My Harana: A Filipino Serenade

Charmaine Clamor's new release presents various renditions of her country's traditional "courting" music. As the CD's liner notes describe in detail, gentlemen were expected to serenade their prospective brides, pending the approval of her parents.

It is said that if the damsel was impressed by the song, she opened her windows in approval, but kept them closed if she remained unmoved.  That tale lead me to wonder if there was a thriving practice of voice coaches for men back then… but I digress

Ms. Clamor has been performing her own brand of vocal jazz called "Jazzipino" in the U.S., and this collection is another first for her, as she is the first female to record the Filipino serenade.  One needs to look back a bit into the history of Asia over the past several centuries to appreciate the unique sound of this genre.  The indigenous Australasian languages were spoken exclusively until Ferdinand Magellan introduced Spanish in the 1500s.  Eventually the official languages declared were Tagalog and English, but this music is clearly and strongly influenced by the classical guitar music of Spain.  If I did not know that I was listening to a Filipino record, I would have assumed it to be Spanish.  One can picture a senorita with a flower in her hair peeking over her balcony with her duenna not too far away.

Clamor's voice is sensual, sometimes husky, other times pure.  Although I am not familiar with the languages sung, her diction is crisp and I would imagine it serving her intentions.  She sings in various languages and concludes with an original composition in English.  As noted previously, while a good deal of the songs hearken to Spain, there are a few pieces that are more "exotic" to western ears, such as cut # 6, sung in Tagalog with the English title translation being “Loving You—Adoring You.”  Originally intended as solo vocal, it was presented here as a duet.  Mon David's voice is not particularly complementary to hers, and the tune would have been better served remaining as solo.  The liner notes explain that arranger and vocalist Mon David had different intentions by suggesting his inclusion.  Ms. Clamor proves herself as an able arranger in other some pieces, and I encourage her to trust her own instincts.

Cut # 7 is probably my favorite, as it shows off the singer's talents as a vocalese singer with floating highs and deep lows -- this tune makes me wonder if Jobim was aware of these songs as he was crafting his classics.  Also of interest is the final tune written by Richard Ickhard (lead guitarist) with lyrics by the Clamor.  While listening I found myself humming Cole Porter's “So in Love” --  it just goes to show how influenced  (consciously or unconsciously) one can be whenever we set out to compose or perform.

Some of the other tunes remind me of Don Ho’s retro Hawaiian lounge music of the 1950s and early ‘60s. That is not necessarily a bad thing -- I can imagine folks lounging on a tropical beach, nursing sweet cocktails with those tiny umbrellas tucked in the ice… a very pleasant image for this New Yorker.

Ms Clamor is subtly accompanied by a band consisting of guitarist Ric Ickard, who was the first to win first prize in both classical and jazz guitar competitions in the 1980 Philippine Guitar Festival.  That is not surprising, as both elements of his talents are on display for this recording.  He is a definite asset with his alluring sound and refined touch.  The appropriately laid-back percussion was supplied by Gustavo Garcia with the band rounded out by the gently whispering bass of Dominic Thiroux.

More information at www.CharmaineClamor.com

Here are her upcoming appearances: