A Review of Eastern Skies: The Music of Johnny Alegre AFFINITY,

CAN-KC-5006, a Candid Records Philippines Corp. release

By Collis H. Davis, Jr. * February 20, 2008

Amid some questioning by jazz cognoscenti about the wisdom of undertaking the project of a jazz CD with orchestral arrangements due to the costs involved not only in producing the work in the first place but also in presenting it later to the public in concert form, Johnny Alegre has defied such conventional wisdom by going ahead with the Eastern Skies recording at great personal expense and sacrifice of his time. Only time will tell whether Alegre’s financial gamble pays off. But from a purely artistic perspective, some judgements can be made about the success of this project.

Needless to say, Alegre, in spite of having penned all nine compositions of this CD, had a lot of help in pulling off this production, starting with a stellar group of Manila’s top jazz practitioners – Tots Tolentino, Joey Quirino, Colby dela Calzada and Koko Bermejo -- whom, in turn, were augmented by the able assistance of the 23 member Global Studio Orchestra under the sure baton of Gerard Salonga. But perhaps the greatest accolade of this production goes to Ria Villena-Osorio’s debut as the arranger and orchestrator of this disc.

In assessing a CD for review purposes, I customarily listen to it on different playback systems in order to get a fix on the mix of the production. It is a case where different systems accentuate certain frequencies or classes of instruments. So, whenever I hear what I consider a problem in the mix, I check to see if it is also audible on other playback systems before coming to any conclusions about the would-be problem. While the over all mix on this CD is quite excellent, I did notice a couple problem areas in the mix which I will discuss in more detail when I comment on some of the compositions below.

Featuring never-before-recorded-compositions with the exception of “Wind and Water” that appeared on Johnny Alegre AFFINITY’s 2005 recording (CAN-KC–5001), the arrangements of these mostly medium-tempo tracks grow ever-more complex as one listens to the CD from beginning to end. It is unclear whether the sequence of compositions reflects the arranger’s growing confidence over the duration of the scoring phase of this production or that it is simply a matter of production design that suggests this kind of development. Whatever the case may be, from a listener’s standpoint, the arrangements’ increasing complexity makes for a compelling listening experience with the last four or five compositions showing more creative verve by the arranger.

“Mother’s Day”, the third track, is notable for it’s simple “metronome”-like tempo provided close to the three-minute mark by percussionist Koko Bermejo that is juxtaposed against solid solos by guitarist Alegre and Tots Tolentino on tenor sax. And speaking of solos on Eastern Skies, they range from 1-min to 1:20 in duration for each of the players consisting of Johnny Alegre, Tots Tolentiono and Joey Quirino throughout much of the CD. Given that this CD runs a total of 47 minutes, one wonders why the soloists couldn’t stretch out more to take advantage of the full capacity of the audio CD.

“From Long Ago”, a ruminative, low-key composition, features an interplay between the strings in the high register, particularly the violas, cellos and harp, and Alegre juxtaposed in a lower register making for a good sonic contrast. About three-fourths of the way through, I felt that Colby dela Calzada’s already robust bass becomes a bit too dominant, sometimes overwhelming the cellos and violas, a problem which I think could be easily remedied in the mix.

“Buddha Smiles”, a medium-tempo composition, enters into a nice counterpoint section between the winds and brass and Bermejo’s drums after the opening statement of the melody. Colby then provides a solid foundation with a repetitive riff overwhich Tots lays an energetic, emotional solo and which is followed by Alegre’s equally inspired take.

“Wind and Water” effortlessly lives up to its title through an effective use of strings, clarinet, oboe and harp to establish the melodic line. Filled with drama, Alegre’s guitar plays a very nice spare, if not austere solo to the brush work of Koko. The overall work has a beautiful clarion quality that provides an appropriate backdrop for Tot’s tenor sax solo. Unfortunately, Tots gets drowned out (no pun intended) at the end of his solo, left in a wash of sound as the strings crescendo. Perhaps it was intentional to conclude Tot’s solo in this manner, but I am not sure this works very well. This may be a problem of direction as well as a questionable mix.

  Characterized by alternating segments of loud and soft passages, “Light and Joy” opens with a tantalizing sustained note counterpointed by Joey Quirino’s repeating motif and Colby’s bass riff, afterwhich horns and guitar come in to state the melody. Rhythmically up-beat, this composition exudes the joy of its title. Mid-way through, Tots solos against comping by the piano and vigorous drumming by Koko. The remainder is handled by a short, distinctly Pat Martino-ish rapidly articulated solo by Johnny and closed out with Bermejo‘s hard-kicking percussion as the ensemble re-states the theme.

        One of Alegre’s most elegant compositions, “The Stranger” is a medium-tempo work that is scale-like in feeling as it begins with a distant, but haunting soprano voice, then reprised closer up spacially as it restates the opening phrase. Koko’s cymbal work introduces Joey Quirino’s excellent solo in which he purposely retards the tempo at points thus creating an interesting tension. Tots follows with a spare solo, sounding a little bit like Wayne Shorter he completes his solo. The strings end with the riff that began the composition but end on a suspended note that is left unresolved. Nice.

