Jazz is an original American art form born at the turn of the 20th century in the unique melting pot of culture that is New Orleans, Louisiana.
A hybrid of blues, marching band and African music, jazz is truly unique in its frequent use of improvisation, syncopation and swing notes.
Surprise is a key element; musicians may start off with a composed piece of music, but after adding their own flavor and flair to it, they create something completely new.
A genre that encourages creativity and spontaneity, it’s not surprising why jazz has spread on a global scale within the past century, and continues to be one of America’s most loved art forms.
The history of jazz in the Philippines is an interesting tale. The state of Louisiana was a poor, rural marshland at the time, but it was also home to one of the first Filipino communities in the United States.
Filipinos who took up residence there were fleeing Spain’s forced labor and staggering taxes in the 18th century. They would enlist on trade galleons bound for Acapulco, Mexico, then desert upon docking at port.
The families eventually settled on the shores of Lake Borgne, calling the town Saint Malo. The settlement lasted from the mid-18th century to the early 20th, when it was wiped clean by the New Orleans hurricane of 1915. With their town no more, the families began to disperse throughout the rest of the US.
Those who remained within the French quarter, however, may have witnessed the birth of jazz. This early exposure was later on complemented by the influx of American culture, brought about by the Commonwealth Era.
Musical talent
The Philippine Youth Symphonic Band, or PYSB, was founded in 1978 with the hope of discovering and tapping into the musical talents of Filipino children aged seven to 23.
The organization remained dormant from 1986-2003, but was revived in 2004 by the Young Musicians Development Organization, a nonstock nonprofit organization funded by donations from the general public.
This resurrection was spearheaded by some of the original PYSB members from the ’70s, which include veteran trombonist maestro Romeo San Jose, Dona Punsalang and Bombie Custodio, who wanted to rejuvenate the organization with a new vision: “Music, Education, Opportunity, and Livelihood.”
Along with the original members, the band is currently backed by a board composed of Irene Araneta, chair; Maja Olivares-Co; and Billy Valtos. The PYSB staged its first concert, “Camp 7,” in 2005, and recorded an album of the same name with guest performers Martin Nievera, Lea Salonga, Rachelle Gerodias and Cris Villionco.
On a roll
The PYSB has been on a roll since then, with annual concerts that incorporate a plethora of genres, ranging from classical to folk, pop, and, most recently, jazz.
In 2012, the 23 best “jazzers” were handpicked from the band’s 62 members and sent to participate in the Tokyo Manila Jazz and Arts Festival (May 2013) as well as the 2nd CCP Jazz Festival (September 2013).
Its most recent concert, “Discovering Jazz With the PYSB” was held on Nov. 9 at Whitespace, and hosted by Karen Davila.
The concert was a musical success despite the weather, and featured the band’s jazz ensemble alongside celebrated jazz vocalist Bituin Escalante, who is one of the many musical benefactors of the PYSB.
The band’s fiery passion, complemented by Escalante’s electrifying presence and powerful vocals, brought smiles to the faces of jazz newbies and aficionados alike.
The repertoire included popular jazz pieces like “Stella by Starlight,” and jazz adaptations of pop and Latin songs.
Several pieces were arranged by the late Filipino bassist Roger Herrera, and these young musicians paid tribute by carrying the torch that has been passed on to them by past legends like him.
The road from “Camp 7” to discovering jazz has been quite a journey. As its repertoire has evolved extensively throughout the years, so have the kids. The band’s most successful concert, “Laro: Child’s Play” at the Cultural Centre of the Philippines held on Nov. 27, 2010, featured a playlist like no other. Traditional Filipino folk songs were given a 21st-century tweak, mixing age-old medleys with new pop, jazz, and reggae infusions.
The event featured various artists like Sylvia La Torre, Andrew Fernando and Sarah Geronimo. The event was hosted by Cherie Gil.
From kids to artists
The summer camps these kids have been attending have shaped the PYSB into proud members of the Philippine music community. The transition from classical to folk, pop, and jazz mirrors their maturity from kids to artists.
In this age of instant gratification, music remains one of the only fields that require pure commitment and hard work—where skill and prowess are achieved from long hours of study and rehearsals, and not just at the push of a button. These kids are a testament to that fact, as many have graduated and moved on to playing professionally.
The PYSB aims not only to train young musicians in the art of playing instruments, but also in nurturing their careers, hoping they could take control of their future in the music industry.
When asked to describe their experience with PYSB, and how it shaped them as individuals and musicians, trumpeter JP Sta. Ana and saxophonist Adrienne Constantino had this to say:
Sta. Ana said, “My experience in the PYSB is amazing. My mentors were great. I enjoyed the music so much. Met happy and funny friends and I had a great time playing with them. The trust that the San Diego Music Camp gave me last July to lead the section, I owe it all to PYSB that has been part of my life and the life of all the young musicians.”
Constantino said, “My experience with the PYSB is full of enjoyment and happiness whenever I play music with them. PYSB has molded me to become a better person by making friends in the band; makulit po ako e, hehe. PYSB has taught me a lot of things when it comes to music—it’s more about the techniques, enjoyment, self-confidence, and passion, whether rehearsing or performing with the band.”
Watching PYSB concerts makes me very nostalgic. I am very grateful for having been able to watch the band since I was 6 years old.
These kids are more than just artists, more than just musicians; they are role models—living proof that hard work, passion, and sheer love for something can take you places.
I was mesmerized at the group’s Nov. 9 concert. I realized that these young musicians were not the same kids that played nine years ago at Camp 7; they had grown to be much more. One thing, though, remained constant—the sparkle in their eyes whenever maestro Rommy San Jose whipped out his baton, a signal for them to start playing.
The next time you attend a PYSB concert, I implore you to close your eyes. Almost magically, you won’t be at a concert listening to a bunch of kids; instead, your heart and mind will be transported to a vibrant New Orleans joint, as the settlers of Saint Malo had been—listening to the birth of a musical revolution.