HEAD:  PING JOAQUIN BAND LEADER CLOVER THEATRE

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Porfirio, oldest of nine children of Leocadio and Salome Joaquin also known to ofriends a Peping was already enamored by the new kind of music the Americans had introduced to the Philippoines when the United States won the country from the Spaniards in 1898 having won the Spanish American War.  And so, having learned to play classical piano, Ping then switched to Jazz piano and began playing to earn money in local Manila clubs especially those managed by the white folks and participated in by the diplomatic corps of foreign countries. Ping layed before the foreign community at the Army and Navy Club, The Manila Polo Club, the Casino Espanol and the like).  Sad to say, upon the take over of the Americans from the Spanish  authorities, the Filipino locals, the natives who the Spaniards dubbed “indios” were prohibited from even entering or even the thought of joining these “white only: clubs.  But Papa Ping as a hired talent, a known Jazz pianist during those times was given an Id allowing him to come and go as he pleased whenever the hire his services during club events.  In one of those events he took me a five year old boyd, with him and I sat beside his upright piano as he played.  I saw that the only Filipnos there were the waiters and busboys.  And outside the wire fence was the sign “Dogs and natives keep out!”

Papa Ping was doing well by playing his piano selections and occasionally he would bring over a trio or a quartette.  Consequently, Papa Ping was happy to do his bit by sharing most of his income with his widowed mother Salome.  For they had a large family. His father, Leocadio quite well known as a barrister through dramatic skills in the practice of law in and out of Manila one day collapsed from a massive cerebral stroke. 

With that big blow on other family with he one sole income dead, Ping had to suddenly become the sole family breadwinner.

So, he had to work harder not only as  solo pianist in foreign managed clubs and associations but also in local vodavil stage shows a type of performance tht the Aericans brought over from their mainland.

My relationship with Papa Ping was strange in the sense that I was not close to him at all lconsidering that I was his eldest andonly son.  Two sisters followed me and I noticed they got most of the usual love and hugs from both my parents.  But I had practically nothing over those years even when we were alone together at home which was rare for my father was out most of the time.  To many Filipino families, the father son relationship is usually idealized by showing them playing sports together either at back yards or at a park, going out to the   movies together or having a picnic.  Even In his own Joaquin family with Ping as the eldest of nine siblings, sports was not the priority factor, but books, arts and letters were. Still very few discussed literature.  Papa was the musician, uncle Nick was a writer and was awarded the title of Philippine National Artist for Literature of the Philippine Government, Augusto was a fine pen and ink portraitist and Wilfredo who died during the war was also one beginning to show skills in writing especially in his second year in college, and so was Adolfo the youngest of the brothers who wrote fine pieces as labor leader in one of the Manila banks.

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But even then, I expected Papa to offer at least to teach me to play the piano.  Nothing like that came fromhim.  I hwas to be sent to several piano teachers over the years – but the result was zilch. Pehps, I was not really that passionate about learning the instrument, but I have been an avid admirer of pianist both classical and Jazz over the years up to this very day.

Looking back at my father Ping now that I am already in the winter of my earthly life, I view him as another Filipno male with his faults as well as assets.  What really attracted my mother, young as she was then as a young college instructor was his fair and good looking face and wavy dark browning hair.  And he was definitely a charmer enhanced through his being a pianist (he would often share his experiences whenever he had a gig as a piano solo performer during cocktail and dance parties in one of the Manila clubs; women would sit beside him on the standard pianist bench which would accommodate another person, and inevitably this would lead to more intimate relationships with whoever the “lucky”lady was seated beside him.  In fact over the years Papa had developed many forieng friends from the diplomatic corps, British, American, German and others, especialy Spain for papa spoke fluent ?Castillian ?Spanish as did my mother ?Sarah who also taught Spanish in the university.

So, given these facts, I readily understood his lifestyle which was carved our by his kind of work – piano ogigs in Manila, overseas, on ocean liners, Asian cities and the type of bachelor kind of living which he never shwed even after havng  married Mama Sarah.  And this despite Mama’s “tolerance” was not changed even if he tried and I know for a while both tried. In fact, as a young fie year old I know that they would go to Quapo church together and crawl on their knees from the entrance to the alter as they prayed the rosary as penance!  This they did for several week as I waited seated on the last row of the church.  But, it did not work, at least for Papa. That was hoe strong the habit and addiction was over women and his deep seated lifestyle of wine, women and song.

