Facing the music

In the 1960s, Filipino musicians ruled the nightlife music scene in Bangkok. Popping into a bar or hotel lobby to watch them perform was once a mark of sophistication, at a time when the ability to sing in English was special and rare.

Cora Quiletorio, far left, with the Blue Star Sisters.

Thus, they dominated hotels, restaurants, nightclubs and cocktail lounges for years. In the last decade or so, however, the tide has changed, bringing an influx of home-grown talents, as well as Latin American and European musicians. Their presence can still be felt, but Filipino musicians no longer claim a monopoly on nightlife sounds.

Here, Life speak with three generations of Filipino musicians on how times have changed.

The good old days

Cora Quiletorio played with the popular band Blue Star Sisters in the late 60s and 70s. She recalls the dominance of Filipino musicians with nostalgia. The obvious talent of the five sisters who comprised the group made them a favourite among audiences young and old. Patrons, who consisted largely of families, paid 30 baht for a drink to watch them play.

Born and brought up in Hong Kong, the five — of nine — sisters formed the band while they were still in school and soon began touring the region. But it was in Thailand that Quiletorio felt most at home, and the group decided to base itself in Bangkok in 1973.

Like a number of musicians from her generation who decided to live in Thailand, today she teaches piano and is a voice trainer.

"Thailand was a haven for Filipino musicians because the demand was huge back then," said Quiletorio, who is now in her 60s. "I believe Filipinos were able to dominate the local live music scene because singing and playing instruments is what they do best. For our band, we always had a job waiting for us. Nightlife back then was more of a family affair — people used to purchase tickets to listen to us play in movie theatres."

Christopher Jose Navarro Saga.

Western-style pop music was becoming popular in Thailand. Generally speaking, the music industry was just starting to mature and budding enthusiasm was backed by a robust economy, creating job opportunities.

"Audiences back then were more reserved, but they were also open to new sounds consisting of guitar and driving drum beats. As a result more and more pop bands were imported, again mostly from the Philippines, plus local bands had also started to emerge. It was an exciting time for the Thai music industry. Thais are friendly and welcoming and this made it easier for Filipinos to feel at home and recommend their friends and family to try their luck here," she said.

Quiletorio said she remains grateful and appreciative of the warm support the Blue Star Sisters received from those who came to watch their nightly performances at the Oscar Club, which was housed in the Chavalit Hotel, now the Ambassador, on Sukhumvit Soi 13.

The nightlife music entertainment business has always been competitive. Song requests have to be prioritised, so it is vital for musicians to be able to play a large selection of music. To be at their best, rehearsing and improving is an integral part in enabling musicians to attract return guests.

"[The Blue Star Sisters] belong to a musical family, and all our music was taught to us by our father, whom we loved and respected and recognised as a very good musician.

"Therefore the hard training was always welcomed because music has always been in our blood. Most professionals recognise that practice makes perfect."

In the height of demand

During the 80s and 90s, Filipinos continued to rule the roost in both clubs and hotels. Salaries back home were often not sufficient, so Thailand became a favoured destination for musicians.

Christopher Jose Navarro Saga, who comes from the Eastern Negros province of the Philippines, came to Thailand in 1984 with his band, comprised of all males, Concert Society. He said it was preferred not to have females in a band for the simple reason that it might create friction between male members.

After touring a string of Asian countries, the group decided to try its luck in Bangkok, where Saga had relatives working as musicians. At that time, the group did not require an agent's help to get a contract in Thailand, he said. All that was required of was an audition with the owner of an establishment.

Saga, who currently performs on the Grand Pearl Dinner Cruise and at Le Grande Perle, a French restaurant in River City, travelled to Bangkok with his band members by train from Kuala Lumpur.

Motown music, a genre that blends the sounds of R&B and pop, was preferred at nightclubs when they began playing at members-only clubs, places wealthy Arab and Chinese businessmen frequented. Concert Society's debut gig at the Cartier Club was an audition with pay. A rendition of superstar Lionel Richie's hit Hello bagged the group a contract with the club. This launched Saga's music career in Bangkok. He left the group a short while later and began teaming up with other musicians to play at various local venues — hotel lobbies, a department store, even a coffee shop housed in a hospital.

Today's Filipino musicians have a much tougher time getting gigs for a couple of reasons, Saga said.

"It is now imperative to have someone represent you if you want to be here for the long haul. The supply is way above demand, so you have to be really good to get the agent's attention," he said.

"It is my opinion that the presence of Filipino musicians has decreased since 2000, and this could very well be attributed to the rise in local talent and a larger selection of foreign musicians. I once heard a group of university students play at a five-star hotel and was awestruck with their musical ability. Technology and a rise in music schools and programmes have helped Thais fine-tune their talents."

Saga said the major difference between Thai and Filipino musicians is that the Thais haven't mastered playing music improvisationally, while Filipinos can do so easily because music is in their blood. He said children in the Philippines are encouraged to sing and play musical instruments at a very young age. Filipinos have a good ear for music, he said, allowing them to play a song from any language after hearing it just a few times.

"The present generation of Filipino singers focuses more on entertaining guests with new songs, forgetting old hits that are still popular and appreciated by middle-aged guests who are in the audience. In the past, patrons listened to our music because of a passion and appreciation for talent. Today the nightlife music culture has changed, with guests more interested in hanging out with friends and clients, enjoying the ambience rather than the music.''

The young blood

Since 2000, Filipino musicians have had to share a piece of the pie with local and foreign talent. One who sees this as a matter of concern in the already-saturated nightlife music scene is Christina Tapasao, 28, from Cebu. She has been singing in Thailand for five years, and currently is with Novotel Ploenchit's resident house band, CH3.

The car saleswoman-turned-musician has found working in Bangkok lucrative — the pay is far more attractive than her previous job. In a climate where work is hard to come by, she finds herself fortunate to be employed. After a stint in Japan, she was invited by friends to the Thai capital.

"Breaking into the live music scene in Bangkok is definitely not as easy as it was in the past," Tapasao said.

"Fellow entertainers who have been here for decades told me of a time when the demand for Filipino musicians was so high that jobs were easy to find. I believe gigs have become scarce not just because of the presence of so many talented Thais and foreigners, but also the increasing number of Filipino musicians. The real competition for me is them.

"Employers have a lot of musicians to choose from today. In the last five years, foreigners, mostly African American and a sprinkle of Australians and Europeans, can be seen more frequently in the Bangkok nightlife scene. Thais also have made quite an impression.

"I have to say that Filipino bands offer a unique brand of music, which is reputed for its quality and entertaining power. Our numbers might be dwindling, but the ones that are still around continue to produce entertaining music, which keeps everyone that listens to us happy."

To stand apart from the competition, Tapasao said it was important to create one's own style. Keeping a pulse on what makes the audience tick helps draw repeat customers. Being in Thailand has been an eventful experience for the singer, who calls Bangkok her second home.

But with fewer jobs to pick from, her hopes are tied on the upcoming Asean Economic Community (AEC). Friends have told her that the AEC will make it more accessible for people in the region to work in neighbouring countries. Not having to worry about a work permit would be great, she said, and would also help broaden her horizons as an entertainer. If she is given a choice, she would prefer to work in Thailand, which she said she has grown to love.

Tapasao is one among a number of musical talents from the Philippines who arrived in Bangkok in hopes of earning enough money to send back home.

"I support five family members and send home 70% of my savings. My happiness is in being able to help my family," she said.

"I live for the day and strive to do my best, both as a singer and daughter. I am pretty blessed to use the passion I have for music to make a living in a time when work is hard to come by."