(Twelfth of a series)

A good harvest seems to be on the horizon for original music particularly in the jazz corner, heralded early last year by new releases headlined by bassist-composer Simon Tan’s 11-track Walotao album. Walotao is also the name of the band comprising eight of our finest musicians, including Simon: Isla Antinero (trombone), Joey de Guzman (alto sax and flute), Glenn Lucero (trumpet), Tots Tolentino (tenor sax), Ronald Tomas (baritone sax), Edwin Vergara (guitar), and Rey Vinoya (drums).

Both the band and the album are the culmination of Simon’s experiments with textures of sound and takeaways from the life-altering two years in lockdown. “After the release of my first album Breach with my trio [Rey on drums and Joey on tenor sax], I started writing for a bigger group, a sextet,” says Simon. “We had already rehearsed and we were ready to go to the studios to record. This was in March 2020, hardly the best time. We put that on hold and I ended up doing an album of just me and my basses, called Solo 2020.” 

During the lockdown, Simon, like everyone else, struggled to make sense of the chaos. In processing the brittleness of life especially in the context of Covid-19 and the political turmoil, he dove deeper into writing music.  

Musical coup

Write much and well Simon did, so that when 2022 rolled in he had composed and arranged 11 originals. “I thought of going through with the recording and [this time] decided on doing an octet, which was supposed to be the next project,” he says. “I then asked Rey, Edwin, Joey, Glenn, Isla, Ronald, and Tots if they were willing to join me in this project, and Walotao was born.”

Released under his own BassHex Records, the album is a joy to listen to, elegance and maturity being its hallmark. It speaks to Simon’s artistic evolution as much as it does to the wonders of perfect timing in rounding up the choicest performers for a breakthrough project. The sleek bossa opener (“Incapable”) unleashes the glorious horn work we can expect from all the tracks, which peaks a little past halfway into the album with the spirited “Pakwan The Man.” Meanwhile, Edwin, Simon, and Rey hold down the rhythm section masterfully, taking turns at dazzling solos that prove their top caliber. 

“San Juan,” where Simon lived when he’d done much of his lockdown reflections, turns inward, almost brooding; “47” serves up noir airs, which perhaps clues in the listener on what Simon was feeling at that age when he says he composed the tune. “Fracture” has Isla’s trombone coming in strong, with the horns closing the album as compellingly as they opened it.

The bassist as composer-leader

And while Simon is convinced that he has done his best work so far with Walotao, there is so much more to learn, whether in terms of producing an album or becoming better at playing some of the best bass known in these parts and creating original music. 

Arguably the busiest bassist today, Simon, besides minding his trio, also plays regularly with the Dong Abay Music Organization, the AMP Big Band, and Bamboo. “My free time is spent mostly on writing and arranging my own compositions,” he says. 

Simon looks back to his days out of music school at the University of the Philippines in 1992, when he landed his first professional gig as a bassist with a showband that played at clubs and hotels.  “I didn’t stay long there and started playing jazz after that,” he says. He got into jazz and blues bands like Kulay and Lampano Alley, and played for artists Skarlet, Noel Cabangon, and Bob Aves. 

Ultimately, Simon joined the Witchdoctors of Underground Jazz Improvisation, or WDOUJI, with Ronald, drummer Koko Bermejo, and guitarist Aya Yuson, which came out with an all-original CD titled “Ground Zero”—”a significant study of the limitless possibilities of the jazz form, as malleable as it is disciplined,” noted journalist and music critic Juaniyo Arcellana in 2002. 

It was during his stint with WDOUJI that Simon started writing his own jazz compositions. He draws inspiration from his “main men”—all sidemen and leaders of their own groups that play originals—comprising Charlie Haden; John Patitucci (“a master in both electric and double bass”); and bassist, composer, producer, and educator Ben Allison. At the same time, he remains grateful to his mentor, premier bassist Meong Pacana, “who taught me a lot, especially when I was starting out,” he says.

“There is still a lot to learn—for example, technique, theory, and new styles,” Simon adds. I will be a student until I take a bow.”

Good tone, a good ear, good timing, and a sound understanding of musical theory are just some of the bass-playing basics. “For sure, reading music will help land more gigs,” Simon says. “Also equally important…” he goes on, trailing off with a purposeful pause. Then: “One last thing—please do not be late for call times.”

Read more: Portraits in Jazz: Isla Antinero tunes up with the best life