Spring/Summer 2007

Transcription

Spring/Summer 2007

A Free Publication
Volume VIII, Issue 2
Spring/Summer 2007
On the pulse of the Global Drum Community
Annette A. Aguilar
Gilberto Serna of
Deagan Marimbas
Inside
• Interviews: Gilberto Serna,
Annette Aguilar, Paoli Mejias,
Joe Gonzalez, Angel Guerrero,
Jay Puente, Ozomatli
• Gahu Recreational Dances, Part II
• Photo Essays: Chicago Rhythm Scene,
KoSA XI— Vermont and KoSA Cuba
• Ca∆jon Pa’ Los Muertos— Thesis Abstract
• Beat Gallery, CD reviews
and much more!
Paoli Mejias
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10 years!
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Mission Statement
We believe the process of drumming is
healing and life enhancing. Our mission is to
serve as a venue for the support of the world
percussion community and to provide a
publication that addresses the ideas,
concerns, news and information that
is of interest to this community. On the pulse of the Global Drum Community
Contents
Interview: Gilberto Serna
Staff
Interview: Paoli Mejias
...........................................4
.............................................6
QuestFest 2006 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Published by
Terry Reimer, DBA World Percussion and Rhythm
Publisher, Editor & Creator
Terry Reimer
Art Director/Production Manager
Kathleen Hardy
Interview: Annette A. Aguilar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Interview: Joe Gonzalez (part I) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Interview: Angel Guerrero
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
KoSA XI and KoSA Cuba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Interview: Jay Puente
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Distribution Assistant
Interview: Ozomatli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Aimee Bass
Chicago Rhythm Scene (photo essay) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Art Director
Hot House and Jamaica (photo essays) . . . . . . . . . Kathleen
. . . . . . . .Hardy
. . . . . . . . . . . . . . .21
Gilberto Serna and Paoli Mejias by Terry Reimer
Annette A. Aguilar, courtesy photo
Contributors
Jessica Anzaldua, Mani Bances, Carlos Cornier,
Patsy Crocker, Leonard Ferris, Isaac Gutwilik,
Jennifer Horton, Gingi Lahera, Eric Lieb,
Juan J. Martinez, Aldo Mazza, Allison Neiderkorn,
Mark Powers, Terry Reimer, Charlie Rosario
World Percussion and Rhythm magazine is published
bi-annually by Terry Reimer, DBA World Percussion and
Rhythm. Opinions expressed by any of its authors do not
necessarily reflect positions of World Percussion and
Rhythm or the Publisher. Copyright 2007. All rights reserved.
The respective authors and creators copyright the content of
this magazine. Law prohibits reproduction of any part of this
publication without written consent of the Publisher.
Correspondence and submissions:
Terry Reimer,
1020 Wellington, #1F, Chicago, IL 60657
Evening (773) 348-0966
Email: wprmagazine@aol.com
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World Percussion and Rhythm • Volume VIII Issue 2
Beat Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Gahu Recreational Dances (part II) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
CD/Video/Book Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Cajon Pa’ Los Muertos (Thesis Absract) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Egypt: Nubian music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Of Note/Repercussions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Editor’s Welcome
World Percussion and Rhythm magazine brings you the best of the
vibrant and richly varied global drum scene. It’s the only magazine of
its kind. “WPR’s coverage is authoritative, to the point and is of the
authentic rhythms, questions, instruments and issues.” WPR gets into
the hands of drummers, percussionists and champions of rhythm in
more than 30 states from New York to California, from Florida to Wisconsin and from more than 19 countries from France, Canada, Cuba,
Puerto Rico, Brasil, Africa, and beyond. WPR continues to attract
dynamic contributors and top quality advertisers representing the
global drum community. Become part of the WPR Team! World Percussion and Rhythm magazine is accepting submissions for articles in
all areas. We also accept submissions of artwork, photography and
poetry related to percussion. Call (773) 348-0966.
