatico Greek musicians (Kimon Karoutzos, Harris Lambrakis, Vironas Ntolas, and Nikos Sidirokastritis) on a program of Dharmawan originals and improvisations, with production assistance from a German, an Italian, and a Dane, overseen by the globetrotting Mr. MoonJune aka Leonardo Pavkovic himself.

(Photo: Dwiki Dharmawan)

Yet for all the diversity of its participants’ backgrounds, the resulting union never feels forced, instead reflecting an inherent mutual trust and deep respect for one another as both people and musicians. Dwiki Dharmawan is one the most accomplished pianists, keyboardists, arrangers, producers, cultural workers in his native Indonesia, and he has performed in over 60 countries on all continents. Anagnorisis is his 5th international release on MoonJune Records after Hari Ketiga (2020), Rumah Batu (2018), Pasar Klewer (2016), So Far So Close (2015). He has recorded and performed among others, with Jimmy Haslip, Chad Wackerman, Dewa Budjana, Walfredo Reyes, Steve Thornton, Carles Benavent, Nguyen Le, Gilad Atzmon, Asaf Sirkis, Nicolas Meier, Yaron Stavi, Boris Savoldelli, Markus Reuter, Jerry Goodman and many others. He is co-leading one of the commercially most successful bands in Indonesia, Krakatau, since 1984.

Interview by Michael Limnios  

Special Thanks: Leonardo Pavkovic (MoonJune Records)

How has music influenced your views of the world? What moment changed your music life the most?

Music shaped my worldview long before I understood politics, ideology, or geography. It taught me that identity is not a wall, but a bridge. Growing up in Indonesia, a nation of 17,000 islands, 600 languages and dialects, rich in traditions, I quickly understood that diversity is not fragmentation; it is harmony waiting to be orchestrated. Music showed me that cultures can dialogue without conflict.

The moment that changed my life most profoundly was when I began collaborating, especially when I realized that my Indonesian musical roots could speak fluently with musicians from different continents. This realization transformed me from a simple pianist to a cultural bridge. The decisive turning point in my musical life came when I began serious cross-cultural collaborations. At that moment, I realized that my Indonesian modal vocabulary could coexist with Western harmonic systems without dilution. This transformed my role from "national musician" to participant in a global jazz dialogue. Music has become not only my profession, but also my diplomacy.

“However, I'm hopeful. Technology is allowing independent voices to emerge globally. Young musicians have instruments that previous generations could only dream of. My only concern is that speed doesn't replace depth. The future of music must balance innovation and soul.” (Dwiki Dharmawan with his World Peace Quartet and Leonardo Pavkovic of MoonJune Records, Bosnia - Herzegovina / Photo by Boro Kresosjevic)

How do you describe your sound and music philosophy? Where does your creative drive come from?

My sound is rooted in the Indonesian archipelago, but it travels freely throughout the world. I combine traditional Indonesian melodic sensibility with jazz improvisation, progressive structures, and spiritual expression. I don't see tradition and modernity as opposites: they are dimensions of the same continuum.

My philosophy is simple: music must convey awareness. My creative drive comes from three sources: spiritual reflection, cultural dialogue, and human empathy. Improvisation, for me, is not just technical freedom; it's a metaphor for life. You listen, respond, adapt, and stay true to the moment.

How did your relationship with MoonJune Records come about? Do you have any stories about the making of “Anagnorisis” in Athens?

My relationship with MoonJune Records was born from a shared belief in artistic independence and cross-cultural collaboration. Leonardo Pavkovic understands music beyond its formulas: he embraces vision. He has a strong and resolute vision, believing that great music can come from anywhere in the world. Leonardo first introduced me to Gilad Atzmon, my collaborator, a powerful and influential musician, saxophonist, clarinetist, and songwriter, when we worked on the 2016 album Pasar Klewer in London. Now I've reunited with Gilad, who has moved to Athens 5 years ago, and who invited other collaborators, some excellent Greek musicians: Harris Lambrakis (ney), Vironas Ntolas (guitar), Nikos Sidirakostritis (drums), and Kimon Karoutzos (double bass).

Recording Anagnorisis in Athens was deeply symbolic. The word itself, a Greek term meaning "recognition" or "awakening," deeply touched me.

Working in Athens, surrounded by Greek musicians, I sensed a dialogue between ancient civilizations — Indonesia and Greece — both rich in mythology, philosophy, and spiritual depth. The sessions were organic, almost conversational. There was a sense that we weren't simply recording tracks; we were discovering something together. Athens gave the album its emotional landscape.

“My sound is rooted in the Indonesian archipelago, but it travels freely throughout the world. I combine traditional Indonesian melodic sensibility with jazz improvisation, progressive structures, and spiritual expression. I don't see tradition and modernity as opposites: they are dimensions of the same continuum.” (Dwiki Dharmawan in studio, Athens Greece / Photo by Boro Kresosjevic)

Are there specific memories or highlights of your career you would like to share?

There are many concerts, collaborations, and awards that I cherish. But beyond the awards or the stages, the moments that stay with me are those when audiences tell me that a piece of music inspired them to reflect, heal, or reconcile.

Touring across continents and seeing people from different backgrounds connect through music reminds me why I started this journey.

The real highlight isn't the applause, but the connection. Recognition is significant, but artistic evolution is the true measure of longevity.

What do you miss most from the music of the past? What are your hopes and fears for the future?

What I miss most from the past is patience: the patience to listen deeply. I miss the culture of attentive listening. Music used to be consumed as a journey. Today, it's often consumed as a fragment. However, I'm hopeful. Technology is allowing independent voices to emerge globally. Young musicians have instruments that previous generations could only dream of. My only concern is that speed doesn't replace depth. The future of music must balance innovation and soul.

What is the socio-cultural impact of music? How do you want your music to affect people?

Music has always shaped civilizations. It influences identity, memory, protest, healing, and unity. In today's polarized world, music can become a soft power for peace. As an advocate for peace and the environment, I believe music should raise awareness — about humanity, about coexistence, about our responsibility to the Earth. If my music can inspire even one person to become more compassionate, more thoughtful, or more open to dialogue, then it has achieved its purpose.

“Music shaped my worldview long before I understood politics, ideology, or geography. It taught me that identity is not a wall, but a bridge.”

(Dwiki Dharmawan / Photo courtesy of Farabi Music)

What are the most important lessons you have learned on your musical journey?

Humility sustains longevity.

Listening is more important than playing.

Collaboration requires respect.

Spiritual grounding protects artistic integrity.

Collaboration is intellectual humility in action.

Music has taught me that mastery is not control, but surrender to something greater. Jazz teaches resilience.

How do you keep your music relevant for new generations?

Relevance isn't achieved through imitation, but through authenticity. I stay in touch with younger musicians, embrace technological platforms, collaborate across genres, and remain open to experimentation. But I never abandon my roots. Young audiences are looking for honesty. They respond to depth when it's genuine. My responsibility is to continue evolving, without ever straying from my core identity.

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