Filipino and European jazz musicians pooling their talents and playing to each other’s strengths resulting in something new, unique and of top quality. One can hardly think of a better metaphor for what can be the future of EU-Philippine relations.
The first Euro-Pinoy jazz concerts took place last month thanks to a highly original initiative which materialised with the work of the four European cultural institutes (Alliance Francaise, the Goethe Institut, Instituto Cervantes, and the Philippine-Italian Association) together with the NCCA. The European Union Delegation financed a good part of this event which turned out to be a worthwhile investment in showcasing just what Filipinos and Europeans can achieve together, and providing a spark for something truly special.
Celebrated Filipino saxophonist Tots Tolentino hosted four European musicians in his country for a week-long workshop to marry their different talents and styles. Previously they had played together little if at all. Italian double bassist Furio di Castri brought his improvisational approach to Jazz, Spanish percussionist Tino di Geraldo added a touch of flamenco, French guitarist Nguyen Le chipped in with Asian-Western fusion while German singer Michael Schiefel startled many with his experimental approach to a cappella.
The result was two remarkable concerts that attracted the enthusiasm of local jazz aficionados and simple music lovers alike. It was standing room only at both events. I could see the musicians energised by the enthusiasm of the crowd and the satisfaction of improvising with musical influences from the Philippines and Europe.
The choice of locations for the two concerts was no coincidence. The first took place in Bonifacio Global City which can attract a younger crowd of people keen to tap into the latest entertainment and open to all sorts of new musical influences. The location also gave the European artists a glimpse of a vibrant energetic city that is growing at a furious pace while throwing up some remarkable cutting-edge architecture in the process. This is a side to Manila and the Philippines that most Europeans are woefully unaware of.
The second location was Maestranza Plaza at Intramuros which is easily accessible to an altogether different demographic. Set alongside the impressive bastions that house a striking sequence of vaulted rooms, it is the sort of location that Europeans would prize for a similar cultural event in their own countries. The choice also allowed the European Union to support in a practical manner the highly commendable efforts of the Intramuros Administration to bring life back into the walled city, not least through the organisation of cultural events. There’s no doubt that what the Malasimbo Music and Arts Festival does so successfully for tourism in Puerto Gallera, can be done with similar events in Intramuros.
For any people-to-people project, be it an Erasmus Mundus scholarship or a cross-border cultural event such as this, the hope is always to create relationships and enterprises that outlive the initiative itself. It is therefore good news that the five artists are now hoping to play as a new band during the next season of Jazz Festivals in Europe. If it is not too much of a contradiction in terms, one could say that “more improvisation is planned.â€
So far only a Filipino audience has enjoyed the fruits of Euro-Pinoy Jazz collaboration. That may be about to change.
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(Guy Ledoux is the Ambassador of the European Union.)