A smooth jazz evening that ironically, is anything but smooth.by Bito M. Tiano
Smooth jazz continues to receive its share of decries as nothing more than pop tracks sans the lyrics. November 14, 2009 though finds the ball in smooth jazz courts, andthe team at Casino Filipino Hotel does more than parry – it packs a bludgeoning wallop to the accusation. WORKING STIFFwith guests Wowee Posadas and Joey Puyat shatter the misnomer that is smooth jazz as they ripped through three sets of selections. Never first timers in Bacolod, the guys knewthat the place was more home than a new territory. After all, it is a JazzSociety of Negros event - and spirits were high as everyone found their tables through handshakes and small chats.
Musically, the band couldn’t have been better. WORKING STIFF showed that they were not just blue by affinity (it’s an Atenean band), but deeply azure as their music befits. This time, reed man Raul Banzon was officially on leave – and filled in by one of the señors, Lorry Zamora. Funnily, Raul joined on the second and third set as a guest of the band he is a member of. One cannot imagine the Stiffs without both horn players’ distinct voices as they handle David Sanborn, Dave Koz and even the smoking show ender, SKYSCRAPERS. Both have their shares of solos , and we are reminded why the saxophone is more than just an icon in jazz. It is also a sight to behold how the two keyboard players, JUN FERNANDEZ and MARI CANCIO work with each other, considering the complex arrangements of the songs. OGGIE BENIPAYO handled the frontline duties and vocals with such inspired pipes. Old and new tracks were neatly lined up in three sets. It wouldn’t come as a surprise to find SONG FOR LORRAINE, WELCOME TO THE ST. JAMES CLUB, CAFÉ REGIO’s, SERAPHIM or HEART to HEART that night. Surprisingly (for the Bacolod crowd, that is) guitarist KEDY SANCHEZ sang solo on Robert Lamm’s LOVESONG and Ogie’s take on the Al Jarreau classic BURST IN WITH THE DAWN sounded fresh. Raul did Pat Metheny Group’s hauntingly beautiful ARE YOU GOING WITH ME on EWI (Electronic Wind Instrument).
The collective effort exudes so much joy (Atty. Rookie was smiling through the sets) that people had to sing along the lines or just dance. The solid rhythm founded ROOKIEGARCIA’s set and JOHN MARIN FLORES’ bass grooves insistently that you can seeheads bob even during the slower numbers. It was one of those rare experiences where people sang along to songs without lyrics. The last time I have seen this was on a RUSH concert DVD, as the trio stormed through their hit YYZ.
Part nostalgia, part nirvana – the whole show brought back the happy days of radio (DZRJ, even local FM station MAGIC 103), and the time when a San Miguel Pale Pilsen was Php 6.50.Yet, the Stiffs experience proves that it isn’t ‘WAS’ music, as Igan d’Bayan coins the term. Smooth jazz is never ‘WAS’ music. Right in our faces, the Stiffs build up and deconstruct the very same songs with the stories spun from the ‘NOW’ realm. Not in Cecil Taylor/John Zorn fashion of deconstruction, but an authentic delivery of sound and tone that makes the lines so real – you’ll forget labels.You’ll even forget time, as the show ended past 2 AM. That’s the nirvana part there.
The “Wizard/Gizzard“ Joey Puyat and Wowee Posadas were strategically scheduled during the eveningwhich made the crowd wait with anticipation for every song. Wowee Posadas (or Atty. Wowee, that is) include his original MALATE on the second set.Comfortably seated behind an RD 700, his readings of Bobby Lyle and Bob James were exceptional. Backed by the Stiffs on WESTCHESTER LADY and NIGHT BREEZE, his solos burn slowly one line at a time, building up the next level on a thick Rhodes sound. He has his own voice, phrase and touch amidst the current pool of jazz keyboardists. On the EWF hit SUN GODDESS during encore, heads rose to see him as he soloed. Ingeniously using a Rhodes patch layered with vocals, one would think he was scatting along. He pulls the solo through recalling the late Joe Zawinul. Joey Puyat exudes a transparent persona on and off stage. As we talked offstage (a conversation worthy of another article), he was inspired with his newfound tone via a new overdrive pedal. It is indeed worthy to note how minimal the guy’s set-up was (that’s three pedals, for guitar playingreaders there) yet yielding a big, fat tone. Part blues rocker,part jazz player, Joey effortlessly straddles both worlds. It was a breathe of fresh air to hear Rene Toledo’s SOUTH BEAT, Dave Spinozza’s obscure track ON MY WAY TO THE LIQUOR STORE and even Lee Rit’s A LITTLE BIT OF THIS, A LITTLE BIT OF THAT. His phrasing gets as fluid as he wants to one moment, then turns to rip screaming blues staccatos the next. His unison lines with Lorry Zamora were tight, and they trade lines worthy of the Ritenour-Watts tandem.
Technically, the group would scare the heavens out of any musician, especially if one was tasked to open for them. But open we did, with a short set. As we had a chance to talk with some of the members, obviously it was akin to the Shorter – Santana relationship that we had with them - the STIFFS; and us, the BREW. Not only that we were all weekend warriors, not only that we shared the same passion for the art form, but we all agree that it the sum of every voice and the connection with the audience that makes it happen. To quote Kedy Sanchez, “ Pare, sarap talaga ng bitbitan, lalo na pag magaling ‘yung grupo”.
