MUSIC MINOR

30 Years of Incognito in TRANSLANTIC R.P.M.

2010-10-08T04:28:00.000-07:00

I had to look twice to make sure my eyes weren't deceiving me. The new album cover indicated that Incognito's Bluey Maunick had called upon his friends to celebrate 30 years of making musical magic--among them, two vocal stylists that never fail to give me goosebumps: Chaka Khan and Mario Biondi.

Chaka Khan, of course, is a legend in the jazz and R&B scene; listening to her crazy pipes soar and plummet is a treat like no other. Mario Biondi, on the other hand, caught my attention via a video that recently went viral; in it he joined a cappella group Neri Per Caso to reinterpret WHAT A FOOL BELIEVES with his signature tone--rich, deeply dark, and moist. The thought of these artists lending their voices to the latest project of my favorite acid jazz band was just too much to handle.

TRANSATLANTIC R.P.M.'s opening track does not disappoint. Here Chaka Khan and Mario Biondi reboot the Boz Scaggs classic LOWDOWN (people of my generation, rejoice!) with a healthy serving of soulful funk. Other tracks are equally delightful: 1975, a tribute to the hit makers of that era; THE SONG, a catchy mid-tempo tune co-written by Chaka Khan; YOUR SUN MY SKY with Maysa Leak's indelible vocals; and LET'S FALL IN LOVE AGAIN featuring dance and R&B performer John Christian Urich.

Of course, the also album highlights the talents of mainstays Tony Momrelle and Joy Rose. And as an added treat, the final of 16 tracks has Bluey himself taking on the lead vocals in a curious 5/4 melody titled TELL ME WHAT TO DO.

With the wealth of talent participating in TRANSATLANTIC R.P.M., the album is indeed a celebration worthy of Incognito's 30 years in the industry. And while I wish there were more dance tracks in the project and stronger, more memorable melodies overall, any Incognito fan cannot be without this album. Listen to LOWDOWN here, and know why:

Yellowjackets Keep Manila Warm

2010-03-01T23:39:00.001-08:00

Members of the Yellowjackets turned quizzically to each other during their gig at the Westin Philippine Plaza last February 28 when the sound of explosions began escalating by the second. Almost in unison, people in the audience cried, "firecrackers," which apparently were being released to mark some celebration in Manila Bay.

Saxman Bob Mintzer, busy fidgeting with his music cables, sighed in relief as he and the rest of the quartet continued to fill the Sunset Pavilion with the musical buzz that only the world-renowned Yellowjackets can create.

While these photos can never duplicate the rush of listening to the jazz quartet live for the first time, they nonetheless try to capture the kaleidoscopic moods of the band members and their music.

Bob Mintzer on saxophone, Russel Ferrante on keyboards, Jimmy Haslip on bass, and back with group after years, William Kennedy on drums. Together, the Yellowjackets warmed up the crowd with their own brand of musical fireworks.

The Brand New Heavies conquer not Manila

2010-01-22T23:22:00.000-08:00

In 1997, high school chums George and Erwin went rummaging through CDs with me in a quaint NYC shop when George had an a-ha moment and snatched what he thought was the perfect find: SHELTER, the then latest album of acid jazz band The Brand New Heavies (BNH). Shamefully, I had not been acquainted with their work. But because he knew I had adored Incognito, George made a beeline to the cash register and convinced me to pull out my wallet.

I have not regretted purchasing the CD, and have in fact collected all the BNH albums before and after SHELTER. So you can imagine my elation when I heard that the group was Manila-bound last February. I was naturally among the first to get tickets to their show at the Westin Philippine Plaza.

My anticipation was high. After all, I had caught the Incognito show at the same venue two years ago, and had remained ecstatic months later. And with N'dea Davenport on lead vocals (others have taken on the role, with less success) for the concert, I was certainly pumped. But strangely, after the hour-and-a-half performance, I somehow felt let down.

Don't get me wrong. BNH delivered the kind of retro funk that was expected of them. The energy was high, and we were all on our feet. They performed all their classic and current hits with much bravado. All in all, theirs was a class act--but an act nonetheless.

Most of those who had been to the Incognito concert felt it too. There was a sincerity that was absent in BNH's performance--a missing willingness to connect. And while the songs were note-perfect, they execution seemed uninspired. In contrast, Incognito demonstrated a soulfulness that was not only felt in their complex strains and rhythms, but more so in the animated stories they shared behind each song, their electricity on stage, and their deep appreciation for the audience that stood mesmerized by their sound. All were borne out of a spiritual connection they acknowledged--one that they nurture amongst each other, with the music they play, and with the great Source of their talent.

So will I continue to add to my collection of BNH CDs? Why of course. My own work has been influenced by theirs, and that's not going to stop. But I suppose the show was a reminder of what music could be minus purpose.

Below, some of my photos from the show and two of my favorite BNH tracks, one classic, one current.

The incomparable N'dea Davenport steals the show with her delicious vocals.

Jan Kincaid manages to sneak in some lead vocals while pounding on the drums.

Andrew Levy brings on the funk with some signature slaps.

Ever the showman, Simon Bartholomew wows the crowd with fancy riffs and a flashy costume to boot.

Are we ready for season 9?

2010-01-11T01:43:00.000-08:00

Ready or not, American Idol season 9 hits Philippine TV on Wednesday, January 13, and once again audiences will be treated to a mash-up of talent and non-talent vying for a spot in today's global music scene if not a shot at penetrating pop culture.

All right, so the show has been a personal guilty pleasure for years. There is, after all, something wickedly delightful about feasting on tone deafs who sincerely think they can make it big in the business. But then again, there is also exhilaration in the discovery of young, unassuming talent. I am counting on this season to provide a healthy dose of both, even without past Idol judge Paula Abdul and her insanely entertaining commentaries.

In truth, what continues to amaze me about the reality show is how its format allows the ordinary consumer of music to somehow dictate the shape of the industry with the every vote cast during the season. Choosing the world's next pop star is literally left in the hands of texters. Now who among us understand the Americans' motivations in choosing whom they choose? And how often have we complained about contestants eliminated too soon? Certainly, there have been hits and misses in previous seasons. But such is the thrill of the game.

Check out the 1st week sales of the debut albums of these Idol champs and runners-up:

The show's momentum in season 2 and its popularity in season 4 helped catapult sales for finalists Studdard, Aiken, Underwood and Bice, but the eventual non-performance of Studdard's and Bice's works caused the artists their record contracts. Season 5 has reflected the highest TV ratings in Idol history, and both Hicks and McPhee (champ and runner-up, respectively) garnered fairly remarkable 1st week sales. But their numbers plateaued too soon, causing their record deals to be revoked, too.

Since season 5, ratings of the reality show have been slowing down steadily, but Idol alums Cook and Archuleta of season 7 and Lambert of season 8 have defied the odds, posting more than decent sales for their debut albums. Last year's winner Kris Allen, however, has not been so successful, as he now holds the record for the lowest sales in history from an Idol winner.

I think we all realize that the show, its judges, and the voting public can do only so much in discovering pop music's next star. While we can all identify what we like or do not like in a contestant's 2-minute performance, the fact remains that stardom depends as much on vocal prowess as it does on the singer's personal charm on stage, the craftiness of his or her music producers, the shrewdness of the business manager, the buzz worthiness of his or her public persona, and so many other factors.

But none of these factors can ever curb the kick I get from speculating nonetheless who will be the next American Idol.

American Idol season 9 premieres on Wednesday, January 13, 6pm on Star World.

Do you hear what I hear?

2009-12-21T23:37:00.000-08:00

I would be in shambles if we celebrated Christmas without song. In a season that is potentially quite stressful, holiday music is among my only sources of solace. So with just a few hours before we hit the 25th of December, here's to share with you some of the Christmas albums that have continued to keep me sane and safe through the years.

THE STORY OF CHRISTMAS (SWINGLE SINGERS)

Undoubtedly my favorite Christmas album of all time. I had been a fan of The Swingle Singers' earlier holiday collection and jumped at the prospect of getting this more recent one when fellow chorister Tonet Santana volunteered to get me copy while he was in the U.S. With 21 tracks, THE STORY OF CHRISTMAS embraces the narrative of the Nativity from all possible angles and reflects all the shades of the season, from somber to grandiose, in a cappella. O COME, O COME, EMMANUEL and MAGNIFICAT are staggering beautiful, and the group's SILENT NIGHT never fails to make me cry.

A SOULFUL CELEBRATION (QUINCY JONES)

Maybe not technically a Christmas collection, the album is a modern take on Handel's Oratorio, and traces the lush history of African-American music. I first read about the Quincy Jones's project in the early 90s and was flabbergasted by the roster of artists involved in it: Stevie Wonder, Take 6, Patti Austin, David Pack, Al Jarreau, Gladys Knight, Johnny Mathis, The Yellow Jackets, to name a few. My personal favorites are AND HE SHALL PURIFY and I KNOW THAT MY REDEEMER LIVETH, each with distinct R&B flavors, both rousing in totally different ways. I have three copies of the CDs--the two that I've lent out have never returned.

CHRISTMAS PORTRAIT (CARPENTERS)

College classmate and songwriter Vincent Wongaiham played this non-stop during those months we were working on our thesis with Sandra Herrero-Gonzalvez and Jo-Ann Sto. Tomas-Reyes. Festive and full of cheer, the album conjures images of Christmas pageants and Dorothy Hamill on ice at the Rockefeller Plaza, what with the tubular bells and sleigh bells plus the dense orchestral arrangements in most of the tracks. I must have been influenced by the album sound when writing the musical we produced in college. Thanks to Karen and Richard, we got an A+.

AN EVENING IN DECEMBER (FIRST CALL)

The album had an underground following when I was in college; campus choirs kept requesting scores of ONE SMALL CHILD and STARLIGHT, among others. Coincidentally, I was then producing Bukas Palad's Christmas album and must have been swayed by the rich choral arrangements that were tapered for more pop-sounding choirs, and evident in AN EVENING IN DECEMBER. The sound was and still is both stirring and refreshing.

A CHRISTMAS ALBUM (KENNY RANKIN)

Maybe 5 years back, fellow musician Gino Torres gifted me with this album from one of our favorite vocal stylists, Kenny Rankin. Of course, I never told Gino that I had already owned a copy; besides, I was perfectly fine with owning two. With just man and guitar, the album manages to give new meaning to traditional Christmas songs and carols, infusing jazzy vibe and sometimes melancholic rhythm to such classic melodies as WE THREE KINGS and LITTLE DRUMMER BOY--and mind you, these are songs I had previously no liking for. Ooh, I am still mourning Rankin's recent passing.

THE CHRISTMAS COLLECTION (AMY GRANT)

This was my lucky find last year. I already had one of Amy Grant's holiday albums (which dear friend Reggie Regala borrowed, then lost but replaced immediately), and was elated to come across this collection compiling the artist's favorite Christmas tracks and some new ones to boot. My favorite BREATH OF HEAVEN and the first version I ever heard of the now-too-popular GROWN UP CHRISTMAS LIST made the cut. Equally moving for me beneath drums, synthesizers and electric guitars are I NEED A SILENT NIGHT and A CHRISTMAS TO REMEMBER.

NOELS SANS PASSEPORT (SWINGLE SINGERS)

I borrowed a cassette of this album from choirmate Lourdes Uranza-Jungnitsch and never returned it. Absolutely fabulous! Produced nearly 40 years ago, the music continues to intrigue and uplift with the magical arrangements of carols from around the world--all through scatting and without any of the original lyrics being uttered. Particularly fascinating for me are the medleys that take the listener through musical movements, rising and falling and rising again to depict the myriad of emotions that Christmas brings. I learned recently from friend and musical genius, Palan Reyes, that a CD of the album now exists.

PASKO NA! (BUKAS PALAD)

All right. I guess I lied. Pasko Na is my favorite Christmas album of all time. But I am biased; you see the tracks are written, arranged, and recorded by people I love, and those who have shaped my perception of music and Christmas. They are a big reason why my holidays shall be forever filled with song.

A merry, merry Christmas to all!

Basia: It's That Girl Again

2009-09-08T05:02:00.001-07:00

Back in the 80s, when our band used to play one of the music halls along Annapolis St., we would open our first set with a Matt Bianco crowd favorite, HALF A MINUTE. It was easy to see why the regulars at the lounge liked it--the song was a novel treat; through it, the U.K. band had successfully redefined the pop jazz sound with its contemporary take on samba, and had showcased one of the most distinctive voices the music world was to hear--an intriguing voice that came with an equally intriguing name: Basia Trzetrzelewska.

Her English wasn't perfect and her tone was almost reedy. But like an oboe in a sea of richer, fuller timbres, she stood out gracefully especially with her signature multi-layered harmonies. Soon enough, Basia was a star on her own, recording a successful string of hits through her first two solo albums: TIME AND TIDE and LONDON WARSAW NEW YORK in 1987 and 1989, respectively. Five years later, she churned out THE SWEETEST ILLUSION, which although was not as applauded as her initial projects, remained true to her Latin-laced vibe and rich rhythms. It is still among my all-time favorites.

However, the period that followed seemed to reflect some serious drought. A live project and three compilations followed, but sorely missing was a studio album, which fans like I were seeking. You can therefore imagine my glee when I discovered and secured her newest CD launched earlier this year, 15 years after her last studio album.

Titled IT'S THAT GIRL AGAIN, the CD is indeed a comeback. It is a return of that same voice, vocal style, and distinct musicality. At 54 (Basia turns 55 on September 30), the artist sounds as fresh and vibrant as she did on TIME AND TIDE, and yet her music somehow feels the same. The experience of listening to her CD is thus most comforting. Will the new tracks climb the charts in the same way that PROMISES, NEW DAY FOR YOU, and CRUISING FOR BRUISING did? Perhaps not. We have a new set of ears listening these days. But old fogeys like me will be most happy.

But what makes me happier is that Basia will be in Manila on October 21, 8:30 pm, at the Araneta Coliseum for a one-night performance. Apart from singing her popular favorites, the artist is expected to give us a sampling of her latest tracks (I'm guessing the album will finally be available in Manila by then). And while I have a difficulty choosing my personal favorite, I am predicting that the one I'm posting here will have a pretty good following. Here's A GIFT.

Echoes of Kenny Rankin

2009-06-09T05:16:00.000-07:00

I do not remember why Manoling Francisco, Jandi Arboleda and I insisted to include PUSSYWILLOWS CATTAILS among the songs in ECHOES, a song book we were asked to put together in 1979 by the Knights for Christ for use in masses at the Ateneo de Manila Grade School. Maybe we were just too young to understand what constituted liturgical music (we were barely 13 years old). Maybe we thought it possessed a lovely meditative melody. Maybe we felt that listening to it was a divine experience.

