CCP jazzfest a vibrant first
SKARLET, fiery in red, with the AMP Big Band and conductor Mel Villena. courtesy of Kiko Cabuena
Rainy weather and limited funds—not to mention public backlash over a controversial art exhibit—failed to stop the Cultural Center of the Philippines from successfully mounting its maiden International Jazz Festival recently.
The music, performed in a span of six days by US, Korean, Japanese, Austrian, Spanish and Filipino artists, presented opportunities for fans and the curious alike to appreciate what jazz ultimately means: freedom to explore one’s creative spirit and interpret just about any form of music. The shows we caught all sent us drooling with delight.
Royal Hartigan and Blood Drum Spirit, representing the United States, retold the history of jazz in animated fashion with help from the Philippines’ UP Kekeli African Dance Ensemble. Hartigan, the bandleader, also acted as annotator, providing valuable information and insights into the music’s evolution—from the raw, rhythmic wailing of African slaves into a complex, multiple-genre art form practiced worldwide.
Hartigan played the drums like a chef and shaman combined. He used his bare hands, like mashing bread, to produce subtle sounds, then switched to sticks with masterful strokes that flawlessly blended with the graceful playing of bassist Wes Brown, pianist Art Hirahara and saxophonist David Bindman.
Cooky Chua and Bluesviminda illustrated how Filipinos have come to wear the blues like second skin. Is it because Pinoys, as somebody said, are considered the blacks of Asia? Or is it due to our local musicians’ natural ability to excel in all genres?
In any case, Chua oozed with breathy, bedroom-voice charm, even as she kept telling the crowd how nervous she was to sing at the CCP. She provided the focal point to Bluesviminda’s take on The Band (“Bessie Smith”), Abbey Lincoln (“Can You Dig It”), Elvis Presley (“Love Me”) and other blues standards.
The fest finale, featuring the UP Jazz Ensemble and AMP Big Band with guest vocalists Skarlet and Charito, was as bongga as marking two simultaneous town fiestas.
There was Latin jazz and mambo in the repertoire of the 21-piece UP Jazz Ensemble, conducted by Prof. Rayben Maigue, whose talented daughter Lara made a cameo appearance in two numbers. The 18-piece AMP came up with wonderful blasts of brass and gliding arrangements by consummate leader Mel Villena. The maestro danced between animated hand gestures, and even played the saxophone in several instances.
Skarlet replicated Sylvia La Torre’s playful vocals in the Levi Celerio-Juan Silos Jr. tune “Kalesa.” Charito, Pinay jazz star in Japan, exemplified the anything-is-possible trait of the music with vibrant covers of Michel Legrand and Michael Jackson.
Another Celerio-Silos classic, “Waray-Waray,” served as encore. We walked away feeling everything was as vibrant as life itself.