Over the years, I do not recall that he ever took me to the movies alone with him.  My grandparents were the ones who often took me alongto watch Taalog movies more often.  One day it was my grandmother ?Carlota. Another day my grandfather Balbino.  But grandapoa Balbino was more ionto taking me with huim to his office where he worked in San Juan as Provncial Treasurer.  Those were thd summer months just bfore war broke out inj 1941.  Why, he even had a panama hat specialy made for me modeled after his own which he made me wear as we walked down towards his office not far from our home in San Juan.  There, under the watrdh full eye of his orderly I would play alone with a basketball until he was ready to go home for his lunch and a nap.

When Papa left our hope for good I discovered that he had already been unfaithful even when I was just a baby when he was fooling around with my nursdemaid, according to Mama Sarah.  So, right after 1945 Mama decided to separate from Papa but not without some recrimination and shouting at the dinner table to the detriment of us three children.  In a way we were glad the bickering ended, but we ceretainly felt the separation deeply affecting our studies very much.  I was only 16 when it happened.  My sister Nenita was 14 and Baby was only 12.

When Papa was not under contract abroad or on board any liner he would be playing in one of the Manila stage shows – vodavil.  Sometimes he had gigs for two theatres playing alternately between film showngs until the time when Savoy (which later became Clover) got him to be the theagtre’s Musical Director. It was great fun for a 6 year old to be with Papa in ths world od local show biz where young actors, dancers (especially girls) learned to hone their skills doing several shows each night uncludng weekend.  At times when Papa was busy with rehearsals with the band, he would leave mde under trhe care of one of the chorus girls backstage where I waould be fed candies and other goodies. I love them for they were young teen age beauties who truly loved young kids like me.  I got to learn about their little “world” which reality and fantasy would meet and at times many would lose touch of one or the other and of course heartaches that come int play.  There was a time when Papa was threated by one budding singer who really knew nothing about notes and stuff like that.  A young lad from the province auditioning for a part in the show, he was arrogant and shouted at Papa who sat by the uprgith piano in the ochrestra pit just belore the apron of trhe stage.  Papa tried to be calm and asked him the key to his song, and the poor fellow did not understand what Papa meant and even raised his voice and said cuss words ending with threats to Papa’s life.  He then stormed away and decided not to purse trhe audition.  Papa, visibly upset as well took the threat seriously.  Luckily, over the years at Savoy ?Theatre he got to know several hangers on at the theatre who once in a while he would hand some money for coffee or cigarettes. One such personwas Max, a retired amateur boxer.  He was there and sometimes would go and watch one of the shows courtesy of a pass from Papa.  That very day, during a break n the show Papa told Max about the incident and Max assured Papa that he, Max would be right outside when Papa left for home aftr the show.  This Papa did and nothing untowards happed that night nor any other night. 

In fairness to Mama, Papa never really lived as supportive a husband should be to Mama. In fact, his lifestyle as a bachelor continued long after we three children were born.  Mama was the main breakwinner for Papa’s pay was little owing to his life style. Mama suffered in silence until she decided to write her book OF LAUGHTER AND TEARS. After I read her book, I felt so sorry I did not support her views of Papa for I did not know it was that serious.

HIS BIRTH AND CHILDHOOD

Papa Ping, was baptized Porfirio but whose pet name in the family of Leocadio and Salome was Peping or simply Ping.  He learned and enjoyed classical piano in his youth, but later after hearing of the new music that the new colonizers (the Americans) had brought over to the country, which was American Jazz Music, he got ensnared

by it.  That changed his attitude towards piano playing.  He soon became enamored to play Jazz piano.  The vogue at the

The Plight of Filipino Jazz musicians from the thirties to the present time.

One sad fact about Philippine Jazz Musiacians is the fact that they failed to form a union that would have erned the respect of society especially those who employed them.  A major employere were hotels who often hired Filipono Jazz bands for their special events.  A few foreign owned hotels paid much better for they knew the industry standards in other cities in ?Asia.  However, other local hotels, theatres and even film studios that hired these musicians often underpaid the hapless musicians terribly and the sad thin was they “acceptec” that terribly low fee which later became the “practice” From then on, no minimum was ever able to be established.  This was known as “cutthroat” competition.  Very sad indeed.  In fairness to those musicians who attempted to form a viable union they tried but a few years later failed to maintain it and dropped the whole idea.  Todate no union has ever been formed to serve the needs and support the dignity of Filipino Jazz musicians.  Along this line, it was duing Martial Law when Mrs. Imelda Marcos took it upon herself to issue a decree raising the salaries of musicians – both classical and Jazz toa decent and acceptal level which has prevailed up to this present time.  This then was also the main reason that the better Jszz sidemen have opted to play gigs and long term contrcts in other Asiwn cities like Hongkong Shanghai and Osaka or Jakata.

