A concert diary: Ecstasy, kinks

Mon David

Nov. 12, The Genting Club

Resorts World Manila

The vocal virtuoso came home from the United States to do a benefit show for the Young Musicians Development Organization headed by Irene Marcos-Araneta. The upscale crowd turned up to help shape the future of a new generation of Filipino musicians—and watch a veteran singer who seemed to get better with age. Backed by the 12-piece AMP Band, David revisited the music of Antonio Carlos Jobim, Hoagy Carmichael, Michel Legrand and other legends—by turns reflective and exultant, his commanding baritone in total control.

It’s not every day that one gets to hear Tots Tolentino’s sax softly commiserating with David’s forlorn emotions: “I’m sad as a gypsy serenading the moon.”

But there were lots of swinging, brassy moments as well—“The Glory of Love” segued to “What a Wondeful World,” after which David called his son Carlo to join him and AMP bandleader Mel Villena in a three-way scatting “battle” on a tune called “Yan ang Pinoy.”

David’s daughter Nicole joined him, too, in a playful jam in “One Note Samba,” with Salinawit lyrics by Pete Lacaba. “Come fly with me,” David then exhorted the crowd in a Frank Sinatra medley. Everyone hopped in. The ride was exhilarating.

Isay Alvarez, Robert Seña, Mel Villena and the AMP Big Band

Nov. 24, Teatrino, Greenhills

Why is the AMP Band turning out to be a vital presence in the local live music scene? Because it swings with a vibrant jazz sound while infusing its repertoire with the works of great Filipino composers.

It was the first night of a two-date series that Isay Alvarez said she loves to do—“none of the Broadway stuff” for now—and something that harked back to her Calesa Bar days.

The first eight numbers—including “Moonlight Serenade,” “Someone to Watch over Me,” “Cheek to Cheek,” “Cry Me a River,” “Fever”—fused starry-eyed romance and a bluesy disposition; but it’s on the ninth song, a cover of “No Money, No Honey” by Juan Silos and Levi Celerio, that the mood shifted to a celebration of wit, humor and irreverent fun with Alvarez doing an inspired take on Sylvia La Torre.

More local compositions were spotlighted via a Latin jazz rendition of “Kung Ayaw Mo na sa Akin” (by Gary Granada) and “Balut” (another Silos-Celerio collaboration), before Seña (also the gig’s director/producer) made a cameo. His interpretations of “Poker Face” (Lady Gaga), “Pyramid” (Charice) and “Baby” (Justin Bieber) were at once riotous and brilliant.

It felt like we just stepped out of a New York club with Filipinos as headline acts.

Pitbull

Nov. 30, Smart Araneta Coliseum

The walloping beats from a DJ and a live band were enough to turn the crowd delirious. We suspected most females at the Big Dome were driven by lust as soon as Armando Christian Perez, more popularly known as Pitbull, went onstage. The Cuban-American rapper, impeccably suited, was a portrait of simmering sexuality as he flailed his arms about.

The songs’ titles didn’t matter because the beats were simply overpowering. At one point, a sample of Lenny Kravitz’ “Are You Gonna Go My Way” was heard, a signal that Pitbull’s act rocks. “Let it rain over me,” he rambled, indicating that nothing could keep him from his passions—women, wine and the good life. Nothing wrong with that, given that the crowd kept him company for some two hours.

One of his biggest hits, “I Know You Want Me (Calle Ocho),” came on early as the sixth number, but everyone was in the throes of ecstasy by that time.

Charice

Dec. 2, Newport Theater

Resorts World Manila

CHARICE

This gig bankrolled by TV5 for a soon-to-air Christmas special had the teenage international star junking most of her standard Whitney Houston-Celine Dion belt-out numbers in favor of dance-infused R&B tunes. Her backup band, composed of two Afro-Americans, one Caucasian and one Filipino, infused a few tracks—like Charice’s reprise of “Telephone” from her stint in “Glee”—with a rock edge.

She was in her element in several ballads, even improvising with jazz in “Somewhere over the Rainbow.”

Her playful rendition of “Jingle Bell Rock” matched her real personality

—childlike and naughty at times.

She also delivered a surprise, an acoustic version of John Lennon’s “Happy Christmas (War Is Over),” although it would’ve been more apt if the Mandaluyong Children’s Choir had joined her in that song, instead of in the last number, Jose Mari Chan’s “Christmas in Our Hearts,” in which the band’s loud playing drowned out all other voices except Charice’s.

The volume of a few programmed beats was too high for comfort as well.

There were spotty moments, including Charice’s duet with another YouTube discovery, Arjohn Gilbert, who was caught unawares when vocal enhancements came on while his lips were sealed.

Let’s leave it to TV5 editors to iron out those kinks before the show is watched by millions at home.