Photo by Clair Lewis
Cover Photos
Congratulations! World Percussion and Rhythm magazine is 10 years old! When I decided
to expand the Women’s Spirit Drummers’ monthly newsletter after eight years, I enrolled the
help of friends in the Primal Connection. Since that time, so many drum experts and enthusiasts have contributed so much and shared so deeply, the wisdom of the drum. From Babatunde
Olatunji (7/97), Giovanni Hidalgo, Zakir Hussain and Santana, we’ve covered so much rhythm!
Welcome our latest, greatest Art Director/Production Manager, Kathleen Hardy! Look inside
your issue to see if you’ve won a prize! WPR will give away 10 FREE BUSINESS CARD AD SPACES
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—Terry Reimer, WPR Editor/Publisher
3
Gilberto Serna
By Terry Reimer
DEAGAN —A SHORT HISTORY
Excerpts from Mallet Shop.com, by Shannon Wood
Deagan marimbas were invented by John Calhoun Deagan, whose interest in
mathematics, physics, music and the science of acoustics, changed
and shaped the world of music and percussion. He produced his first
instrument in 1880, a glockenspiel and then invented the scaled tuning by grinding the steel bars until the tuning was balanced. He also
attached the bars to a support frame and thus began his one-man
operation on 1004 Market Street, St. Louis, Missouri. In 1886 he patented the 20-note scale Cathedral Chimes. Deagan transformed the crude
German instrument called the Strohfiedel (Straw Fiddle) that had four
rows of wooden blocks on a frame with braided rafia fiber, into the
first J.C. Deagan xylophone. It became an essential percussion voice in
Vaudeville acts, bands and orchestras around the world. He continued
to perform on clarinet, write arrangements and teach while supplying
his bells and xylophones, moving from St. Louis to LA and San Francisco. He
then moved to Chicago and after a number of places, finally called the factory space at East Ravenswood Avenue and 1770 W. Berteau, home. Deagan
used "Nagaed" premium Honduran rosewood (Deagan spelled backwards)
and Klyposerus, a Caribbean cocobolo wood for their exceptional brilliance
and extreme durability. He established the tuning standard for tuning forks
and bars with A=440 as the standard. Between 1914 and 1916, the company
manufactured over 600 items. In 1923, the
Deagan No. 870 and 872 xylophones sold for
$100. In 1983, Slingerland sold the company
to Larry Rasp who filed Chapter 11 one year
later. Yamaha bought it out and has since
owned the Deagan name.
GILBERTO SERNA
World’s Fair Marimba Band
makes music history
In 1968, Gilberto Serna
from Colombia walked
through the doors of
Deagan. He knew he had
found his life's passion.
Within his first year of working at Deagan, Serna was building the series 900
xylophones, the Diana Deluxe marimbas, the Aurora and Commander vibra-
phones and the 1558 glockenspiels. The most popular instruments, the No.
870's, No. 145's and No. 40 Diana were all made before he started and had
ended production by the beginning of the 1940's. They needed service and
Deagan wasn't providing this. Deagan would simply trade them in and scrap
the instruments. This void eventually led to Gilberto Serna's formation of Century Mallet Instrument Service to restore these important instruments, the
same year Deagan turned 100 years old. He split the company at the age of 33
and began getting orders for repair from customers such as the Chicago Symphony and the Air Force Band. By 1990 his business was booming.
WPR: Gilberto Serna, how did you begin working for Deagan?
Serna: There were no openings when I applied for a job here, but the way I
approached them, they made an opening for me. I said I wanted to work. I said
I could do anything, sweep the floors. They said if I wanted to work so much
they were going to hire me. I never did any of this kind of work before. I used
to work at the church in Colombia with my family. Most of my family now lives
in Bogota. But I was hired here and put to work in all the different areas. This
way I learned the whole business in one year, every aspect of it. It was the
best thing that could have happened to me.
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WPR: Tell us about your
recent work and plans for
the near future.
