Just when you thought Metro Manila’s live rock scene was cooling off, a friend calls and says he saw Wally Gonzalez (the legendary Juan de la Cruz band’s guitar player) playing at KiKo's Music Lounge on Makati Avenue. Not to dismiss anything, I thought back to the last time I saw Wally Gonzalez at the big budget-low attendance "Pagbabalik Concert" of Juan de la Cruz at the end of the last century. I recall that Wally was up on stage, playing with his old mates in JLDC and a dozen guests and backup musicians. Just too much to bear! Much less, to get Wally's playing and state-of-mind in gear. It was a last waltz with difficult dance steps to follow.
I went to Kiko's on a rainy flooded Thursday night with a friend who I had not seen in 24 years. A friend, who worked at Baguio’s first 5 star hotel, just appeared out of the blue after decades. He had not been home to Manila since the late 70's and clearly recalled showing Wally to his room at the Terraces Plaza Hotel on South Drive. They were about to be in the same space again, merging the music and mind in a very emotional arena. I was enthralled by the electric sound. My second listen to a renewed Wally G. I had caught Wally G & Friends' six song performance on NU107's Tuesday blues/rock show, THE CROSSROADS with Cousin Hoagy. It was an electric/acoustic treat. Just a taste of what is to come. Reader Reactions What do you think about Wally's return? Click here They were very good. The lineup included super bassist Dondi Ledesma, drummer/piano player Wowee Posadas, Armand Quimpo on rhythm guitar and on vocals and blues harp, Junee Centeno. Two veterans plus three young musicians barely out of pampers in 1972. Juan de la Cruz serenaded Martial Law and the handicapped nightlife of midnight curfews and lots of sex.
But unlike the circus atmosphere in the late 90's reunion, Wally has put together a growing set of songs that reflect both Seventies rock radio and Juan de la Cruz' hits. Power blues rock and pumped up versions of rock's icons. It’s low key with a natural groove that has both a simple word-of-mouth appeal and no pretense to hit the spotlight.
 Reeling In The Years: Wally today, playing heavy 70's classic rock to an appreciative cross-generational audience. |
"I really think that Wally should take his time and play Seventies songs," a fan notes. A very interesting mix of aging hippies with their wives and young energetic musicians and listeners are in the audience.
Max, just in his early twenties, sits at the bar and remarks, "I have waited all my life to see this!"
His exuberance is genuine. He sits on the stool edge and just gawks at the sound of his guitars. The audience loves the electric set! Wally is totally in the water and swimming with dolphins.
"You know what," Max gushes, "I first got into Juan De La Cruz through Razorback!"
You will find it difficult to find any Pinoy rock band who hasn't one old JDLC cut in their set. You may not hear it at their gigs or it may be just thrown in to rile the crowd. The classic Pinoy rockers music will never fade or die. It is both nurturing and fitting.
Which brings me to the most asked question, "How do you compare his playing now with that of 30 years ago?"
Well, the first point is, where we are today? A mature and level headed Wally Gonzalez is now in charge of his fate. Not entangled in the whims of hungry producers, tired band mates who can't hold their chops or would rather not play along. Here is a group running on full and inspired. Teary eyed patrons and raving drunks are scattered along the run of small clubs that Wally has chosen.
Young musicians get to jam! "Beep Beep," with Marc Abaya of Sandwich is tearing up the vocal chords and Wendell Garcia, drummer of Barbie's Cradle, is pounding out the big beat! The audience is too old on the other hand to know who was jamming. The torch is getting passed and the honor to jam with a certified Pinoy Rock hero is infused with the here and now! It's Wally Gonzalez and few idols remain. Gone are Edmund Fortuno and others through death, murder and strokes.
But so it goes. A methodic roll of music and practice. Wally has had to have practiced? Kathy Araneta smiles and insists he hasn't as she lights up a cigar. If it's true, then the man is just so good, he has to get better! It's that simple.
 Dondi Ledesma |
But here is an interesting fact. In the 70's, Wally never played the yet unheard of Paul Reed Smith (PRS) guitars. Just like the red one that Carlos Santana plays in the new millennium! It brings a tone and warmth that is a perfect match for Wally's fluid style and wisdom. The amps are better and the sound he brings from venue to venue is well tuned and balanced. NO crappy in-house junk and sound systems. If the place is small, a hi-tech drum kit with synth tom-toms and bass. Wally has an amp that can imitate the sound of Fender or Vox or Mesa Boogie or whatever classic tube sound he wants. His tech crew is ready!
Junee Centeno, the singer, is comfortable with all the Juan de la Cruz cuts but has trouble with the lyrics of those songs reflecting acid drenched guitar riffs. He has a music stand with an old Jingle Magazine to guide him lyrically. He sings along, searching the page for the next lines. It's a learning process and what an honor to Gilbert Guillermo’s (the founder of Jingle Magazine) legacy to accurate chords.
Dondi Ledesma has his own reasons for being here. The veteran bass player is a quiet master who has won awards, guitars and played with each individual member of the JDLC trio. From Mike Hanopol to Pepe Smith (Pepe's latest album, by the way, is, "Eto Na Ako", produced by Dondi) the hands of Dondi mold and share a musical heritage. When Wally plays Cream's "Sunshine of Your Love," he becomes the lead guitar on bass, ala Jack Bruce. No grandstanding solos or fits of flight in this band.
Armand Quimpo is a young student who sits to the left on an Ovation dual acoustic electric guitar (a 12 and 6 string) playing rhythm. He brings a fresh and open sound that fills in the gaps. The apt pupil is watching and remembering those chops. One by one. The sustain and flow that Wally G. brings.
Wowee Posadas on drums is all another story. I first saw
him as keyboard player of Tots Tolentino's BUHAY. A band that plays down
to earth jazz. Wowee was at keyboards and he admits it's his favorite position.
So, I ask that they try a blues number in the manner of Al Kooper's Hammond B3
organ. His face lights up. You see his work and it's Wowee!
It's all there folks. I have seen each of the old JDLC members in acoustic and electric modes. They represent a very important part of Pinoy Rock history. Solo efforts have been OK and sometimes just missing what they each added. Wally G. is taking the music to a new level and promise. The teacher and master is on the road again. Up in arms and burning the chords!
The crowd is 3/4ths male and when Wally plays,
"Mustang Sally" and "Black Magic Woman," a karaoke mood hits the
audience. They sing along in perfect harmony. Reliving the past and enjoying the
present as much as they did when martial law's imperfect beat was filled with
rock and roll from midnight till 4am. Healing the soul and forgiving man's
inhumanity.
As the voltage juiced the Paul Reed Smith guitar, the crowd
paid the electric bill and was served blues/rock supreme. The Doors, Clapton,
Reggae, ZZ Top, Stevie Wonder, Lynrd Skynard and the Allman Brothers Band
were covered by Wally Gonzalez & Friends.The
lady next to me leans over and says, "Himig Natin - sure sounds like the Rolling
Stones hit, 'Wild Horses', doesn't it?"
And she may be right, but if it took 30 years to realize
that, then it may take the kids down in front another generation. The
generational marketing phenomenon rolls on and the what's old is new! Play the
sweet blues for all of us! Music can keep you young forever. Music reigns. Let
it reign.
Source : PHILMUSIC.COM
Photos taken by JIM AYSON
BlueRock Union
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