Dr. Michael Gould • Studio Handbook

Transcription

Dr. Michael Gould • Studio Handbook Michael Gould 1016 Moore, SOMTD 734‐615‐0215 gould@umich.edu This handbook is designed to answer some of the questions one might have regarding lessons, grading and general policies for percussion lessons. Also included in this handbook are a host of resources to help you find great listening and videos found in the School of Music library. 2014.Edition Texts
The following texts are required for drumset/percussion lessons and form the
foundation for building your personal library on percussion pedagogy and technique.
As it may take you a while to acquire all of these texts either through time or funds, I
have included the call numbers of those books found within the School of Music
library, noted as SOM library. PLEASE be sensitive to others and share or return
these items on time. Almost everyone will be at various levels of ability on
drumset/percussion so not all of these texts may apply to everyone. If you have any
questions about the following list please ask.
There are hundreds of drumset books out there which all have something to offer—
these few are intended as a launching point for a particular reason: style, reading or
technique. We will be looking at much more according to each individual’s
performance level.
Drumset Methods
Chaffee, Gary Linear Time Playing
SOM library- MT 662.3 .C43 L7 1993
Chaffee, Gary Time Functioning Patterns
Dawson, Alan and John Ramsay The Drummer’s Complete Vocabulary
Houghton, Steve. Studio & big band drumming
SOM library- MT 662.3 .H84
Reed, Ted Syncopation for the Modern Drummer
Riley, John. Art of Bop Drumming
SOM library- MT 662.3 .R56 1994
Riley, John. Beyond Bop Drumming
SOM library- MT 662.3 .R57 1997
Thigpen, Ed The Sound of Brushes
SOM libraryUribe, Ed. The essence of Brazilian percussion and drum set
SOM library- MT 655 .U76 1994
Uribe, Ed. The essence of Afro-Cuban percussion and drum set
SOM library- MT 655 .U75 1996
Professor Michael Gould-Studio Handbook
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Snare Drum
Morello, Joe Master Studies
SOM library- MT 662.3 .M82 1995
Stone, George Lawrence. Stick Control
SOM library- MT662.3 .S88 1963
Fink, Ron. Chop Busters
Cirone, Anthony. Portraits in Rhythm
SOM library- MT 662.3 .C581 1990
Vibraphone
Friedman, David. Vibraphone technique : dampening and pedaling
SOM library- MT 719.3 .F92
Lipner, Arthur. The Vibes Real Book
SOM libraryOther Resources (not required, but excellent resources that one should eventually acquire).
Beck, John. Encyclopedia of Percussion. Garland Publishing; ISBN: 081532894X; (May 1997).
SOM library-- ML 102 .P4 E53 1995
Blades, James. Percussion Instruments and their History. This book is currently out of print.
SOM library- ML1030 .B63 1984
Brown, Theodore, A History and Analysis of Jazz Drumming to 1942 Volumes I and II., The University of
Michigan, Ph.D., 1976, UMI Dissertation Services (77-7881)
SOM Library- Shelved on second floor under dissertations
Cook, Gary. Teaching Percussion. G. Schirmer/Hal Leonard.
SOM library- Call No: MT 655 .C671 1997
Gridley, Mark, Jazz Styles, Englewood Cliffs, N.J. : Prentice-Hall, c1988.
SOM Library- ML 3561 .J3 G85 1988 (There are new editions available)
Korall, Burt. Drummin’ Men-The Heartbeat of Jazz, The Swing Years, Shirmer, 1990.
SOM library- ML 399 .K661 1990
Korall, Burt— Drummin’ Men-BeBop Years,
Lang, Arnold and Larry Spivack. Dictionary of Percussion Terms. Carl Fischer.
SOM Library- Call No: ML102.P4 L27 1978 (shelved in Undersize)
Randel, Don Michael. The New Harvard Dictionary of Music, Cambridge, Mass. : Belknap Press of
Harvard University Press, 1986.
SOM Library- ML100 .R22
Weinberg, Norman. Guide to Standardized Drumset Notation, Percussive Arts Society,1998.
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Implements/Other Important Items/Personal Equipment
As with textbooks, CD’s and equipment, sticks and mallets can really add up! You
should try and slowly build your collection of sticks and mallets according to when
you might need them. If you run into a musical situation that calls for an implement
you don’t own—try and buy it! This is also good for small percussion accessories. If
you have any questions about any other implements, please ask.
Implements
(Items in parenthesis are suggestions only—try them out to see if you like them)
1 pair of lightweight drumset sticks (Innovative Percussion-Ed Soph Maple)
1 pair of medium to heavyweight drumset sticks (Zildjian-Vinnie Colaiuta)
1 pair of general snare drum sticks (Vic Firth General SD-1)
1 pair of brushes (Regal Tip, 551 XL)
1 pair of multi-rods (Pro-Mark, Hot Rods)
1 set of (4) vibe mallets- medium- hard (Innovative Percussion RS-301)
1 set of (4) vibe mallets-soft (Innovative Percussion RS-201)
1 set of soft timpani mallets or mallet suitable for rolling on cymbals
Other Important Items
Practice Pad (HQ Percussion "Real Feel")
Metronome (Roland DB-88 "Dr. Beat")
Conga Wrench
Drum Key!
Hand lotion with Lanolin for conga playing (unscented-try Eucerin hand lotion)
2 Black Hand Towels (for placing sticks on music stands, etc)
Personal Equipment
You should have your own drumset cymbals. If you want to bring your bass drum and
hi-hat pedals that is fine but you will need a place to store them. Everyone should
consider purchasing a cowbell and synthetic woodblock as well as a shaker. The
following are some suggested instruments:
Latin Percussion, Jam Block-Large
Latin Percussion, Mambo Cowbell
Rhythm Tech Studio Shaker or Live Shaker
Rhythm Tech DSM2 Universal Mount
Pearl Adjustable Mount (PPS37) This is super strong for cowbells, etc.