But I do remember growing in a house where the song and other tracks popularized by Kenny Rankin would play frequently from my sister's phonograph. I would laze around on the carpet after chores, staring at the ceiling but fully absorbing the haunting tunes of HOUSE OF GOLD, WHEN SUNNY GETS BLUE, and THROUGH THE EYE OF THE EAGLE. And when my sister gave birth to my niece, Selene, it was no surprise that among the first songs that the kid learned to sing was HERE'S THAT RAINY DAY.

Soon, a sale in the 80s at the music bar of Ali Mall allowed me to start my own collection of Kenny Rankin albums. And so with my little savings, I purchased the cassettes of LIKE A SEED, SILVER MORNING, THE KENNY RANKIN ALBUM, and AFTER THE ROSES all at once. But more recently, I was ecstatic to receive from fellow musician Gino Torres, Rankin's A CHRISTMAS ALBUM, and to discover on a shelf of hard-to-find CDs, the artist's covers of Brazilian music in the album HERE IN MY HEART.

Apart from Rankin's buoyant and beautiful melodies, what has drawn me to the artist all these years is his unique timbre--one so calm yet penetrative. It is rich without being flamboyant, unassuming and yet inspiring. Supple and pristine. His tenor is as innocent and playful as a child's (he was discovered by his music teacher who felt his rendition of O HOLY NIGHT in a Christmas pageant was lovely). And his personal interpretation of tunes allows us to experience tired songs in a whole new vibrant light (when John Lennon and Paul McCartney were inducted to the Songwriters Hall of Fame, McCartney requested that Rankin represent the duo by virtue of Rankin's exquisite recordings of BLACKBIRD and PENNY LANE).

Rankin himself reveals the secret. "My interpretation of the songs is purely emotional," he explains. "I've been accused of straying from the melody, but when I sing, I'm feeling, not thinking."

It is a pity that Kenny Rankin has passed away (he died last June 7, just 3 weeks after his lung cancer was detected). I never did get to catch any of his performances in Manila, and I had always yearned to watch him live. Luckily I have my cassettes intact. Oh yes, and a few of my own songs have been inspired by the man's talents. I guess he breathes through some of us still.

Below, find two live performances from Kenny Rankin. The first is PEACEFUL in the late 60s, a song that became a huge hit for Helen Reddy. The second is a fairly recent version of his classic, HAVEN'T WE MET.

Of Idol champs and runners-up

2009-05-20T19:27:00.000-07:00

Opinions regarding the American Idol finale results have never been as polarized as they are this season. On the one hand, many are frustrated by how an obviously polished performer with all the vocal tricks up his sleeve could be trumped by an unassuming, guitar-toting neophyte. On the other hand, others are declaring that the overly theatrical glam-rock finalist could never sell as many records as the more radio-friendly, all-American boy whose every note drips with pure heart and soul.

Me? I've already absorbed that Kris Allen is America's new Idol, and Adam Lambert, his runner-up. It's time to move on and watch how these guys fare in the real world, away from reality TV. They do have big shoes to fill, after the relatively successful reign of the two Davids, Cook and Archuleta, considered among the Idol alums who earned the most profit in 2008 (with Carrie Underwood, Kelly Clarkson, and Jennifer Hudson above them).

Fresh from their performance at the Mall of Asia (MOA) concert grounds last week, last year's winners have so far sold 1.8 million albums combined since they debuted their CDs in November 2008 (based on album sales, Cook is the 7th best selling alumnus in Idol history, and Archuleta, the 14th even if their CDs have enjoyed the shortest time on the shelves)--a pretty good showing versus Season 6's Jordin Sparks and Blake Lewis, who since 2007 have sold just 1.3 million, and better still than Season 5's Taylor Hicks and Katharine McPhee with 1.1 million albums in close to 3 years.

After the Cook-Archuleta finals, it was evident where the challenges lay for these two. Cook had cultivated a clearly defined musical sense, but needed to develop a tighter, more personable connection with his growing set of fans. Archuleta, teeming with charm, needed however to establish a sound that would make him current and hip. But months of touring and collaborating with top-rate producers have placed them at the top of their game, and their concert in Manila proved this.

Because Cook's vibe is rich and dark, it was easy for him to get lost in his own performance at the MOA, with songs like LOST and DECLARATION from his album, and Fleetwood Mac's LITTLE LIES. Yet, he had enough presence of mind to draw his audience in, working out the crowd with his spiels and interacting with everyone by occasionally stepping off the stage and toward the spectators. And though he admitted belting out songs which most in audience had never heard, he rocked it, proving to be a most seasoned performer in so little time.

Archuleta, meanwhile, rallied the audience with his unique teen pop rock style. Too shy perhaps to engage the crowd and rushing between songs, he nonetheless enthralled with his velvety voice, flawless riffs and eloquent keyboards. Easy to the ear crowd faves were CRUSH and ANGELS from his CD, Vanessa Carlton's A THOUSAND MILES, and a soon-to-be-released dance track, ZERO GRAVITY.

What about our newest idols? It might take a long while before they come anywhere near Season 4's Carrie Underwood and Bo Bice, who together have sold 10.4 million CDs to date (9.6M of which is Underwood's alone). But the momentum is with Allen and Lambert. After a sharp drop in Idol popularity since the time of Hicks and McPhee, record sales of and voting for Idol contestants have steadily increased in recent years (100 million voters this season finale, 38M reportedly from Allen's home state of Arkansas).

Lambert may have to tone down his act while preserving the essence of his musical style, playing less on technique and building popular emotional rapport. Allen will have to push the envelope on his guitar act and reinvent the genre in the same way (and perhaps even more forward looking) as Jason Mraz has. Even more than the entire Season 8, this will be exciting to watch.

And the remaining idols of the season? It's noteworthy that although Hicks's and McPhee's CDs haven't quite sold as well as expected, Season 5's alums have collectively been the most successful in Idol history with 7 of them in the top 20 in terms of record sales to date. Chris Daughtry is #4, Kelly Pickler #8, Taylor Hicks #11, Elliot Yamin #15, Bucky Covington #16, Katherine McPhee #18, and Mandisa #20. Can this year's contestants top that? Now that the season is over, we can all wait and see.

Here's the top 20 list of successful Idol alumni based on record sales to date:

That strange logo after Martin Nievera's version of the Philippine national anthem

2009-05-03T20:45:00.001-07:00

Those of us who sat glued to the edge of our seats awaiting the Pacquiao-Hatton match on TV might have been caught off-guard by the logo that appeared after Martin Nievera sang his rendition of the Philippine national anthem at the MGM Grand Garden Arena in Las Vegas last May 2 (May 3, Philippine time).

Pictured above, the logo belongs to the National Historical Institute (NHI), an arm in the culture and development agenda of the government, whose mission includes promoting Philippine history and cultural heritage through research, dissemination, conservation, sites management and heraldry works. It is responsible for the conservation and preservation of the country's historical legacies, and includes among its tasks ensuring the proper use of the national anthem in accordance with Republic Act 8491 (Flag and Heraldic Code of the Philippines). I guess the logo simply indicates that Nievera's version is acceptable, unlike others including those sung in previous Pacquiao fights.

It will be recalled that Councilors in Davao raised their eyebrows after Sarah Geronimo sang the Lupang Hinirang before the November 2006 battle between Pacquiao and Erik Morales. The slow and kundiman-like rendition was seen as a bastardization of the national anthem, prompting Councilor Nilo Abellera to file a resolution reminding Davaoenos on the proper way of singing the song.

But Geronimo is not the only one to put her spin on the anthem. In the first Pacquiao-Morales fight (March 2005), and in the Pacquiao-Larios match (July 2006), Lani Misalucha and Bituin Escalante, respectively, also took liberties with the song. Meanwhile, in the January 2006 re-match between Pacquiao and Morales, Jennifer Bautista fell awkwardly off-key in the anthem's last lyric. And who could forget Christian Bautista's abbreviated version during the Gerry Penalosa vs. Bernabe Concepcion event in 2007? The string of events prodded NHI's Teodoro Atienza to remind Kyla (whom Pacquiao handpicked to interpret the Lupang Hinirang during the October 2007 rematch between Pacquiao and Marco Antonio Barrera) about the mandatories of singing the national song.

But what are these mandatories? R.A. 8491 specifies that the Lupang Hinirang "shall be in accordance with the musical arrangement and composition of Julian Felipe." This means the anthem should carry a brisk and martial mood and tempo; after all, the original music was intended to be a march in duple time (2/4 meter)--and thus the emotional kundiman approaches are deemed unfaithful to the original spirit of the song. If properly rendered, the anthem should sit comfortably between 53 to 60 seconds. It should also be sung in the national language regardless of where it is played. Apart from these, R.A. 8491 prohibits the performing of the anthem for mere recreation, amusement, or entertainment except for the following occasions:

1. International competitions where the Philippines is the host or has a representative;

2. Local competitions;

3. During the "signing on" and "signing off" of radio broadcasting and television stations; and

4. Before the initial and last screening of films and before the opening of theater performances.

So apparently the NHI prescreened and approved Nievera's rendition of the national anthem. Good for the artist as singers who do not follow the guidelines set for the use of the song can be fined P50,000 or be imprisoned for 1 year, or both. But whether I liked the version or not is a different story. For now, you be the judge:

Kate McGarry's MAN OF GOD

2009-04-13T04:24:00.000-07:00

Throughout the Holy Week, I kept singing in my mind MAN OF GOD--partly because it had been quite some time since I last played it on my iPod, and partly because it seemed appropriate given the time of year. The tune, however, isn't a liturgical one; but it's an insightful piece from jazz artist and recent Grammy nominee, Kate McGarry.

Thanks to Laine, who brought home McGarry's CD (IF LESS IS MORE, NOTHING IS EVERYTHING) from Hong Kong, I have been introduced to this acclaimed artist who has a rather unique approach to music. She says, "I've always been drawn to the space of silence between the notes. It is in the silence that the secrets of songs reveal themselves." In MAN OF GOD, McGarry finds purpose in a world of illnesses, and expresses her discovery through her less is more philosophy in music.

Below are the lyrics to the song, and the music track itself.

Listen between the lines.

Happy Easter to all!

MAN OF GOD

Kate McGarry

How do you know a man of God?

Can he cure your ills?

Does he quote the Bible?

How do you know a man of God?

Can he read your mind?

Does he feed the poor?

How do you know when someone's heart

Is bending on his knees through the night and day?

How can you tell whose prayer it was

That kept the child fed or war at bay?

Where will you seek a man of God?

Behind long, black robes?

Or those stained glass windows?

Where will you seek a man of God?

Would you look next door?

Over your big, white fences?

And if you find a holy one,

Will you beg forgiveness for you human flaws?

I'm praying for a miracle so we can learn

That love is the one, the one true law.

What if you are a man of God?

Would you recognize yourself without a halo?

What if the love you fear to show is enough

To feed a world of starving souls?

You can feed them.

Will you feed them?

Debunking the Grammy Curse

2009-03-24T22:33:00.000-07:00

Tomorrow, John Legend performs at the Araneta Coliseum as part of his highly successful EVOLVER world tour--proof that there is life after Grammy's Best New Artist Award.

Many consider the award to be a curse perhaps because some winners have never been able to duplicate the successes of their debut records. Legend won the award in 2006 for his GET LIFTED album, particularly for the track ORDINARY PEOPLE (thankfully, he decided to keep the song for himself after initially considering it for a Black Eyed Peas project). But 2 more albums and 6 Grammys later, Legend is going strong.

Maybe the supposed curse more accurately pertains to the likes of Milli Vanilli, who won in 1990 but were stripped of the award because...well we all know why.

Check out below the list of Best New Artists ever since the award was created in 1960. Any protests? I have a few.

Meanwhile, I've got the Green Light to head to Cubao tomorrow. If you can't catch the show, pick up the album: EVOLVER, from Columbia Records.

Whatever happened to these Idol alums?

2009-03-19T03:55:00.000-07:00

Today, Dolly Parton sound- and look-alike Alexis Grace was eliminated from Season 8 of American Idol--and not even the show's judges believed the petite singer from Tennessee was worth saving. This is not to say of course that Grace was without talent; she was after all likened to Kelly Clarkson early on in the competition. Which makes one ask: what happens to contestants like her who do not win the reality show's plum prize?

Several entries back, we talked about Season 6 third placer Melinda Doolittle's debut album. Now here's a peak at what other Idol alums have been up to.

MANDISA HUNDLEY

According to friend and Idol fanatic Leilah Alarilla-Tadlip, this Season 5 seventh placer (bowing out to winner Taylor Hicks) shed off 75 lbs after judge Simon Cowell had commented that the show would need a bigger stage to accommodate the singer. Since her stint on Idol, Mandisa has released a contemporary gospel album (TRUE BEAUTY, 2007), which debuted #1 on the Hot Christian Albums Chart and was nominated for both a Grammy and a Dove Award. Late last year the artist launched a Christmas CD (IT'S CHRISTMAS, 2008), and is about to release her next album, FREEDOM on March 24. A sample of her new pop/dance Christian single MY DELIVERER can be heard on her official website: MANDISA.

ANWAR ROBINSON

The once junior high school music teacher took home 7th place in Season 4 (when Carrie Underwood walked away with the top prize), and was eliminated after his performance of Earth, Wind & Fire's SEPTEMBER. Though recording occasionally, the artist has taken a more active role on stage, having played Collins in the touring cast of Jonathan Larson's iconic rock musical, RENT. He then went on to play Jesus in the Syrcause Stage production of Stephen Schwartz's award-winning work, GODSPELL, which ended its run last December 28.

PARIS BENNETT

The youngest contestant on Season 5, Bennett eventually landed the fifth spot on American Idol, being edged out by 4th placer and now superstar, Chris Daughtry. After touring with the other finalists, she immediately worked on her debut album, dishing out PRINCESS P (after the monicker given to her by Ryan Seacrest) in 2007. The project, which carried an urban electronic vibe, failed to showcase the jazz style Bennett was known for, and as such, the album bombed. The artist then recorded a holiday album (A ROYAL CHRISTMAS) in 2008, this time with a classic R&B and acoustic jazz feel. In a few months, Bennett will be releasing her next studio album, opting again for a classic jazz musical direction. Bennett gave birth last October to her daughter, Egypt.

CHRIS SLIGH

The Season 6 Idol finalist who vowed to make David Hasselhoff weep (the celebrity did when Taylor Hicks won), Chris Sligh was 10th place when Jordin Sparks was the eventual champion. Immediately after the show, Sligh, a devout Christian, signed up with the same management company that has handled Amy Grant and Michael W. Smith, and with the independent label Brash Music, recorded the album, RUNNING BACK TO YOU in May 2008. As a result of the project, USA Today called him, "the most musically ambitious Idol to date." Since then, he has been touring relentlessly. For more on the artist, visit his personal blog: CHRIS SLIGH.

