Feb. 4, Venice Piazza, McKinley Hill

The 2011 Philippine International Jazz and Arts Festival kicks off with a Latin fiesta at this open-air venue in Taguig.

First on the bill, the all-white-clad band Cubanila turns heads with a long salsa percussion and dance number before settling down with some cruising melodies for the gathering audience.

Next is Guarana. Its seven instrumentalists all possess fine jazz chops. Before the alternating soloists could run away with the show, the band is joined by front person Eileen Sison who, soon enough, asks the audience to dance the samba with her.

Sabor Latino, fronted by Joseph Aranza, follows, playing an hour of keyboard-heavy, charismatic Latin pop. Next, Edza HQ’s version of standards like “Till There Was You” links jazz with the Philippines’ Spanish heritage. Finally, the 13-piece Escola de Samba de Manila, bangs away with percussive sounds that echo around the plaza. Chris Martin, Contributor

Feb. 11, Glorietta

Lucky afternoon commuters, trudging through Glorietta mall on Ayala on their way to the MRT, come across a fascinating exhibition of local jazz talent.

The show’s highlight, the AMP Big Band, demonstrates that nothing beats the intensity of orchestral music. Dancing conductor Mel Villena could have put on a show by himself, but center stage belongs to requisite finger-busting solos by veteran trumpeter Nestor Gonzaga and saxophonists Tots Tolentino and Michael Guevarra.

The big band’s soft side is illustrated by an intricate performance of Vernon Duke’s “April in Paris” and the chilling “Tribute,” composed by the band’s trombone player, Ronnie Marqueses. Chris Martin

Feb. 15, Salon de Ning

Exotic setting: Inverted parasols hung from the ceiling, antiques alongside modern decor. “It’s like being in 1930s Shanghai,” says jazz enthusiast Serafin Pua.

We are in Salon de Ning, the new music lounge-bar at the Peninsula Manila, where this week’s action takes place. Onstage, Singapore-based Pinay singer Rosanna Gaerlan leads an eclectic repertoire with husband Johnny Gaerlan on bass, Berklee College of Music alumnus Richie Quirino on drums, and International School math teacher James Atkinson on the baby grand.

The music, traversing 1960s pop, ’70s rock, andmainstream jazz, sounds laid-back but is actually packed with intricate passages and improvisation. “Happy Together,” “Spooky” and a Billie Holiday number blend seamlessly, no matter how disparate their original versions.

Truly, jazz allows a good band to play anything and make it sound new. Rosanna is not only a good singer-band leader; she also knows how to treat her audience. We feel warm and happy with her cheerful chatter. When it’s time to sing, she becomes a fairy godmother, transporting us to a world where onlymusic matters.

The next act, Nyko Maca, relies heavily on her “superband” Gafieira—including blues guitarist Kakoi Legaspi and three members of Radioactive Sago Project (bassist Francis de Veyra, saxophonist Roxy Modesto and trumpeter Wowie Anzano). It’s hard to pin down the band’s style, but the experimental bent is so good, Nyko doesn’t even have to sing. No kidding. With some mumbling and swaying of hips (eyes closed), she gets away with anything—and renders a seductive “Maalaala Mo Kaya.” Pocholo Concepcion

Feb. 16, Salon de Ning

We’re back for “Blues Night.” An SRO crowd anticipates intensity. Radio jazz legend Brother Wayne turns up; so does Inquirer columnist Conrado de Quiros.

The Joniver Trio sets the mood with B.B. King’s “Everyday I Have the Blues.” Fiery guitarist Joniver Robles gets the vocal tone right as well, and occasionally reminds us of Stevie Ray Vaughan.

Cooky Chua is next, with keyboardist Butch Saulog, guitarist Quachi Vergara and harpist Ronnie Badilla. No bass and drums? No problem. Cooky’s voice is so enticing and drips with emotion—she could’ve sung a cappella! Which doesn’t mean the band is lousy; in fact, the unplugged sound is a nice breather.

Moreover, the songs, starting from Elvis Presley’s “Love Me” to Billie Holiday’s “Fine and Mellow” to Cream’s “Sunshine of Your Love,” proves that country, the blues and jazz could intertwine, and beautifully.

Rock ’n’ roll, a branch of the blues, follows shortly with Wally Gonzalez. “This place will explode,” Brother Wayne says, moments before the band goes onstage.

True enough, Wally’s heavy blues-funk-boogie rock repertoire that includes Eric Clapton and Rolling Stones classics blows everyone away. Norman Ferrer on bass is a sight and sound to behold.

All that blues prove too much to handle, and secondhand cigarette smoke forces us to walk away—too soon. Pocholo Concepcion

The festival runs till Feb. 28. Log on to 
pijazzfest.com for the rest of the schedule.