Practice Rooms/Keys/Golden Rules For Living
The following is a listing of practice rooms you may use. Since these rooms are also
for combo’s it is important that you leave the contents intact so that the next drumset
performer or combo does not have to search for equipment. There are also two
drumsets found in the jazz cabinet in the rehearsal hall (and a drumset in the Cady
Room of Stearns). When you move a drumset, make sure you take extreme care in
loading everything onto a cart, use padding and collapse all of the stands. There is a
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checkout drumset stored in the practice room. In order to check this drumset out—you
must contact Professor Gould first and then the rest of the studio. If it is not already in
use, you must provide safe transportation—make sure it leaves the building in cases.
You may not check this out for more than one day without contacting Professor Gould.
Please report all equipment problems to Professor Gould.
Practice Rooms for EVERYONE
• Keep all of these practice rooms locked at all times—even if you are
leaving for a short period of time!
• If someone is using a practice room you do not recognize, ask them who
they are and report this immediately to one of the Jazz faculty as well as
the info office. (This excludes audition days!).
• DO NOT lend your key to anyone for any reason-ever! These facilities are
for jazz majors only.
• Do not leave your trash, sticks, mallets or music in any of the practice
rooms. Please take all of your stuff with you when you leave—even if
you are coming back later that day. No food or drink—ever (unless you
have water in a plastic container with lid). Please return all of the
instruments you use back to their original storage place or where you
found them. You can get a locker to store your gear from the person at the
info office at the beginning of the year. I will be working on getting
bigger lockers.
Practice Rooms and Professor Gould’s Office:
1016-Gould’s office. 2 drumsets, marimba, vibes and an array of percussion.
1136- drumset practice room
1138- storage room
1133- combo room (corner) drumset and vibraphone
1125- combo room (inner hallway) drumset and vibraphone
Golden Rules for Living (As found in many percussion studio’s across the country!)
If you open it, close it.
If you turn it on, turn it off.
If you unlock it, lock it up.
If you break it, admit it.
If you can’t fix it, call in someone who can.
If you borrow it, return it.
If you value it, take care of it.
If you make a mess, clean it up.
If you move it, put it back.
If it belongs to someone else, get permission to use it.
If you don’t know how to operate it, leave it alone.
If it’s none of your business, don’t ask questions.
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PERCUSSIVE ARTS SOCIETY
The Percussive Arts Society is an international organization that focuses on the study
and advancement of the art of percussion. There is one chapter from each state and
one chapter from each foreign country. In November of each year, the Percussive Arts
Society International Convention is held which features concerts, clinics and many
booths from the percussion industry. The convention is a lot of fun to attend, highly
educational and recommended for anyone planning on a career in percussion. Once a
year, the Michigan chapter of P.A.S. holds a Day of Percussion. The events change
from year to year, as does the location. The society’s magazine, Percussive Notes can
be found in the SOM library. You can find the most current subscription information
at www.pas.org. There are special rates for students and everyone should become a
member if you are not so already.
"It's important that all percussionists and drummers, no matter what style of music,
support each other. Organizations like PAS play a very important role in continually
educating and supporting percussionists and drummers all over the world." - Kenny
Aronoff
Modern Drummer
It is good to keep up on current drummers in Pop, Latin and Jazz as well as new
equipment, etc. When you need a break, it is in the library along with all of the other
periodicals.
Listening/Videos
Each student should be actively listening to as much music as possible from a diverse
pool of styles and performers. I have tried to include a variety of resources in this
handbook to help get you started discovering what the School of Music Library has to
offer. It is important that you find the time to listen to music, play-a-long with tunes
and listen to music that has been assigned to you during your individual lesson times.
Coursetools
I will be working with the jazz faculty to create a listening list located in coursetools
via iTunes U. This will include the tunes listed for freshman and sophomore juries as
well as other tunes. I will also be asking you for help in compiling a comprehensive
list of recordings. This may include you doing some research in the library or using
recordings you already have—stayed tuned.
Double Time Top 100 Historically Significant Recordings
I have also included a listing of the Double Time Top 100 Historically Significant
Recordings compiled by Jamey Aebersold. It is his company’s opinion of what they
think are the top 100 recordings—it is just an opinion but a great place to start listening.
I have searched the SOM library to see what we own and have included the call numbers.
(See Appendix A)
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Latin Recordings
Included in this handbook are a listing of ten collections of Latin CD’s recently
purchased by the SOM library. These will be quite useful for those of you who are
studying these styles with me on drumset, congas, etc.
(See Appendix B)
Videos
The School of Music also has an extensive drum video library. We have been slowly
building these up over the years for you to view, study and in some cases have the
pleasure to play-a-long with the artist. Percussion majors have a mobile video playback
cart in the practice rooms that they may use to watch the videos while playing along with
them. I will be working on something like this for the Jazz Majors as well. Please look
through this list and start watching!
(See Appendix C)
Juries
Juries are mandatory for freshman and sophomores. They occur each year at the end of
the Winter Term (the exact date will be announced by the Dept. with plenty of advance
notice). You can find a list of the required tunes in the Jazz Department Handbook.
Professor Gould will guide you during lessons to help prepare for the jury and what you
may expect.
SOM Student Handbook/ Lesson Expectations/Grading Policy
SOM Student Handbook
All students should familiarize him or herself with the School of Music Student
Handbook. The handbook you receive your first semester in school is the curriculum
and guidelines you will follow throughout your program at the University. Graduate
students should also look at the Handbook for Rackham Students in Music, Dance, or
Theater. These books detail all of the curricula and policies set forth by the School of
Music. Make sure you understand these extremely well—if you have any questions at
all regarding any of the contents of either handbook, I am always available for
advising as are people in the admissions office.