CAMILE VELASCO

Lastly, we go to Makati-born and Hawaii-based singer Camile Velasco, who took 10th spot in Season 3 when Fantasia Barrino won (and fellow Fil-Am Jasmine Trias was 3rd). After touring with fellow Idols, Velasco appeared in many guest performances across the U.S., mostly for Filipino audiences in events such as the Fil-Am Unity Jam, Fiesta Filipinas, and Lumpiapalooza. Through these stints, she has performed with Gary Valenciano, Martin Nievera, and the Aegis band. She has also fronted for her personal idol, Lauryn Hill. In 2008, Velasco premiered a weekly YouTube show titled, CamileTV where she covers such pop acts as Alicia Keys, Indie Arie, and Amy Winehouse. Later in the year, she recorded her first single, GUAVA JELLY, and her debut album, KOY, is set for release in 2009. View Velsaco's YouTube channel here: CAMILE VELASCO.

Monday Michiru's EVER CHANGING MOODS

2009-03-17T04:28:00.000-07:00

Amazon prices the imported album at $57.99--pretty steep, especially because Filipinos can purchase Monday Michiru's MY EVER CHANGING MOODS locally for just P350.00 or $7.

I have always thought that the Japanese-American's distinct brand of 70's-inspired soul-funk appealed to such a minority in the Philippines, but I guess Universal Records saw the wisdom of bringing Michiru's recording to Manila and promoting it locally just recently. The artist has had close to 20 albums since the mid-90s, but as I recall, only 2 have found their way here: OPTIMISTA (1999) and now, MY EVER CHANGING MOODS (2007).

Like all her past projects, MY EVER CHANGING MOODS showcases the artist's passion for acid jazz and dance, blending elements of R&B, and club while injecting some Brazilian groove. This time, however, Michiru chooses to cover the works of artists who have somehow influenced her music; and the range is diverse: Barry White (I'M GONNA LOVE YOU JUST A LITTLE BIT MORE BABE), Patrice Rushen (REMIND ME), The Police (WALKING IN YOUR FOOTSTEPS), Blondie (CALL ME--samba style), Cyndi Lauper TRUE COLORS), and Style Council (MY EVER CHANGING MOODS), among others.

Some may find Michiru's usual loungey, underground electronic vibe a tad too psychedelic, but this album practices much restraint (perhaps a reason why Universal brought it to the Philippines); nonetheless, I still prefer to listen to this CD any other of Michiru's after I've had a drink or two. My particular faves are her sexy cosmopolitan take on Barry White, and her dizzying vocals on ALDEIA DE OGUM from Brazilian singer Joyce. But truly, all tracks carry her inventive signature. And this is perhaps what makes Monday Michiru such an artist--though all covers of other artists, the songs in the CD reflect no one else's ever changing moods but her own.

Check out the title track, MY EVER CHANGING MOODS:

Feels Like 1991 Again: Kevyn Lettau's and Peter Sprague's WHAT IS ENOUGH?

2009-03-16T00:01:00.000-07:00

On my way to work 2 weeks ago, I tuned in to 106.7 FM and was greeted by two of my favorite sounds: Kevyn Lettau's voice and Peter Sprague's guitar. I was certain the radio station was playing music from Lettau's 1991 album, Braziljazz--except for the life of me, I couldn't recognize the tune.

Odd, I thought, as I was well-acquainted with the CD, and had often recommended it to those with an ear for new Brazilian-inspired music performed austerely--with only voice, acoustic guitar, and hand-held percussions to breathe magic into the Latin melodies.

Fortunately, after the track had played its final chord, the announcer on board identified the song to be a fresh cut from Lettau's and Sprague's first album as a duo (Braziljazz was with Lettau, Sprague, as well as Lettau's husband, percussionist Michael Shapiro), WHAT IS ENOUGH, released late last year.

A trip to MUSIC ONE led me to the CD--a compilation of 12 delightful tracks traversing Brazilian samba and jazz swing, all recorded with that unplugged feeling and organic rhythm I have so enjoyed with Braziljazz. Joyful are are covers of John Mayer's BELIEF, Stevie Wonder's HAVE A TALK WITH GOD, and Antonio Carlos Jobim's WATERS OF MARCH. But equally divine are WHAT IS ENOUGH (Lettau's collaboration with guitarist Mike Stern, who recently performed an instrumental version at the Rockwell Tent during the Philippine International Jazz and Arts Festival), DRAWN TO YOU (written by Lettau and Yelowjackets keyboardist Russel Ferrante), as well as Lettau's and Sprague's CANTAR. Oh, and Lettau's fans will be excited about her new and minimalist rendition of the classic, SUNLIGHT.

All in all, WHAT IS ENOUGH is a wonderful CD to invest in. And as usual, Lettau's followers in the Philippines and Japan are among the first to be exposed to it (as of last checking, amazon has no record that the CD even exists). The music and talent are as fresh as they were in 1991, and the the experience of listening, as glorious as being re-acquainted with a dear, old friend.

Here is that track I first heard from the album, HEED MY CALL:

Seal's Soul

2009-03-13T01:08:00.000-07:00

It was panned by critics. Labeled an innocuous collection, even an unnecessary record. But innocuous and unnecessary to whom?

True, Seal is the not the first to resurrect classic hits we have all come to love--Rod Stewart, Michael Bolton, Queen Latifa, even Amy Winehouse have all done so. Perhaps this alone was reason for skeptics to be wary of Seal's most recent offering, SOUL. They suspected that because the artist's 2007 album SYSTEM did not take off, Seal desperately went the tried and tested rout of recording covers. Forget that the project was placed in the hands of mega producer David Foster and that the singer was backed-up by a full orchestra; concept alone, the album seemed to mirror an artist's creative drought.

Add to this the fact that Seal chose to remake a playlist of the most iconic, soulful tunes: Sam Cooke's A CHANGE IS GONNA COME, James Brown's IT'S A MAN'S MAN'S WORLD, the Impressions' PEOPLE GET READY, Ben E. King's STAND BY ME, oh the inventory continues. Not only have these songs been covered too often, none of the remakes can ever outshine the originals. Besides, Seal's versions do not exactly stray too far from the first cuts.

But do these observations make Seal's SOUL, soulless?

Strangely enough, most of those whom I know have heard the album, fancy it. Funky and groovy, it is also intense and almost brooding. On one hand, the music conjures images of classic Corvettes careening through hot stretches of desert road. On the other, smoky bars with ladies in big skirts and huge hairdos clinging to to their men and shuffling to some slow rock. You can shimmy to the music, bounce to it, snap your fingers or click your heels. Seal's SOUL possesses a range of rhythms that will make you sway and swoon.

So do I think the album has tired concept? Perhaps. But it is especially tired for a unique group of listeners (well-researched music critics, for instance) who have religiously followed the music of Al Green, Otis Redding, and all these blues greats who have defined the genre. But to the greater majority of us who no longer recognize these names but can instantly recognize great music, Seal's album will satisfy. The arrangements are rich (and faithful to the originals), the interpretations are sincere, and the voice, full of yearning soul.

Here is one of the tracks, A CHANGE IS COMING:

Slumdog Millionaire's best original song

2009-02-23T06:12:00.000-08:00

It seems we have finally passed that era when the Academy Awards would hand out Oscars for Best Original Song to such sweeping and sentimental ballads as CAN YOU FEEL THE LOVE TONIGHT, YOU MUST LOVE ME, and MY HEART WILL GO ON. In more recent years, the statuettes have been given to less predictable but more cut through pieces of music. Consider these: Eminem's LOSE YOURSELF (8 Mile), Jorge Drexler's AL OTRO LADO DEL RIO (Motorcycle Diaries), Melissa Etheridge's I NEED TO WAKE UP (An Inconvenient Truth), and most recently A.R. Rahman's JAI HO (Slumdog Millionaire). How refreshing.

While Rahman has become wildly popular in his native India, he has managed to stay relatively under the radar in the international scene, but breaking through in the 2001 flick LAGAAN (a lavish musical epic which was nominated for Best Foreign Language Film at the Oscars). He has since scored such diverse works as WARRIORS OF HEAVEN AND EARTH (a Mandarin language film), ELIZABETH: THE GOLDEN AGE, and the stage productions of BOMBAY DREAMS (as commissioned by Andrew Lloyd Weber), and THE LORD OF THE RINGS (with Finnish folk music band Varttina).

Rahman's success can perhaps be attributed to his wide range and versatility. Although he has a degree in Western classical music, he is exceptionally skilled in Carnatic and Hindustani music, and entertains a natural affection for rock, jazz and reggae. Through all these musical genres, he has developed a curiosity for the synthesizer, which he believes imbibes the perfect combination of music and technology--an interest Rahman pursued in SLUMDOG MILLIONAIRE.

The movie's Oscar-winning song, JAI HO, is an inventive blend of Bollywood pop and European dance, making it both local and universal, with world music charm and mainstream appeal. Ironically, the tune was written for another movie but was rejected for that production. Fortunate for us, it received a second lease in life through SLUMDOG MILLIONAIRE, and so now we can all bob our heads as the Indians do while we listen.

Here, from the Mozart of Madras A.R. Rahman, is JAI HO:

Whatever happened to Melinda Doolittle?

2009-02-21T19:32:00.000-08:00

As things heat up on this year's American Idol, one wonders if any of the eventual finalists will be as stellar (or lackluster) as those who made it to the final 12 in earlier seasons. For me, among the most phenomenal vocalists discovered by the reality show is Melinda Doolittle--talentwise, if any of this year's contestants come near the 3rd placer of season 6, then we would have found a real gem.

But what has happened to the former back-up singer, who despite being safe week after week on American Idol, was suddenly eliminated right before the finals? After bowing out to runner-up Blake Lewis and Idol winner Jordin Sparks, Doolittle began performing with Michael W. Smith on his concert tours, and then recorded her first single, My Funny Valentine--a piece she sang to much acclaim on the Idol show.

This month, however, Doolittle released her first allbum, COMING BACK TO YOU, which sold a modest 10,000 copies on its first week. True, during her stay on Idol, the artist was criticized for appealing to a more mature and niche audience compared to Jordin Sparks (who's debut CD sold 119,000 on its first week), but this in no way diminishes Doolittle's talent, which reaches new heights in the album. A compilation of tracks with a rich, soulful vibe, COMING BACK TO YOU fuses her bluesy Tennessee musical roots with her penchant for Motown, retro R&B, and Gospel (after all, she once sang back-ups for Michael McDonald, the Winans and for Kirk Franklin). The result is an album reminiscent of the projects of Tina Turner and Glady's Knight--but with an all-female back-up track plus updated instrumental arrangements.

Maybe her album will penetrate more the Adult Contemporary rather than the popular R&B charts, but hey--there's no denying this woman's a vocal force to reckon with. Check out below the single Melinda Doolittle is currently promoting, IT'S YOUR LOVE.

Dianne Reeves in Manila, March 2

2009-02-02T17:41:00.000-08:00

Four-time Grammy winner for best jazz vocal performance Dianne Reeves is set to perform live for Filipino music enthusiasts at the Rockwell Tent on Monday, March 2, 2009. The news has been confirmed by organizers of the Philippine International Jazz Festival (PIJF), which stages the annual event to promote jazz in all its forms to local audiences. The PIJF is on its 4th run this year.

Filipinos came to know Reeves best through her recording of BETTER DAYS in her 1987 self-titled album. The song remained in the playlist of many local radio stations, prompting every belter-wannabe to mimic the artist's indelible style in amateur singing stints. In truth, Reeves's career started much earlier, originally recording BETTER DAYS in her WELCOME TO MY LOVE album 1 full decade earlier (in my opinion, this was a better version), and before that, touring with Brazilian keyboardist, Sergio Mendes.

Lately, she has been prolific in recording music, winning Grammys for four of her albums since 2001, and earning the distinction of being the only singer to have won best jazz vocal performance in three consecutive recordings.

For a complete listing of the acts performing in the 4th Philippine International Jazz Festival, visit: www.pijazzfest.com

Meanwhile, do watch out for details on the upcoming shows in Manila of such artists as John Legend, Craig David, and Natalie Cole--all in March 2009.

Herbie Hancock in Manila?

2009-01-25T20:57:00.000-08:00

Teaser ads over cable TV have already announced the staging of the 4th Philippine International Jazz and Arts Festival next month. And while viewers have been advised to stay tuned for more details, the festival committee already revealed months ago a wishlist of the artists they are aiming to wow Filipino audiences with.

Headlining their dream team are iconic keyboardist Herbie Hancock, pre-eminent jazz vocalist Dianne Reeves, platinum-selling brassman Dave Koz, renowned Brazilian singer-songwriter Ivan Lins, award-winning vocal ensemble The New York Voices, and 6-octave vocal jazz legend, Flora Purim.

Will organizers of this year's festival be successful in their pursuit? Last year's roster included such electrifying artists as Raul Midon, Kurt Elling, Lee Ritenour, and Incognito. I guess we should know about this year in just a few days.

The Philippine International Jazz and Arts Festival is slated from February 22 to March 4, with campus tours and workshops to be mounted alongside the highly-anticipated concerts.

Stay tuned for more details...

Friday the 13th: Chick Corea in Manila this February

2009-01-20T23:05:00.000-08:00

Today is my lucky day.

The jazz world has known for some time now that Chick Corea and his newly-formed Five Peace Band are kicking off 2009 with performances in Australia, New Zealand, Japan and Korea. But I just discovered this morning that even before heading down under, the jazz greats will be heading here.

Many know Corea through his most famous work, Spain. I myself first encountered the man when I was 9 via his take on Joaquin Rodrigo's Concierto de Aranjuez, which he quotes as a prelude to his popular jazz track (later on, Al Jarreau recorded a version with lyrics). Others know him for taking over Herbie Hancock's keyboards in Miles Davis's band when the former left, or for setting up his own group, Return to Forever, with bassist Stanley Clarke and vocal siren Flora Purim, among others.

But I remember him most for his mesmerizing album, The Mad Hatter (thanks George--for introducing me to the project), his avant garde brand of jazz, and his sublime improvisations on the Fender Rhodes...kaleidoscopic! Does anyone wonder why he has been Grammy-nominated 45 times and has won 14 statuettes?

Recently, Corea has re-teamed up with legendary guitarist John McLaughlin (they were together over 40 years ago in Miles Davis's band). With Kenny Garrett, Christian McBride and Brian Blade, Five Peace Band is poised to elevate new audiences and break down the borders of musical genres and generations.

And they will be in Manila for a one-night show on February 13, Friday.

CDs I Look Forward to This January

2009-01-13T23:34:00.000-08:00

So early in the year and so much music to look forward to. A quick look at some soon-to-be-released albums has made my mouth water. Maybe yours would too if we shared the same taste in music. Find out for yourself in this list of 5 CDs from 5 different women, all albums due in record bars (at least in the U.S.) this month.

