MORE THAN A HANDSHAKE

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.

THE WNU JAZZ Band

(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

One Foot on the Past

I have this habit of poring through back issues of magazines, and it is not that far before one stumbles upon things amusing. One of which is the dent made by waves unleashed by  Filipino artists. Albeit not that frequent,  they leave marks in the field. Make that very large, gaping marks.

JAZZIZ is known for monthly free CDs (JAZZIZ ON DISC) showcasing new releases from noteworthy artists. In 1995, their May compilation included none other than one of the pioneers of jazz in the Philippines, MR. BOY KATINDIG. The track was “Puerto Princesa” from Katindig’s eponymous album released under Noteworthy Records.  R. Dante Sawyer provided the comprehensive background on the cut and the artist, commending not only the artist’s amazing technique as a multi-instrumentalist, but his production savvy as well. 

JAZZTIMES, another equally informative publication, gave another Filipino artist a much deserved review.  Their December 2009 issue reviews section (REVIEWS Vox) were all praises for Filipino crooner MR. MON DAVID and his album COMING TRUE. The review was written by Christopher Loudon, providing a track by track rundown of the album.

Here’s one big cheer to the Senyors MON DAVID, BOY KATINDIG, and the ever growing number of those inspired by them, braving the future that is Pinoy Jazz.  Mabuhay!

Its not everyday, folks!

Photo courtesy of Jojo Montinola

Its not everyday that you get to play with a senyor. 

I've played with church mates,  bandmates, backing tracks, friends, enemies, with my mom -  I even play with my dogs and my toys.

But a senyor? Not everyday, man. 

And - beat this - a very warm, friendly, talking and perfectly unpretentious senyor?  That is absolutely priceless. The amazing Tots Tolentino on tenor saxophone, 2011 'International' Bacolod Jazzfestival, February 19, 2011.

Earth Cries, Heaven Smiles

Well, well-barely a week to go and still preparing for the evening that is, the 2nd Bacolod Jazz Festival at the L'Fisher Chalet, Roofdeck. It seems so fast - we played the first event a year ago, and here comes the second one.  It is such an honor to be included in the bill, and I still have to convince myself at times that the very guys I raise my props to will be sharing the same stage : Boy Katindig, Tots Tolentino, among others, were staples in my old cassettes (TDK C90s, Sonys, anybody?) captured from now defunct stations Magic 103 (Rocky G., the late Henry Villalva, etc.), RJ 99.9, KY 99 - providing soundtracks to my imaginary landscapes when I was growing up. Seemingly, its one part nostalgia, one part passion. It is always a joy to share and communicate the gift of music, yet a part of me secretly rejoices in a Bacolod city past, when I listened and simply wondered what a fuzztone was, who were Juan de la Cruz, and what was it that drew me to the cool intro to a wordless song on radio (which turned out to be Sun Goddess, actually). I would ask my late father on titles and whatnot, and he would just dismiss my annoyance.

Now - I'll be playing with the legit guys. I wish, in the flesh, my dad was still here to see it.  In spirit, in his guitar, I know he'll be watching. Surely, from where he is now, the music's much better, purer, more powerful.  But then - he only had one son. He'll be smiling.

COUNTDOWN: The February 2011 Bacolod Jazzfest

Countdown.

 

It’s the other deadly Coltrane track, alongside Giant Steps.

It's where the killing glam guitar solo from John Norum turns around and blasts our minds cosmic.

Simply put, its what we are doing as barely a month's left to the 2nd Bacolod Jazz Festival.

The acts coming over  are heavyweights of the game. Here's a rundown, and a brief description from my own point of veee-eeuuw:

SinosiKAT?

1. SinosiKAT? - A soul/jazz outfit bordering this side of acidfunk which just reeks of grooveness and is drowned with coolness. What does that exactly mean? Simply put, SinosiKAT? is that of highly urban and funky sound, with individual members highly skilled to drop a bebop line in the midst of a groovy track. Kat Agarrado is the female side of Jason Kay of Jamiroquai.  The stage persona takes over, and she careens the crowd into sexy one moment, trippy the other.  Who can be Erykah Badu on one number and suddenly channel the soul powers that be with a Tower of Power cover the next? That's SinosiKAT.  One word: SMOKIN' (Jim Carrey lipwork follows)

MISHKA ADAMS

2. Mishka Adams - If she brings the same rhythm section this February, its surely is going to be another  sultry and sizzling set. Not sizzling as you may think of, but think of it as N'awlins cookin'.  She is the  delicate side of Ella, closing her eyes, singing - no, she tells stories with the flair of someone who has had her heart broken for the umpteenth time, her man stolen by her best friend - In short, her heart beats with the rush of blood from the standards, which is the blues. Two words:  BEAUTIFULLY HAUNTING 

LOGIC

3. LOGIC -  The only glimpse I have had of this Australian fusion quartet is on Youtube, a footage from the Java Jazzfestival. I roughly call this contemporary aggressive fusion (separating it from  old school fusion). This has got to be one of the tightest units I've come across, and all that mondo technique.  Think  of UZEB , or even Yellowjackets type of fusion minus the keyboards.  Dangerous music for dangerous minds.  Three Words: WE ARE MORTALS.

Boy Katindig

4. BOY KATINDIG - Boy Katindig is one of the pillars of Pinoy Jazz as it is now . Elevated into international recognition, Boy has been instrumental in setting the standards for the genre not only in this country, but all over. If Mr. Katindig were to fly here just to play Midnight Lady, I'd still fall in line for that single number. His voice on the Rhodes, ARP and synths remains unique and identifiable, sticking like a sore thumb in the midst of the current rush for everything retro. Seeing the real deal on stage would be worth it. Four Words: WATCH. LEARN. WATCH AGAIN.
   

 

There you go. Four main acts packed with punches heavy enough to get you reeling for a year until the next Jazz Festival.

 And us? I always get this uneasy feeling  writing about us, NANCY BREW, or what we do, really. I may just be fearsome of hard selling the group, while some voice barks behind me and says "The Nerve!", but anyway - being the sole representative of Bacolod is a reason  enough to be humbled. It is also reason enough to pack extra loperamides for that squeaky feeling of opening for the senyors and senyoras of jazz.  Then again, kicking start the festival is an honor. We just hope we do sugar city, our families, our loved ones, the fans, and our Lord proud.  In a nutshell we'll be doing a little bit of everything - sort of a sushi-bar jazz set - just to whet appetites at that. We may do Benson, or Weather Report,an original - whatever we can rock our boats with  - and, whatever our rehearsals allow. 

Career, paternity, relationships, responsibilities and bills have definitely taken its share of the priority pie. Still, for a band working together for more than ten years, playing disco, retro and other stuff ad nauseaum, the view from the roof deck of the L'Fisher Hotel on the 19th of February will surely be a sight to behold - and a grace to be grateful for.

Nancy Brew

As for words, don't ask for any. Still speechless as of posting time.