It was not the kind of thing that happened to him very often -- at least not back then.
Three decades ago, David Benoit was a Los Angeles jazz pianist in his 20s, with two albums on a small label. He played birthdays, bar mitzvahs and small nightclubs as he struggled to make a living.
But when he was invited to the Philippines to perform in 1981, everything changed. "Somehow over there I was a superstar," Benoit, now 56, recalls with a laugh. "They had all the paparazzi waiting at the airport; it was just like out of a dream."
His song "Take a Look Inside My Heart," largely ignored in the U.S., had become a hit on Filipino radio. "They started screaming when I played the opening to the tune," he said, still a bit incredulous as he sat in a hotel restaurant on Sunset Boulevard. "So for many years, I was this sort of legendary figure there."
In a way, Benoit's career has come full circle. Though best known as a successful if controversial jazz-fusion artist with 30 albums and five Grammy nominations, he is now quietly in his eighth season as music director of the Asia America Symphony Orchestra. And there's a connection to his arrival in Manila: On Saturday, a Filipina who grew up with his music and became a star -- Lea Salonga -- will sing in an AASO concert at the Japanese American Cultural and Community Center's Aratani/Japan America Theatre.
Salonga, best known for her longtime role in "Miss Saigon" in London and on Broadway, covered Benoit's "Land of the Loving" during her early career as a singer. (Interestingly enough, the song has since been used prominently in Philippine Department of Tourism commercials.) Saturday's concert will open with Benoit conducting "Symphonic Dances" from "West Side Story" and present Salonga mostly as a Broadway artist, concluding with Benoit accompanying her on piano.
It is the 65-piece, Rolling Hills Estates-based orchestra's sole full-scale concert of the season. Yet its eclectic mix of genres seems an appropriate way to spotlight Benoit's growing, albeit not well known, interest in classical music.
Benoit was born in Bakersfield, a place associated more with the country music of Buck Owens than the jazz or Asian themes that would shape his adulthood. But Benoit's early years were informed by his parents' tastes -- his mother's love of Leonard Bernstein and Aaron Copland, and his father's fondness for jazz, especially guitarists like Tal Farlow.
When Benoit was 8, his family moved to Hermosa Beach, home of the legendary jazz club the Lighthouse. As a teenager in the '60s and early '70s, Benoit was not much moved by the Rolling Stones ("not enough melodic content for me") but saw gigs at the Lighthouse that made him want to commit himself to jazz.
Although he was drawn to the piano, the instrument's more intellectual and bebop-oriented masters such as Thelonious Monk, Bud Powell and Lennie Tristano didn't interest him much. He was attracted instead to Ramsey Lewis, Oscar Peterson and Vince Guaraldi -- players he describes as "melodic, crossing over, with a lot of popularity."
In the '70s, while much acoustic jazz was caught in a strongly avant-garde phase, he began playing and recording what would soon be called "smooth jazz," a term he's come to hate. "If I hear that one more time . . . ," the sunny, laid-back Benoit says with mock anger. "I helped to kind of define that format. But my influences are all over the place."
He also regrets the way the jazz fraternity split into opposing camps, each with its own record labels, Billboard charts, radio stations and self-contained audiences. (Fans of "straight-ahead" jazz often denounce the work of Benoit, David Sanborn and George Benson.) Benoit hates to take sides and calls the rift "a divorce that wasn't very friendly."
Mainstream jazz, meanwhile, has become "too serious, too intellectual, too studied. Ironically, I always thought of jazz as being happy music -- going back to Dixieland and its earliest origins. It's supposed to be about the player and his feeling, not that he studied for eight years and knows every Miles Davis solo."
Classical music couldn't have come back into his life at a better time.
Benoit's move into classical music and Asian themes came from the same source: his wife.
Touring Hawaii as a sideman in 1983, he met a young Japanese woman, on vacation, who'd studied to become a concert pianist. As the two got to know each other, Kei Sasako turned Benoit on to classical music, and he was excited by pieces like Chopin's intricate Ballades and Brahms' bittersweet Intermezzos. Playing these pieces helped unlock some of his early passion for classical music, which had included not only his mother's Copland records but also his own teenage interest in Frank Zappa's orchestral music.