SKYLARK

RENEE OLSTEAD

Finally, four years after her debut album (when she was 14), Olstead releases SKYLARK with producer David Foster. The project promises to showcase once again, the young artist's mature interpretation and velvety vocals in this 13-track CD of jazz standards, modern classics, and 4 originals which she co-wrote. Oh, and has anyone caught her twist on Chaka Khan's THROUGH THE FIRE in a live concert with Foster? Too bad though that it's not in the CD.

JANE MONHEIT

THE LOVERS, THE DREAMERS, AND ME

Quite obviously, the CD includes a recording of RAINBOW CONNECTION. But more so, it contains tracks written by Paul Simon, Fiona Apple, and my favorites Ivan Lins and Corinne Bailey Rae. Good pal and fellow jazz-enthusiast Jimmy Buencamino introduced me to this Grammy-nominated chanteuse, and I've been following her ever since. Expect a serving of sultry jazz, passionate yet mellow, quiet yet stirring.

ELIANE ELIAS

BOSSA NOVA STORIES

Just as the 50th anniversary of Bossa Nova ended in 2008 (the genre came to life in 1958), Elias releases her BOSSA NOVA STORIES showcasing not only her dexterity on the keys (she was a child prodigy in the 60s) but so too her soothing vocal style. Born in Sao Paolo, Elias has earned a huge global following with her brand of music--a fusion of traditional Brazilian harmonies and rhythms, with modern jazz technique. The album combines Brazilian classics and American standards set to the true Bossa beat.

ERIN McCARLEY

LOVE, SAVE THE EMPTY

Let's go pop this time. Her music has been described as a mix of the Beatles, Aimee Mann, Alanis Morissette, and Amy Winehouse, while she credits Fiona Apple, Patty Griffin and Greg Laswell as among her major influences. Erin McCarley is a new kid on the block releasing her debut album which she calls a document of her search for authenticity in herself and in others. Intrigued? Watch out for this artist and listen to samples here: http://erinmccarley.com/albumpreview/

ROKIA TRAORE

TCHAMANTCHE

Ok, here's one that's totally from left field. For those who experiment occasionally with world music, you might want to sample Traore's latest project. Born in Mali and raised in Europe, Traore was exposed to a spectrum of music including classical, jazz and pop, yet she has never abandoned her African roots. As such, her songs employ traditional instruments like the balafon, n'goni and kora; however, her singing is unlike the wailing style common amongst her tribe. Her voice is smooth and gentle resulting in an overall impact that reflects both tradition and innovation.

A Love Song from Sara Bareilles

2009-01-05T22:35:00.000-08:00

With the Grammy Awards coming up early next month, I felt it wise to brush up on some of the nominees whose work stirred up the industry in 2008. Late last year I took an interest in Adele Adkins, British soul-jazz-pop artist nominated for record of the year, song of the year, best new artist, and best female pop vocal performance. This time, I take a look at Sara Bareilles, who too is nominated for best female pop vocal performance, and whose LOVE SONG is contending for song of the year. Incidentally, LOVE SONG was named by Billboard as the #1 hot adult contemporary song of 2008, beating even Alicia Keys's NO ONE and Coldplay's VIVA LA VIDA.

Upon graduating from UCLA in 2002, Bareilles began touring the circuit in local bars and clubs, slowly developing a following for her confident vocals and fearless keyboards. This eventually led to the indie recording of her first studio album, CAREFUL CONFESSIONS, and to bigger gigs, opening for the likes of Paolo Nutini, Mika, James Blunt, and college pals Maroon 5.

It was in 2006 when she began writing and recording material for her first major label album, LITTLE VOICE, and in June 2007 when iTunes featured her LOVE SONG as the free single of the week. Barely a month later, LITTLE VOICE became the most downloaded album in the music store. The artist's and the song's quick rise in the pop charts led to live performances in 2008 on THE TONIGHT SHOW WITH JAY LENO and on the TODAY SHOW. Two months hence, LOVE SONG was a certified double platinum hit.

Bareilles confesses that because she's a girl who writes music with her piano, her work is often likened to Norah Jones's and Fiona Apple's; a pretty wide spectrum--Bareilles enjoys the two for the opposite reasons: Jones for her subtlety and Apple for her ferocity. But such is the music of Sara Bareilles--a delightful cocktail of the most sumptuous yet intoxicating influences, diverse as they may seem. Consider this mix: Elton John, Police, Radiohead, Etta James, Sam Cooke, Bjork, Counting Crows, and Bob Marley, to name a few of her musical idols.

Yet pronounced in this concoction are the stories of Bareilles herself. Her music is laced with honest vignettes that narrate her life, relationships, and as she calls it, her "basket-case-ness."

Figure it out. Here's her most successful song to date, LOVE SONG.

Adele and Chasing Pavements

2008-12-17T00:34:00.000-08:00

Last week, Laine in Hong Kong sent me a text message mentioning what a cool track CHASING PAVEMENTS is. You see, we've both been updating each other on great music finds--especially the more current and contemporary kind as our iPods are filled with so much dated (and age-revealing) music.

The totally clueless me asked her what CHASING PAVEMENTS was, and Laine then pointed out that it was a song by MySpace wonder, ADELE (Adele Laurie Blue Adkins). I promised to research on the artist and the music; but literally moments later, much to my surprise as I turned on my TV, here was ADELE performing CHASING PAVEMENTS on ELLEN. What are the chances?

I was mesmerized. This Brit has a deep and raspy tone, emotionally-charged and cracking at the most vulnerable moments of the piece. And the song? An stirring melody with a most engaging hook, one of those you can hum after just one listening.

CHASING PAVEMENTS is set at the crossroads where the persona asks herself if it is wiser to stop in her tracks or continue her pursuit even if it leads nowhere. The song is said to be based on an event in ADELE's life, a troubling break-up with her beau that found her running down an empty street.

Since her early career, ADELE has been writing music that reflects her most intimate experiences. In late 2004, one such song was posted on MySpace by her friend; the popularity of the demo earned a record deal for the then 16-year old. With last year's successful UK release of her album, 19, the artist then began her attempt to reach an American audience. The efforts seemed futile until in October 2008 when ADELE was slated to guest on SATURDAY NIGHT LIVE (SNL), on the same episode when SARAH PALIN made her appearance. The show, which garnered SNL's highest viewership since 1994, drew much attention to singer-songwriter. The next day, 19 topped the iTunes charts and ranked #5 on Amazon.com.

Last December 4, ADELE, 19, and CHASING PAVEMENTS received 4 Grammy Award nominations: Record of the Year, Song of the Year, Best Female Vocal Performance, and Best New Artist. 19 has been released in the U.K. under the XL Recordings label, and in the U.S. through Columbia Records.

Here's a music video of ADELE and CHASING PAVEMENTS.

Christmas Carols versus Christmas Songs

2008-11-20T19:26:00.000-08:00

It's that time of year again when scores of Christmas carols and songs begin to bombard our ears, not only over the radio and in malls, but so too inside elevators, doctors' offices, and even through telephone hold music. But what constitutes the difference between a Christmas carol and a Christmas song?

Ultra-talented keyboardist Palan Reyes used to warn us ignorant choir members to make no mistake: Christmas carols and Christmas songs are a breed apart. Of course he was referring to the common error of confusing sacred Christmas hymns for contemporary holiday tunes. It is easy after all to commit poor judgment these days as the term "carols" is now often used to denote generic Christmas music.

In truth, however, "carol" comes from the French word "carole," or a circle dance. As such, musicologists in the past were quick to define carols as songs with verses and repeating choruses used in dancing, not only during Christmas but also in other holidays. Still, the great divide between Christmas carols and songs is really more about the content of the lyrics than it is about the song form.

Yuletide carols are those that reflect the poignant spirituality that shapes the core of our celebration. They are religious in nature, and refer to the miracle of the season--the Christ-Child, the Virgin-birth, the God-with-us. O, HOLY NIGHT and JOY TO THE WORLD are fine examples. Christmas songs are secular in thought and style, often about holiday fun, kids and gifts, romance during the season. Check out WHITE CHRISTMAS or even RUDOLPH, THE RED-NOSED REINDEER. Oh, and then there are Winter songs that speak of the season (snow and all) with no reference to the holiday or to the religious celebration--like LET IT SNOW or WINTER WONDERLAND.

But what about songs like AVE MARIA? Palan often smirks at the thought of the this being passed off as a carol. Though the Visitation event is closely associated with Christmas, the song AVE MARIA is a prayer set to music. Then there are the trickier ones--LITTLE DRUMMER BOY and DO YOU HEAR WHAT I HEAR, for instance. Christmas carol or song? They do refer to some religious aspects of the celebration but have a more secular message, don't they? I guess the debate goes on....

Good friend and song collaborator Jandi Arboleda received the biggest shock of his life when a choir in the Simbang Gabi he attended sang as a processional hymn, FROSTY THE SNOWMAN. At least I am not that ignorant.

Here are two of my favorite pieces of Christmas music these days. Swingle Singers's version of the Christmas carol, SILENT NIGHT and a more recent find, Amy Grant's Christmas song with a contemporary essence, I NEED A SILENT NIGHT. May we all enjoy peaceful times this Yuletide.

CMMA names Hindi Kita Malilimutan best religious album

2008-10-29T19:29:00.000-07:00

On its 30th year, the Catholic Mass Media Awards (CMMA) has recognized Bukas Palad Music Ministry's HINDI KITA MALILIMUTAN as best religious album in ceremonies staged at the GSIS Theater in Pasay City yesterday, October 29, 2008. HINDI KITA MALILIMUTAN bested four other finalists in the category including Gary Valenciano's REBIRTH and Timmy Cruz's MY GUIDING LIGHT.

Bukas Palad's HINDI KITA MALILIMUTAN is an album that celebrates over 20 years of the group's music and ministry. The double-disc project contains 20 tracks: 10 liturgical hymns appropriate for celebrating the Eucharist, and 10 inspirational tunes that are radio-friendly. In the album are songs written by fellow Bukas Palad members, by winners of a song-writing contest mounted by the group, and by guest musicians Gary Granada and Noel Cabangon who appear in the CD along with violin virtuoso Coke Bolipata.

Throughout its ministry, Bukas Palad has written, recorded, and performed songs that reflect the group's faith and love for God. Its more popular hymns include Hindi Kita Malilimutan, Anima Christi, Sa 'Yo Lamang, Tanging Yaman, I Will Sing Forever, and Humayo't Ihayag. The group was formed in 1986 by college friends who were members of the Ateneo Student Catholic Action and Ateneo Christian Life Community led by Fr. Manoling Francisco, Norman Agatep, and Jandi Arboleda, who had started collaborating on religious songs when they were in high school.

Bukas Palad is currently on national tour, performing in concerts and conducting choral workshops across the country. The group's album, HINDI KITA MALILIMUTAN produced by the Jesuit Communications Foundation is available in record stores nationwide. The CDs may also be purchased in Tanging Yaman outlets at the Sonolux Building and Loyola House of Studies in Ateneo de Manila, at the Gateway Mall, and at SM Megamall Building B.

Spotlight: Burt Bacharach & Traincha

2008-10-28T03:52:00.000-07:00

He is a legendary pianist and composer whose musical career has spanned 5 glorious decades. She is a Dutch jazz singer who joined the industry after participating in an amateur music contest with her brother in 1990. Together, Burt Bacharach and Trijntje Oosterhuis (otherwise known as Traincha) has put together a most definitive collection of Bacharach's classic and more recent tunes through the albums THE LOOK OF LOVE (2006) and WHO'LL SPEAK FOR LOVE (2008).

Ok, I am a self-confessed, die-hard Bacharach fan, and I have purchased nearly all the recent tribute albums to the man who made complex chord progressions and multi-meter fashionable in popular music. There was SHAGADELIC BACHARACH (2001) from the Australian mainstream jazz group, Steve Newcomb Trio. Then came LONG AGO TOMORROW (2003) from the Irish singer with the smooth pipes, Siobhan Pettit. More recently, there was BACK TO BACHARACH (2008) from Grammy-winning Steve Tyrell, who used to produce for Bacharach himself. But I will dare to say that Tarincha's tributes are for me, the most fascinating.

Traincha's collaboration with Bacharach began when her record label sent the composer a disc and DVD featuring the singer, and a request for him to allow her to record his music and for him to appear in the project. Bacharach admits that he approaches with trepidation the prospect of artists recording a full album of his songs. But after having watched the DVD, Bacharach declared, "I was blown away." After recently purchasing THE LOOK OF LOVE and receiving through my sister (who recently came home from the U.S.) a copy of WHO'LL SPEAK FOR ME, so was I.

What I particularly appreciate about the albums is the successful attempt to keep the original spirit of Bacharach's music alive. This is brought out especially through the lavish arrangement and performance of the Metropole Orchestra that accompanies Traincha in every track. Thus, you hear the familiar horns, the sweeping strings, an occasional harp, some brush drums, a timpani, even Bacaharach's fingers on the ivories. This of course is not to say that the songs are mere replicas of the originals. On the contrary, while we hear similar instruments, the arrangements remain fresh and contemporary, putting a twist to the songs we have grown to love.

And what about the singer? Traincha rivals Dionne Warwick and Dusty Springfield with her unique interpretation of Bacharach. Hers is a richly-textured tone that soars as effortlessly as it does plunge, leading the listener through the peaks and valleys of Bacharach's emotional tunes. if you have not listened to Traincha, I urge you to look for her albums. It is easy being enamored by her voice, one that has learned to tell a most moving story with a most moving instrument.

While THE LOOK OF LOVE contains more of the classic Bacharach hits, WHO'LL SPEAK FOR LOVE has more contemporary tunes including the title track, which was written specifically for Traincha. Have a listen. Through Traincha, you will remember why you fell in love with Bacharach in the first place.

Visit this playlist: SPOTLIGHT: BURT BACHARACH & TRAINCHA

Making Your Brand Sing!

2008-10-21T18:45:00.000-07:00

Once a year for three years now, I give a talk on Music Marketing to professionals enrolled at the Post Graduate Diploma Program in Marketing Communications Management. This program, offered by the De La Salle Graduate School of Business is mounted in partnership with the Philippine Association of National Advertisers Foundation, and is orchestrated by friend, colleague and client, Asia Brewery's Jun Alcantara.

Throughout my research, I have come across many case studies on how advertisers and their ad agencies have managed to get their brands to sing. At the turn of the century, for instance, many companies would sponsor sporting activities, barn dances and college proms. Soon, they would reflect popular musical events in their print ads. In 1931 for example, an ad for Chesterfields (shown here) featured sister and brother Adele and Fred Astaire mimicking their roles in the hit review then, The Bandwagon.