Serna: I'm covered for jobs
until January of 2008! It's a
lot I'm trying to take and I
have so many already. Everywhere else it's the same. I'm
the sanding machine. There are different frequencies or herz. This is the
marimba used with the biggest marimba band in the world, the Tennessee
State Airforce Academy. There are several big bands like the Century of
Progress and the West Point bands. The assembly of their marimbas is done
here. I work at this desk with the metal pieces, nails, bolts, polishing, scraping. This is part of the stuff I work with. My whole truck is full too. The Blue
Man Group bought instruments from me. I also did instruments for Eighth
Blackbird, a Skokie, IL touring group. There is at least one job per day or more
for repairs and several jobs for tuning every day.
WPR: How low can you go?
working in Vienna twice
a year in March and April.
Then at the end of September I'm helping the
Strauss
Philharmonic
Orchestra. I have a nice
place outside Vienna with
a shop and equipment there. I relax and work two days out of the stay. I'm
thinking of going there eight months out of the year for two years, two
months here and then back to Europe. Then I'll disappear for some time. I'll
still be in touch and go to the PAS [Percussive Arts Society] shows in November. I'll have a place in this building for my own stuff and materials for the
Mallet Shop.
WPR: Show us around this beautiful, old building. The instruments here are
gorgeous!
Serna: I was asked if I could build a six-octave marimba but
there's no such thing. You can go 5+1/2 octaves. Lower than
that doesn't sound good. I would not want to go lower. The
music doesn't require it. The music from the 30's and 40's
is beautiful music. I don't like the new music though I have
respect for it. You can play Bach, Brahms, Beethoven,
Mozart on marimba. It costs $240 to $300 for each key that
goes on the marimba. It's $70 to $160 to buy one key
[tune/repair?]. A decent marimba can cost $3,500. I've built
so many marimbas, I can't remember how many. We use
mallets mostly from Balter, Mike Balter Mallets. We have
them here. Balter Mallets are the most recognized and
respected. I recommend them.
WPR: What are your plans for the future? You have indicated that you are going to leave here.
Serna: I would like to be involved in helping young kids from 7-15 years old
involved in music groups, teaching them to make the keys, notes and clean
and repair keyboard instruments. I'll be working in Vienna, Scandinavia and
I worked in Prague too. My idea is to bring teachers to teach them how to
play. I'll be doing that as a resource and working at the National University in
continued on page 20
Serna: The building was built before 1900 because J. C. Deagan moved here in
1907. I met him when I came here in 1968. He was already 81 years old then.
Some of the instruments are from 1903. The oldest instrument is from 1897.
It's this one with the car battery attached to it. It's called the Unafon. Charlie
Chaplin used it. Charlie Chaplin lived at Winnemac and Glenwood here in
Chicago and went to the University here in the 1930's. I connected the sounds
with electricity designed to make it play. There is a photo of Charlie Chaplin
playing it. They were advertising his movies with it. The second oldest instrument here is this metal marimba. It's from 1907. You can play it with mallets
or a violin or cello bow against the edge. There is a 1968 gold marimba. This
wooden one can be played with a bow too. Marimbas and vibraphones were
used a lot in jazz. We have a photo of Lionel Hampton here. He was a fine
drummer too! I also have a bomba drum I brought from Baranquilla. They
make good percussion instruments in Colombia. These maracas are from
there. There's also an old Ludwig kit and a Slingerland kit here. And a steel
drum.
WPR: Show us how you tune and repair the instruments.
Serna: I use my ear to select good woods. I can tune by ear but it takes much
longer. I get it close first and then grind the keys with the tuning machine. If
I tap on this wood key, I hear a "C" note and see it registered on the "Stroboconn" tuning unit machine. I can bring it down to a "G" by shaving it down on
5
Paoli Mejias
By Jessica Anzaldua
WPR: At what age did you start to play?
Mejias: 10-11 years old.
WPR: Where did you go to play around Puerto Rico (San Juan? Local clubs
or jams?)
Mejias: My first gig was playing congas in a hotel in Isla Verde (near the San
Juan airport) with a steel drum Band. I also played in carnivals around the
island.
