Jose at Musika “Luma” Album Launch Live @ Mang Rudy’s: The Entire Set on Video

For those of you who missed the album launch last March 5, 2016, there is still yet a chance to watch and listen to our set. We managed to acquire some videos of the entire set we performed that night (eight songs out of nine from the album).

“Jose at Musika” is Jose delos Reyes on vocals and acoustic guitar, Robert Taylan on bass, Wibert Tan on lead guitar, Wowoo Ranada on percussion, Jazz Magday on drums, and yours truly (Mark A. Galang) on keyboards.

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JOSE at Musika Live at Mang Rudy’s Tuna Grill and Papaitan: Part I – 10/11/2015

This is my third performance as the regular keyboard player for JOSE at Musika. Here’s part 1:

Life as a “Single” Guy – Stories Through Musical Improvisation: XVI. “Elevator Jazz” Jam

A good way to spend a break from transcribing music to jam freely to some random backing track found on YouTube. It’s one way to have fun and try to develop/enhance chops.

A Jazz-Prog-Rock Fusion Band’s Early Beginnings

Since going for anything musical full time in a professional capacity, I decided to form my very own jazz-prog-rock band with two guys from graduate school, namely Diamond Manuel on trombone and Jeffrey Abanto on guitar, bassist RJ Sy (Karl Roy Band, Kastigo, etc.), and drumming virtuoso and chef KC Puerto. Together, we’re Hi-5! Nah, just kidding. We’re an unnamed jazz-prog-rock fusion band that is currently in its infancy. The video above is an excerpt from our two-hour first rehearsal session together where we had the audacity to take a crack at Alan Pasqua’s “Proto Cosmos” (popularized by the Tony Williams’ Lifetime band and Allan Holdsworth). I am quite pleased with our first session together as we were able to go through a somewhat tricky piece and survive it, hahaha! Other than this piece, we also had loads of fun with a free improvisation session. Hopefully, we’ll start working on original music as well as a couple of covers to spice things up.

The spark of it, all, however, was this free improv session with Diamond:

Is Jazz Dead?

Is Jazz dead? Depends on where you live. In the Philippines, it’s barely surviving, no thanks to local mass media, many of which are hell bent on keeping people stupid with anti-neuron “music” and TV shows. However, artists like Johnny Alegre and the Tomodachi Trio along with places like Tiendesitas try as much as they can to keep it alive. In the place where I serve, I’m the only guy who’s seriously into jazz, my bandmates know of it on a superficial level, and the rest of the folks attending the services have little idea of it. The way things go with the music industry nowadays, it is probably hanging on for dear life even in its birthplace, the U.S. of A. although because of its cultural value it might continue to live on. In places like the university where I attend, some semblance of it still lives through the popular music courses being offered. Unfortunately, we don’t do jazz in graduate school. I asked the dean numerous times if we had a jazz major or elective since I was interested. The reply was negative.

If you ask Wynton Marsalis the question “Is Jazz Dead?”, here’s his reply:

Maybe we could try asking Frank Zappa that question. He said, “Jazz is not dead. It just smells funny.” Perhaps you can take the word from someone who can be inspired by some of the most profound things on earth down to the most mundane of things like fried chicken:

Johnny Alegre’s Jazz Guitar Workshop @ Tiendesitas Super Jazz Weekend – Part 1: “The Experience”

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(Author’s note: Earlier this week, I asked permission from Mr. Johnny Alegre to post this piece. Last night, I was granted permission to do so and even got help completing the piece in its final form from the legendary jazz guitarist himself. I feel very honored.)