But more than through print ads, jingles have been most effective in allowing brands to penetrate pop culture (especially if pop singing stars are involved), offering various contact points with consumers everywhere. So yes, brands can indeed sing-- and in surround sound. Some examples:

ROCK STAR BOOSTS CAREER BY OFFERING HIS SONG TO A CAR BRAND

Sting's 2000 release of his album BRAND NEW DAY failed to jump-start a career that was stuck since 1995. The artist was hoping that his single, DESERT ROSE would do the trick, but radio stations were not too sure about the Arabic intro that the song carried, and airplay was little. For the video of the song, Sting had already featured the Jaguar S-Type, and so he and his managers entertained the idea of approaching the luxury car brand to cut a commercial. Jaguar went to bed with the rock star, feeling certain that such a campaign would bring their brand closer to a broader market. And they were right. When the ad aired in the U.S., both the car and the song (and the artist) received substantial consumer interest. Check this out:

SPORTSWEAR BRAND TAPS RISING POP STAR AND HIS "NEW SHOES"

More recently, Puma and Scottish singer-songwriter Paolo Nutini forged a partnership through Warner Music International to help push the brand's sport shoes internationally. After winning a pop trivia quiz during a concert in 2003 and being made to sing impromptu on stage, the amateur 17-year old was then signed to a record label and released his fist CD in 2006--in it, the hit single, New Shoes. In the Puma campaign, Nutini appears in advertising around the globe, performing New Shoes across television, radio, mobile and online efforts. He is also touring stores everywhere, having been to Tokyo recently and in Jamaica with athletes bound then for the Olympics. Here's the TV ad:

POP DUO CATCHES TV JINGLE AND RECORDS A FULL-LENGTH VERSION

And so the story goes. Richard Carpenter was watching TV one day and caught the commercial of some bank in the U.S. Moved by the music and recognizing the singer's voice to be Paul Williams's, he and sister Karen researched on the tune with the hope of getting to record a longer version of the ballad. Paul Williams acknowledged that there was indeed a full length song that became the basis for the TV ad soundtrack. So the Carpenters hit the studio. Now here's the vintage commercial and its jingle. Now you know why the song has become a favorite in weddings.

Gee, there are just so many case studies to discuss. More here in the future. Are there any jingles that have become your favorite? Feel free to share...

My Evening With The ScoLo Quartet in Manila

2008-10-17T02:52:00.000-07:00

While queuing at the entrance to the Rockwell tent to get my wrist stamped for the John Scofield & Joe Lovano (ScoLo) Quartet concert last October 16, a guy behind me muttered, "You know when what you're watching is a jazz show--the dudes come much earlier than the chicks."

There may be some truth to the observation. These intimate mainstream jazz gigs are indeed dominated by males, many of whom are musicians themselves teaching or studying at the conservatory and performing in ensembles, or professionals in bands doing the nightly city circuit. Others are enthusiasts

toting their cameras (no lighters or pen lights) and well-kept posters, magazines LPs and CDs of their idols, hoping for an autograph later.

I myself have become a fan of these events and have enjoyed the relaxed and quaint atmosphere they bring. Outside the tent are food stalls vending sausages and finger foods, beer and a selection of wines. Nearly everyone aims to get a light buzz before the opening act. But for now, they check out the posters, shirts,

CDs and other merchandise waiting to be bought.

Inside the venue, people pick their spots and wave to fellow guests. Everyone seems to know each other. Perhaps they've recorded at the same studio or have met during some other jazz fest. They catch up on industry gossip (did you know Herbie Hancock is coming over next year?) and await the announcement for the show to begin.

And it does. The crowd bursts into cheers when legendary guitarist John Scofield and saxman Joe Lovano emerge with super talented artists acoustic bassist Matt Penman and drummer Matt Wilson. Cameras click away, of course (as does mine). How often does one, after all, be in the presence of such music royalty?

As I said, the show is pretty is intimate, and I in my front row seat cannot help

but marvel at the performers before me. John Scofield is considered one of the 'big three" along with Pat Metheny and Bill Frisell among the current crop of jazz guitarists. A master of improvisation, he has a distinct style that sits comfortably between post bop, funk-edged jazz, and R&B. Inspired by rock and blues players, Scofield picked up his first guitar at age 11, and eventually attended Berklee College of Music in Boston. After recording and touring with such heavyweights as Chet Baker, George Duke and Charles Mingus, Scofield joined Miles Davis, planting himself securely in the foreground of jazz consciousness as a composer and instrumentalist.

Today, aside from touring with his own group for most parts of the year, he is an Adjunct Professor of Music at the New York University.

Born to a family of brass blowers, Joe Lovano's exposure to jazz and the saxophone was early and constant. He began playing the alto sax at 5,

switching to a tenor a few years later. At 16, he began working professionally

as a musician, playing the clubs (often substituting for his dad) and performing with Motown cover bands. He eventually got to save enough to get himself through college also at Berklee.

After years of jamming and recording in the U.S. and Europe with some of the most gifted artists on the planet, Lovano met vocalist and dancer Judi Silvano, with whom he would make a lasting collaboration (today, they live together in upstate New York). Then in 1989, Lovano's next high profile gig brought him more national and international attention--and that was with John Scofield's Quartet.

It is easy to sense that both men are long time friends and collaborators. Without much of a nod or a tap of the foot to signal the other, they just know where each one is in the lavish pieces of music where one may quite easily lose himself. But such is the irony of jazz and improvisation: Scofield and Lovano do lose themselves in the music. Buried in the rhythm and harmony, they each slip into a private zone, tapping into some hidden thought or feeling, and pushing this out via a riff on the guitar or a scale on the saxophone. They are immersed in their own realms, oblivious to the bobbing heads in the crowd but sensitive to each other's world. And when their worlds do meet, the result is sheer genius.

Everything comes together with the musical contributions of the two Matts. Matt Penman is a New Zealander who first embraced an acoustic bass when he was 14. Like Scofield and Lovano, he is a Berklee alumnus, moving soon after to New York where he manages a busy schedule of teaching and performing. Now an established member of the SFJazz Collective, Penman and 7 others have devoted their efforts to presenting each other's works as well as their arrangements of other jazz artists' music. The group is currently featuring the songs of Joe Lovano, among others.

Voted #1 Rising Star Drummer in 2005 by the Downbeat Critic's Poll for the 3rd year in a row, Matt Wilson became mesmerized with the drums after seeing Buddy Rich on the Lucy Show when he was in third grade. He finished college at Wichita State University, and moved on to Boston and then to New York, playing with the likes of Cecil McBee, Lee Konitz and Fred Hersch. Since 2001, Wilson has become most associated with Arts & Crafts, a quartet formed by Wilson recognized seriously for their fun jazz recordings and gigs.

Mere meters away, all four musicians of the ScoLo Quartet hypnotized the

audience with their repertoire of intense bluesy jazz, their acute sense of syncopation, and a melodic kind of dissonance that intrigues yet deeply quenches. A particular favorite was a piece in 6/4 meter that had everyone keeping time.

The main theme was just joyous, and its rhythm made our hearts skip a beat. Each of the four shined in their solos, as they demonstrated an effortless dexterity that was magnified by the infectious euphoria on their faces--we too could only smile with them.

In the end, members of the ScoLo Quartet proved to be the extremely passionate musicians I had envisioned them to be. Granted Manila was just a pit stop in their Asia Pacific tour (we were not even listed in their published

itinerary), and the Rockwell Tent

is not such a gigantic venue, each played like he would in any music hall, with the bravura of a celebrated concert star, the humility of a performer who salutes the talents of his bandmates, and the jubilation of an artist who has no agenda but to share his brand of jazz to us with an ear to listen.

After the show, the four completed our experience by engaging us in chitchat, and granting our requests for them to sign autographs on music memorabilia we had collected over the years.

As expected, local jazz guitarists and saxophonists (Tots Tolentino, whom I had worked with for Bukas Palad and Raul Banzon, whom I had performed with in high school, to name just 2), fell in line themselves to meet their idols. At the end of the day, amidst the ScoLo Quartet, we are all but fans.

The concert organized by the Philippine International Jazz & Arts Festival was merely a prelude of things to come. Early next year, in a festival beginning February 27, the Philippines will get to hear the enthralling music of Herbie Hancock, Dave Koz, Flora Purim and Airto, The New York Voices, and Ivan Lins among other jazz greats.

I am certain I will be among the first to purchase tickets (as I was this year). Maybe the shows will be very intimate again, and the queues not too long. But because the guests are such phenomenal talents, a big part of me wishes we could all be there.

Musical Artists Born on October 15

2008-10-15T02:57:00.000-07:00

In honor of a friend celebrating her birthday today, I'm listing below the names of some musical artists who share the same zodiac sign with her. Whether or not my friend chooses to find some similarity with these guys is all up to her though. Here goes:

TITO JACKSON

Brother of Michael, Janet, and La Toya, he helped propagate the Motown sound as one of THE JACKSON 5. Referred to as the quiet Jackson, he hid his musical talent as a kid, playing his father's guitar when dad wasn't around. It was only when one of the guitar's strings broke that Tito's secret was discovered.

RICHARD CARPENTER

Half of THE CARPENTERS, he learned to play the piano when sister Karen was playing baseball. His most famous composition, TOP OF THE WORLD. On Valentine's Day this year, he met with President Arroyo who sang with him the Carpenters' hit, I HAVE YOU. He also collaborated on a recording with Claire dela Fuente, a.k.a. Karen Carpenter of the Philippines.

CHRIS DE BURGH

This Irish rocker is credited for the 1986 ballad hit, LADY IN RED and the more obscure DON'T PAY THE FERRYMAN. He had an affair with his children's nanny when wife Diane was in the hospital, and his daughter Rosanna (for whom LADY IN RED was written) was crowned Miss World in 2003 (Philippine rep Maria Rafaela Yunon was in the top 5).

ERIC BENET

This former UPS man and now R&B singer made waves with his renditions of GEORGY PORGY and SPEND MY LIFE WITH YOU. Unfortunately, he did not get to spend his life with ex-wife Halle Berry who had caught him cheating during their brief marriage. Making his film debut in Mariah Carey's GLITTER in 2001, Benet has just released LOVE AND LIFE CD this year to favorable reviews.

LAINE LAUDICO-SANTANA

A member of the Bukas Palad Music Ministry, hers is the voice behind some BP favorites like EMPTY SPACE, BREATH OF GOD, and the re-recorded version of PASTORALE, among others. Laine was personally handpicked by Jose Mari Chan to guest in his albums and to interpret classics MAYBE THIS YEAR and more recently APRIL FOOLS (Coincidentally, Chan also recorded EMPTY SPACE for the Jesuit Music Ministry). Oh, and she has sung the jingles of such brands as ABOITIZ EXPRESS, SHANGRI-LA HOTEL, GENERALI PILIPINAS and for the government's OPLAN PAGLALANSAG. Happy birthday, Laine!

This Week's Smooth Jazz Top 20 Countdown

2008-10-12T23:01:00.000-07:00

Though the rankings may have changed, the top five in this week's smooth jazz top 20 are the same five in last week's list. Allen Keppler revealed his top 20 countdown aired last Sunday over my comfortable choice, 106.7 DREAM FM.

Radio & Records pick for personality of the year, Dave Koz edged out Sax Pack to earn the top spot this week with his LIFE iN THE FAST LANE from his greatest hits CD. Sax Pack's FALLIN FOR YOU dropped to #3. Meanwhile, Earl Klugh's DRIFTIN came in at #5, falling two notches from last week's rankings. Eric Darius's GOIN ALL OUT and Norman Brown's POP'S COOL GROOVE remained at #2 and #4 respectively.

Check out the music of this week's smooth jazz topnotchers below.

AMPARO: two musical worlds in one passionate album

2008-10-10T02:47:00.000-07:00

Weeks ago I listed some upcoming CDs which I had hoped would make their presence felt in the Philippines. In the list was AMPARO, an instrumental album from longtime friends and musicians Lee Ritenour and Dave Grusin.

A week later, I was greeted by a familiar image sitting on a shelf of the ASTROVISION PLUS branch at the PODIUM in Pasig--the CD cover of the album I was looking forward to. Well, the music has been playing non-stop in my iPod since then.

A follow-up to the 2000 Grammy-nominated classical album TWO WORLDS from the same tandem, AMPARO once again marries songs seemingly worlds apart through a musical setting that threads the entire album. In the track list are classical favorites from the likes of Handel, Ravel and Faure. But so too are more contemporary compositions from Ritenour and Grusin, even from Brazilaln Bossa legend Antonio Carlos Jobim. All, however, are masterfully arranged by Grusin borrowing from the rich musical heritage of South America. Thus, the songs are rustic and passionate, interpreted with a soulful latin influence.

Dear musical friend Fr. Manoling was riding in my car the other day, and I let him sample a few tracks. Because he was well-acquainted with the classical pieces, he automatically said they sounded like the originals; though he was quick to add, "But this one sounds Ecuadorian." Not a surprising comment. Grusin says he was careful to remain faithful to the original musical intent of the songs. A lot of the latin flavor surfaced through the combination of Grusin's piano, Ritenour's guitar, the chamber strings, and through guest artists Joshua Bell (violin), Chris Botti (trumpet) and Renee Flemming and James Taylor (vocals).

Here are two tracks to let you get a better grasp of the album concept. First is Antonio Carlos Jobim's OLHA MARIA, a haunting piece featuring Joshua Bell. It no longer sounds like a Brazilian ballad but more like a stirring classical vehicle. The second is PAVANE from French impressionist Gabriel Faure. This one, through Bell's expert hands and Flemming's stunning vocals transforms into some spellbinding latin dance. Grusin suggests that through the reassignment of musical phrases to these two artists, the piece becomes a musical dialogue that's pure seduction. Have a listen.

Whatever Happened to Howard Jones?

2008-10-08T04:00:00.000-07:00

I must have been graduating from high school when Howard Jones burst into the music scene with his synthpop brand of music--keyboard-rich, ultra-quantized, and mega-danceable. His was the kind of music being dished out by a classically-trained pianist with a couple of fancy synthesizers to toy around with, and the result was sheer joy. Add to that the thick vocals of this Englishman, and you've got a hit in your hands.

And hits did Howard Jones produce, who's seen here in a photo during the height of his career (left) and then some 20 years later. You might remember tracks like WHAT IS LOVE, LIKE TO GET TO KNOW YOU WELL, THINGS CAN ONLY GET BETTER, and LIFE IN ONE DAY, all of which became top charters in the U.K and U.S. To refresh your memory, take a look at this video and watch out for the crazy 80s hair:

While he continued to have considerable success in the U.S. in the early 90s, his last U.K. top 40 hit ALL I WANT came in 1986. After that, he balanced his music career with managing a vegetarian restaurant named NOWHERE.

But nothing can stop a musician at heart. By 2001, Jones was touring as a keyboardist for Ringo Starr on the latter's ALL STARR BAND, but soon after was concentrating on his own gigs, particularly his 20th anniversary concert staged in London in 2003. See here two more videos. The first is of Jones (while touring with Starr) performing THINGS CAN ONLY GET BETTER. The second is of the artist singing PRISONER in the 2003 show celebrating 20 years of Howard Jones's music.