WPR: Who are your influences?
Mejias: Irakere, Batacumbele, Patato Valdez, Tata Güines.
WPR: Have your influences changed over the years as you have developed
your sound?
Mejias: Yes, by traveling all over the world my style has been influenced
and I’ve learned and incorporated elements of other cultures.
WPR: Did your family influence your music when growing up?
Mejias: No, no musicians in my family.
WPR: You were a sideman for some heavy hitting bands in your teens.
What was that
like?
Mejias: Excellent experience
to be able to
play with well
known groups.
It was an
intense way to
know the profession. I also
perfected my
style of playing
and sound for a
group focused
on dance.
WPR: Tell us
about studying
bata with Jose Ramirez. Do you practice Santeria/and or incorporate bata
rhythms in your style?
Mejias: No, I do not practice Santeria, although I do incorporate my knowledge of Yoruba music, just like any other folkloric rhythm. Jose was my
teacher of Yoruban music.
WPR: Who were your teachers for each instrument (conga, djembe, bongo,
timbale, bomba drums, etc)?
Mejias: I am self-taught.
WPR: I saw you play in Chicago at the Old Town School of Folk Music in
December of 2006. That was a fantastic show! I have to ask about your
methods of playing— you play very quickly but also with an ease that is
natural. How did you learn that method of playing?
Mejias: Aside from many hours of practicing my instrument, you need a
control and a connection with your mind, body and instrument to feel the
music and be connected with the other musicians.
WPR: Tell us about your set up(s)/endorsers.
Mejias: Please see my rider http://www.paolimejias.com/Rider.htm
WPR: Reflect on the nature of trance in drumming or for you personally.
Mejias: I would say for me it’s more of a connection between myself and
the music.
WPR: You have had so much success in your career: Touring with the legendary Eddie Palmieri, receiving a Latin Grammy nomination for Mi Tambor. What is your proudest moment so far in your career?
Mejias: My proudest moment in my career so far≥.÷≤ .. there are many and it’s
impossible to pick just one. One of the most fulfilling experiences is the
reaction of the audience when I am performing live with my own group.
Also, it’s very satisfying to hear the feedback and comments from those
who’ve purchased my CDs.
WPR: What has surprised you the most in your career?
Mejias: That my wife and I have been able to completely run all aspects of
my business as musician and band leader (including production of my CDs,
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bookings, website design, CD
Distribution, etc is all done by
the two of us) and the amazing
achievements we’d accomplished so far.
WPR: How do you feel about
recording music versus playing
live? What are those musical
situations that you love?
Mejias: The majority of my CDs I
recorded playing live with the
other musicians. One difference is when playing in front of a live audience,
their energy and reaction can influence you on stage. The best situations
are the inspiration you get from playing with other musicians.
Paoli Mejias and Jessica Anzaldua
WPR: Being from Puerto Rico, how has that helped define your music?
Mejias: By nature the music and folklore of the island is reflected in my music.
WPR: How have you seen the Puerto Rican music community evolve?
Mejias: It has evolved a lot, there’s new interest in the younger generations
to incorporate our native bomba and plena.
WPR: Do you find any differences in Puerto Rico and the U.S. in the
direction of Latin Jazz?
Mejias: Not really, Puerto Ricans have been evolving their way of playing
Latin jazz.
WPR: Tell us about the two
albums Mi Tambor in 2004 and
Transcend in 2006.
Mejias: It’s very difficult to
answer this question in a concise manner after having passed
the process of recording, producing, promoting, distributing
and selling the cds. I can say
Paoli Mejias and Terry Reimer
that Mi Tambor has been very
well accepted all over and opened many doors for me in the market. I
believe it’s a revolutionary cd because of the diversity of the music within
one cd. With Transcend, I was able to create a more uniform sound and
solidify my style, having had the experience of recording Mi Tambor. In
general I feel I improved all aspects of this second production.
WPR: Any advice for aspiring congueros/latin jazz musicians?
