(Fifteenth of a series)

Back in the day when traffic between Quezon City and Makati did not take a grievous toll on one’s money and sanity, QC-based friends and fans of jazz artists performing southside would, with at least a few hours’ notice, drive over to catch the shows. Notable jazz southies included the classics Jeannie Tiongco and Henry Katindig; Richard Merk; Megan Herrera; Eileen Sison Gomez; bassists Colby de la Calzada, Dave Harder, and several instrumentalists; and the exhilarating Sandra Lim-Viray.

The eternal Sandra—irrepressible, immensely talented, utterly reliable. The call for her to perform on stage came early in the late ‘70s, particularly one that came from the Batucada and jazz fusion pioneer Boy Katindig; in 1978 she was singing regularly at Birds of the Same Feather (renamed Birdland in 1986). In 1979 she became the mainstay of the long-running bar Papillon, as the singer for Network Band. Her high visibility ensured her back-to-back bookings as a solo artist; by 1982 she was singing for the innovator of Brazilian-influenced Philippine jazz, arranger and composer Bong Peñera, at Le Boulevardier.  

From 1985 to 1988, Sandra sang at Hyatt Hong Kong, and then took a break of several years when she came back. “I got married and we started our furniture business,” she says. “We also wanted to have more time with our baby boy.” Picking up the pace in 1996, Sandra has since performed at New World, Strumm’s, Charlie’s, and Monk’s Dream.  

In January 2006, Sandra, together with her husband, drummer Jun Viray, and guitarist Egay “Koyang” Avenir (both deceased), launched the first Philippine International Jazz Festival (PI Jazz).

“The festival was borne out of late-night [drinking] sprees with my husband Jun and best buddy Koyang,” says Sandra. “We were lamenting how the Philippines did not have a jazz fest when we had so many good musicians. So, without any funding, we went ahead and did it. The first, in 2006, was held at the CCP Harbor Point where a hundred local bands played for free.”

All-star jazz cast

That landmark jazz fest in 2006 was headlined by Brazilian pianist and composer Eumir Deodato and American fusion/pop singer Kevyn Lettau (who would return to Manila for shows thereafter). 

The local jazz roster was arguably even more impressive. Led by Verni Varga and Richard, the performers included Grace Nono and Bob Aves, Charmaine Clamor, the UP Jazz Ensemble, Alvin Cornista, Nyko Maca, Brownbeat Allstars, Affinity, Brass Munkeys, Koko Bermejo, Mishka Adams, Jun-Jun Regalado, Cynthia Alexander, and Mon David (who went on to win the grand prize in the London International Jazz Competition in the same year).

PI Jazz had 13 yearly editions before taking a break following the death of Egay in 2011 and Jun in 2018. Covid-19 ultimately forced it into a six-year intermission, with the curtains rising on its 14th edition, dubbed “Colors of Jazz,” last year.

“Every year, I say never again, but the spirit of PI Jazz literally haunts me,” says Sandra. “It’s not just a festival. It’s an experience, building bridges of friendship with other music lovers here and abroad.” 

She adds that she usually waits for a sign: “Last year, it was the Singapore Embassy through Singaporean jazz vocalist and pianist Michelle SgP [Poh]. This year, it is The Asia Pacific College through the kind introduction of Tony Alcasid. I believe in divine intervention, and wherever the spirit leads me, I will follow.”

Sandra admits she’s not a good planner. “I don’t plan. I just do,” she says. “After all, this is jazz we’re talking about. I’ve made mistakes and learned a lot from them. I guess there were many who tried organizing jazz festivals before, but never got beyond ‘the first’ when they realized that it wasn’t lucrative at all.” 

At its peak, sometime in the 2010s, PI Jazz enjoyed strong corporate support, which included Gabby Lopez and ABS-CBN. “Those were easily the best years when I didn’t have to worry about the business side,” Sandra says. In those years PI Jazz headliners included the American jazz fusion bands Yellowjackets and Spyro Gyra, vocalists Dianne Reeves—“I cried,” Sandra says, recalling the moment—and Jane Monheit, and jazz guitarists Lee Ritenour and John McLaughlin. 

“We introduced Eldar Djangirov, Hiromi, and Esperanza Spalding,” Sandra adds. “We even got Gary V and Diane Schuur to duet. But not everyone was happy with the success of the festival and did what they could to bring it down.” 

Coulda, woulda 

At certain points, the Philippines had hosted regional and international jazz festivals, and was well positioned as a jazz hub in Asia. In the late 1990s until the early 2000s, when tobacco control laws weren’t as yet in full force, Philip Morris International was the bringer of the brightest American jazz stars to Manila. We have an internationally well-regarded and constantly evolving jazz talent pool that can provide a robust foundation for any major jazz event. There’s PI Jazz, a member of the Asia Jazz Festival Organization, and continuing efforts by jazz musicians and venues to keep the jazz flame ablaze.     

“I think the Philippines was ready at some point, but it seems the opportunity and inspiration passed us and moved on to other countries, fortunately for them,” Sandra says.

In Asia, the Jakarta International Java Jazz Festival (Java Jazz) is arguably the largest jazz festival in Southeast Asia, and one of the biggest in the world. Held annually in Jakarta, it consistently features a terrific lineup of international and Indonesian jazz, soul, R&B, and pop artists across multiple stages. Running since 2005, it is a major highlight on the global jazz calendar.

In Malaysia there’s the Borneo Jazz Festival in Miri, Sarawak, launched in 2006, a significant event featuring both local and international acts in East Malaysia that draws jazz lovers in the region.

Singapore has “Jazz in July” at the Esplanade, that country’s longest-running annual jazz event focused on the local jazz community but also featuring international artists. There’s also the Singapore Jazz Festival (Sing Jazz), whose various iterations have drawn global jazz stars to play alongside local talent, and often held at renowned venues like the Marina Bay Sands.  

Finally, Thailand’s Hua Hin International Jazz Festival, whose history spans more than two decades, is known for bringing top-tier artists to that country’s coastal destination.

To recover lost ground, “we will need tourism and government support,” says Sandra. “Our artists are so talented and world-class, but lacking in opportunity.” 

Playing for the world

On June 14, PI Jazz celebrates Philippine independence with a one-day music festival at the Asia Pacific College in Magallanes. “Because we are totally unfunded and are relying on ticket sales, we have reduced [the festival] to one day but with simultaneous venues,” Sandra explains. “This year’s edition [continues] the concept we created with [jazz composer] Faye Miravite—‘Beyond Borders: Music for the World.’”

“This means,” she says, “there’s something for everyone—guitar, bossa nova, ethnic, a percussion orchestra, a big band, an a capella group, and pop jazz. The lines and labels may be blurred, but it’s always, always great music.” 

Everything now seems to be humming along for Sandra. While music remains her greatest passion, the furniture business she started with her husband is thriving, and her beachfront property in Zambales, which sometimes hosts pop-up live music, is doing fairly well as a rental. 

God has been good to her, she says. To give praise and to reciprocate the blessings, she shares the wisdom that the years as performer, wife, mother, and festival organizer have granted her: “Be unique, embrace your gifts, and do your best with them; be bold, take risks, trust the Almighty; be humble, admit your mistakes, learn from them; be kind, be considerate of others, make someone happy; be beautiful, create, affect people positively in whatever you do; be happy and enjoy what you are doing.”

“Make someone happy”—this is perhaps the goal of music, particularly jazz. I know it is, for many a wonderful musician that persists, despite despite.

Read more: Portraits in Jazz: JQ and the will to chill