The success of his concerts prompted the Englishman to produce REVOLUTION OF THE HEART, a retro electronic album targeting a niched group of loyal fans in the U.S., U.K., and selected European countries. Though the project was a success, sales paled in comparison to when the musician had legions of fans across the globe.

And so has been Howard Jones's career--one steeped in a unique 80s sound which he has pushed successfully into the next century. And though his listeners have become much like a tribe in number, they have remained steadfast.

2008 marks Jones's 25th year in the industry, and just last month, he celebrated the event with yet another show plus a tour beginning with a performance in Japan (he is incidentally a member of Japanese Buddhist lay organization and is the musical director of its choir). There, he and others visited a Japanese karaoke club, and just for fun, Jones sang one of his own songs. His score? A 92.

In between his shows today, Howard Jones is working on a triple CD of his 25th anniversary concert. But before we get to see that in stores, here's a clip taken by an avid fan in the audience of him singing what else...WHAT IS LOVE.

Jazz Legends in Manila, October 16

2008-10-06T20:11:00.000-07:00

Their names may not ring as loud a bell in the Philippines as say Earl Klugh's or Kenny G's, but their music has struck a chord with many die-hard jazz enthusiasts around the world. And the two legends will be here in Manila on October 16 for an intimate musical affair.

John Scofield is considered one of the "big three" along with Pat Metheny and Bill Frisell among the current crop of jazz guitarists. He is a master at improvisation, with a distinct style that sits comfortably between post bop, funk-edged jazz, and R&B.

Inspired by rock and blues players, Scofield picked up his first guitar at age 11, and eventually attended Berklee College of Music in Boston. After recording and touring with such heavyweights as Chet Baker, George Duke and Charles Mingus, Scofield joined Miles Davis, planting himself securely in the foreground of jazz consciousness as a composer and instrumentalist.

Today, aside from touring with his own group for most parts of the year, he is an Adjunct Professor of Music at New York University.

Born to family of brass blowers, Joe Lovano's exposure to jazz and the saxophone was early and constant. He began playing the alto sax at 5, switching to a tenor a few years later. At 16, he began working professionally as a musician, playing the clubs (often substituting for his dad) and performing with Motown cover bands. He eventually got to save enough to get himself through college also at Berklee.

After years of jamming and recording in the U.S. and Europe with some of the most gifted artists on the planet, Lovano met vocalist and dancer Judi Silvano, with whom he would make a lasting collaboration (today, they live together in upstate New York). He says, "Judi's sound, in particular, influenced ideas and feelings that were instrumental in opening up my concept about an ensemble sound that includes voice. I feel it gives my music a very organic, alive, human quality."

It was in 1989, however, when Lovano's next high profile gig would bring him more national and international attention--and that was with John Scofield's Quartet.

It has been many years since Scofield and Lovano have discovered each other's special brand of jazz, and they are rediscovering each other with their current tour of Asia and the Pacific. Following shows in Seoul, Tokyo, Singapore and Bangkok, the two jazz legends will find themselves at the Rockwell tent in Manila for a one-night concert, dubbed PRELUDE TO A FEST, that promises to be a stirring musical event. Showtime begins at 9pm, and tickets are priced at Php 1287.50. Call Ticketworld at (632) 891-9999 for tickets, or visit their site here: PRELUDE TO A FEST. After Manila, they will move on to Australia and New Zealand.

In between his hectic touring schedule, Scofield is producing his album of "old-time gospel" tunes, which the artist feels ought to be heard beyond church doors. Meanwhile, Lovano's highly-acclaimed album KIDS, produced last year, is still out in the market (but hard to find in Manila).

To get a sample of their music, view below two videos. The first is a performance on Jay Leno by John Scofield with John Mayer. The second is of Joe Lovano with Hank Jones on the keys.

This Week's Smooth Jazz Top 20 Countdown

2008-10-05T04:59:00.000-07:00

Part of the joys of driving on a Sunday afternoon (besides finding EDSA to be relatively traffic-free), is tuning in to 106.7 FM at 4pm and listening to Allen Kepler's Smooth Jazz Top 20 Countdown. In the 2-hour show, the acclaimed trumpet player lists the 20 biggest tunes topping the Smooth Jazz chart based on monitored airplay in the U.S.

Having discovered the show only recently, it has now become a favorite. And why not? I have been a smooth jazz advocate since the late 70s when jazz fusion made the music scene. Influenced by my sister Audrey with her LPs of Bob James and Joe Sample among others, I was easily hooked (you can imagine my sadness when 88.3 F changed format). The show on 106.7 lets me keep track of the freshest smooth jazz and quiet storm recordings, the newest artists in the genre, and the latest news about the music icons I've respected since the 70s.

This week, topping the Kepler's list again is Sax Pack's FALLIN' FOR YOU, a bouncy, breezy, brassy track from heavyweight saxophonists, Jeff Kashiwa, Kim Waters, and Steve Cole. Other exciting acts in the list are fellow brass boys Dave Koz, Najee, Boney James, and Kenny G., as well as guitar greats Chuck Loeb and Earl Klugh, whose new album SPICE OF LIFE is a most welcome project since his last CD 9 years ago. Also in the list are vocalists Mick Hucknall (Simply Red) and gospel and soul legend, Al Green. My personal pick, however, is bassist Marcus Miller's FREE, a remake of Deniece Williams's popular smooth jazz recording, but this time interpreted through Corinne Bailey Rae's sultry vocals.

Check out below the this week's top 20:

And listen to Sax Pack's top charter, FALLIN' FOR YOU, here:

The Smooth Jazz Top 20 Countdown eith Allen Kepler is heard exclusively on DWET 106.7 DREAM FM, your comfortable choice, every Sunday from 4pm to 6pm.

10 Holiday CDs out this October

2008-10-02T23:38:00.001-07:00

Christmas for me is such a grand musical event, and I cannot let a year pass without adding to my growing collection of holiday music. Unfortunately however for us in the Philippines, the array to choose from has not been widening in proportion to the material being produced around the globe. Ok, so there has been a fair amount of Filipino Christmas CDs out there, but beyond that, much of what we have on the shelves are aged stocks (though recently I must admit, there has been a wealth of Disco and Bossa Christmas music).

So I have resorted to ordering some holiday music abroad, requesting friends and relatives to bring them home; well this year will not be an exception. This month alone, so many Christmas CDs are being released in the U.S., many of which I fear will not see the light of day here. Ten that have intrigued me are in a list below.

If you have kababayans scheduling a trip back home, why not request for a copy of any one of these?

CHRISTMAS DUETS (Elvis Presley) Here's a collection of previously recorded holiday tunes from Presley, but with overdubs from current bigwigs in the industry--Carrie Underwood, LeAnn Rimes, Olivia Newton-John, and Anne Murray to name some. The duets ought to appeal to a broad age range with a particular fondness for the wintry yet cozy attitude of a country Christmas. Get the new Elvis Christmas CD here: CHRISTMAS DUETS

THE CHRISTMAS COLLECTION (Amy Grant) The fourth Christmas project from gospel great, Amy Grant features the best from her previous holiday CDs but adds 4 new tracks (1 with hubby Vince Gill) for a total of 18. Those who don't have her earlier Christmas work will love the 6-time Grammy awardee's rendition of GROWN-UP CHRISTMAS LIST and BREATH OF HEAVEN. Order her new CD here: THE CHRISTMAS COLLECTION

CHRISTMAS (Al Jarreau) After 40 years in the music industry, jazz, R&B, and pop legend (only he has Grammys in all genres) Al Jarreau releases his first yuletide album aptly titled, CHRISTMAS. Here, the artist lends his unique vocal stylings to a dozen Christmas classics. Those who watched his recent concert with George Benson in Manila might want to get Jarreau's latest work (following his album in 2006). To pre-order the album, click here: CHRISTMAS

I'LL BE HOME FOR CHRISTMAS (Brian McKnight) A holiday CD of 12 tracks, the album showcases the R&B singer's twist on Christmas favorites, some in tandem with other great talents. Josh Groban lends a hand in ANGELS WE HAVE HEARD ON HIGH, and Take 6 grooves it up with BLESS THIS HOUSE. Watch out for the special participation of Brian McKnight Jr. and Nikolas McKnight. Check out the CD here: I'LL BE HOME FOR CHRISTMAS

PEACE ON EARTH (Casting Crowns) The Christian soft rock band recognized by both the Grammy and Dove Awards releases its first Christmas CD, PEACE ON EARTH. With the project, the group hopes to point listeners to the deeper meaning of songs sung for generations, many of which were written from a place of searching and desperation. The album promises to be insightful and moving. Order it here: PEACE ON EARTH

A NEW THOUGHT FOR CHRISTMAS (Melissa Etheridge) For her latest yuletide project, Melissa Etheridge asks the question: If we're all talking about peace on earth, what if we all concentrated on peace on earth and made it happen? The CD is a rock, blues, jazz, mix of 10 traditional and newly composed songs to celebrate a spiritual time of the year. Listen to some samples: A NEW THOUGHT FOR CHRISTMAS

MY KIND OF HOLIDAY (Elliot Yamin) American Idol alumnus Elliot Yamin releases MY KIND OF HOLIDAY, which is essentially the Christmas album exclusively distributed by Target stores last year, with the addition of 2 new tracks. The collection presents Yamin's pop R&B style in such fresh yuletide songs as CHRISTMAS WITHOUT CAROL and BACKDOOR SANTA. My fave is his rendition of THIS CHRISTMAS. Pre-order the CD here: MY KIND OF HOLIDAY

IT'S CHRISTMAS (Ledisi) Twice Grammy-nominated R&B singer Ledisi lets loose her soaring interpretation of 12 Christmas tracks (5 written for the album), in this jazz and blues influenced set. Fans of the traditional Christmas sound will be challenged by the artist's earthy, inventive style, but Ledisi's fans will be ecstatic. To have a sample of the work and to order the CD, click here: IT'S CHRISTMAS

A SWINGIN' CHRISTMAS (Tony Bennet) What's Christmas without swing, and what's swing without Tony Bennet? The man dishes out the most loved classic holiday tunes like SILVER BELLS, MY FAVORITE THINGS, and THE CHRISTMAS WALTZ, all with that brand of razzmatazz he has been associated with all these years. And accompanying him? The Count Basie Big Band, no less. Check this out to pre-order a copy: A SWINGIN' CHRISTMAS

SONGS OF JOY & PEACE (Yo-Yo Ma & Friends)

With 22 tracks, something tells me this is the big buy this Christmas. The famed cellist's SONGS OF JOY & PEACE is described as a musical party inspired by the season. It gathers music greats James Taylor, Dave Brubeck, Diana Krall, Chris Botti, Alison Kraus, plus many more to celebrate Christmas, Hanukkah, Eid al-Adha, Kwanzaa, and New Year's Day. The album even comes with a bonus 60-minute DVD. Take a look: SONGS OF JOY & PEACE

Whatever happened to James Ingram?

2008-10-02T01:24:00.000-07:00

It was in 1999 when James Ingram released his last album (The Best of James Ingram), and in 2004 when he and Patti Austin treated Manila to a jampacked Valentine's Day concert at the CCP open grounds. Since then, little has been heard of him or his new music, though his popular songs continue to echo in videoke halls everywhere and in FM stations catering to the helplessly romantic.

Ingram made a dent in the music scene by accident when he recorded the demo for a song Barry Mann and Cynthia Weil were sending to mega producer Quincy Jones. The song: JUST ONCE. Jones, so impressed, asked Ingram to record the track for THE DUDE, an album he was indeed producing, and let him interpret another: 100 WAYS. For his efforts, Ingram was awarded the GRAMMY for Best R&B Vocal Performance, prompting record executives to produce his debut album, IT'S YOUR NIGHT in 1983. Led off by the smash duet with Michael McDonald, YAH MO BE THERE (which is among the songs that received the most airplay that year, and earned for the singer another Grammy), the album boasted of many soul hits, including the much loved ballad, THERE'S NO EASY WAY.

Ingram is also known for his collaborations with other notable artists: SOMEWHERE OUT THERE with Linda Ronstadt, BABY COME TO ME and HOW DO YOU KEEP THE MUSIC PLAYING? with Patti Austin, and WHAT ABOUT ME? with Kim Carnes and Kenny Rogers. Could this be why he was invited to the American show CELEBRITY DUETS in 2006?

So where has the Soul and R&B singer retreated? Ingram now resides in Los Angeles, California with his wife and 6 kids, and is still much into music. Early this year, he performed in Indonesia during their JAVA JAZZ FESTIVAL. See a clip here of his performance:

But apart from all this, Ingram has recently been active with some spiritual work. In Indonesia, he also liaised with officials of the CHURCH WORLD SERVICE (CWS), and hopes to return for a special project with the CWS to benefit the "at-risk" street children of Jakarta. On the music front, the balladeer is following in the heels of secular singers Dionne Warwick and Regina Belle, who have added their names to the growing roster of gospel recording artists.

The son of a deacon, Ingram already presented to his fans his inclination for the Church when he recorded YAH MO BE THERE (Yahweh, be there). Concerned producers who felt the track would turn off some listeners tried to convince him to amend the song title, to which the artist responded, "No." Today, Ingram continues to sing about the kingdom and the Creator, inspiring the masses with the release of his first gospel recording, STAND (IN THE LIGHT). Inspired by the plight of hurricane Katrina victims, STAND features new work by Ingram plus a reissue of his famous collaboration with Michael McDonald. Ingram's new CD, which should be out in January of 2009, is considered by many as a natural advancement in a career grounded in faith.

To pre-order James Ingram's STAND, click here: STAND.

And if you wish to know whatever happened to ANGELA BOFILL, click here: ANGELA.

The 10 Most Iconic Instrumental Movie Themes

2008-09-30T23:05:00.000-07:00

The truth is, I feel any of the ten remaining movie themes in my list of forty could very well own the top spot. That's because all ten have managed to take a life of their own beyond the films for which they were written. Many of us may not have even watched the movies themselves, but may have encountered references to the music in other movies, TV shows, parodies and jokes, or even ringtones.

A last note. In this entire list, I have also decided to drop out movie themes that began initially as TV themes, no matter how iconic they now are. Samples would be the PETER GUNN TV theme which became popular in the movie BLUES BROTHERS, or even music from MISSION IMPOSSIBLE, which really was a TV series first.

So here you have it, the final ten in what I believe are the 40 most iconic movie themes the world has heard. I am certain I have forgotten about others which deserve to be here. Maybe you can remind be about them. Right now, I already have a few....