Mejias: Have faith in their projects, practice their instruments, and listen
to all types of music.
WPR: What is next for you?
Mejias: Find a way to perform in the most renowned festivals around the
world, now that my cds have received great acclaim by both the public and critics from all over. Transcend was rated #1 by Latin Beat as best of 2006.
QuestFest 2006
photos by Jeff Hallman & Robbie Soska
Drum Divas
Charlie Barberra (center)
Environmental Encroachment
Rick Neuhaus with Djembe
Summer Camp All Stars
Belly Dancing
Rabbi Menachem of the
Shiviti Drummers
Dahui & Groove Ova
7
Annette A. Aguilar
By Terry Reimer
WPR: You are an amazing percussionist. It's difficult for women to play professionally and accomplish all you have. Does your cultural background
play into your career?
Aguilar: Yes, because I grew up in San Francisco at a time when music was just
a part of everyday life. Between the Haight Asbury, the Mission district, the Filmore West and Golden Gate Park, everyone heard something great. But for the
LA RAZA and as a first generation Nicaraguan (both of my parents are from
Managua, Nicaragua I was born in San Francisco) you could not pass up the
Latin Rock that took over the Mission District (a Latin community, basic Latin
population is Mexican American and Central Americans, it has changed with
different Latinos but this was the majority). Santana was a Mexican American
and his percussionist was Chepito Areas who was Nicaraguan and was a key
figure for incorporating the Latin Beat in Santana's rhythm section. At that time
I did feel the cultural background had a huge impact, because the music and
the tradition, the language is all part of it as well. And most people within that
time of Latin Rock and then the Salsa scene where Latinos. Only the serious
Caucasians who respected the music were there. In the late 60's and early 70's
there was a lot of prejudice toward Latinos. San Francisco State University just
finished their big protest and riots because we did not have an ethnic studies
department etc. Let's face it, white people were not hanging out too much with
us. The cops in the Mission used to harass us. And later in the late 70's they
banned conga drumming in Dolores Park which is where a lot us of had
learned how to play. This is because there were people who did not want to
hear that drumming and it was not the Latinos. In fact John Santos and Raul
Rekow where given tickets and fines for playing in Dolores park. This is when
more Caucasian people started moving into the Mission District. It's almost like
the banning they did in Cuba and other places around the world of people congregating and playing their music. It's obvious when a non-Latin immerses in
this style. They learn as well as someone who's from that culture. That's the
bottom line, and we have some of the greatest players who are non-Latinos.
They have respect for the culture. But the real Masters are the elders that come
from Cuba, Puerto Rico and New York.You also have the New Generation of
people in San Francisco like John Santos and Michael Spiro who are carrying
the torch with honesty. But culture should be shared and kept alive for all to
explore and to keep the music alive and growing.
WPR: Is it harder for you in a male-dominated profession? Do you have
advice for other women?
Aguilar: Technically and basically yes. It is harder for women. Women are
great drummers. They have a certain time in their bodies. We do carry the
reproductive system. Yes there are guys out there that have their opinion
about women drummers. This is always a tricky question. Some guys like to
patronize women when it comes to drumming. In my teaching I've seen this
in African American girls (especially) and of course the Hispanics and Caucasian girls. But again African American and Latino girls will pick it up faster
than the Caucasian because it's just part of their culture. My Harpist-Percussion player Ellen Uryevick -Adams holds a mean paila and clave. She's playing the paila on both of my records right there with Vince Cherico and Victor
Rendon. Sheila E. was really a great player. We played together in our teens.
She had no mic but you could hear her in the back of the hall.There's also
great set drummers like Terry Lyn Carrington, Cindy Blackman, Bernice
Brooks, Barbara Merjan. Women are told not to play drums because it's supposed to be a "Man's instrument". It's such bullshit. But I have been very fortunate to have a lot of support from male percussionists like my long time
teacher Louie Bauso, and my time with Jerry Gonzales, and friends like Eddie
Bobe´, Vince Cherico, Chembo, Wilson Corniel, Renato Thoms, John Santos
who till this day was very supportive and has always been a positive figure.
