And so much more than your average guitar- totting- screaming- next -door teenagers
George Duke pinpointed one of the missing elements that contribute to a glaring lack in today's music.
Duke calls it the missing handshake - a musical handshake. He identifies it as the lack of connection between present artists with the masters of yore, physical or conceptual. He goes on to state that kids nowadays slice and dice loops and beats, but forgot the important foundation of knowing and learning the instruments.
Yet a breath of hope may have earned his big sunny smile if a faint swinging ride cymbal from a small city called Bacolod managed to reach his sharp ears that evening of September 24, 2011.
The slightly detectable aural disturbance wasn't coming from Bacolod's established artists - though they have also come to add to the sonic palette. The jubilant and swinging sound, insistent solos and rich harmonies were coming from college kids, all below 20 years old, under the very able baton of an extremely talented band director. The 24 piece West Negros University Jazz Band, all college kids, all scholars, were breezing their way through jazz standards, big band swing, smooth jazz and even fusion. Harmonies were knit tight with band director Michael John Tambasen handling the main keyboards.
 |
| John Michael Tambasen, Musical Director |
Tambasen's eyes glow with the gleam of a merry prankster as he opens the evening with a marching tune, The Loyalty March. Amidst the parade vibe and the choruses, a seemingly big question mark hovers - as the show is titled JAZZ ONCE. Images of the town fiesta and parade ceremonies play around as the band blasts through trios and choruses. As the final note slashes, Tambasen quips , "That's jazz". " Jazz started with the parade bands, and that is where we begin tonight", he follows and the crowd smiles and gets the prank.
The band shifts gear as they go through a groovier reading of Jaco Pastorius' The Chicken, and the audience cheers in approval. What was simply a crowd earlier is now turned into converts to the gospel that is jazz. The set was a sampler of jazz' ever elusive face, from bossa nova (Agua de Beber, Quando Quando), big band swing (Theme from the Pink Panther, Crazy Little Thing Called Love, Route 66), ballads (The Shadow of Your Smile, Moonlight Serenade), smooth jazz (Night Rhythms, Deeper than You Think, Spain), celtic (Toss the Feathers) and even blues ( Summertime).
 |
|
The band's discipline and precision would give any other jazz outfit a run for their money. Obviously , Tambasen reared the kids on the above virtue well. Such virtue is a potent talisman, that which spares from the curse of overplaying and recycled riffs ad nauseaum. The band's reading of Spain and Armando's Rhumba comes as the strongest example. Finally, a young band braves the original RTF (Return To Forever) arrangement of Spain, forsaking the fusion - y arrangements birthed by Jarreau's version and its spin-offs. It is a breath of fresh air to hear the song restored to the composer's original and Latin-tinged intent, far opposed from all the pyrotechnics and polyrythms stereotypical of the material. The unison parts are flawless, especially on Armando's Rhumba, as they handle the head with the right rubato from the violin (yes, THE lone female violinist playing jazz in Bacolod City), piano, and bass. For more than once, you'll have to squint your eyes to believe what you are hearing.
 |
|
 |
|
The vocalists are cleverly interspersed all over the set, not just de rigueur, but because they can truly sing. For a moment , all the pseudo acrobatics that clutter us from all the talent searches were shut - as WNUs three vocalists took turns on the microphone. The ladies were one part sultry, another part gut wrenching. Picture a smooth rendition of the Carole King staple, Too Late, complete with streaks of muted trumpet conjuring Botti's spirit, balanced by the a striking take of Summertime and Route 66. To top the vocal section, the gentleman exuded a cool demeanor as he made his way through the Buble catalogue.
It would be sacrilegious not to mention the tight rhythm section for in the church of jazz, it is a major
ordinance. The bass and the drums falls where it should be - a rarity even among more established players of the game. Notes are tasteful and not wasteful (pun intended), as one notices that dimensions are so clearly put forth , delineating verses from choruses and buildups. If discipline is WNU Jazz Band's first name, dynamics would have to be their last name.
And the improvisations? Just like seeing a toddler's first step, or hearing a tot's first word - the students gleefully took turns - tenor sax, guitar, bass, drums, flute, trumpet, violin with such juvenile spirit and purity. They literally
play their instruments. They teach us a lesson or two, who more than once have griped over modes, substitutions, alterations and whatnots.
