|
The Ron Nethercutt-Gus Lagman interview:
Introduction: This interview was held at Monk’s Dream on November 10, 2003, a few hours before the Monk’s Dream Fusion Jazz Festival started. It is part of an ongoing documentary on jazz in the Philippines. At the time of this interview,
Mr. Lagman had no inkling that he would be closing Monk’s’ doors for the second time around, the first time at the Jupiter street location. Mr. Lagman could no longer bear the heavy losses that he had incurred over the last three years. Before his closing, he asked my opinion on the matter and I said:
“Gus you have single handedly brought Pinoyjazz from the obscure underground into the limelight. You have inspired countless musicians to pursue their craft to its utmost limits. You have been kind, warm, and unrelentless in your pursuit to elevate Pinoyjazz to a respectable position.”
You will be remembered for having taken the cudgels of an art form that we have grown to love through the years. Perhaps in the distant future, that dream may surface again. Your dream, our dream, Monk’s Dream.”
RQ…
Ron Nethercutt: Hi, I am here again this time with Gus Lagman. A name that is not familiar as a jazz musician, but Gus, hundreds of jazz musicians know who you are because you have provided a venue for them to which to play, and also thousands of people who enjoy listening to jazz, in this case, Pinoyjazz. I understand this dates back to when you were a young engineering student at UP. I won’t mention the year (both laugh). But your first experience was a jazz concert sponsored by the Upsilon Sigma Phi fraternity. Tell us about that moment, and what it did that has changed your life?
Gus Lagman: OK! I was a Fresh man engineering student when a very good friend of mine and I were walking in the lobby and we saw this poster. It said, “UP Jazz Concert”. It was going to feature, apparently, the big names in jazz. And the story is a little funny because we didn’t have enough cash to buy the tickets, but we knew there was this hole between the engineering building, unfinished at that time, and that led to the UP Big Theater. So, during the night of the concert, you know, equipped with a soft drink bottle and sandwiches, we went through that hole and we found ourselves in the rafters, just over the stage. And so we were there for 2-hours watching and listening to jazz music, and that’s how we both got started into jazz. We loved it so much!
RN: It seems that the venue has changed somewhat between that and Monk’s Dream where we are now. [laughter]
GL: You can say that again.
RN: Gus, I understand also that during that time, there was something called the DRB Jam Sessions that were talked about all through the 50s and 60s. What can you remember that was significant during those early years?
GL: That was really great because I think about a year after that jazz concert at UP, DRB which stands for Del Rosario Brothers, was one of the big appliance stores during that time and they offered their training room for jam sessions. And the big names in jazz would go there – Lito Molina, Tony Velarde, Toots Dila, and some of the vocalists like Nelda Lopez Navarro [ mother of Leah Navarro] would go there. I think it was every Tuesday that they would jam and Lito Molina would emcee the event. Lito would crack a lot of Playboy jokes so it was fun. It was a 2 hour thing every week for several years.
RN: Did a lot of UP students go there or did you bring other friends. It was a pretty big thing then?
GL: Yes, UP students, also professionals and working people as well. It was the center of jazz then.
RN: A lot of those friendships probably continued through the years?
GL: Yes.
RN: You saw a lot of the same faces at other jazz festivals?
GL: That’s right, that’s right although I don’t see them now (laughter).
RN: Well, because you’re in better health and condition.
RN: In early 2001 you started Monk’s Dream. Tell us a little about what inspired you to do that? What were some of your goals and which of your dreams have been answered so far?
GL: Well, three years ago there was no place to go to hear good music, and…even earlier than that. So, I thought why don’t I start one myself, and initially, I thought, maybe a hole-in-the-wall with good music would be enough and that’s it!
Just like most of the jazz clubs all over the
world, they’re situated in the basement. My daughter is an architect, and it came out a lot better than what I expected. Anyway, aside from that, knowing that there are a lot of Filipino musicians, and we are the minstrels of Asia, why don’t we have an international jazz festival in the Philippines. So, that’s also one of my goals, maybe if I start something like this, Monk’s Dream, eventually, we can hold international jazz festivals in the Philippines. So, that’s a goal I have yet to accomplish, but as you know, we hold mini-jazz festivals every three months. So that should be a good start.
RN: I think it’s a good idea…I was talking earlier today with Al Albert whom I just met regarding the tourism and actual financial advantages of having a jazz festival here where people from Japan and Korea might want to come in, listen to jazz and then play golf and then visit the casinos.
