Manong Bob

Manong Bob or Robert Shroder is a Filipino making wave in the United States with his music. Pinoy music. He has just released his album Heritage, a compilation of Filipino classical and traditional music. He came from Kawit, Cavite but he lived in Gagalangin for some time.

Who influenced you to become a musician? How did they influence you?

My grandfather, the late Augusto R. Samaniego, Sr., breathed the first music in my life. He was a member of the world renowned Philippine Constabulary Band and was a participant in the 1939 International Exposition held in San Francisco, California. When I first came out to see the light in this world, Lolo Gusing (as we all grandkids call him) offered me to the musical God by wrapping my umbilical cord in a music chart. Beautiful opera overtures, big band jazz, and some standard vocal recordings playing in the phonograph would wake me up every morning. Everyone in the family is musically inclined. If they don't sing or play any musical instrument at least they love to listen to it. Watching him conduct the Magdalo Band rehearsal was also a family and community tradition. Wherever the band went to compete or to play in different town fiestas, I was always with Lolo Gusing, so pretty much I grew up under his musical umbrella.



I started learning how to play the clarinet when I was 8 years old. I wasn't very serious; I just tried to play by ear. Learning how to read notes was quite boring to me because I could already play the piece by just listening to it. I thought, “Why bother learning how to read notes? I don't need it.” But Lolo Gusing told me that a good musician must learn both (playing by ear and by reading the notes). He told me that I should be excellent in reading charts in order for me to be a good musician.



Finally, after a couple of years, I became serious about playing music. During my High School days, horn section became popular with the pop band. I wanted to join the band, so I would sneak and play Lolo Gusing’s tenor saxophone. One afternoon, I grabbed his sax and got caught in the act by Lolo Gusing. I thought I would get punished, but to my surprise he told me that he’s so proud of me. He never knew that I taught myself how to play his saxophone. Then, I started playing with the pop band. Lolo Gusing mentored me with his musical knowledge and experience. My ultimate goal was to be a member of the Manila Symphony.



You mentioned that your mother Rosalina is your musical staff. Can you further explain this?

Musical staff is like a musical cane or guide who help you or support you to be able to achieve your goals.



Why did you choose classic Filipino songs? Why not contemporary or pop songs?

The Filipino pop music can be heard everywhere, but its time to introduce, especially to the younger generation, that we also have our classics.



Who did the arrangements?

I did the arrangements with my friend Isaias Nalasa.



Do you compose also?

Yes, in fact I just wrote music to the lyrics “Teach Us Joseph” written by my cousin, Pietro (Albano).



How's it doing in the market?

It's doing really good! Actually, I'm getting a lot of positive feedback from the people who bought the CD.



Do you have any plans of releasing the album through a major label in the Philippines?

I will try to do that, but we'll see.



What makes "Heritage" unique from the rest of Filipino compilations with the same genre?

Heritage was arranged in a variety of styles which made it interesting even to non Filipinos.


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Which track is your favorite cut in the album?

My favorite is “Pamulinawen”. It speaks a lot about the simplicity of the Filipino culture. “Minamahal Sinasamba” sings the romantic Filipino and “Baleleng” represents the tribal rhythms and rituals.



In your opinion, how does Filipino music compare with western music?

The musical form of the Philippines is mostly based from Western influence except those from the different tribes.



Are you affiliated with music groups in the Philippines? Abroad? Please name your affiliations.




During my college days, I was a consistent scholar. I won the National Competition of Music for Young Artists (NCMYA) in 1982 which was sponsored by the former First Lady Imelda R. Marcos. In 1983 I auditioned and got accepted as principal flutist for the Manila Symphony Orchestra. My dream finally came true! I became exposed to the pop music industry. I have worked and made friends with Joey Benin, Kelly Badon, and Ernie Severino from the Side A band (my colleagues from UP College of Music), Ryan Cayabyab, Jose Mari Chan, and Joey Albert to name a few. In 1986 PCI Bank established the Manila Chamber Orchestra where I was also the principal flutist until I migrated to the US in 1991.



I am currently a member of the Musicians Association Local 47 here in Hollywood and the conductor and musical director of the Boyle Heights Youth Symphony in LA.



Do you have any other projects before "Heritage"? What are you currently working on?

I just finished directing Pilita Corrales’ concert here in California. I am thinking of starting a new project, but I cannot tell you just yet.



What is unique to Filipino music?

It is unique because the Philippines is one country with different dialects and different musical styles in various regions and tribes.


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Are there any songs in the album that could describe current situations in the Philippines?

I'm not really sure. Maybe some listeners might be able to do such interpretation.



How can we improve/develop Filipino music especially to the youth of today?

I think it will help the young song writers if they will listen to quality recordings to have an idea of good music then they can explore their own idea based on a good foundation.

Foundation is very important. It's a very simple thing to absorb imagine a structure without or with a very weak foundation. Do you want your family to live in a structure like that?

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