Meanwhile, to hear the tracks listed below, click here: MY TOP 10 MUSIC THEMES OF ALL TIME

#10 JAWS (John Williams)

He did it for CLOSE ENCOUNTERS OF THE THIRD KIND with five notes. But for JAWS, John Williams created a most recognizable musical signature with just 2. Hum these notes to anyone with increasing volume and tempo, and they will easily associate the tune with dangerous waters. So far in his career, Williams has been nominated for an Oscar, a whopping 45 times. JAWS gave him his first win (in 1975).

#9 ENTER THE DRAGON (Lalo Shifrin)

For this first American-produced martial arts film, Lalo Schifrin infused to his groovy pop jazz theme, the use of traditional Chinese instruments to give the soundtrack a distinct local flavor. He is also credited for first employing a technique we now know as sampling, when he integrated Bruce Lee's actual screams into the music. I can still hear my brother Jig mimicking the shrieks during the 70s! Many have since covered the movie's main theme, and one is included in the game, Dance Dance Revolution. Incidentally, Shifrin is the man behind the music of MISSION IMPOSSIBLE.

#8 PSYCHO (Bernard Herrmann)

The success of PSYCHO's famous shower scene is attributed greatly to Bernard Herrmann's screeching strings which sent chills to viewers' spines everywhere. In an interview in 1971, Herrmann said he purposely used a string section alone because he felt he needed to complement a black and white film with a "black and white" sound--a string ensemble would give only one basic tone color. The American Film Institute names Herrmann's work as the fourth best score of all time, even if it was snubbed at the Oscars in 1960.

#7 CHARIOTS OF FIRE (Vangelis)

Play the music and images of Lydia de Vega and other athletes racing in slow-mo come to mind. Greek composer Vangelis is the man behind the music that has been used countless times in sporting events, and has been parodied in slow-mo sequences in such movies as Mr. Mom, Happy Gilmore, Bruce Almighty, and Madagascar. The track reached #1 in Billboard's Hot 100 though Vangelis was accused of plagiarizing the work of a fellow Greek composer. Vangelis won in a court of law. He also beat Dave Grusin's ON GOLDEN POND at the Oscar's.

#6 ROCKY (Bill Conti)

I confess. With my parents in 1976, I sneaked into Diamond theater in Cubao, a small tape recorder so I could record Bill Conti's music. ROCKY's main theme was nominated at the Oscars for Best Original Song (though there are hardly any lyrics), losing out, however, to A STAR IS BORN's "Evergreen." Nonetheless, it peaked at #1 in Billboard's Hot 100 in 1977. Known also as GONNA FLY NOW, the main theme is closely associated with sports training montages.

#5 THE GOOD, THE BAD, AND THE UGLY (Ennio Morricone)

Here's another signature motif, this time from 5-time Oscar nominee Ennio Morricone. The repeating 2 notes in the melody are designed to resemble the sound of a howling coyote. This plus gunshots, whistling and yodeling throughout the soundtrack give this spaghetti western an indelible attitude. Not many in this day and age probably remember Clint Eastwood's movie, but the music has remained timeless. It's insane Morricone was not nominated for this work. On the other hand, it crazier he hasn't won an Academy Award.

#4 THE PINK PANTHER (Henry Mancini)

One of the most recognized and enjoyed pieces of music ever, THE PINK PANTHER's main theme defines the cool beatnik attitude of the 60s with its loungey, brassy jazz feel. Henry Mancini won 3 Grammy Awards for the tune though his soundtrack lost to MARY POPPINS at the Oscars. The music has been used in the movie CHARLIE'S ANGELS: FULL THROTTLE, and a task to be accompished in the board game CRANIUM is to hum the "Pink Panther Theme."

#3 STAR WARS (John Williams)

The American Film Institute has voted John Williams's music for STAR WARS as the best soundtrack of all time. The work is often credited as heralding the revival of grand symphonic scores in the 70s and reviving the use of leitmotif, a musical phrase to identify a character, place, relationship, mood, or other element of film. STAR WARS became among the most popular soundtracks of all time, mirroring the cult following that the film eventually enjoyed. The music won a Academy Award, beating out Williams's other work, CLOSE ENCOUNTERS OF THE THIRD KIND.

#2 JAMES BOND (Monty Norman)

Though a lot of JAMES BOND music has been written through the years, the most iconic is the "James Bond Theme" introduced in the film DR. NO in 1962. Composer Monty Norman was more known for his musicals, but accepted the project when he was invited to travel with the crew to Jamaica. John Barry (OUT OF AFRICA, SOMEWHERE IN TIME), who arranged Norman's music and eventually scored other Bond movies himself, was not credited for his contribution in DR. NO. Some have suggested that Barry created the popular theme, and the argument has been a subject of 2 court cases.

#1 THE MAGNIFICENT SEVEN (Elmer Bernstein)

The brave and noble main theme from the movie is a Western masterpiece from musical giant Elmer Bernstein, who borrows from Mexican strains and rhythms to define the film's soundtrack. Berstein lost the Oscar to Ernest Gold's EXODUS in 1960, but his work is listed as #8 in the American Film Institue's best original scores of all time. While by itself, the soundtrack is a force to reckon with, it quickly created a life of its own as the most memorable advertising hook of all time and an international pops concert staple, thus its iconic status.

Bukas Palad Nominated for CMMA Anew

2008-09-29T19:58:00.000-07:00

The Bukas Palad Music Ministry's latest CD, HINDI KITA MALILIMUTAN, produced in 2007 to celebrate the group's over 20 years, has been nominated in the 30th Catholic Mass Media Awards (CMMA) for Best Religious Album.

The project, which took over a year to complete, is a double-disc album featuring twenty liturgical and inspirational songs for worship, prayer and reflection by such notable composers as Fr. Manoling Francisco S.J., Fr. Arnel Aquino, S.J., Jandi Arboleda, Gary Granada and Noel Cabangon, all interpreted through the voices of Bukas Palad.

The group has been nominated in the CMMA for Best Religious Album twice before--in 2004 for LET YOUR PRAISES BE HEARD, and in 2006 for GOD OF SILENCE. WInners of the 30th CMMA will be announced during a special awards show on October 29.

The Most Iconic Instrumental Movie Themes (Part Three)

2008-09-27T20:12:00.000-07:00

While drafting this top forty list of the most iconic instrumental movie themes, I realized that my #40 to #21 reflected my personal favorites which managed to gain some popularity over the years. The top 20, however, are generally the soundtracks (not necessarily ma faves) of huge blockbusters--perhaps a reason why these musical scores have made quite a stamp on pop culture. Check out the list below and see if you agree.

Some have been wondering if the likes of THE DEER HUNTER or KRAMER VS. KRAMER will appear in my top forty. Sadly, the answer is no. In the same way that I have omitted movie themes with versions carrying lyrics in the same soundtrack, I am not including music not written for the film. THE DEER HUNTER's original music was written by John Williams, but its most popular track CAVATINA is a classical guitar piece by Stanley Myers. Most of the music in KRAMER VS. KRAMER is actually by Antonio Vivaldi. 2001: A SPACE ODYSSEY's famous opening track is by Richard Strauss, and EMPIRE OF THE SUN's SUO GAN is actually a traditional Welsh lullaby.

So the music listed below is wholly original. But as I've mentioned, many of them have become extremely popular because the film themselves for which they were written have been HUGE! If you wish to hear the music described in this list feel free to visit: MY TOP 40 MOVIE THEMES (20-11).

And do tell me if your own movie theme favorites!

#20 JURASSIC PARK (John Williams)

I suppose giant blockbusters have a way of helping their soundtracks approach iconic status. Jurassic Park, after all, was the most successful film released up until 1993 when the movie hit the theaters, and its music is among the most memorable--classic JohnWilliams: bold, brassy, and anthemic. Wiliams wrote the score in the same year he finished Schindler's List, for which he won an Oscar. He was not even nominated for Jurassic though. All right, I do feel that Schindler's is truly more deserving, but there's no denying that Jurassic has become quite popular.

#19 CINEMA PARADISO (Ennio Morricone)

Almost everyone's favorite Morricone score. The music here is considered to be a co-star of this Oscar- and Cannes-winning Italian film. The bittersweet melodies create a persona that watches and sympathizes with Salvatorre as he comes of age, finds a father figure in movie projectionist Alfredo, and has his heart broken. Morricone (assisted by his son Andrea in this movie), creates a most passionate and magical piece, with an innocently rustic appeal. As a movie buff and audiophile, you can imagine the thrill I experienced receiving a DVD of Cinema Paradiso from my sister Eileen.

#18 E.T. The Extra Terrestrial (John Williams)

The American Film Institute voted Williams's work for E.T. as the 14th greatest musical score, and rightfully so. The music (which earned Williams his fourth Oscar) helped define the composer's rich orchestral style in that period of his career. It is grand and uplifting, compelling and endearing. I cannot imagine the bicycle scene to be as special as it became without John Williams.

#17 Beverly Hills Cop (Harold Faltermeyer)

Faltermeyer won a Grammy for original score in 1986 for this, having captured the synth-pop style of the era with his "Axel F" theme. Insanely engaging and danceable, the music heightens the pop attitude of the comedy involving Eddie Murphy's character, who attempts to bust two hustlers in an unauthorized sting operation. Faltermeyer, also credited for the music of Top Gun, among others, had assisted Moroder on the latter's Oscar-winning work for Midnight Express.

#16 SUPERMAN (John Williams)

Watching Superman by myself in 1979 at Circle theater (SRO, mind you), I could not help being mesmerized by the special effects (they were special then) and overwhelming music. Jerry Goldsmith, who wrote the score for THE OMEN, was originally hired to do SUPERMAN, but had to dropout of the project due to schedule conflicts. Thus John Williams took over. Heroic and romantic, Williams's work became a favorite among local marching bands and rondallas. Gee, who isn't familiar, even 3 decades later, with Superman's main theme?

#15 HATARI! (Henry Mancini)

For the 1962 John Wayne movie about Western expatriates catching wild animals in Africa, Henry Mancini wrote the highly popular theme, Baby Elephant Walk--a piece of music I encountered through my sister Audrey, who used to play this on the organ. Combining brass and woodwind instruments to mimic sounds of a herd of elephants, Mancini was successful in creating a whimsical jazz treat that has been covered by a number of musicians. Though many of us, I suspect, do not know the film, you might nod in recognition when you listen to the track.

#14 CLOSE ENCOUNTERS OF THE THIRD KIND (John Williams)

When a film's biggest mystery hinges on a 5-note alien musical code, how can that movie's soundtrack not make a dent in our musical minds? Spielberg, who directed the movie, purposely gave Williams a 5-note limit because the short motif was to represent an alien greeting, which is supposed to be succinct. Williams developed tons, with Spielberg choosing one at random. Lucky for us, the successful musical phrase resonated with millions the world over.

#13 GONE WITH THE WIND (Max Steiner)

It lost to THE WIZARD OF OZ for best original score at the Oscars. But Frankly my dear, I don't give a damn! Max Steiner's work is The American Film Institute's #2 choice for the greatest film score. Romantic and lush, it is the perfect accompaniment to the 1939 dramatic war film based on Margaret Mitchell's novel. Seventy years later, the music lingers still, carrying the same emotional grandeur. Was it ever used in some Pinoy radio soap?

#12 INDIANA JONES (John Williams)

So much John Williams in this batch of film music! The score for RAIDERS OF THE LOST ARK is close to 80 minutes long. The film itself? About 100 minutes. Wall-to-wall music that's utterly rousing and pompous. The main theme has been used as well in other Indiana Jones stuff from video games to theme park rides. So even if the music has not been available in music stores since 1995 (it will be rereleased in November this year), no one has really escaped from it. It's hard to believe Williams lost the Oscar to someone else (whom you'll meet soon).

#11 SOMEWHERE IN TIME (John Barry)

This soundtrack clearly has a cult following. Panned by critics after its release, the movie had a lackluster performance at the box office, but its lyrical music swept audiences off their feet. While Sergei Rachmaninoff's "Rhapsody on a Theme of Paganini" is a motif in the film, Barry's main theme has become a favorite of many. It was thus surprising when Barry was not even nominated for an Oscar (the award was given to the movie FAME). Lyrics were later developed, and the song was recorded by Pat Castillo and Vernie Varga, among others.

The Most Iconic Instrumental Movie Themes (Part Two)

2008-09-25T23:28:00.000-07:00

Which movie themes to you have made the most impact? So much music and so many films to consider. I'm listing my top forty, and would certainly be curious to hear what's in your inventory.

Last time, I described and uploaded my #40 to #31. This time I'm continuing the countdown to #21. This is tough.

I would have liked to include certain pieces of music, but threw them out the window at the last minute. Well I did say "instrumental," and many like the main theme of St. Elmo's Fire have versions with lyrics in the soundtrack. So those didn't make the cut. I did, however, consider those themes which were given lyrics after the movies had been released, and you will note one in the list below. And what about songs with just a few bars of words? I included them; after all, the lyrics in these cases are almost purely ornamental. The songs would never appear in a videoke bar's playlist.

So there. I shall be moving on soon with the next installment of this countdown. But if you would like to listen to the music described below, simply click here: MY TOP 40 MOVIE THEMES (30-21)

#30 THE UNTOUCHABLES (Ennio Morricone)

Did you not shudder in this movie? And when you did, were not the rhythmic percussion stabs on overdrive? Morricone works wonders again, heightening the suspense in this crime drama on Elliot Ness's attempts to bring gangster Al Capone to justice. Much of the music (which earned for Morricone an Academy Award nomination) was designed to put flesh to the characters of the movie and to keep the audience clinging to their seats. Listen the piece and you'll know what I mean.

#29 OUT OF AFRICA (John Barry)

"I once had a farm in Africa...." I can still hear Meryll Streep whisper against the lush soundtrack by John Barry. The film narrates the events surrounding the lives of Europeans who settled in the bush country of Kenya from 1914-1931, from the point of view of a baroness who shares the same lyrical and poetic qualities of the film's music. The main theme is subtle but full. Barry's music ranks #15 in the American Film Institute's 100 years of film scores. Those who never got to see the film may remember the score being used in some past Pinoy afternoon weekend soap.

#28 SCHINDLER'S LIST (John Williams)

A tearjecker. John Williams was so challenged, he told director Stephen Spielberg that the film needed a better composer. Spielberg replied, "I know. But they're all dead!" Williams recorded the piano tracks himself and hired Izthak Perlman to do the violin version, as recommended by Speilberg. The result is a grieving melody that accompanies the story of a German businessman who saves the lives of over a thousand Polish Jews during the Holocaust by employing them in his factories. Plot and music: equally poignant. Williams won an Oscar for his work.

#27 THEME FROM SHAFT (Isaac Hayes)

This is bound to reveal my age again. In 1971, the main theme of

Shaft won for Isaac Hayes an Academy Award for Best Original Song. Hardly any lyrics though--more spoken word. The overall score, which was nominated too, seemed to begin the trend of amping the funk and the wah guitars to accompany scenes involving African-Americans and crime. Thanks to Eileen for owning the LP of Shaft's soundtrack. I developed an afro as a result. Way too cool.

