Chad Borja back in full swing

MANILA, Philippines - Remember Chad Borja, the OPM balladeer who burst into the music scene in the late ’80s with his monster hit, Ikaw Lang?

After having survived his harrowing ordeal with thyroid cancer and getting sidelined for more than a decade, the genteel crooner is back in full swing. With a renewed passion for singing, Chad has found his new voice in the swing idiom, popularized in recent times by the likes of Michael Buble, Harry Connick, Jr. and Jamie Cullum.

It wasn’t exactly a radical stylistic departure for Chad, who had already dabbled in jazz fusion around 1998 when he released his Show Me The Way album. Back then, he was lucky to have collaborated with such jazz heavyweights as Yutaka Yokokura, Kevyn Lettau, guitarist Oscar Castro-Neves and Arnold McCuller (the voice behind David Benoit’s Take A Look Inside My Heart).

This year, the comeback prince is hale, hearty and — “horny.” In keeping with the true spirit of swing, Chad has fortified his live musical armada with a three-piece horn section and the result has been nothing short of “eargasmic.”

Halfway through his comeback gig at 19 East last month, the former lead singer of the Cebu-based Zee Band seemed like a little boy having the time of his life in his own private playground.

Still looking dapper in jeans, sneakers and a long-sleeved shirt, Chad would break into a wide grin every once in a while, delightfully basking in the full and robust timbres of his eight-piece band, egging them on as they took turns with their dazzling solos, and brandishing his seal of approval with an occasional high five, a shoulder pat or a comic spiel.

Now, his cohorts afford him the luxury of covering an even broader repertoire, ranging from ’70s classics such as Van Morrison’s Moondance, Chicago’s Saturday In The Park, Blood, Sweat and Tears’ Spinning Wheel, Queen’s Crazy Little Thing Called Love, Stevie Wonder’s For Once In My Life, Billy Paul’s Me and Mrs. Jones, more recent hits from George Michael (Kissing A Fool), George Benson (Late At Night), Van Halen (Jump) and even Earth, Wind and Fire (I’ll Write A Song for You), and even some reworked OPM ditties such as Junior’s Yakap and his own original, Kung Ako Lang Sana.

This was his moment, and through it all, it seemed impossible to find any tell-tale signs of the wear and tear that he endured through his 12-year ordeal — except maybe for his restrained falsettos.

After his set, Chad sat down with a pocketful of media friends and excitedly talked about his new career path.

His re-entry in the lounge circuit is just the tip of the iceberg. After his 19 East stint, more gigs have been lined up, and he hinted at the possibility of more regular engagements at Strumm’s this month.

In time, Chad will also be releasing his six-track EP which will feature his originals alongside the works of acclaimed composers Vehnee Saturno, Jay Durias and Marvin Querido.

Chad recounted the seemingly serendipitous second encounter with old friend Yutaka, the acclaimed jazz/world/ethnic fusion musician-songwriter-producer who has worked with Dave Grusin, Patti Austin, Sergio Mendes, among many others, who sent him an e-mail early this year, telling him that he was flying to Manila for a short visit.

In no time, the reunion rekindled their common musical passions, with Yutaka throwing his full support — arranging two of the tracks, and even recording them in Los Angeles with a new team of equally-illustrious session guys such as guitarist Ramon Stagnaro.

By the end of the first quarter, Chad resolved to move to Manila temporarily and enlisted the help of veteran talent manager Norma Japitana.

Though visibly excited about his new career prospects and his new sound, the long-time Davao resident can’t help but ponder wistfully about how his 12-year ordeal with cancer has changed him.

“You know what?” he muses. “I’m grateful that I went through it. It taught me a lot about myself — about my talent and purpose in life.”

Even with fame and fortune within his reach once more, Chad feels that his intimations with mortality drive him to think of ways to serve as a beacon for others who may be suffering from the same illness. “If I can educate people in my own humble way, that would be like coming full circle,” he says. “Maybe that’s what my music is really for.”