In the mid to late 70's there was a band called Tipica Cienfuegos from S.F. in
which my brother Jaime sang and played guiro and maracas. John Calloway
was also part of this group and conguero extraordinaire Harold Munoz. Also
in that scene was Carl Perazzo who I met when I was around 12 years old. We
took a workshop together and my old friend Rudy Ortiz. My advice for women
and what I always have to practice is keeping your strength physically, taking
care of your body, eating right and you have to exercise, mentally focus on
your well being. May it be spiritual, be positive and work out your problems
with supportive people. Take care of your head. A lot of women go into sub8
stance abuse and
it's not only that,
getting overweight
etc. You have to do
things for your selfesteem.
People
freak about going
to therapy to do
work and to talk
about things that
will help you grow.
Hey, we are only
human. If you need
help ask. Avoid
being afraid. “Life
is too short and the
day waits for no
one." That's a quote
from Toshi Reagon.
And last, study,
study, listen, listen,
listen to the music.
The discipline of
knowing your craft
empowers you to
take the hits that
you will come up
against in this male
dominated society.
But there are players in this field that
do not think
women should play
the drum. You have
to stay away from that energy. There are guys out there with major issues.
Women can throw a hard pitch and there are certain male percussionists who
do not allow women in their circles. So this is when you have to be creative
to make your own gig. In other words don't wait for the phone to ring.
WPR: How did you move from symphony work to all the other music you do?
Please share some of the highlights of your playing career.
Aguilar: The challenge is making sure that you study the genre of the music.
You have to make quality time for it. When I was an undergrad at San Francisco State University I went to see the symphony twice a week, sometimes
more. I had a band at that time and I would listen to Irakere and Los Papines.
I was playing in an Afro-Brasilian group and escola de Samba. I was spending
lost of my time with the orchestral music. I needed to study that more. I was
studying all the mallet instruments, tympanis and snare drum and percussion.
Orchestral work is more about precision and executing along with 40 - 60
other players. I was the first student to give a classical Jazz and Afro-Cuban
and Brasilian recital at San Francisco State. When I first moved to New York
(fall 1985) I played Alice Tully Hall and Lincoln Center. I was really hoping to
do more work with that but it's not easy to get those jobs since there are very
few orchestras. Plus I was being called to do Broadway stuff and club dates
and touring with pop groups. I do play tympanis with the Bronx Symphony
and it's a good thing. One special highlight was at the Kennedy Center in
Washington D.C., May 2001. Also playing with Sheila Escovedo and her dad
Pete, plus Cal Tjader and Chepito Areas from Santana. Last year when my
quartet was in Madagascar for the US State department and Jazz at Lincoln
Center's Latin Jazz Ambassador program. We were invited to play for the president of Madagascar last year at the Paris Opera house.
WPR: Tell us about the challenge of being a band leader.
Aguilar: I've always been a side person. Both of my first degrees are in
Orchestral percussion (Bachelor's of Music in performance and a Master's in
Music from Manhattan school of Music). My third one is Music Education,
which I've been working on for a while, with the touring and the gigs it is a
challenge. The conservatory taught me how to FOLLOW and take direction
from a Conductor and a music director. As a musician you are hired to do a
job, not to have arguments. As a sideman you have to keep those chops up as
a team player and follow through on the gig. A side musician does have choice
in taking a certain gig. You can say no. As a bandleader you have to develop
relationships with people. I've created a roster of players and I have players
who have been with me since the beginning. This year it will be 15 years of
Annette A. Aguilar and StringBeans. It's a lot of work and you have to do the
dirty work, the paper work and convincing promoters producers, club and
restaurant owners why they should pay you what you are worth.
taught me to organize and handle a large class. Presently I teach 3 days a week
in the South Bronx and the new Bronx performing H.S. called Celia Cruz H.S.
This school is a like a young conservatory. I teach classical, jazz, and Latin
WPR: Sounds like you enjoy some cool travel.
