Manila's jazz elite preserves jazz tradition

MANILA, Philippines - Mention the names Louie Ocampo, Mark Lopez, Jun Latonio, even Ryan Cayabyab, Gerard Salonga. They are topnotch composer-musical directors currently busy in their respective careers. But if you were to ask them, they would rather be playing jazz, says Richard Merk, known in the country as the Prince of Jazz.

Richard, whose mother Queen of Jazz Annie Brazil, twice yearly returns to Manila from Manhattan where she is based to give performances has proven that she is still a legend to contend with. But Richard is not content with resting on his family’s accomplishments. He is actively doing his part in keeping the jazz tradition alive in the country through Merk’s Bar Bistro, at Greenbelt 3, Makati City. 

Merk’s is currently the only venue in Metro Manila that dedicates a night to jazz. And Richard is proud to declare that his place has done so for the past six years, and that he believes he has gathered together the best jazz band in the country.

They are a lively motley group, with ages spanning two decades bound by a single purpose. We sit in on their conversation finding amusement in their arguments over what they all share and love — jazz music.

Terry Undag, 75-year-old trumpet-fluegle horn player has played with the likes of Ernie Watts, Billy Elastine, Tito Puente, and remembers when he played solo fluegle for the 60-piece Singapore Broadcasting Corporation Orchestra. Bassist Colby de la Calzada, one of the younger ones who has performed with Eartha Kitt, Bobby Enriquez, Kevyn Lettau, Pauline Wilson, Basil Valdez, Bituin Escalante likes the spontaneity jazz provides. Drummer Jojo Luz grew up exposed to Chicago’s jazz and blues music while percussionist Mon Guevara who has played with Raul Manglapus’ Executive Band prefers Latin Jazz. Mar Dizon who majored in Percussion at the UP and is the first Filipino to endorse Ziljian Cymbals & Mapex Drums, is known to have co-founded the Side A Band and Artstart but prefers jazz because of the freedom it gives the artist. Even the band’s vocalist Judith Banal who sings in all genres looks forward to Wednesdays when she sings jazz.

The band maestro pianist Romy Posadas who is possibly the most awarded of the group, and most traveled, loves the sense of improvisation the genre gives, plus the fact that it is the highest form of music, second only to classical music, he tells us. Most in the group do not share this belief. Jazz to them is simply the highest form of music which gives one the freedom to improvise, but possibly in deference to his position and stature, they keep quiet. (Romy kasi majored in classical music at the UP, Richard whispers to us).

It is when they reminisce about the best years of jazz in the Philippines that they turn sentimental. When jazz was introduced by the Americans in the country, the late 1940s and ‘50s “witnessed not just the true socio-political emancipation of the Philippines; it also marked the transition of native cultural art and traditions from mere apprenticeship to incorporation and fusion of Filipino expressions and sensibilities with world culture. Jazz in the Philippines was no exception, and soon folk songs and indigenous rhythms collided with the musical idioms of Latin and African-American jazz,” writes Gus Vibal, of the famous publishing house and founder of WikiFilipinas, Filipino version of the Wikipedia free encyclopedia. 

For the Merk & Friends Band, however, the ’70s and ’80s were the golden decades of Philippine jazz. Romy Posadas recalls upon meeting jazz great Dave Brubeck at the Monterey Jazz Festival how the American expressed admiration of Filipino musicians. “Where did Filipinos learn how to play jazz,” Brubeck was supposed to have asked. “Every jazz musician was working during that time,” says Richard. The jazz venues were always full — Birds of the Same Feather at Tomas Morato, Vineyard in Pasay Road, Calesa Bar at Hyatt, Tap Room in the Manila Hotel, Palpillon owned by Freddie Garcia. There was jazz being played over radio stations 105, 101, 106, 88.5.

“Those were the years when the best jazz musicians of America came to Manila to perform,” continues Richard. “Now, who comes? Beyoncé, and it’s full packed. Seldom is jazz played on the radio. We need the support of radio and media.” He would like to have jazz performed nightly at Merk’s but confesses that they need to be practical.

They are saddened but not desperate. They know that jazz may be suffering a low period but it will never die. Pop may die, they point out, but not jazz. In 2006, London-based Mon David won the grand prize at the First London International Jazz Competition for Vocalists. There is a Filipino-American jazz vocalist Charmaine Clamor who has created ‘jazzipino’ and remade My Funny Valentine in to My Funny Brown Pinay. This song is said to have invaded mainstream American music.

And what about Apl.de.ap. of the Black-Eyed Peas who inserted Pinoy lyrics in the APL Song; and later came out with the thunderously successful Bebot? Or Charice who is taking the world by storm. And Arnel Pineda of Journey who will soon do more for the cause of Filipino music. They have contributed to Pinoy rock, pop and R&B.

No, jazz will not die. And Filipino jazz, especially, will not die. As long as there are a few stubborn believers who know in their hearts that one day soon, will be the second coming of another Golden era for the Pinoy jazz lover.

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