IN HER interesting post, "Idol Talk: The Pinoy Connection," Vera H-C Chan wrote
, in part, "â¦a University of Arkansas economist actually used 'American Idol'
as a means to study racial discrimination in the labor market. He uncovered a '
positive correlation' between the race of the viewers and contestants when the
competition got hot. In Malubay's case, she has the backing of Filipinos in her
hometown and in the Philippines in her pursuit. Given the small population (an
d the latter's ineligibility to vote), Malubay's appeal will have to transcend
race. That may be exactly what both sides are hoping for."
Let's hope that Ramiele does indeed transcend race and get the support of a vas
t majority of Americans who vote on "American Idol." Jasmine Trias nearly made
it because she was able to achieve that. What many are saying is that Ramiele h
as truly what it takes to be an "American Idol" so with the combined support of
Filipino-Americans (and they do not comprise a "small population" in the US),
Asian-Americans and mainstream Americans, she may realize her dream of becoming
the first brown "Idol."
Kababayans, what do you think?
DON HECKMAN, veteran jazz critic of the Los Angeles Times, praised Filipino jaz
z artists in his review of the third annual Fil-Am Jazz Festival at the Catalin
a Bar & Grill in LA.
Charmaine Clamor, founder and chair of JazzPhil-USA, shared the good news. Heck
man, a respected authority on Americaâs jazz scene who has been reviewing jazz
concerts and albums for many years, wrote, âAlthough singer Charmaine Clamor ha
s begun to get some much-deserved attention as an appealing new arrival, many o
f the other artists are best known in their native Philippines. But surprise! T
he program was a delight, a nonstop string of first-rate performances testifyin
g to the high quality of Philippine musical talent as well as to the global rea
ch of jazz.â
Heckman penned very favorable comments for each artist in the showâs lineup:
âPianist Tateng Katindig, Philippine-born but an active Southland player since
he moved to Los Angeles in the early '90s, opened the evening with a rhapsodic
take on the standard âA Beautiful Friendshipâ before digging into an up-tempo r
omp through a group of imaginative variations on âCaravan.â
"Far less known in this country, singer Mon David was the winner in 2006 of the
first London International Jazz Competition for Vocalists. His set, ranging fr
om a stunningly improvisatory reading of âFootprintsâ to the grooving lyricism
of âI Remember Youâ was the stuff of world-class vocalizing. At a time of real
paucity in top-ranked male jazz singers, David showed the potential for a signi
ficant breakout.
"The same can be said for guitarist Johnny Alegre, whose pair of original tunes
-- âOfferingâ and âBarnabasâ -- managed to invigorate his inventive lines with
Pat Metheny-like drive and a sound reminiscent of Gabor Szabo.
"Alto saxophonist Julius Tolentino took a different tack, roving across jazz hi
story, including the bebop licks of a Charlie Parker-inspired âI Can't Get Star
tedâ and the honking, bar-walking-style âJacob's Bounce.â
"A pair of pianists followed. Veteran pianist-composer Toti Fuentes, joking wit
h the crowd and looking hearty after recovery from cancer, played a gorgeously
lyrical rendering of âAlfie.â Victor Noriega's âPandangguhan,â a take on a trad
itional Philippine folk song, blended fiery virtuosity with irresistible swing.
"The evening's most remarkable set was provided by the versatile Abe Lagrimas.
After playing sturdy drums to back the other acts, he took center stage, playin
g a harmonically lush version of âThe Nearness of Youâ before demonstrating the
ukulele's jazz possibilities with his own swinging âCentipede.â
"Clamor, wrapping up the impressive program, offered a pair of numbers celebrat
ing the roots of the evening: an incisive transformation of âMy Funny Valentine
,â titled âMy Funny Brown Pinay,â followed by the proudly declamatory âAko Ay P
ilipinoâ (I Am a Filipino).â
