We threw the question to respected music writers, aficionados, movers in the jazz scene, and musicians.
According to jazz historian Richie Quirino, jazz music was introduced to the Philippines in the 1920s by the Americans during the colonial years.
With that in mind, the Philippines is celebrating 100 years of jazz in the country this decade. A hundred years of music, recordings, performances, and legends.
Now, if you are a fan of jazz music and like to purchase the physical format of this music genre (vinyl, compact disc, or cassette), no doubt that in your digging adventures you must have come across records marked “Jazz Essential.”
It looks like we are celebrating 100 years of jazz in the Philippines in style. We should be in for more great jazz music.
What that phrase means is, it is an all-time great album—not a song or two—that no jazz fan should not have in their collection, and even, an intro for jazz neophytes. This includes Miles Davis’ Kind of Blue, John Coltrane’s A Love Supreme, Dave Brubeck’s Time Out, Chet Baker’s Chet, and Ella in Berlin just to name some shining examples.
And that begs the question—do we have Filipino jazz essentials?
We threw the question to respected music writers, aficionados, movers within the scene, and musicians. We eliminated recordings done abroad for foreign labels. We also did not include those that had only one Filipino in a sea of performers. On this list, the Filipino is the main man—and these recordings are not only great, but both groundbreaking and influential.
Pinoy Jazz – Eddie Munji III (1977, Jem Records)
When this album came out, it sort of laid the groundwork for many future local jazz albums. Eddie and producer Jim Paredes reworked traditional Filipino songs that ran the gamut of jazz fusion to big band jazz even using traditional instruments to give it a different flavor.
Groundbreaking.
The Jazz Friends (self-titled, Blackgold, 1977)
By the time this album was recorded, this all-star line-up led by saxophonist Lito Molina had decades of experience playing in various jazz clubs in and around the country as well as in the United States.
The all-original music they performed took their inspiration from the era in which Molina grew up – the swinging ’50s and ’60s. But the music also was the product of the fusion movement of the ’70s.
Batucada sa Calesa—Bong Penera (1977, Blackgold Records) and Bong Penera (1978, Blackgold Records)
Thirteen years after that historic album of Stan Getz and Joao Gilberto (1964) that introduced bossa nova to a larger world, Bong Penera’s self-titled debut album and his second offering, Batucada sa Calesa, added a ‘70s style to the music. And what makes it even better, Penera was penning original compositions. Add that beautiful covert art by painter Malang for the second album and where he pays tribute to the Brazilian batucada (the fast-paced percussive beat) and the old Calesa bar at the old Hyatt Regency Manila hotel adds a respectful touch.
These pair of records will hold their own with celebrated bossa nova/samba releases in the 1970s from Antonio Carlos Jobim (Wave), Quincy Jones (Ndeda), Sergio Mendes (self-titled) to name among a stellar number of releases.
Ground Zero—Wdouji (2001, N/A Records)
A beautiful album. The reason why the local jazz scene was buzzing during the early years of the new millennium. After years of pop jazz music where the over-romanticizing of the saxophone and muzak worthy covers, the Witch Doctors of Underground Jazz Improvisation come up an album of originals that swing, make you sit up and nod along, and chuckle when you see the song titles – these guys have a sense of humor.
Affinity—Johnny Alegre (2005, Candid Records)
A wonderful modern jazz album by this supergroup that includes guitarist extraordinaire and composer Johnny Alegre, drummer Koko Bermejo, bassist Colby dela Calzada, pianist Elhmir Saison, and saxophonist Tots Tolentino.
If you look at the time frame, the mid to late 1970s was a fertile ground for Filipino jazz. Four of them off the bat shows that the scene was alive and jumping. And there are the first few years of the new millennium with Wdouji and Johnny Alegre’s masterpieces.
Does that mean there’s a 20-year cycle before the next wave of creativity, ingenuity, and masterful performances hits us? Possibly.
Are there any other albums that could be on this “Jazz Essentials” list? Definitely. For now, there is just this.
Walotao—Simon Tan (2024, Bass Hex Records)
You might say this is way too early to fall into the essential category. BUT IT WILL. Because it is damn good.
The year 2024 opened with this first release on vinyl by one of the more respected bassists in the country in Simon Tan (who was also a part of Wdouji). Tan assembled an all-star cast of musicians to breathe life into a beautiful collection of originals. It has been years since we have been treated to a really damn good jazz album and Tan opened the year with Walton that no true jazz fan should not have.
In this year, that album was followed by the rerelease of Johnny Alegre 3, an album recorded in New York City along with renowned musicians in drummer Billy Hart and bassist Ron McClure—on vinyl. And smooth jazz band Kiss the Bride with the incredible guitarist Joey Puyat in tow with the beautiful and refreshing songs by keyboardist Tony Razon is about to drop their debut album soon as well.
And most recently, the Ayala Museum played host to a series of Filipino jazz events. Coincidence? Or it’s just the cycle of things? Whichever, it looks like we are celebrating 100 years of jazz in the Philippines in style. We should be in for more great jazz music. And hopefully, more jazz essentials.