Lesson Expectations
Here are some general guidelines for everyone taking lessons with Professor Gould in
regards to organization, weekly expectations and grading structure:
• Lessons will be set-up within the first week of class. It is YOUR responsibility to
make an appointment with Professor Gould to set-up a lesson time (contact him in
person (office 1016), e-mail (gould@umich.edu) or phone (615-0215). Please make
sure that the lesson time you arrange does not conflict with any of your other
commitments, as changes in the schedule after the first week can be very difficult to
rearrange. You must also have 4:30-5:30 available every Tuesday for studio class.
These are mandatory to attend unless you contact Professor Gould well in advance of
meeting. It is also your responsibility to sign-up for the correct course and section
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number for lessons. Failure to do so will result in a whole plethora of problems for
you—you must double-check this before the add/drop date. If you have a question
whether or not you are enrolled ask me during your lesson time.
• Each lesson will be recorded on a “lesson sheet” (see Appendix D). The lesson
sheet is written documentation of what was reviewed during each lesson and identifies
the new material that should be worked on for the following week. You are expected
to complete all of the materials assigned to you for the following week. All of the
lesson sheets and supplemental materials given to you during lessons should be kept in
a folder or binder. I will also have a duplicate copy in my file to review before each
lesson, keep track of your grades and track your progress throughout the semester.
• During the first lesson, Dr. Gould will discuss with you a semester plan for covering
repertoire, techniques, reading, styles and any goals one might desire to accomplish
during the semester. There will also be a review of what was accomplished prior to
lessons (if you studied with Dr. Gould prior to the current semester) as well as longterm goals. All of these will be written on the Lesson Sheet and factored into the final
grade for the semester. Obviously, there are circumstances where one might not be
able to achieve everything on the goals sheet—perhaps because of getting stuck on
something highly technical or something highly personal—as long as one is working
hard, it is a very fair system.
• Each student should be sufficiently warmed up before each lesson. Try to organize
your schedule so that you are not running from another class or worse--from across
campus.
• If you are playing something that requires a special set-up (other than drumset or
hand drums), this should be done before the lesson begins so that little time is wasted
during the lesson. I am always willing to come to you—setting up something in a
practice room is perfectly fine.
• Please bring all of your implements to your lesson regardless of what is being
worked on. We might need a different implement given a new musical situation,
technique, etc.,so bring your stick bag.
• All students are required to purchase method books, music or other materials being
worked on for lessons or recitals. Please refer to the list of books supplied in this
handbook or your lesson sheet for items you may need to acquire. Please ask if you are
having trouble finding a certain item. Everything listed in this handbook can be ordered
from Steve Weiss Music or Columbus Pro Percussion:
Steve Weiss Music
2324 Wyandotte Rd.
Willow Grove, PA 19090
(215) 659-0100
www.columbuspercussion.com
5052 N High St
Columbus, OH 43214
(614) 885-7372
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• Regular lesson attendance is required. Unexcused absences are not allowed. Each
unexcused absence will result in one lowered final letter grade. In the case that you may
need to miss a lesson, please let Dr. Gould know ahead of your scheduled lesson time.
For excused absences, lessons will be made up with Dr. Gould at a mutually agreed upon
time. In the case that Dr. Gould should be away for performances, clinics, conventions,
etc., a make-up lesson sign-up sheet will be placed on the door to his office (or you will
be contacted via e-mail). If you cannot find a suitable time, please contact Dr. Gould.
Lessons start promptly at 40 minutes past the hour—if you are late…you will not
have a lesson unless you have a very good excuse. This will also result in a lower grade
at the end of the semester—no exceptions. If you are late—you will NOT receive an “A”
for the semester’s grade. Each time you are late will result in a ½ letter grade lower for
your final grade. You need to plan to be in the building, warmed-up and ready to go at
your lesson time.
Grading Policy
In an effort to try and take some of the subjective nature of lessons out of the equation
and come up with a more objective grade, I will take into account the average grade from
each week’s lesson sheet for the semester. Regardless of degree program, each student
should carefully prepare all of the materials assigned for each lesson. There should be
progressive improvement throughout the semester in both technical and musical abilities.
The grade will also account for how much of the semester goals were accomplished as
discussed above in lesson expectations. You must also bring “something to the table”.
This means have some questions ready on the material you have worked on for the past
week (or weeks) bring in recordings you have listened to and may have questions about,
big band or combo music, etc.—my hope is that this level of inquiry will spur more ideas,
practice material or new pathways of study. If you are expected to perform a jury at the
end of a semester, this will account for part of your final grade (you must pass the jury in
order to move on to the next lesson number. Professor Gould also expects all of his
students to attend all big band concerts and combo concerts, percussion related
recitals, masterclasses, clinics and other percussion events held throughout the
semester. Failure to do so without an authorized excuse will result in a 1/2 lower
grade (A to an A-). YOU MUST SUPPORT YOUR PEERS.
Grade Breakdown:
A = Excellent. The student shows exceptional and solid preparation, practiced with extreme consistency
between lessons, was professional in manner, and made superior progress in technique and musical
understanding of all assigned material.
B = Average. Preparation shows some inconsistency in practicing, mild improvement in technical goals,
and adequate enough progress that new materials may be assigned. However, given reasonable
expectations, the student is clearly not working to his/her highest potential.
C = Fair. This grade represents poor preparation, lack of consistent practice between lessons and little
improvement technically or musically. No new material will be assigned.
D = Poor. This grade is given for a lesson that is clearly not prepared and shows little or no consistent
practice. No new material will be assigned.
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E = Given only in the rarest of circumstances. Such a grade indicates that the student has made no effort
whatsoever.
(These grade descriptions I thought were very good and were taken from Clemson University Percussion Policies—Dr.