How he related to us after the break up

When Papa left our home, there was that gaping emptiness whichwe felt especially when Christmas came that year – the first Christmas he was not around. That hurt terribly!Christmas even my sisters were with their friends and I was with mine while Mama with other fellow college instructors celebrating the occasion in the university.  The house was empty of anyone.

Soon after, once we knew about Papa’s apartment we would come over to visit him in Pasay district by bus.  However, during stage shows in the week we three would go over to a restaurant right across from the theatre called DENCIA’S where we had lunch, his treat. In that waw we could see him at lest twice a mnonth without disrupting his schedules.  This his main sourc of income and now living alone he had his salary all t himself, bot Mama was now the only one supporting us.  In time, Mama found  in difficult to support three of ous in college and so she had to sell our house on Arlegui street – which was full of memories from 1938 until 1951. And we moved to one iof the duplexes owned by my aunt in ?San Juan, which was on the same property where we used to live during my days In kindergarten.  However, we sayed in the duplex while aunt Manuela who now owned the properety lived in the main house that we used to stay in in the mid thirties.

How he related with Mom when they met and lived together.

In fairness to Papa, during those days when I was still learning to walk, Papa would work with Mama in musical plays for her alma mater Centro Escolar de Senoritas – he provided the music while she directed the whole show. This was also the case in Far Eastern University whenever Mama had to present a stage show, Papa provided the musical direction.

It was during the Libertion days (1945) inf Manila that the separation too place. It appeared that a family friend and fellow theatre director of my mother were often together and Papa was never to be found most of the time even if he was not working as a pianist or bandleader.  So, an affair developed  beween her and the man.  It was at this time theyhad a show down.  And Papa left the home shortly after. We stayed with Mama Sarah.  Right after he left us a contract came about at the right time which he grabbed.  It was a one year bandlleading contract to play n a Hongkong nghtspote with a 12 piece all Filipino band. So, left left and we did not see him for a whole year.

One difficulty most Catholics who decided to separate in our country is that once separated they cannot remarry for there was no divoroce in the Church. What they can opt for is annulment which was also difficult and exensive.  So, like so many other coules in the country, they live with other partners “in sin” for they cannot secure a divorce.  But that policy is being discussed and hopefully diforce will soon be allowed for Filipino Catholics and annulment is now relatrively eacy and less expensive to get.

PAPAS’S JAZZ STYLE OF PLAYING.

Papa enjoyed playing the Ragime or Dixieland brand of Jazz.  He also learned to play with much skill what they termed “stride bass” which was achieved by the left hand

playing rhythm while the right hand the melody.  This was

done whenever there was no upright bass available. 

One peculiar misconception in Manila society was that musicians were considred like court jesters and therefore should not be paid for their work.  So, when Jazz pianists began to work as instrumentalists or pianists they were surprised to find that hardly anyone wanted to pay what was justifiably right.  So, Filipino musicians prefer to play in ocean liners of hotels abroad to earn decent wages. Jazz musicians were not considered “professions” unlike the traditional elitist careers like engineering, law, business and finance, or Medicine. 

In the middle of 1940 Lolo Binong was able to recommend Papa Ping to work as  Cahier in a port facility called MANILA PORT TERMINAL.  He felt at home there for Papa spoke fluent Spanish and besides Lolo  Binong was worried about his work as Jazz pianist which might not deliverthe necessary support need for us three children and the family needs.During his prewar stint as Cashier indicated the extent of our togetherness when he would take me by car to the Ateneo Grade School premisesinside the Walled City  before he proceeded to his Port Area office several blocks away toward Pier 7  The Manila Port Terminal office.

PAPA DIES.

I learned a lot about my father then, from all the kind words that people who camehad for Ping Joaquin.  It is what eased the numbness and the pain of
loss so that in giving the eulogy, I was amazingly in control of my
emotions.  It was not losing my father that was on my mind nor
grieving over that loss.  It was more important for me then to reach
out and express my gratitude to all those who had taken the time to
condole and pray with us.  After two days, Papa Ping was buried at the Loyola Heights cemetery in Quezon City where Lola Omeng is also buried.  While I was the one who delivered the eulogy at the funeral Mass at Sto. Domingo where Papa was waked, it was Tito Onching (Nick Joaquin) who, in his own inimitable and talented way, expressed his feelings at his eldest brother's passing. He titled his verse

BYE BYE JAZZBIRD

1.
A death in the family.  Relatives
you haven't seen since the last
death in the family reappear
like furniture from your past
reassembled for a movie about it.
Reassembling now only as props.
Tools of custom, vessels of ceremony,
footlights (as it were) and backdrops,
to celebrate not a death but the family
here having one of its final stops,
here it continues where it stops.

