Joey Puyat 'I believe that I’ve grown musically, but I still felt the same high onstage with Boy (Katindig) like the first time [we played together].' (Pocholo Concepcion)

In 1979, Joey Puyat was 21 and in college at Ateneo de Manila while pursuing a musical passion as guitarist — when he was recruited to play the Boy Katindig’s band.

At the time, Katindig was making a name as a jazz artist following the breakup of Circus Band — the supergroup fronted by Jacqui Magno, Basil Valdez, Tillie Moreno, Pabs Dadivas, Hajji Alejandro, Pat Castillo, Richard Tann, among others — where he played keyboards.

Puyat, who was then part of a younger generation of Filipino musicians which came after Pinoy Rock’s first incarnation, was into fusion — and was drawn to the nightly jazz ruckus at a club called Birds of the Same Feather at the corner of Morato and Timog in Quezon City, where Katindig was one of the attractions.

A jam with Katindig’s band earned Puyat a spot in the group, which, after a residency at Birds, moved to Holiday Inn’s El Camarote bar.

Puyat — still active at age 65 as guitarist of two bands, the Blue Rats and Kiss the Bride — recently reunited with the United States-based Katindig in a well-attended gig at Fin & Claw in Quezon City. (It will have a repeat on July 25.)

In this Q&A with Manila Bulletin, Puyat recalls the “fantastic” experience of playing with Katindig, and the “warm, old feelings and validation” he felt at their recent show.

'Manila on My Mind': Joey Puyat, Ryan Peralta, Michael Guevarra, Rommel dela Cruz, and Boy Katindig onstage at Fin & Claw. The show will have a repeat on July 25. Photo by Pocholo Concepcion

Tell us when and how you joined Boy Katindig's band at Birds of the Same Feather. What was it like to play with him?

It was jump-started by an invitation from the great Rudy Lozano (session guitar ace and a Boy Katindig Band alumnus) to sit in and jam with the group. After the jam, Boy casually asked if I would like to join the band because his then guitarist Teddy Vaño was leaving. Boy mentioned, though, that I should first get the permission of my dad for me to play six nights a week. I never did, although I had a secret connivance with my mother, who always encouraged me to follow my heart.

As a serious observer, I was familiar with Boy’s material. But I prepared by bringing a cassette player to record one full evening of tunes which I studiously learned.

Playing with Boy was a fantastic experience, because every night was like a music lesson in itself. Even after several months of nightly gigging, I would wipe the drool from the floor every time he would solo or “comp” (accompany) in his trademark style.

What happened after the band ended its residency at Birds? How did the stint at El Camarote in Holiday Inn come about?

The great piano player and Boy’s dad Romy Katindig excitedly broke the news, one Saturday night, that we were going to play at El Camarote for six nights a week. Romy sternly reminded us to quit bringing drinks onstage, behave properly and make sure we looked presentable. The required attire was a blazer.

I honestly felt the place was not a “fit” for our music, but it was good money and a welcome change. Deep down inside, I missed the warmth and familiarity at Birds, also because Serafin Pua and his partners had become our good friends, too.

What were the most exciting moments for you, as a musician, of that period?

Before I joined Boy’s band, I was just one of the members of Mother Earth (ME) a group of young, rebellious musicians who dared to play what we wanted instead of what was trendy. ME had in its lineup a teenage Louie Ocampo (keyboard), Colby dela Calzada (bass), Uly Avante (percussion) and Larry Martinez (ex-Circus Band, also on keyboard). They were all accomplished young players beginning to make waves in the local music scene.

But soon after I was recruited in Boy’s band, the “señors” (as we reverently addressed our elder colleagues) would mutter approvingly, “Ikaw pala yung JP na gitarista ni Boy!”

In the eyes of the music mafia (as we fondly called the older greats) I was a “made” man and was immediately accepted into their elite circle of players. I met, played and became good friends with Roger Herrera, Eddie Katindig, the spectacular Dick Lagrimas (alto sax monster), Romy Francisco (trumpet), master keyboardist and arranger Rey Cristobal, Romy Posadas, and the great maestro Emil Mijares who was the self-appointed elder pack leader and mentor to the upstarts.

Back then, Emil would tell everyone that Boy, who was then 23 years old, was the real deal — whose playing was tasty, mature, progressive, and so proficient yet spontaneous.

A 19-year-old Joey Puyat as a budding guitarist and college freshman at Ateneo de Manila in 1977. (Joey Puyat)

How would you describe Boy as a musician and band leader?

Boy is one of the most gifted musicians I’ve ever played with. He is focused, extremely driven, inspiring and uplifting. Always playing music to make the experience better.

As a band leader, he was a stickler for rehearsals. After the first couple of months at Birds (rehearsals were from 2 to 6 p.m., M-W-F), he got annoyed because some would arrive at 3 or 4 p.m. One Saturday, after we finished playing a killer evening, he chirpily announced, “You guys better relax now, because, from now on, rehearsals are from 2 to 5 a.m. T-Th-S!” No more excuses to arrive late!

In spite of his dedication in keeping the band razor-sharp, he never dressed us down if we made a boo-boo. Instead, he would give us the “eye.” We immediately knew not to repeat it.

What was it like to play with him again last month after a long time?

All the warm, old feelings and validation came back when I played with him last month at Fin & Claw. I believe that I’ve grown musically, but I still felt the same high onstage with him like the first time. As always, our job is to interpret his music as best we can, and make him sound great.

Did you notice any changes, if any, in his playing keyboard?

His playing is like fine wine, it gets better as the years go by.

Give us a teaser on what’s in store for the audience at Fin & Claw on July 25.

We are gonna kill it on July 25!  Emil Mijares once said, “It ain’t a musical performance if there’s no blood on the floor after you play!!!” (Contributed by Pocholo Concepcion)

Boy Katindig performs in “Manila on My Mind: The Repeat” with Joey Puyat, Michael Guevarra, Rommel dela Cruz, Ryan Peralta, Marga Jayy, and John Raymundo on July 25 at Fin & Claw, Scout Torillo corner Timog Avenue, Quezon City