I wept for myself regretting why it took me a long time before listening to such a beautiful album with Mon’s golden voice, and arrangements and back-up music only from the country’s best artists. I wept for all Filipinos who have failed, and continue to fail, to realize that we have here a musical genius, and that it had to take internationally acclaimed jazz musicians and respected jazz educators to show our country that he is the best in the world. I wept for our national government for failing, and continuing to fail, to give due recognition to this man who has given the country so much honor for his exemplary achievement, and who also deserves the tribute and adulation, or even more, being bestowed on some sportsmen or beauty contestants. I wept in joy for the whole Philippine arts and culture scene for having a certain Mon David in our midst – a true artist and passionate musician who has chosen to stay in the country when he could easily earn and be appreciated much more abroad. And cry-baby that I am, I continue to weep as I write this article.
How could we have taken such a gem – a world-class artist, now a world singing champion – for granted? Here he is with us, for decades now, giving us beautiful compositions and sharing with us his passion for music, and yet, it seems, we all opt for the well-packaged, less talented ones! How in the world did we miss what all the highly esteemed jurors at that prestigious international jazz competition saw, heard, and felt, that made them decide him to be the best among the best? (According to the organizers, all contenders were of an "exceptionally high professional standard!" According to Mon, the line-up of performers and panellists were all jazz icons. Some of the participants were even trained by his jazz idols!) How could we not take good care of artists like Mon, whose whole life has been dedicated to improving his craft and touching people’s lives through his music? And how come we put a premium on beauty contest winners who spend a year or two beautifying themselves at dermatological and slimming clinics and spas? To think, even fleeting sportsmen get more appreciation! Yet, Mon, the ever-modest person that he is, has not complained.
My parents have always taught us six children that humility is a sign of greatness. This, I saw in Mon. In my recent one-on-one interview with him at the Celebrity Club, which is a stone’s throw from both our houses, I saw in him a man who has not changed a bit from the unassuming musician I had come across several times before. I remember him as a member of the Four Play band, which my then boyfriend, now my husband, Paul used to watch during our "courting" days (with me doing most of the courting, ha ha ha!) at the then El Camarote, Holiday Inn, and the Alibi Bar, Regent of Manila. (Those were the top choices then for live entertainment; the equivalent of today’s Boulvar Lounge and Calesa Bar.) I recall him being the drummer of the APO Hiking Society. (Yes, he plays the drums, the guitar, and other percussion instruments as well). I also crossed paths with him, me with the Opera band and he with a group of sterling jazz musicians that included renowned saxophonist Tots Tolentino and percussionist Colby dela Calzada. I remember him as the mellow-voiced member of the Ang Fourgettables together with Isay Alvarez, Pinky Marquez and Dyords Javier. I remember him saying yes to me for a Pagcor fundraising event held at the Alegria Lounge of the Manila Pavilion Hotel to improve the detention centers for juvenile delinquents in Manila. Ask anyone in the real live "entertainment circuit" – Mon David is looked up to with highest regard.
Mon David, who incidentally has been invited to grace the opening of the new TROPEZZ at Greenbelt on Feb. 18, contrary to what others think, is not into pure jazz. Through all the years of performing, he has become one of the most flexible artists, open to a multitude of genres. He can go into pop singing, R ’n B (in fact, a track in his album Soulitude was awarded best R ’n B vocal performance), classical singing, and even folk singing – being very proud of his roots as a Kapampangan, with his very own version of Atin Cu Pung Singsing and his own haunting composition Abe Mu Ku on which he collaborated with the much-respected UP Professor Edru Abraham. Although he was always content to be at the background of more popular singers, he has remained happy as he gets fulfilment in the mere fact that he makes good music, for according to Mon himself "Music is the air that I breathe. Music is the reason for my existence. It is a God-given gift and calling that should not be set aside but should be pursued and developed." To those who are just starting, he brilliantly advises: "Come up with your identity, your own identifiable style and phrasing. Do not copy or try to sound like others. Work hard. Focus. It can never be an overnight thing. And most importantly, do something that gives you fulfilment." Great words coming from a great artist!
And so to Mon, let me express my sincerest appreciation for the glory and pride that you have given our country. Let me thank you for being an example and inspiration not only to young, aspiring artists, but also to our mature musicians who have through the years continuously struggled in honing their artistry despite poor financial gains or no financial gain at all. I thank you with all sincerity for listening to your heart and giving us great, beautiful music.
(E-mail author at celebrationsdot@yahoo.com)