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

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

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

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?

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?

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

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

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

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

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

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

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?

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.