2.
No one is here as a person,
only as the correct representative
of his branch of the line.  Only
the man that's dead is here as himself
is discussed as such.  "Rather lonely,
his last days."  "Well, he was on the shelf,
all these years.   "He was renting
that crummy apartment?"  "No, just a part
of the upstairs."  "Collapsed, alone
with his cats--whom someone should be representing
they were so dear to him."  "From the start
of the stroke, unconscious,"
"Four o'clock dawn,"
"died like his tather, cerebral hemorrhage,"
the crowded wake has a lively tone.

3.
 From the unfamiliar old man
in the coffin, from the scant-haired head
and ill-fitting dentures, memory slides
back to the golden boy who began
with curls on his brow and a rash of red
birthmarks on his body.  "Suerte!  Suerte!"
soothsayers intoned.  So fair, and besides,
so talented.  A prince of a  youth!
Collegial Del ATENEO.  At fifteen,
pianist and stowaway.  And in truth
the piano was what he rode to America:
It was his magic carpet, his flying horse.
A good delinquent, he.
Mad about music, high on Jazz
and ragtime, all that razzmatazz
When sheik and flapper were just dying
To fox trot under the bamboo tree.

4.
Shift the scene to Manila
late in the 1920s.  Vaudeville
tops show-biz.   It's cash with class.
On Plaza Goiti is the Savoy
with its nifties.  Plaza Santa Cruz
nightly shines with the rainbow hues
of the Rivoli Theatre, which has
the "Varieties."  And our princely boy
stars there now as King of Jazz
leading the band.  He stabs the keys
as leggy high-kicking Nena Warsaw
knocks her knees against her torso.
His piano groans as the sailors howl.
Hot as Maggie Calloway got 'em
while she shimmies her black bottom.
Grace Darling steers him to a scowl
as he starts a tune right up her alley:
I wonder what's become of Sally.
Perches Miss Katy de la Cruz
scatting away the St. Louis Blues
on his piano.  A 1920
and comic tango for Vicente
Ocampo, he follows with a hot mama
number for the Alabama
Brothers crackling mestizo bone
as they teach Miami the Charleston.
What blue notes for his favorite trouper:
Star of the show, Miss Dimples Cooper,
and the Rivoli is jumping when,
syncopating, the King of Jazz
hauls up the ultimate razzmatazz.
Happy days are here again.

5.
Not always happy days, though.
Not always hoopla ad whoopee
and hey-hey in that long ago
of young Jazz, backstage bitchings.  The droopy
and draggy rehearsals at one a.m.
Shows on the road with crook managers
fleeing with the funds.  "We ate our phlegm."
How about that tour of Shanghai
and Harbin when the troupe ended up
stranded in darkest Siberia
and one of the girls went blind. . .
"However, thank God it's the good times
somehow that get left behind
in memory.  Never mind
that we took awful chances."
The "we" being Hanasan, Fritzie, Toytoy,
Carmencita Llopiz, Charito Sanchez,
the Morales sisters, Adolfo Lopez--
Names from an era of joy
and a fun town simply swarming
with stands he played "extra" and solo:
The Elks, the Tiro al Blanco, The Army
and Navy, the Old Manila Polo
Club (where you had to be hoity-toity).
Legazpi Landing, tom's at Goiti . . .
Field where the living was easy,
they kept his piano busy
and hot as a sorcerer's apprentice
back in the Roaring 1920s.

6.
The living is rougher afterwards,
and the music.  The old Savoy
is dead; the Rivoli gone
with Vaudeville.  He's on the run:
Surabaya, Hongkong, Los Angeles,
South Africa.  The Cine Palace
where an older Katy is dumped by callous
crowds.  The elegance of the nights
and the Rival revues of the past
haunt him as he humors his last
audiences.  In the 1950s
he's still on-stage--at the Star, at the Clover,
where vaudeville makes a last stand,
and he's still at it, ben over
a keyboard when burlesque is the Grand
Finale of the Variety show.

End of entry