Paul Beyer)
Tips for Being a Responsible Percussionist (From Furman University and found
throughout the percussion world)
• Assist your colleagues in striking the stage following a percussion recital -- even it you didn’t play. This
is common courtesy and will be greatly appreciated when you are the performer.
• Arrive far enough in advance of a rehearsal to guarantee that all equipment is set up and you are properly
warmed up before the rehearsal begins. This may mean from ten minutes to an hour before a rehearsal
depending on the complexity of the set-up.
• Following a rehearsal, remain long enough to return all equipment to its proper location. Leaving before
this task is complete is selfish and inconsiderate to those who remain. Even if you did not play an
instrument, help everyone until the task is complete.
• Never challenge a conductor’s musical decisions during rehearsal. "The conductor is always right, even
when he/she is wrong." Use your section leader or principal to communicate alternative opinions.
• Do not rely on other’s to bring music, mallets, or equipment you are required to provide. Avoid the
reputation of being the "mallet moocher" or worse, the "percussion parasite."
• Come to rehearsals with your music learned. Rehearsals are for rehearsing, not for practicing.
• Your ears are extremely important to any musician. Wear ear protection when necessary.
• Keep a calendar so that you do not "double book," forget engagements, or simply fail to have your time
organized.
• Attend as many percussion related performances as possible, especially those by professionals in the field.
One can learn an incredible amount by witnessing your colleagues or the professional percussionist who
makes a living at this craft.
• Read as much as possible regarding percussion. The SOM Library has an excellent collection of books,
videos, and music about percussion. Percussive Notes and Modern Drummer are found on the periodical
shelves. Check out the websites on the Internet, too.
• Share information with your colleagues by using the “Cage” bulletin board or via e-mail. Whether it be
jobs, an interesting article, a new technique, a great concert next week, etc. share your ideas and
information with your colleagues. Don’t be selfish with your knowledge.
• Percussionists have a reputation for being cordial, positive, and good humored. Honor that reputation and
continue to build a positive image wherever you take your musical activities.
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APPENDIX A
Double Time Top 100 Historically Significant Recordings
Most of the recordings listed are from the 40's 50's & 60's Bebop era. This is due to the strong influence
this particular period of music has had on our current "Modern Jazz" scene today. We have purposely left
off early records due either to the tremendous amount of material recorded by the artist or the poor
recording quality.
Enjoy! Jamey D. Aebersold
1.Cannonball Adderley - Somethin' Else
2.Herbie Hancock - Maiden Voyage Call No: CDS 463392
3.Clifford Brown - Study In Brown
4.John Coltrane - Blue Train Call No: CDS 460952
5.Cannonball Adderley - & Coltrane
6.Wayne Shorter - Speak No Evil Call No: CDS 465092
7.Horace Silver - Song For My Father Call No: CDS 841852
8.Dizzy Gillespie - Sonny Side Up
9.Miles Davis - Kind Of Blue Call No: CDISC 02479, Call No: CDS 40579
10.John Coltrane - Giant Steps Call No: CDS 13112
11.J. J. Johnson - The Eminent Volume 1
12.Eric Dolphy - Out To Lunch Call No: CDISC 02141
13.Oliver Nelson - Blues & The Abstract Truth Call No: CDS 5659
14.Lee Morgan - The Sidewinder
15.Hank Mobley - Soul Station
16.Miles Davis - Milestones Call No: CDISC 02451
17.Wes Montgomery - Smokin At The Half Note On Order 6/3/02
18.Lee Morgan - Cornbread On Order 6/3/02
19.Larry Young - Unity Call No: CDISC 03714
20.Sonny Rollins - Saxophone Collossus -Call No: LP 7326
21.John Coltrane - Mainstream 1958
22.Mccoy Tyner - The Real Mccoy Call No: CDISC 03713
23.John Coltrane - A Love Supreme Call No: CDS 155
24.Johnny Smith - Moonlight In Vermont
25.Paul Chambers - Chambers Music
26.June Christy - Something Cool
27.Dizzy Gillespie - Jazz At Massey Hall Call No: LPB 0287
28.Art Blakey - A Night At Birdland Vol. 1 On Order 6/3/02
29.Dizzy Gillespie - Duets
30.Bill Evans - Undercurrent Call No: LPS 5640a
31.Gene Ammons - Boss Tenors
32.Kenny Burrell - & John Coltrane
33.Miles Davis - 'Round About Midnight Call No: CDISC 02878
34.Erroll Garner - Concert By The Sea Call No: CDM 40589
35.Miles Davis - Relaxin' With Miles On Order 6/3/02
36.Wes Montgomery - Incredible Jazz Guitar Call No: CDS 362a
37.Joe Henderson - Page One
38.Frank Rosolino - Free For All
39.Wes Montgomery - Full House Call No: CDS 1062
40.Art Farmer - Modern Art
41.Carl Fontana - 5 Star Ed
42.Sonny Rollins - Tenor Madness Call No: CDISC 01993
43.Art Blakey - Moanin' Call No: CDISC 03584
44.Thelonious Monk - With John Coltrane Call No: CDS 3929
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45.Chick Corea - Now He Sings, Now He Sobs Call No: CDISC 04894
46.Freddie Hubbard - Open Sesame
47.Bill Evans - Sunday At Village Vanguard Call No: CDISC 00223
48.Charlie Parker - Now's The Time
49.Stan Getz - For Musician's Only
50.Dizzy Gillespie - Groovin' High Call No: LP 12020
51.Dexter Gordon - Ballads
52.Charlie Parker - Bird & Diz Call No: LP 8006
53.Joe Henderson - Lush Life, Strayhorn Music Call No: CDS 117792
54.Freddie Hubbard - Red Clay Call No: CDS 40809
55.Bill Evans - Waltz For Debby Call No: CDS 182a
56.Kenny Dorham - Una Mas
57.Lester Young - The President Plays W/The Oscar Peterson Trio
58.Joe Henderson - In 'N Out Call No: CDS 892872
59.John Coltrane - & Johnny Hartman
60.Grant Green - Feelin' The Spirit
61.Nancy Wilson - With Cannonball Add. Call No: CDISC 00612
62.Miles Davis - Cookin' Call No: LP 7094
63.Red Garland - Groovy
64.Miles Davis - Steamin' With Miles Davis Call No: LPB 0406
65.Johnny Griffin - A Blowin' Session
66.Grant Green - Born To Be Blue
67.John Coltrane - Ballads
68.Johnny Hartman - I Just Dropped By To Say Hello
69.Carl Fontana - The Great Fontana
70.Grant Green - Idle Moments
71.Art Blakey - Ugetsu
72.Stanley Turrentine - Sugar
73.Bill Evans - Intermodulation
74.Art Blakey - A Night At Birdland Vol. 2
75.Freddie Hubbard - Hub Tones Call No: CDISC 00779
76.Hank Mobley - The Turnaround! Ordered: 06/03/02
77.Bud Powell - The Genius Of Call No: CDS 216692
78.Lee Konitz - Subconscious-Lee
79.Stan Getz - Stan Getz & Bill Evans
80.Milt Jackson - Bags Meets Wes
81.Jimmy Smith - Back At The Chicken Shack Call No: CDM 3154
82.Sonny Rollins - Plus Four
83.June Christy - The Misty Miss Christy
84.Joe Henderson - Inner Urge Call No: CDS 892872
85.Duke Ellington - Money Jungle
86.Woody Herman - Keeper Of The Flame
87.Chet Baker - Playboys
88.Bud Powell - The Amazing - Vol 1
89.Oscar Peterson - Plays Count Basie
90.Clifford Brown - Brown/Roach Inc.
