If Little Richard sang jazz, he would sound exactly like the Philippines jazzman Mon David. David’s vocal expressions have Richard’s unbridled verve and over the top hoots and piano-slamming whomps with nuances that tip the scales into garish and verbose. His latest record, Coming True relates to what is happening to him now, seeing his dream of acquiring prominence in jazz circles coming to fruition. His songs seam ethnic textures with lounge room jazz making his music a multi-cultural experience for listener’s ears.
Numbers like "Footprints" and "Moonlight Serenade" give scat a modern flare, and the tune "Invitation" embosses ballroom jazz with exaggerated curves and accented strokes in the vocals. If Wayne Newton was searching for a soul brother, he would find him in Mon David, especially in the way David fashions his vocals in "Never Let Me Go." The seraphim texture of David’s guitar strings in "Throw It Away" wicks a succor vibe, and the upbeat tempo of "Only Once" puts an urban-jazz frosting on the salsa-grilled grooves as the vocal harmonies of Charmaine Clamor stimulates the tune’s arteries to pump a little faster. The smooth jazz glossing of "Some Other Time" has a lounge room ambience, and the sparkly arias of "Moonlight" and "There’s No Greater Love" have a rosy, Hawaiian-folk panorama. The soothing phrases of Tateng Katindig’s piano keys in "No More Blues" have a lullaby resonance, and the Latin-tinged rhythms of "Kailangan Yan" merge ethnic flavors with classic jazz artifices like they were made for each other.
Mon David gives a bow to classic jazz sonnets in his music as swell as stretching its parameters to encompass ethnic textures. Coming True has a dream-like feel based in luxuriating lounge room ambiences, and scat-clasped vocals that beam like Richard’s signature sunbursts.