#26 THEME FROM THE CHAMP (Dave Grusin)

No, "What Matters Most" is not in the original soundtrack of the The Champ. The song there with lyrics is Chris Thompson's "If You Remember Me." The lyrics to the movie's main theme were later developed by Alan and Marilyn Bergman, and first recorded by Kenny Rankin (recently by Aiza Seguerra). Blame all this on the eloquence of Grusin's instrumental. Moving as always. Nominated for an Oscar again. This is the third from Grusin for me. I see a trend....

#25 THE OMEN (Jerry Goldsmith)

Awfully frightening. The polar opposite of The Exorcist in my last entry. Do not attempt to listen to this alone in the dark. Goldsmith won an Oscar here beating heavyweights Bernard Hermann and Lalo Schifrin. I guess rightfully so. I remember having had nightmares with this soundtrack playing in the background. That ought to be a proof of the music's success. Oh, there are lyrics on this too, but I hardly consider the piece a singable tune.

#24 THE MISSION (Ennio Morricone)

I remember performing "Gabriel's Oboe," one the of the soundtrack's pieces, with flutist Benito Valencia during a college event. We were both simply enchanted with Morricone's score, and I suppose many still are too, 22 years after the film's release. Recently, Kelly Sweet recorded a version of the song with lyrics--"Nella Fantasia" (and so did local balladeer Reymond Sajor). But for this list, I am voting for another piece in the movie, "Vita Nostra." I had goosebumps while listening to the song in the theater, and my eyes started to well up. Sublime, I thought. Match the music with De Niro's performance in that unforgettable scene, and you've got a movie moment.

#23 ON GOLDEN POND (Dave Grusin)

One of my favorites of all time. The opening piano phrases easily set the mood for melancholia. And why not? Grusin is on the ivories. It's not easy explaining how you feel once confronted with music like this accompanying a drama on a stormy father-daughter relationship, a marriage in its twilight years, and a special bond between and old man and a stranger of a boy--all set amidst the splendor of the lakes of New Hampshire. "Emptying" is a good word to describe it, in a wonderfully quiet way. Too bad Grusin lost the Oscar to someone who will appear in this list soon.

#22 LAWRENCE OF ARABIA (Maurice Jarre)

Those familiar with old epic flicks (filmed in Super Panavision) will remember the glorious overtures during the opening minutes of the movie. Of the many overtures recorded for film, I believe Lawrence of Arabia ranks among the most memorable. I guess, with the Arabian desert as your cinematic landscape, a musician has got room to play with exotic scales and rhythms--and Jarre had just that, earning himself an Oscar for merely 6 weeks of work. Exhausted, it took him 5 months to fully recover. Listen to the track and you'll understand.

#21 MIDNIGHT EXPRESS (Giorgio Moroder)
In the late 70s, my dad gifted me with the soundtrack of Midnight Express, which he purchased during a trip to Europe. I listened, and thought: Disco. Oh, but I thought it was progressive disco--highly inventive, extremely electronic, ahead of its time. The spacey and dizzying yet gritty feel seemed to complement well the narrative of how an American student is sent to a Turkish prison for trying to smuggle hashish out of Turkey. Moroder beat Grusin's "Heaven Can Wait" during the Oscars for his outstanding work.

The Most Iconic Instrumental Movie Themes (Part One)

2008-09-25T03:34:00.000-07:00

If I weren't doing what I do now, I would surely have been a film scorer. For some strange reason, I have always been more moved in film by music than by dialogue. And for me, where the greatest movie moments are, the most poignant melodies are lingering near.

With the encouragement of Eric, who just celebrated his birthday, I am listing what I feel are the most significant movie themes of all time. These are the film scores that have continued to haunt me, and to bring me back to a certain place every time I hear them. On a personal level, perhaps they stand for something I felt while experiencing that moment in the film, or represent a stage in life that I had been in. But on a grander scale, they probably mirror the pop culture then, and have made and indelible mark in society. Whatever the case, these strains of music are to me, iconic.

I guess this will therefore be a subjective list as there is no way of scientifically ranking the appeal of sound, let alone their impact on our collective consciousness. Your list will obviously differ from mine, but hey, this makes a lovely playlist that will surely let your spirit wander.

There will be forty songs in this countdown to the top. The first ten are described here, from #40 to #31. Come back for the rest of the list. But if you want to listen to the ones discussed here, feel free to click: MY TOP 40 MUSIC THEMES (40-31)

#40 JONATHAN LIVINGSTON SEAGULL (Neil Diamond)

This piece of music, I did not experience first in the context of the film. I first heard it during a Reading of Honors ceremony when I was in prep. The song was used as a fanfare to open the event. I later learned from my sister Eileen who owned a cassette of the soundtrack, that it came from the movie version of Jonathan Livingston Seagull. I eventually got to see the film much later and discovered for myself how the music was used as a backdrop to scenes of the birds in flight. For his work, Neil Diamond won a Golden Globe for Best Score in 1973, beating John Williams and Michel Legrand. Very 70s pop, but soaring nonetheless.

#39 THE CHILDREN OF SANCHEZ (Chuck Mangione)

Another piece I had encountered prior to watching the film. Another sister, Monique, owned an LP of Chuck Mangione carrying the track. I must have been 13. I was quite engrossed with the syncopation of the music and was so aware of the fusion of jazz and world music here. The experience was intense. The film, I watched years later. It was about a Mexican farmer, I believe. I remember little about the plot, but recall being ecstatic during those scenes when the music unfurled. Mangione was nominated for a Golden Globe in 1978.

#38 DYING YOUNG (James Newton Howard)

First, a disclaimer: this is not among my favorites. But it surely penetrated our consciousness in the early 90s, and even I could not escape its ubiquity--so consider it iconic. Blame it on the popularity of Julia Roberts, or the star power of Kenny G. then, who performed the track and included it in one of his widely successful CDs. The song played non-stop in jazz radio stations, and reminded us how film music, even the instrumental kind, can be so part of pop culture.

#37 HEAVEN CAN WAIT (Dave Grusin)

Ok, the music here is what started it all for me. It was the first film score to make me literally cry, and told me: gee, I wouldn't mind writing music for movies some day. It also began my love affair with Dave Grusin's work. I remember distinctly watching Heaven Can Wait in 1978, melting in my chair during the last scene, and staring blankly at the credits as the music played. Maybe I'm just a sucker for dramedies. Maybe it was surprising for me how the theme, through its various movements, embraced both the tragic and comic aspects of the film. Whatever the case, Grusin was nominated for an Oscar, but lost to someone else's work which will appear in my list soon.

#36 IL POSTINO (Luis Bacalov)

I'm not even sure if many are aware of this film or its music. Eileen sent me a copy of the movie sometime in 1995, and I fell in love with it immediately. Albeit a fictional story, it chronicles the relationship between real-life poet, Pablo Neruda and a postman who learns to love poetry. Bacalov's music is rustic, romantic and sincere. His work, which eventually won for him an Academy Award, was also used to score recorded readings (by Sting, Madonna, Julia Roberts, Gelnn Close, among others) of Neruda's poetry. And his melodies have been mimicked in TV commercials set in South America.

#35 FORREST GUMP (Alan Silvestri)

The hovering feather during the film's opening credits accompanied by the lilting score tells you instantly that Forrest Gump is a magical movie. Silvestri's music is as charming and innocent as the movie's main character. It has that power of making you feel warm and comfy inside. I'm a fan.

#34 FAR AND AWAY (John Williams/Enya)

Those who used to tune in to 88.3 when its programming consisted mostly of smooth jazz and new age will recognize the music of this movie. John Williams's score, coupled with Enya's mesmerizing vocals complete the Celtic mood and tone of the film about Irish immigrants seeking their fortune in the U.S. It has a rhythmic quality that is most calming. To prove it, check your blood pressure before and after listening to the track.

#33 THE EXORCIST (Jack Nitzsche)

Naturally, I watched the movie years after it was released in 1973. And when I did, I recognized the music instantly though didn't know from where. Maybe it was used to score local dramas. I'm not sure, but the repetitive melodic line obviously left a huge impression. Hypnotic and numbing. Subtle, unlike most horror flick scores. The movie earned 10 Oscar nominations, and though Nitzsche's work was not among them, it gets my nod.

#32 LOVE AFFAIR (Ennio Morricone)

The first of many in my list by this acclaimed Italian composer. Ennio Morricone has written and arranged music for over 500 film and television productions, and this one for Love Affair has been a favorite of many. Rich, romantic and sweeping, Morricone's melodic line is deeply emotive--a perfect match with Love Affair's sentimental plot. The version in my playlist is the one Morricone dedicates personally to Warren Beatty and Annette Bening, the leads of the movie. Attend a wedding sometime, and you are likely to hear the same strains.

#31 THE HEART IS A LONELY HUNTER (Dave Grusin)

All right, so I've never seen this quiet film about a deaf-mute man who befriends a lonely teenage girl in his boarding house. But listening to the theme music makes me feel I've actually watched this story of alienation and love. Woven into the plot is one of Grusin's simplest melodies; easy to hum, it sinks quickly into the heart and stays forever. You may have heard it before (the film was released in 1968) and may remember. Many musicians who know the piece warn: watch out for the killer key change. It's solitude set to music.

Steve Perry vs. Arnel Pineda

2008-09-24T06:01:00.000-07:00

It must have been mid last year when I first heard rumors that American rock band JOURNEY was eager to recruit Pinoy sensation Arnel Pineda to be the group's lead vocalist based on videos posted of Pineda and his band ZOO on YouTube. It seemed no one could verify the story though my friends at the Department of Tourism had received a call from a U.S. music columnist wanting to contact Pineda and to meet up with him for an interview. Months later, that same writer confirmed in confidence that Pineda had flown to the U.S. for his face-to-face audition and had booked the job.

Since then, the world held its breath, wondering if Pineda would do justice to the legacy left behind by Journey's original lead, Steve Perry. Skeptics disagreed with the idea of a Filipino fronting an all-American band (though Steve Perry, Pereira in real life, is of Portuguese ancestry). Today, however, months after the release of JOURNEY's most anticipated album, REVELATION, the reviews on Pineda are glowing.

The Philippine edition of the album carries 2CDs. The first contains all-new tracks featuring the band's newest lead singer while the 2nd are recordings of the hits popularized the Steve Perry's vocals but now reinterpreted through Pineda's.

It is easy to fall into the trap of comparing both lead singers. They are equally gifted tenors with amazing range and depth. Critics are quick to note that of all those who have succeeded Perry as JOURNEY's frontmen (there were 2 beofre Pineda--Steve Augeri and Jeff Scott Soto), the Filipino's voice comes closest to the original. It is almost scary how the timbre is so alike, critics find this to be Pineda's only flaw. However, listening more closely makes evident what Journey's REVELATION is all about--Pineda's vocals are rich and robust, maybe even a tad more than Perry's. That the new vocalist's sound is reminiscent of the original should not rob him of his own talent. In fact, after hearing the new cuts in the album, it has become clear to me--while they unmistakably carry the JOUNEY sound and spirit, I cannot hear Steve Perry in them at all. Arnel Pineda shines through.

Make no mistakes though. I believe there never will be another Steve Perry. He is an icon. But the world has room for another.

JOURNEY's Neal Schon, who thanks God for discovering Pineda on YouTube, says the Filipino's voice has it all, and "all I can say is WOW! It's truly incredible...the man can sing anything and what a deep moving soul he has.''

For his part, Pineda in the album thanks "all my fellow Filipinos around the world who believed in me...MABUHAY TAYONG LAHAT!!!"

Below is a link that compiles JOURNEY's popular tracks recorded 2 decades ago side by side those recorded more recently with Arnel Pineda. When you find the time, get the REVELATION CD as the JOURNEY continues.

STEVE PERRY VS ARNEL PINEDA

The Billboard Hot 100 All-Time Top Songs (#1)

2008-09-22T05:32:00.000-07:00

So here's the lowdown. It isn't Madonna, not Michael Jackson, not even Elvis Presley whose music is Billboard's most successful single of all time. The artist was not even the original singer of the big hit, and these days, he endorses a brand of steaks and beef jerky.

Ernest Evans would entertain his friends in the various jobs he took. His boss at the Produce Market fondly nicknamed him "Chubbycheckar," and the store owner of the Fresh Farm Poultry, so impressed with his singing and performance style, arranged for Chubby to have a private recording session for American Bandstand host Dick Clark.

During that meeting, Clark's wife asked Ernest what his friends called him and he replied, "Chubby."

"As in in Checker?" she asked. And after that, the monicker stuck for good.

In 1959, Hank Ballard and the Midnighters recorded a minor hit as a B-side to their TEARDROPS ON YOUR LETTER. It was in the year after when 19 year-old Chubby Checker covered that flipside song to create a monster hit and a dance craze that were both named, THE TWIST.

Checker's smash single reached No. 1 on the Billboard Hot 100 in September of 1960, and then set a record as the only song to reach No. 1 in two different chart runs when it resurfaced and topped the chart again in January of 1962, following Checker's appearance on the Ed Sullivan Show. All in all, the song was in the Hot 100 for a whopping 39 weeks.

Since then, Checker has covered his own cover several times. In 1982, he rerecorded THE TWIST but renamed it T-82. He then went to the studio in 1988 with The Fat Boys to make an updated rendition of The Twist. And in 1990, Checker even did a country version of his most popular tune.

Checker is known to have compared THE TWIST to the creation of the telephone as a groundbreaking moment because he says the song allowed people for the first time to dance "apart to the beat" as opposed to say, in ballroom dancing.

So there you have it. Let's give it up again for the big 10 in Billboard's Hot 100 Top Songs of All-Time:

#10 UN-BREAK MY HEART (Toni Braxton)

#9 WE BELONG TOGETHER (Mariah Carey)

#8 HEY JUDE (The Beatles)

#7 YOU LIGHT UP MY LIFE (Debbie Boone)

#6 PHYSICAL (Olivia Newton-John)

#5 MACARENA (Los Del Rio)

#4 HOW DO I LIVE (LeAnn Rimes)

#3 MACK THE KNIFE (Bobby Darin)

#2 SMOOTH (Carlos Santana)

#1 THE TWIST (Chubby Checker)

And here's a video of that top charter, THE TWIST:

Geoff Mayfield, director of charts at Billboard magazine, acknowledges that the list may not jibe with fans' personal choices for the most popular songs in the last 50 years. He says, "This is simply a chronicle of how each of these songs performed in their era on the Hot 100. We're not saying these are the most memorable songs of your life."

Meanwhile, there is another chart, Billboard's All-Time Hot 100 Artists. You might resonate with that list more. But you guys will have to wait for my next posts to find out....