91.Stan Kenton - Duet
92.Joe Henderson - Mode For Joe Call No: CDS 892872
93.Horace Silver - Blowin' The Blues Away
94.Clifford Brown - More Study In Brown
95.Sonny Clark - Leapin' And Lopin'
96.Blue Mitchell - The Thing To Do
97.Johnny Griffin - Introducing
98.Sonny Stitt - Constellation
99.Slide Hampton - World Of Trombones
100.Keith Jarrett - Standards Vol. 1
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Package Set, No. 1: Classic Salsa, Vol. 1 (15 CDs)
Here you will find some of the best salsa to come out of New York,
primarily from the 1970s — the decade when urban salsa exploded
with raw energy and verve. Each selection has been carefully chosen,
and each is important for its own reasons. This is a terrific starting
point to immerse yourself in the intense and rich music of the salsa
decade.
Alegre All Stars, The Alegre All Stars (CDISC 04494)
CD (Alegre 8100) Re-Issued 1996
Celia Cruz, (con Johnny Pacheco) - Celia & Johnny (CDISC 04493)
CD (Vaya V 31) Released 1974;
Cheo Feliciano, Cheo (CDISC 04492)
CD (Vaya V 5) Released 1976;
Eddie Palmieri, Azucar Pa' Ti (Sugar For You) (CDISC 04491)
CD (Tico 1122) Released 1965; Re-Issued 1994
Fania All Stars, Live at the Cheetah (Volume 1) (CDISC 04490)
CD (Fania 415) Released 1974;
Grupo Folklorico Y Experimental Nuevayorquino, Concepts InUnity (CDISC 04489)
CD (Sony/Salsoul 83904) Released 1975; Re-Issued 1994
Héctor Lavoe, Comedia (CDISC 04488)
Johnny Pacheco, El Maestro (CDISC 04487)
Justo Betancourt, Pa Bravo Yo (CDISC 04486)
Ruben Blades, Siembra (CDISC 04485)
Category: Salsa/Son => Salsa: Classic 1960s Or 1970s New York
Louie Ramirez, Louie Ramirez Y Sus Amigos (CDISC 04484)
CD (Cotique 1096) Released 1978;
Category: Salsa/Son => Salsa: Classic 1960s Or 1970s New York
Ray Barretto, The Message (CDISC 04483)
Markolino Dimond & Frankie Dante, Beethoven's V (CDISC 04482)
CD (Cotique 1075) Released 1975; Re-Issued 1993
Mon Rivera, Mon Y Sus Trombones (CDISC 04481)
CD (Vaya 54) Released 1976; Re-Issued 1993
Orchestra Harlow, Salsa! (CDISC 04480)
Page 13
Package Set, No. 2: Latin Soul (12 CDs)
This is the Latin Soul / Boogaloo spectacular you have been waiting for.
Twelve hand picked gems that are as important today as they were
when they were first introduced around twenty five years ago. Fill up
that glass of wine and get ready to boogie to that Sonido Bestial!
Pete Rodriguez, I Like It Like That (A Mi Gusta Asi) (CDISC 04457)
CD (Alegre 8550) Released 1967;
Joe Cuba, Diggin' The Most (CDISC 04456)
CD (Seeco 9259)
Johnny Colón & Orchestra, Boogaloo Blues (CDISC 04460)
CD (Cotique C 1004) Released 1967;
Ray Barretto, Latino Con Soul (CDISC 04458)
CD (WS Latino 4053) Re-Issued 2000
Ricardo Ray & Bobby Cruz, Lo Mejor De Ricardo Ray & Bobby Cruz (CDISC 04467)
CD (Vaya V 65)
Willie Bobo, Spanish Grease / Uno, Dos, Tres (CDISC 04466)
CD (Verve/Poly. 521 664-2) Released 1966; Re-Issued 1994
Ralfi Pagán, With Love (CDISC 04465)
CD (Fania 397) Re-Issued 1996
The Lat-Teens, Buena Gente (CDISC 04464)
CD (Cotique 1032) Released 1968; Re-Issued 1999
Joe Cuba, Bang! Bang! Push, Push, Push (CDISC 04463)
CD (Tico 1146) Released 1966;
Joe Bataan, Gypsy Woman (CDISC 04462)
CD (Fania 340) Released 1972; Re-Issued 1998
Jack Costanzo, Latin Percussion With Soul w/Gerrie Woo (CDISC 04461)
CD (Tico 1177)
Monguito Santamaría, Hey Sister (CDISC 04459)
CD (Fania 361)
Package Set, No. 3: Latin Jazz (12 CDs)
The vast scope of Latin jazz is spanned in this diverse mix of
approaches to the genre. Early Cubop selections from Machito and
his Afrocubans through the complex polyrhythms of Jerry Gonzalez
and the Fort Apache band are offered here. Of course, what
package could be complete without representation of Cuba's famed
superband, Irakere, or from El Rey, Mr. Tito Puente? This well
thought-out package will help you to define your own taste in Latin
Page 14
jazz, a genre that has taken many roads in the past 60 years.