GL: Why not?
RN: That gives them an opportunity for that!
GL: Exactly…
RN: That’s something that hopefully, Tourism secretary Gordon might look at?
GL: That’s right, that’s right!
RN: Coming through here of course in your
club, you’ve heard many wonderful jazz musicians, and of course going out to see them. Who would be your top 2 or 3 or 4 that you would like to have, or would you say that these really represent the best of Filipino jazz? I am putting you on the spot.
GL: (laughter) You’re putting me on the spot!
RN: It’s like naming your favorite child (both laugh)…
GL: There are many, as you know there are many good jazz musicians, Tots Tolentino, of course, Jazz for Kicks, Wdouji, and vocalists, female vocalists, Sandra Lim for example. I understand that they’ve been invited to go to Montreux…The Jazz for Kicks that is!
There are some very young musicians like the Brass Munkeys. So, you know in music I don’t think you can pinpoint one person or one band. You love music, you love jazz music that you can enjoy different kinds of musicians. Even American musicians, like Charlie Parker, John Coltrane, Erroll Garner. I mean I can’t say “he’s my favorite”. There’s Thelonious Monk after which inspired the name of this place. So, I’d rather play it safe, because I enjoy many of
them.
RN: It’s like asking, “What is your favorite food?”
GL: That’s right!
RN: All of them!
GL: All of them!
RN: Do you think the Jazz Society of the Philippines, which just recently started, will make a difference now that the organization is up and moving?
GL: I believe so, (repeats) because a lot of people are taking an interest in joining the Jazz Society. You know it’s people that’s going to move this thing forward. It’s not just Monk’s Dream, but the people around it and in it that’s going to move jazz in the country. And, in a
way, I ‘m very happy when I started this three years ago, all of a sudden there are so many places, even in Makati, that offer jazz you see. Probably not like Monk’s Dream , but at least there are a few places you can go to. And I thought that’s good for jazz.
RN: Well, I think it gives the musician a very important venue to work from, and obviously one jazz club is not enough to support the many good jazz bands they have.
It‘s certainly a beautiful venue, it’s a wonderful place. I personally thank you for providing the stage for the times I’ve been on the stage. It’s beautiful to play, the crowds are wonderful, and Rockwell is a really nice place.
RN: What do you feel is still lacking in the local jazz scene? Could you make a wish list you’d like to see? Besides that first Monk’s Dream International festival?
GL: O.K. You know, a couple of days ago I listened to the recordings of Lito Molina, Angel Pena, the jazz groups during those early years…Wow, I was enjoying the big band. They were playing Philippine jazz music, actually not meant to be jazz, and they had this rendition of many Filipino traditional music, and I was enjoying it, I think maybe it was different because it was a big band. And we don’t have those anymore. Hopefully, the UP Jazz Ensemble, who is playing tonight, -- they’re big, a 20-piece band – I am hoping that they can carry on with that tradition. Because while I also enjoy small bands, big bands are a different sound altogether, and maybe I am hoping that they can survive and can prosper.
RN: I think the big band venue for all the large public dances is what is missing. It takes a big place for a big band.
GL: That’s right, that’s true. There were a lot of those in the 1950s and 60s.
RN: And we’ve lost those, I think, world-wide. No one goes out for the big dances any more, except for cruise ships, the big cruise ships.
GL: But still they’re usually just small bands in the cruise ships.
RN: Ahh…We’ve talked about a lot of things, questions that I wanted to know about, and hope that the ones the people want to know about. In closing, do you have any special remarks regarding Pinoy jazz?
GL: I think, just like before, with Lito Molina and Angel Peña, they started playing Filipino music and the jazz interpretation of that kind of music. I think we should have more of that so hopefully, Philippine jazz, Pinoy jazz will evolve from it. I think we will need not only more composers, but more arrangers. Maybe another Angel Peña. [laughter]
RN: I think the mold was broken after that genius. The compositional aspects I mentioned on the panel here in previous…that what is unique, and what can the Filipino musician contribute that is totally unique to his world…
Well, I don’t exactly know what our time was, but I know we’re getting tied up with this busy schedule ahead of us. I want to thank you for everything that you have done, for music, for the jazz musicians, but even more importantly for the jazz audience. Because if it wasn’t for the people that enjoy jazz, the jazz musician would not be needed. So you helped develop that audience, and for supplying this venue for musicians. Gus, I want to thank you so very much.
GL: It’s my pleasure.
|