Agua de Beber turns into a conversation between flute and violin and simply exudes with youthful abandon. Don Cherry must be smiling from somewhere as he had always believed in playing in a manner as if it was one's first.
Then there is the icing - that sweet, guilty pleasure that haunts us - of the evening, a first . Three of Sugar City's bastions of the art form in albeit short but packed sets, pay support to the history being written. Gabe Ascalon with Offbeat and Michael Tambasen, Nancy Brew and Marlon Sipe guest for the first time, on the same stage. Offbeat with Ascalon breezed through the fusion/ worldjazz highway , while Nancy Brew drove at the funkier side of the road with funk and smooth jazz numbers. Marlon Sipe was firmly grounded on one of jazz' roots, the blues, as he joined WNU for a blistering spontaneous 12-bar number and added soulful licks to
Summertime.
 |
|
Tambasen closed the show with a medley of jazz standards, and perhaps to the crowd's adore and surprise, took the vocal chores and backing himself on piano. He is a self-confessed Corea fan, and as his lines took flight, it was not surprising to hear touches of Tatum. Tambasen knew his wares well, a reward of years playing the cruise ship circles.
Though its been done many times, many ways - the last song never fails to rev the Bacolod crowd. EWF's Sun Goddess complete with Tambasen's two-fisted runs on a Rhodes patch stays true to the soul of Ramsey Lewis. As the final part comes - the 12 piece horn section blows with such authority, creating dents along the way. Nothing still beats a full horn section blasting over your face. And as the final note dies, its clear that the WNU Jazz Band wasn't up for a handshake after all.
They were generuosly throwing big hugs and embracing, breathing this wonderful gift , drinking freely of it and swimming and diving to its depths. Surely, George Duke would give one deep , satisfied puff knowing the kids are perfectly alright.
(Trumpets) Edward Garcia, Jorald Samillano, John Paul Celedona, (Alto Sax) Richard Tumayan, Elizer Alvero, Jade Samilllano (Tenor Sax) Aaron Edaño, Jude Toralballa, also on flute (Clarinet) Mark Nemes, Jovic Belleza (Trombone) Brandon Infante (Lyre) Mark Anthony Nabalitan, Clare Joy Lerona also on picolo flute (Drums) Rey Navarra - Snare Drum in marching, (Bass) Christian Samillano (Guitars) Nestor Edanio, Lester Dellave, Paul Kevin Mirarza - sound tech/cymbals in marching, (Vocals) Sheralyn Gonzales, (Majorette)
Aljin Samillano,Rusty Niño (Percussions) Bernard Cruz - bass drum in marching, (Violin) Lucellie Santibañez
OFFBEAT
(Drums) Hernan Mijares, (Bass) Louie Claur (Guitars) Gabe Ascalon , (Keyboards) John Michael Tambasen
NANCY BREW
(Drums) Ronald Amoroso, (Bass) Butch Inson (Guitars, saxophone, 2nd Keyboards) Bethoven Tiano , (Keyboards) Jico Monte
MARLON SIPE (Guitars)
By BM TIANO
Photos Courtesy of Bob Coscolluela
And so much more than your average guitar- totting- screaming- next -door teenagers
And the improvisations? Just like seeing a toddler's first step, or hearing a tot's first word - the students gleefully took turns - tenor sax, guitar, bass, drums, flute, trumpet, violin with such juvenile spirit and purity. They literally play their instruments. They teach us a lesson or two, who more than once have griped over modes, substitutions, alterations and whatnots. Agua de Beber turns into a conversation between flute and violin and simply exudes with youthful abandon. Don Cherry must be smiling from somewhere as he had always believed in playing in a manner as if it was one's first.
Then there is the icing - that sweet, guilty pleasure that haunts us - of the evening, a first . Three of Sugar City's bastions of the art form in albeit short but packed sets, pay support to the history being written. Gabe Ascalon with Offbeat and Michael Tambasen, Nancy Brew and Marlon Sipe guest for the first time, on the same stage. Offbeat with Ascalon breezed through the fusion/ worldjazz highway , while Nancy Brew drove at the funkier side of the road with funk and smooth jazz numbers. Marlon Sipe was firmly grounded on one of jazz' roots, the blues, as he joined WNU for a blistering spontaneous 12-bar number and added soulful licks to Summertime. 