Aguilar: I've been fortunate to travel with my group. We were selected as
Latin Jazz Ambassadors in 2003 and again in 2005 by the U.S. State Department
and the Kennedy Center and Jazz at Lincoln Center. We toured Southern
Africa and Rwanda in 2003. Last year we went to Eastern Africa which included Ethiopia, Tanzania, Kenya and Madagascar. And this past September I went
back to Ethiopia and Madagascar. It was great presenting, learning and sharing the music. On my own I've gone to Brasil several times to study, mostly
in Rio. I've gone to Salvador. The past five years I've been learning Maracatu
and I will be making my way up to Recife soon. I felt that I needed to go to
Brasil to really get to understand the music as well as trying to get a hold of
the language. I have not been to Cuba yet which I was supposed to do 25 years
ago. Since I was so exposed to Cuban music, I felt that I had to go to Brasil
first.
There is a Brasil camp in Northern California that both Scott, Jorge and myself
will be at this summer in August. I highly recommend it to anyone who wants
to study this music and dance. In January I went home to San Francisco to do
a recording with guitarist Leny Carleson. This is a real Jazz Latin record. I came
back to New York City to work on a 20-piece Brasilian/Afro Cuban recording
run by Gary Morgan. This really drives towards the Brazilian side. I think this
is where I met you at one of these concerts. I am basically the only female in
this group. This last two weeks I've been in Puerto Rico in Ponce as a guest
Artist at the third Women in Percussion Festival. These are run by an old
friend, Mercedes Troncoso, a percussionist who is trying to lift the female
consciousness level in Puerto Rico.
WPR: Congrats on your second CD, No Cheap Dates!
percussion. But the emphasis is orchestral. I also conduct the Latin Jazz band
as well. I make sure my teaching jobs understand that when an important
concert comes that there is a priority with that.
WPR: What are your dreams and aspirations?
Aguilar: My dream is to have a self supported label that is lucrative and generates money for all artists involved. Also a good production and business that
would support concerts and travel. But most important to be able to give a good
salary to my musicians which would also include health and pension. I want to
travel more on my own and study with lots of time to be able to keep up all the
languages I've been trying to study. But most important is to be able to practice,
study and play many hours all the instruments I want to play. Aguilar: No Cheaps Dates is my second CD and I am itching to get back in the
studio ASAP.I am satisfied with No Cheap Dates and the musicians who
worked on it as well. I am pleased with the arrangements and all the hard
work my engineer David Merrill and my long time associate producer Vivian
Stoll put into this project. I have been working with some great vocalists. My
roster includes Pablo Vergara pianist, Uli G. piano, Benny Koonyevsky drums,
Barry Olsen piano/trombone, Eddie Venegas violin/trombone, bass Jennifer
Vincent, Ruben Rodriguez, David Hertzberg and the Vocalist Sofia Torsello and
Sofia Koutsovitis.
WPR: What music do you enjoy? Any hobbies?
Aguilar: I enjoy all styles of good music. I like soul, rock, pop. I love Paulinho da Viola, Brasilian music, escolas de Sambas, Jerry Gonzalez, good classic
salsa from the 70's, Los Van Van, Irakere and great folkloric and progressive
Cuban music. Batacumbele and good Puerto Rican salsa and bomba, and I
love Count Basie and big bands that swing hard and of course orchestral
Music, Beethoven Mozart, Stravinsky Prokofiev, Mahler, Bartok. My hobby has
always been running. I've run and completed 7 New York City Marathons. I
also enjoy sports and classic cars.
WPR: How do you handle the "business" of music?
Aguilar: Networking is the key. It's important to relate to people and to ask
for things that you need. The only bad thing they are going to say is "no."
Incorporating technology is vital to your networking, It's difficult to keep up
with the communication aspect, but it is part of the gig. Public relations are
a tool that you need to use. You have to talk to people whether you like to
or not, these are the tools of survival especially if you are an independent
artist with your own Label and band. Every gig is important from little money
to big money. Yes it's important that my players are treated fair.
