A night of beautifully
complicated and intricate communication lines filled the La Proa Ballrooms of
L’Fisher Hotel that night. Every message of joy, anguish, pleading and
jubilation – all equally urgent – was accessible like one’s WIFI on top game.
There were grunts, squeals, melodies and rhythms intertwined, more so like
syllables forming the glossolalia on this tent-revival meeting of sorts.
Forgive the religious shades, but
it cannot be helped – as number after number of that evening was beyond the
realm of entertaining, a given, by the way. It was a spiritual movement deftly aimed
to to touch the soul. On its 8th year, the Bacolod Jazzfest brought
about by Bob Coscolluela and the Jazz Society of Negros continues roll
steadily, amidst the ever-changing Bacolod and Filipino culture it embodies.
Importantly, it remains as the hub of the past and the future, alluding to the
timeless language which is jazz.
So if it was a
big tent revival, local guitarist Mari Pena on guitars and saxophonist/ host Raul
Banzon provided an earnest for the night to come. Just like an interesting
tennis match, the earliest exchange of pleasantries, bluesy phrases and
conversations between sax and guitar got the crowd warmed up. The simmering
musical exchange was joined in by the Projects’ Seanne Yared and setting the
exchange into an increasing frenzy, in time for the Yared and his team as the opening
act.
The Projects-
the youngest of the line-up and representing the Sugar City – is a strong proof of taste infused by the
blood that flows from the roots themselves. The Projects – ably guided by their
mentors – know how to dig from Calloway to Jamiroquai. They wow the crowd with
a set that was just enough to cover the basics and kick the evening. As
saxophonist/host Raul Banzon said – the future of jazz is now visible, and it
is alive and well. Adding oomph to the 6 piece unit is long-time friend and
collaborator Joanne Bernal on vocals. Despite front man Tim de la Rama’s
admission that they were aspiring ‘jazzers’, it was clear that their little
steps and syllables were akin to seeing
kids do their fresh firsts. Perhaps, a few more years, Giant Steps aren’t that
far ahead for the group (pun intended).
The initial
exhilaration serves it right for the next reading, ushering the evening into a
different plane. Anders Paulsson, the Swedish sax player whose bio profiles him
under classical genre, is perhaps a strong statement on the importance of
discipline and communicating. Paulsson’s classical foundation is impossible to
miss, as evidenced in his set kicker, a J.S. Bach piece. His octaves, runs,
quavers, all with consistent tone, seem to separate mortality and the spiritual. The notoriety of the soprano saxophone, due
to its upper range, makes it a beast to play in pitch. But Anders effortlessly
crafts it, makes it take the pastoral beckon of a clarinet one moment, only to unleash
a flurry of bop the next. He was ably backed by the virtuosos Jun Austria
(drums), Simon Tan (bass), and Joey Quirino (piano). Paulssen tackles his
originals, again, which harmonies and arrangements highlighting classical prowess
- with such imagery that one is taken into snapshots of his stories, his
travels and his undeniable commitment to preserving nature – the Danjugan
Island to be specific. Again, Bernal joins Paulsson for vocal numbers on his
set, while lyricist and pianist Gerry Grey listen in the crowd.
From the
ethereal to the spiritual, what does earth have to offer? A lot, as the crowd
gets back to the ground after the encounter, on the gritty, earthy set of
Working Stiff. The Stiffs are no strangers to the festival, but seeing them
that night in their element was another fresh moment. The twin guitar attack of
Kedy Sanchez and guest Joey “The Wizard" Puyat provided the necessary grit for
the evening. It was a rough and tumble game through the smooth (arguably,
“pogi” jazz for some) and fusion arena. The contrast between Sanchez midrange-y
driven SG was a foil for Puyat’s warm 78’ Reissue Les Paul, with both playing
tag in staples such as Room 335 (Carlton) and On My Way to the Liquor Store
(Spinozza). For all that grit, a good amount of soul and smooth is balanced by
Lorry Zamora’s sax and Mark Laygo’s vocals. Laygo, who is also the
vocalist/songwriter for Passage, a smooth jazz/crossover outfit, filled the
necessary breathers for the crowd to sing along, tearing the lines between audience
and participants.
What might be taken
as the apex of the evening was the celebration of two names, taking the evening
a notch above the previous festivals. The Projects and Working Stiff made space
for bittersweet tribute numbers to one of jazz’ timeless voices – the late Al
Jarreau - who passed away barely a week ago. Yet, another victorious roar for
the jazz community hails next, as Philjazz awarded Bacolod’s own Bob Aves the much
deserved Lifetime Achievement Award, recognizing his efforts and talents for
the language of jazz and the excellence of the Filipino musician. As Aves goes
onstage, the bands and the audience transform to wide-eyed fans as the talented
creative takes his moment.
Midnight comes
to a close, but the not for festival. Not with the highly anticipated jazz
juggernaut saved for the final set that night – the AMP Nonet. A.M.P (or
Asosasyon ng Musikong Pilipino) was so turned (or amp’ed) up that final set, the
first song was like a rushing runaway train that hit. Simon’s stuttering low
end bassline rumbled while horns in full regalia recall Zappa-esque pomp. Band
leader/ arranger Mel Villena on baritone sax quickly took the business to their
hands and tore down the house. Seated upfront, my hair was ruffled by a hand
which turned out to be that of an ecstatic Joey Benin (of Side A), who was
hollering upon the first few bars of the number. The young guns took the lion’s
share of solo spots, notably Mike Guevarra (alto) and Cocoy De Pano (tenor).
Yet the whole, as said, was always greater than the sum of the parts. The
arrangements of VIllena was not for the faint-hearted either, as evidenced in
how they phrased and permutated Mancini’s “Pink Panther Theme” and Warren’s “There
Will Never be Another You”. Hearing the horns blast in your face proves
screamer David Lee Roth right: “Nothing comes heavier and matches a full brass
band”. Yet all that rough and tumble are neatly seamed by the final guest for
the night, the sultry Kat Agarrado (SinosiKat?). A veteran of the Bacolod Jazz
Festival, Kat opens with a vixen-y take of Route 66, employing every sigh and
growl, fetching from her blues pool within. It is notable that despite the
temptation to do horn driven funk with the Nonet underneath, her numbers stuck
to the classics and pop soul fare providing a well-covered set which had the now-dwindling
crowd on their feet, dancing and moving.
Nary
a hint of ego, as all communicated their stories in respective dialects and
tongues, bringing to the table a rich and communal music festival. Jazz again revealed itself in its purest
state, a medium reflecting life in all of us rather than a simple ii-V-I chord
change, an altered scale or – even a cerebral fusion statue dance. Jazz proved non-threatening to the uninitiated and an affirmation to its faithful
ambassadors, who despite the fickle economy and the struggle for airtime, rally
behind its gospel. The tongues have ceased by that time, but the message rings
clear.
And I hear a hundred Amens.
Tiano BM 2017
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remember that song was a staple when you wanted to be a part of the scene – being
with working top 40 (show) bands - and recall the simple joys of having a
minimum of analog effects chained to your guitar maximized to cover every
guitar tone from MLTR to beyond. Now, my memory banks simulate the smell of cigarette
smoke and used oil permeating the deep-fry dishes served on nightly joints which,
played basketball on TV while the house bands play – my mecca – my music
education 201. 