Around 3 p.m. last Sunday (May 25, 2014), I stopped by Tiendesitas to attend a very much anticipated jazz guitar workshop. This jazz guitar workshop was facilitated by none other than one of the top jazz guitar heroes of the Philippines, Mr. Johnny Alegre. I’ve heard of Sir Johnny around the late 90s, but I became acquainted with his work through his CD “Eastern Skies”. The blend of jazz guitar and the sounds of the Global Studio Orchestra (conducted by Gerard Salonga) was captivating to say the least, and I wondered how Sir Johnny was able to do his thing. This afternoon’s event was a chance I took to somehow find out how he thinks musically as well as gain some useful information to improve my jazz composition and piano/guitar skills.

The workshop kicked off with an interview conducted by Zach Lucero (former NU107 DJ and drummer of Imago and Humanfolk), which served as kind of an introduction to Sir Johnny. Afterwards, Sir Johnny tried to figure out what his audience was like that afternoon, a mixed group of people consisting of beginner-level guitarists to people who’ve had many years of experience, such as myself. The key tips in his workshop were:

  1. Be in tune.
  2. Play in time. Have good timing.
  3. Strive for the right tone.
  4. Have good visualization (e.g. practice playing all your modes across the fretboard, draw fretboard charts)
  5. Listen to great works of music.

The workshop had discussions ranging from some of the most basic topics such as getting in tune and scale shapes to more advanced discussions of jazz theory such as modes and the impact of Latin American music.

In terms of jazz guitar playing and composition, one of the points that greatly captured my interest was Sir Johnny’s discussion and demonstration about modal interchange and secondary dominants. Why is it such a big deal? It is because it explained a lot of things such as playing minor pentatonic or the Dorian mode over a major blues chord progression, “out there” soloing, the use of color/passing/approach tones, and other stuff that makes jazz sound like what it is. Modal interchange and secondary dominants make perfect sense as to how many jazz pieces (bebop and modal jazz in particular) start at a particular key signature, drift in and out of different key signatures, and then end right back at the original key signature without sounding jarring like a 20th-century serial composition (Ascension-era John Coltrane is a different case for another discussion). Sir Johnny’s words regarding the matter had confirmed what I have been hearing and trying to do before: Modal interchange has big implications not only in the way we approach soloing but also in reharmonization and composition.

The seminar sort of felt like most of my jazz theory discussions with pianist Steve Nixon, with the exception that this time it’s about jazz guitar. I have been learning jazz through a pianist’s perspective for most of my life as a musician, but this afternoon was the first time that I was able to learn jazz directly from a guitarist’s perspective. For years I have done work to try and understand the theory of jazz through a piano keyboard and have been trying to transfer that knowledge through the guitar. Thanks to Sir Johnny’;s workshop, I was able to confirm that I must be doing something right with all that experimentation and self-learning. More than that, I now have some understanding as to how Johnny Alegre approaches jazz guitar and this big musical language called jazz itself. Would I say that the workshop was a success? I would say yes simply because my understanding of how and why jazz guitar is what it is has improved vastly thanks to Sir Johnny.

So, how did it all end for me? Well, like a star-struck fanboy, I fumbled around thanking the man for the stuff I learned and I asked permission to publish this post (with snippets of the recording and photos). As star-struck as I am, I forgot to introduce myself properly, despite trying to converse with him three times, and I forgot to purchase his latest album (which I will BTW) despite having prepared some cash for it. I even made an embarrassment of myself by asking, “What was that piece you played at the end?” only for him and another member of the audience to tell me that it’s Stevie Wonder’s “You Are the Sunshine of My Life” in a tone that seemed like, “Isn’t it obvious that Johnny’s playing ‘You Are the Sunshine of My Life’? Duh…” Oh well, if I do meet him again, I’ll take note of these things and hope to be a bit more composed and refined in the way I conduct myself in front of him.

If time permits (and if I am allowed to do so), yours truly will  transcribe some of examples Sir Johnny performed in the workshop and make them available here (in standard notation and tab). Watch out for Part 2 of this piece as I try to retell some of the things I have learned from Mr. Johnny Alegre.

For more information about Johnny Alegre, his latest and past albums, and his other projects, please visit this Facebook page or his website.