        Closing out this excellent recording is “Sunset”, a plaintive composition that is reminiscent of the Negro spiritual, “Go Down Moses”. Opening with a distantly heard phrase with the flugelhorn, Alegre’s guitar states the theme, afterwhich the strings play its refrain. Sounding a little like a Gershwin arrangement out of “Porgy and Bess”, “Sunset” distinguishes itself from the famous musical by its abstract, meditative character. Given the title of the CD, this composition appropriately brings this excellent work to a close.

        After this review was completed, Mr. Alegre informed this reviewer that "Buddha Smiles" will be the theme song of the PIJazz Fest of 2008. In addition to this honor, Alegre also announced that he was featured in Business World (issue dated February 22, 2008) and Eastern Skies is featured in the March issue of Adobo Magazine, a trade publication of the Philippine advertising industry, now available at National Bookstores.

This work is available at the following stores in Metro Manila: All Music One outlets; Magnet and Fully Booked and soon at the SM Department stores based buyer demand.

The CRUISIN'JAZZ live album does just what it says... just cruising!

The album was recorded live in 1985 aboard the SS Vera Cruz in Florida U.S.A, by the The Rolly Rodriguez Quartet. A reedsman doubling on Hammond organ and Fender Rhodes electric piano, Rolly as musical director of the band, kept the tape rolling one night, capturing the magic of the momment and preserving it on analog cassette tape. Many years later it has surfaced as a home made Cd put together by Rhany Torres of Adobo Jazz fame.

A merry mix of genres ranging from Bossa Nova's "The Girl from Ipanema"; to Calypso's "St Thomas"; to Bebop's "Billie's Bounce"; and standards like "Misty", "Secret Love" and "Shadow of You Smile", are Rolly's choices delivered in a mood package that swings from left to right. The other Filipino musician in the out take is bassist Ernie Manuel, another avid "viajero" ie., traveller. Guitarist Marty Smith and drummer Jimmy Boller make up the other half of the quartet.

At present Rolly is with the Jewelmer Jazz Band. Aside from playing in 5 star hotel lounges, he also sessions around with small groups in obscure dimly-lit clubs strewn all over Metro Manila. For more info check out Jazzphil's gig guide, it's almost all listed there!

Richie Quirino

When Harris Grill opened its doors to the public in 1995 , jazz patrons were happy to hear that after almost eight years of lying low, pianist Bel Cruz had finally come out into the open. He had been in the woodshed for too long, when venue owner Harry Tambuatco convinced him to play seven nights a week with the musicians of his choice. After two years of romping night after night, local BMG records executives took notice and convinced the fifty three year old to record an album.

Bel's reputation as a fine pianist has elevated him to the level of known and respected "maestro's" such as; Emil Mijares, Romy Posadas and the late Eli Saison. He was nicknamed "Bugudoy" by his family due to his childhood chubbiness that fit in well with his over all persona. Being the eldest grandson of 1930's big band leader, Tirso Cruz Sr., it is no surprise that Bel is the flag carrier of a family tradition involved with music excellence.

The choice cuts recorded and released in 1997 are Bugudoy's arrangements of classic Filipino compositions penned by Nicanor Abelardo in "Mutya ng Pasig"; Lucio San Pedro in "Ugoy ng Duyan"; Constance de Guzman in "Maalaala mo Kaya"; and Mike Velarde in "Dahil Sa 'Yo". Bugudoy's own creations stood-out considerably well with the use of Latin-feels that echo our colonial past. Originals "Kay Mahirap Umibig"; "I'm in Love"; "Wait for Me"; "Thanks for the Company" and "It Happened at Harris" complete the set list.

His family gave him all out support in this venture with his brother Mori playing the bass, and cousins Johnny Cruz on the timbales, Tirso Cruz Jr. on the congas, and Nancy Cruz on vocals. Tom Galang contributed his bass lines while drummers Cesar Santos and Gil Dumas round-off the cast.

Four years of playing at Harris Grill night after night took its toll on Bugudoy. A number of years back I heard he was confined for liver and breathing problems; not surprisingly, something that most musicians fall victim too! Generous amounts of double brandies and cancer cigarettes coupled with late nights and no exercise have slowed him down considerably. Well, Bel hasn't quite thrown in the towel for good. Just last March I was invited by singer Arthur Manuntag to drop by the Seventh Note Bar where Bugudoy was doing Thursdays. He looked pale and scrawny in comparison to his hey days, but the second after Arthur called out a tune, his eyes lit up and so did his fingers!

Richie Quirino

7/17/05

READ Richie Quirino’s ONE on ONE with Bel Cruz. Click here for the Spotlight page.

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