The music scene in the Philippines is quite simply broken down into two forms: “pang-masa” and “indie.” Music categorized as being pang-masa readily appeals to people coming from assorted backgrounds, regardless of what social demographic they belong to. In short, pang-masa music caters to the masses. Indie music, on the other hand, is quite underground, and popular only among certain groups; only with true-blue, die-hard fans. Indie music is kept alive because of the people that search for it.
Breaking down the music scene into these two categories raises an interesting point: being particular about what genre of music one favors is tricky because pang-masa and indie music basically overlap in terms of musical styles. For example, rock music happens in both pang-masa and indie; there is pop indie and pop pang-masa; even folk music exists in both groups.
It seems interesting to note that jazz lives somewhere else in the Philippines, in a space between, or about pang-masa and indie; and in hotels and private events.
Still, it is admirable knowing that there are certain people who want to create a larger awareness for jazz in the country. This form of music is a part of our musical history, and it can’t be overlooked. Jazz’s heyday in the Philippines must have been during the decades of the ‘60s and the ‘70s, but that doesn’t mean it can’t still be appreciated and recognized in 2009.
The Fourth Philippine International Jazz Festival (PIJF), which will have concluded by the time this article sees print, continues to establish the country as one of Asia’s premiere jazz hubs. Having acquired a loyal following over the years, the PIJF never fails to deliver to jazz heads. This year showcased the talents of 14 international jazz artists as well as 30 local artists, proving that jazz is still doing its thing in the country up to this day.
The powerhouse lineup of international performers included Spyro Gyra, Hiromi’s Sonicbloom and Laurence Elder, while artists such as Humanfolk, Hairy Dawgs, Asian Jazz Divas and Brass Munkeys represented the local contingent. To say that these guys put on a show would be a huge understatement. It was all there: crazy technical skills, theatrics and of course, the heart and soul to perform live jazz in front of those who enjoy hearing it the most.
Another thing about the PIJF is that it provides essential knowledge on instrument mastery through numerous clinics held during the course of the festival. Before her set, Hiromi held a piano clinic, sharing tips on how to get more from the instrument. Drummer Dave Weckl also held a workshop, and the second he started beating his drums, everyone just kind of shut up and listened. Other featured artists who held clinics were pianist Laurence Elder and guitarist Mike Stern, both celebrated musicians in their own right. The beauty of these clinics is that they offer other musicians another perspective on how to play an instrument. And, honestly, a little more perspective never really hurt anyone.
In this way, the PIJF is a versatile event that is not only a mode of entertainment, but also a provider of functional knowledge for those who intend to hone their craft.
While jazz, in general, has made itself popular everywhere else around the world, here it’s considered weird. Or for old people. Or for elevators. With how things are going, there is no way that this kind of music can be pang-masa especially with the misconception that it’s “rich people’s music.” Jazz has a difficult time falling into the indie niche as well because nowadays, “indie” is somewhat synonymous to “youth.” While there are a lot of young people who do appreciate jazz, most still think that there are hipper and more stylish bands that are “with it” and playing music that coincides with the trends and the times.
Still, it’s cool how, although it’s a big-budget affair (tickets for the main shows were P2,000), the PIJF organizers still found ways to provide a free, “no entrance” section for people to watch and appreciate the music. This is perhaps where the problem of pang-masa and indie affects jazz the most: if it isn’t free or hip, then why bother?
I guess it makes sense to be up to date with the current trends. After all, keeping with the times allows people to innovate and move forward. But as the old maxim goes: “To be able to see the future, you must first examine the past.”
Jazz as a genre can be quite complicated. It is oftentimes conceptual and incomprehensible, kind of like abstract painting in the visual arts. But after all, our innate human nature begs us to become complete; the goal of being aware and conscious, sentient beings is to experience all we can. For this reason, we should not ignore the unfamiliar, because what we don’t know will only fail to complete us.
Mull that over with some Thelonious Monk playing in the background.
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E-mail me at enricomiguelsubido@yahoo.com.