Cal Tjader, Los Ritmos Calientes (CDISC 04406)
CD (Fantasy 24712)
Candido Camero, Brujerias De Candido, Candido's Latin,"McGuffa's Dust" (CDISC 04407)
Emiliano Salvador, Nueva Vision (CDISC 04408)
CD (Qbadisc 9018) Released 1979; Re-Issued 1995
Irakere, The Best Of Irakere (CDISC 04404416)
CD (Columbia/Sony 57719) Released 1994;
Jerry Gonzalez & Fort Apache Band, Rumba Para Monk (CDISC 04409)
CD (Sunnyside SSC1036D) Released 1989;
Machito And His Afro-Cubans, Kenya: Afro-Cuban Jazz (CDISC 04417)
CD (Roulette/Capitol 22668) Released 1957; Re-Issued 1999
Mario Bauza, Tanga (CDISC 04410)
CD (Messidor 15819-2) Released 1992;
Mongo Santamaria, Skins (CDISC 04411)
CD (Milestone 47038)
Poncho Sanchez, Sonando (CDISC 04415)
CD (Picante/Concord 4201)
Ray Barretto, Ancestral Messages (CDISC 04412)
CD (Picante/Concord 4549) Released 1993;
The Caribbean Jazz Project, Paraiso (CDISC 04412)
CD (Picante/Concord 4946) Released 2001;
Tito Puente, Tito Puente's Golden Latin Jazz All Star's — Live At The Village Gate (CDISC 04413)
CD (Tropijazz 80879) Released 1992;
Package Set, No. 4: Cuban Roots - Son And Spice (15 CDs)
Consider this fantastic package a primer in the wonderfully rich palette
of Afro Cuban dance music. Listening to this material, you will begin to
see why the music of this tiny island has influenced the course of music
worldwide. Offered in this package is a full spectrum, from the sublime
danzones of Arcaño to heart-felt son montunos, and then to the smokin'
1950s descargas of Israel "Cachao" Lopez that gave birth to modern
salsa.
Abelardo Barroso Y La Orquesta Sensacion, No Hay Como Mi Son (CDISC 04530)
CD (Caney 514) Re-Issued 1997
Afro Cuban All Stars, A Toda Cuba Le Gusta (CDISC 04526)
CD (Nonesuch 79476) Released 1997;
Page 15
Category: Salsa/Son => Salsa Cubana => Cuba
Arsenio Rodriguez Y Su Conjunto, Montuneando 1946-50 (CDISC 04527)
CD (Tumbao 31)
Bebo Valdes, Mucho Sabor (CDISC 04525)
CD (Palladium PCD 5123) Re-Issued 1989
Beny Moré, The Most From Beny Moré
CD (BMG/Tropical Series 2445) Re-Issued 1990
Chappottin, Sabor Tropical (CDISC UNKNOWN)
CD (Antilla 107) Re-Issued 1993
Chihuahua Martinez & Chihuahua All-Stars, Descarga Cubana (CDISC 04528)
CD (Palladium PCD 5158) Released 1964; Re-Issued 1991
Eliades Ochoa Y El Cuarteto Patria, Sublime Ilusion (CDISC O4529)
CD (Higher Octave 47494) Released 1999;
Israel "Cachao" Lopez, Descargas Cubanas: Cuban Jam Session Vol. II (CDISC 04531)
CD (Panart 1A501-00411) Re-Issued 1987
Los Naranjos, Mi Son Tiene Piel Morena (CDISC 04532)
CD (Eurotropical EUCD-13) Released 1998;
El Son Entero, Cuba (CDISC 04533)
CD (Playasound 65206) Released 1998;
Arcaño Y Sus Maravillas, Danzón Mambo 1944-51 (CDISC 04477)
CD (Tumbao 29) Re-Issued 1993
Rolando Laserie, 15 Grandes Exitos De Rolando Laserie (CDISC 04520)
CD (Disco Hit 1512)
Celina Gonzalez, ¡Que Viva Changó! (CDISC 04521)
CD (Qbadisc 9004) Released 1993;
Various Artists, Cuban Counterpoint: History Of Son Montuno (CDISC UNKNOWN)
CD (Rounder 1078) Re-Issued 1992
Package Set, No. 5: Salsa Cubana (12 CDs)
This unique package offers a range of modern Cuban salsa from the last
couple of years. From the legendary veteran dance band, Los Van Van,
who developed and popularized a hybrid rhythm known as songó, to the
talented high energy Cubanismo who incorporate elements of son and
descarga, to the new timba sounds of Charanga Habanera, Klimax and
Bamboleo, this package will surely fire up any party. This is an
important package, representing the best contemporary Cuban dance music.
