#ngayon

[tangian]

[hellowitty]

Tagal na rin naming magkakilala.

Noon pa man gusto ko na siya.

Ngayon, gustong gusto ko na.

[jitteryjoepoetry]

[blbs-srdo]

Sila: Masaya na may jowa.

Ako: Nagbabasa ng mga comment sa facebook ng jamill bashers.

[rig0]

talkkk

[jjammppongg-blog]

For someone who I loved so much yet still have a thousand reason to break my heart

I was like “Hi” and you were like “Hello”. But now you were like, “Tigil na natin to. I dont love you anymore.” Boom. Sakit. For the nth time, iniwan ako ng taong sobrang mahal ko. Na sobrang umikot yung mundo ko sa kanya and now, i aint chasing anymore. Even the feeling was so true, and unstoppable, but still my mind says tama na bes, self respect din pag may time. I wrote this to finally close the door and never give a window on any chances of loving you again. I apologize for making you my everything kahit na masyado akong naniwala sa bagay na hindi naman totoo. Katulad ng “mahal mo din ako.” Sorry kung masyado akong naging expressive sa pagsabi ng iloveyou at sasagot ka din ng iloveyoutoo kahit alam mo naman sa sarili mo na di naman yan totoo. Salamat sa pagpapanggap mo na mahal mo din ako. Salamat sa sakit kasi natuto akong masaktan muli sa pinakamasaklap na paraan nga lang. Yes. Pain always demands to be felt. But wait and see, pain can somehow change you into a better person. Into a stronger one. Sorry ulit kasi di ka na talaga makakahanap ng isang tulad ko, na malupit magpakatanga para sa taong sobrang mahal niya. Pero dont you worry, you find someone else. Di nga lang ako yun :) Hanggang dito na lang. Lahat sa mundo may hangganan, Pagmamahal mo, natapos din. Pero yung pagmamahal ko, di to matatapos. Kaso di na nga lang para sa isang tulad mo. Mahal kita pero mas mamahalin ko ang taong kaya din magpakatanga para sa isang tulad ko. This time, the feeling will be mutual na. Walang lokohan. Walang aasa. Purong pagmamahal lang. :)

[dustedmagazine]

Karl Evangelista’s Apura — Ngayon (Astral Spirits)

Photo by David DeHart

Ngayon by Karl Evangelista's Apura

Guitarist Karl Evangelista is back with Ngayon (which, the liner notes explain, means “now” in Tagalog), the second installment in his Apura project. The all-new band features Francis Wong on sax, Rei Scampavia on piano, legendary drummer Andre Cyrille, and the addition of a bassist, Lisa Mezzacappa. While the name of the group and titles of the album and songs reference Evangelista’s Filipino heritage, as with the earlier record (Apura! 2020, also on Astral Spirits), the influence is not overt; this sounds like a modern free jazz record, and a fine one at that.

Evangelista is a technically skilled and thoughtful guitarist with a fairly clean tone who keeps the shredding tasteful (e.g., on “Sige Na, Bukas” and “Sinabi Mo Pa”). He mainly solos, rather than providing a chordal framework, and is especially compelling when engaging in dialogs with Wong. Given the latter’s long commitment to blending jazz and Asian music, he is the perfect choice for this project, and he is inspired here; a good example is his solo around six minutes into the title track that snakes unpredictably through Cyrille’s cymbal work. The venerable drummer, for his part, remains at the top of his game (check out the opening to “Sinabi Mo Pa”); no one else could have stepped so nimbly into the shoes of the equally legendary South African drummer Louis Moholo-Moholo, whom circumstances prevented from participating in this recording.

The most significant change in the lineup in terms of the overall sound is the addition of a bassist, and Mezzacappa really shines here, whether holding down the fort or soloing, for instance, following up the solo by Wong mentioned earlier. Her arco work is also impressive on “Isang Bagsak.” Scampavia’s piano is less heard than the other instruments apart from on the brooding almost-ballad “Santo,” which features some taut interplay with Evangelista and Cyrille.

The five tracks are longish, with only one coming in under eight minutes, thus leaving ample room for improvisation and shifts in tempo and dynamics. The sprawling title track, which opens the record, is consistently surprising, ending, for instance, not in a crescendo or fade-out but with a slow and deliberate restatement of the main theme. The liner notes describe numerous difficulties encountered during the recording of Ngayon, but they are not apparent in the end result. This joyful and at times challenging jazz builds on the strengths of the earlier recording while tightening the focus.

Jim Marks

[natsumi-not-onitsuka]

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