Saturday, January 26, 2008 Libre: Elvis Somosot’s moment of glory By Mel Libre Seriously Now
IT was just a matter of time that composer Jude Gitamondoc would win the Cebu Popular Music Festival (Cebu Pop for short). For the past decade, the young man has been joining songwriting contests, both local and international, and gaining recognition along the way.
And the 2008 Cebu Pop was Gitamondoc’s moment, winning not just the grand prize (for "Pasaylo-a Ako"), but second place as well (for "Bisan Pa").
A devout follower of Don Bosco, Gitamondoc has been writing songs for entire musicals that only reveals his artistry.
But this article isn’t about the composer. Rather, it is about the interpreter of his winning song: Elvis Somosot. Gitamondoc said of Somosot: "He is the hidden treasure of Cebu pop (music)." I can attest to that statement.
Somosot was part of the original Sakdap that interpreted "Agila," one of the finalists in pioneering days of Cebu Pop. But instead of sticking with the group, he (together with composer Mel Baclay) opted out.
Elvis took a job at A. Salonga Music Center as one of its more able instructors teaching piano and guitar. When Alvin Chiong, the son of the center operator, formed a band called "12 Inch," Elvis became one of its vocalists. But a Manila-trained musician settled in the background, developing his skills in music arrangement.
I must have been one of his first clients, as I asked him to arrange the compositions in the first album I produced consisting of novelty songs performed by the comic duo Teban og Goliat at the height of their success in "Goot the Wanderpol."
True to my vision, Elvis created a novelty pop album that was a cross between Apo Hiking’s stylish arrangements and Yoyoy Villame’s down-to-earth humor.
When New Cebu Music burst into the scene, Somosot (who is called by younger musicians as "Tatay") worked with Etu, the Monks, Ledger Line and others either as arranger or recording technician. His arrangement and recording days took a backseat when he was appointed as manager of BMG Records (Cebu Branch).
He established contacts with many of the radio disc jockeys and helped push the career of Times Two (of Vincent Borromeo and Joel Oporto). But the lure of creating new music and arranging original materials was just too much to resist.
He thus bought a studio and named it "Musikenisis." A Boholano, Elvis has worked with the most important music artists in Cebu including Eva Santos, Manny Lapingcao, Paul Melendez, Salome Oro, Luke Mijares, Raki Vega, Rolly Wagas, Brownian Method, Southwings, Konigs and the choral group, Huni.
I am sure that many of the finalists in Cebu Pop have at one time or another sought him as arranger. Some of the most popular jingles aired in Cebu are Somosot’s compositions and in most instances feature his voice.
But I guess the highest accolade is working with one of Cebu’s finest composers and music arrangers: Fr Rudy Villanueva. Meticulous and highly creative, Fr. Rudy has depended much on Elvis’ craftsmanship in recording most of his brilliant works. And if there’s one job that Elvis is most proud of it is the recording of the spiritual songs sung by cloistered nuns inside their convent.
When I learned that Elvis was to interpret a song in Cebu Pop, I was a bit surprised. He has long shunned the big stage. But Jude must have made a truly great song to convince Elvis to go out of his shell and show what a brilliant artist he is.
Savor the moment of glory, my friend, for truly you are a crown jewel in Cebu music.