Bamboleo, Ñño! Qué Bueno Está
CD (Ahi-Nama Records 1027) Released 2000;
Page 16
Cubanismo!, Reencarnación (CDISC 04424)
CD (Hannibal/Rykodisc 1429) Released 1998;
David Calzado Y Su Charanga Habanera, Tremendo Delirio (CDISC 04423)
CD (Universal 40068)
Issac Delgado Y Su Grupo, La Formula (CDISC 04422)
CD (Ahi-Nama Records 1030) Released 2000;
Klimax, Juego De Manos (CDISC 04421)
CD (Eurotropical EUCD-3)
La Caro Band, Vale La Pena - It's Worth It (CDISC 04420)
CD (Bembé 2021) Released 1999;
Los Van Van, Llego...Van Van / Van Van Is Here (CDISC 04419)
CD (Havana Caliente 83227) Released 1999;
Azucar Negra, Andar Andando (CDISC UNKNOWN)
CD (BIS 215) Released 2000;
Manolito Y Su Trabuco, Para Que Baile Cuba (CDISC UNKNOWN)
CD (Eurotropical 0022) Released 2000;
Ng La Banda, En La Calle (CDISC 04418)
Paulito Y Su Elite (Paulo Fg), Una Vez Más...Por Amor (CDISC UNKNOWN)
CD (Promusic 00013) Released 2000;
Andy Gola And Colé Colé, En Colombia (CDISC UNKNOWN)
CD (Tumi 079) Released 1998;
Package Set, No. 6: The Folkloric In Latin Music (15 CDs)
This important package focuses on the folkloric and religious aspects of
caribbean Latin music. Prime examples of Afro-Cuban Lucumí (Santeria)
cantos, sung by an Akpwon accompanied by batá drums are offered.
Additionally, the different forms of rumba (literally "party," but here
referring to the voice and percussion music that accompanys specific
dances between men or men and women are fully represented. Also
exemplified are folkloric musical styles indigenous to Puerto Rico,
specifically the Bomba and the Plena. Examples of traditional as well as
modern treatments of these forms are explored.
Carlos 'Patato' Valdes, Patato Y Totico (CDISC 04604)
CD (Mediterraneo MDC-10065) Re-Issued 1992
Carlos 'Patato' Valdes, Authority: Patato & His Latin Percussion Friends (CDISC UNKNOWN)
CD (Latin Percussion 103) Released 1976; Re-Issued 2000
Page 17
Conjunto Guaguanco Matancero, Guaguanco - Con Papin Y Sus (CDISC UNKNOWN)
Rumberos
CD (Antilla 565)
Grupo Afro Boricua With William Cepeda, Bombazo (CDISC 04601)
CD (Blue Jackel 5027) Released 1998;
Grupo Afrocuba De Matanzas, Oyelos De Nuevo (CDISC 04597)
CD (Qbadisc 9013) Released 1970; Re-Issued 1994
Los Muñequitos De Matanzas, Rumba Caliente 88/77 (CDISC 04608)
Los Papines, Homenaje A Mis Colegas (CDISC 04609)
CD (Vitral 4105) Released 1989;
Milton Cardona, Bembe (CDISC 04610)
CD (American Clave 1004) Released 1994;
Mongo Santamaria, Drums And Chants (CDISC 04598)
CD (Vaya 56) Released 1978; Re-Issued 1994
Totico Y Sus Rumberos, Totico Y Sus Rumberos (CDISC 04599)
CD (Montuno 515) Re-Issued 1992
Paracumbé, Tambó (CDISC 04602)
CD (Ashé 2005) Released 1997;
Plena Libre, Plena Libre (CDISC 04607)
CD (Ryko Latino 1006) Released 1998;
Ecué Tumba, Buenavista En Guaguancó (CDISC UNKNOWN)
CD (Envidia 7024) Re-Issued 2001
Tata Güines, Aniversario (CDISC 04605)
CD (Egrem 0156) Released 1996;
Conjunto Folklorico Nacional De Cuba, Música Yoruba (CDISC 04606)
CD (Bembé 2010) Re-Issued 1995
Package Set, No. 7: The Danzón, Mambo And Cha Cha Chá (12
CDs)
We had decided to form this package in response to the many, many
requests we get for good mambo, cha cha chá dance material.
Highlighting the heyday of this form - the 1950s and '60s, we bring you
the royalty: Tito Puente, Tito Rodriguez, Orquesta Aragón, Noro Morales
and many others. Enjoy!
Machito And His Afro-Cubans, Tremendo Cumban 1949-52 (CDISC 04470)
Noro Morales, Rhumbas And Mambos 1948-51 (CDISC 04479)
Page 18
Orquesta Aragón, The Heart Of Havana, Vol. 1 (CDISC 04472)
CD (BMG/Tropical Series 3204) Released 1958; Re-Issued 1992
Orquesta Broadway, Pasaporte (CDISC 04473)
CD (Musical Productions 6261)
Pérez Prado, Mondo Mambo! The Best Of Pérez Prado & His Orchestra (CDISC 04469)
CD (BMG/Rhino 71889) Re-Issued 1995
Tito Puente, Dancemania Vol. 1 (CDISC 04474)
Tito Rodriguez, Tito, Tito, Tito (CDISC 04475)
Tito Rodriguez, Back Home In Puerto Rico (CIDSC 04476)
Arcaño Y Sus Maravillas, Danzón Mambo 1944-51 (CDISC 04477)
Noro Morales, Rumba Rhapsody (CDISC 04478)
Pupi Campo And His Orchestra, Rhumbas And Mambos 1948-51 (CDISC 04479)
Tito Puente, No Hay Mejor (CDISC 04468)
Package Set, No. 8: The New Salsa (15 CDs)
In this package we bring you some our writers favorite salsa CDs from
the last couple of years. In this package you will see some recognizable
names like veterans Rubén Blades and Eddie Palmieri, as well as some
newcomers who became stars within the past five years: India and Marc
Anthony. Additionally, there are some shining new stars as well as some
lesser known names that deserve more recognition. In any case, this
package represents some of the best salsa to be released from 1993 to
the present.
Africando, Vol. 1 — Trovador (CDISC 04425)
CD (Stern's Africa 1045) Released 1993;
Celia Cruz, Mi Vida Es Cantar (CDISC 04426)
CD (RMM 82068) Released 1998;
Victor Manuelle, Instinto Y Deseo (CDISC 04439)
CD (Sony Discos 83768) Re-Issued 2001
Page 19
Eddie Palmieri, El Rumbero Del Piano (CDISC 04429)
Gilberto Santa Rosa, A Dos Tiempos De Un Tiempo (CDISC 04430)
CD (Sony 80895)
India, Llegó La India Via Eddie Palmieri (CDISC 04431)
CD (Soho Records 80864)
Fruko Y Sus Tesos, ¡Esto Sí Es Salsa De Verdad! (CDISC 04432)
CD (Fuentes 11001) Released 1999;
José Alberto "El Canario", Herido / Heartbreak (CDISC 04427)
CD (Ryko 1009) Released 1999;
Richie Ray, Mas Duro Que Antes (CDISC 04438)
CD (Rodven/Polygram 559 020) Released 1998;
Oscar D’Leon Y Su Orquesta, La Formula Original (CDISC 04428)
Wayne Gorbea, Cogele El Gusto (CDISC 04437)
CD (Shanachie 66013) Released 1997;
Jimmy Bosch, Soneando Trombon (CDISC 04436)
CD (Ryko Latino 1004) Released 1998;
Carlos Manuel Y Su Clan, Malo Cantidad (CDISC 04435)
CD (Palm Pictures 2064) Released 2001;
Frankie Ruiz, Mirandote (CDISC 04433)
CD (Rodven 3154) Released 1994;
Marc Anthony, Contra La Corriente (CDISC 04434)
Package Set, No. 9: The Diamond Collection, Vol. 1 (15 CDs)
Here is a special collection of fifteen gems, selected from our pool of
contributing reviewers and editors. We created this catagory because
we felt that a smorgasboard of perfect appetizers will be the the right
thing to turn you on to some of the best material available. We took
pains not to duplicate items that appear in our other collections.
Alfredo De La Fé, Orchestra Rytmo Africa-Cubana, Vol. 1 (CDISC UNKNOWN)
CD (TKIOS Musique 7779VOL1) Released 1992;
Batacumbele, Con Un Poco De Songo (CDISC 04448)
CD (Disco Hit 1692) Released 1989;
Caravana Cubana, Late Night Sessions (CDISC 04443)
CD (Dreamer Music/Rhino 78028) Released 1999;
Page 20
Cortijo Y Su Combo, Cortijo Y Kako - Ritmos Y Cantos Callejeros (CDISC UNKNOWN)
CD (Ansonia 1477) Released 1970;
Chocolate Armenteros, En El Rincon (CDISC 04450)
CD (Sony/Salsoul 83908) Released 1999;
Edwin Y Su Son, Edwin Y Su Son (CDISC 04455)
CD (SAR/Guajiro 1080) Released 1999;
Sonsublime, Irresistible (CDISC 04452)
CD (Lasemco 2822) Released 2001;
Cuco Valoy, Epoca De Oro (CDISC 04454)
CD (Kubaney 412) Released 1995;
Israel "Cachao" Lopez, Master Sessions, Volume 2 (CDISC 04445)
CD (Crescent Moon/Epic 67319) Released 1995;
Henry Fiol, Lo Maximo (CDISC 04451)
CD (Exclusivo 1294) Released 1995;
Héctor Lavoe, Hector's Gold (CDISC 04449)
Quinto Mayor, Salsa Con Golpe (CDISC UNKNOWN)
CD (Codiscos 11280) Released 2000;
Los Zafiros, Bossa Cubana (CDISC 04442)
CD (Nonesuch 79572) Re-Issued 1999
Papaito, Rinde Homenaje A A. Barroso (CDISC 04453)
CD (SAR/Guajiro SCD-1014) Released 1990;
Tito Puente, Top Percussion (CDISC 04447)
Package Set, No. 10: Classic Salsa, Vol. 2 (15 CDs)
You knew we had to do it. It was impossible to confine this explosive
era of classic salsa to just one package. Here are 15 more golden
selections distilled from our vast collection of reviews from our
esteemed writers. This is more of the best of the best. Que viva la
música!
Celia Cruz, Son Con Guaguanco (CDISC 04509)
Eddie Palmieri, Eddie Palmieri & Friends Con Lalo Rodriguez -The Sun Of Latin Music (CDISC 04508)
CD (Musical Productions 5-6253)
Ismael Rivera, El Unico (CDISC 04507)
Johnny Pacheco, La Perfecta Combinacion — with Pete "El Conde" Rodriguez (CDISC 04506)
Page 21
CD (Fania 380) Re-Issued 1991
Manny Oquendo Y Libre, Increible (CDISC 04505)
CD (Salsoul 83907) Re-Issued 1994
Louie Ramirez, Pete Bonet & Louie: Beautiful People (CDISC 04504)
Monguito, Pacheco Presents Monguito (CDISC 04503)
Orchestra Harlow, Hommy, A Latin Opera (CDISC 04495)
Willie Colón, Cosa Nuestra (CDISC 04496)
Ray Barretto, Rican/Struction (CDISC 04497)
Fania All Stars, Commitment (CDISC 04502)
Ruben Blades, Metiendo Mano
Tipica ‘73, Tipica '73 (CDISC 04499)
CD (Inca I 1031) Released 1973;
Tito Puente, El Rey Bravo (CDISC 04500)
CD (Tico 1086) Released 1963; Re-Issued 1999
Tommy Olivencia, Plante Bandera (CDISC 04501)
CD (Inca I 1042) Released 1975;
Page 22

Dr. Michael Gould • Studio Handbook

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