WPR: You also teach! What do you emphasize to others?
Aguilar: What I emphasize to others is to learn how to learn. Listening and
watching others teach as well. A slow disciplined practice is crucial, staying
focused. I returned to school to work on a second Master's in Education. I
studied with instrumentalists who became educators in the school system and
developed techniques for ensemble playing and general music. These studies
9
BONGOCERO
OF
THE
KINGS
Joe Gonzalez — Part I
By Isaac H. Gutwilik
(Joe, in addition to being the Bongocero with the Conga Kings, has played for
much of his career with two of the original legendary Mambo Kings - Composer/Arrangers Mario Bauza and Chico O'Farill. He's currently still with the O'Farrill Orchestra which is going strong today under the leadership of Arturo O'Farill.)
I’m sitting in the Inwood, Manahattan home of Joe Gonzalez, one of the best and
busiest all-around percussionists of New York. Joe was in a reflective mood
about his career, mostly as Bongocero for Mario Bauza, one of the original
Mambo Kings.
WPR: Where are you playing next?
day), and then I’ll be going
to Brazil in October with
the Conga Kings. The
Conga Kings consists of
Giovanni Hidalgo, Candido
Camero, Patato Valdez,
myself on bongos, David
Oquendo playing tres,
Guillermo Edgehill on bass,
Enrique Fernandez on sax.
We might have some
singers. It all depends,
sometimes we have singers
and sometimes we don’t.
When we use vocals we
use Herman Olivera. Ray
Santos is the musical director. So that’s what’s coming up. And then you know, local gigs here and there.
Gonzalez: Tonight I’m playing in Astoria park with Bobby Matos from the west
coast. We had rehearsal yesterday and now we’re performing tonight. We have
Hector Martignon on piano, we have Guillermo Edgehill on bass. We have Louis
Kahn, trombone and violin, Enrique Fernandez on alto sax. Who else? That’s
about it. We have myself on conga drums and Bobby Matos on timbale. He has
maybe a couple more gigs, one gig in Jamaica, Queens, outdoors and at Gonzalez
WPR: So let’s go back in time. Tell me a bit about your musical beginnings. What
and Gonzalez sometimes next week.
age did you start, what were your early musical influences, who taught you?
How did you get into it?
WPR: So he’s doing a little tour.
Gonzalez: Right, and I’m still performing with the Chico O’Farrill Orchestra. We Gonzalez: I started at an early age. I can’t remember the age but my parents said
have a gig on Sunday. I think it’s from 4-5 at Queens College outdoors. Then from that at a young age I was playing on pots. It’s a similar story to the Tito Puente
there we all be going straight to Birdland (O’Farrill Orchestra is there every Sun- story, a typical percussionist’s story. I used to play on pots, on mailboxes, on cars.
Anything I could get my hands on. But I remember my
first recording was at 16 years old. It was for Speed
Records and that time was during the Boogaloo era. I
was self-taught on timbales. Then I took up the conga
and then the bongo. So that was around 16 years old. We
had a few local groups around the neighborhood (Hell’s
Kitchen). I used to study the records. I would listen to
Ricardo Ray, all the New York groups, Ray Barretto,
Eddie Palmieri mostly, Manny Oquendo. I used to listen
to him a lot. I didn’t get into Machito until later years.
Then I got involved with the group Son de La Loma at a
young age.
WPR: That was the late Armando Sánchez, (conga player, bandleader, and master of son).
Gonzalez: Yes, Armando Sánchez. Someone recommended me to Armando, so I started performing with
Armando. That was before Mario Bauza. With Mario I
started in 1977 through a friend of mine who recommended me to Mario. But before 1977 I played with
Armando Sánchez’ ‘Son de la Loma’.
WPR: You were on bongos?
Gonzalez: I was on bongos. But I really didn’t play bongos at all. I was just starting. I had mostly played timbales before that, but then they called me for the job
because they needed a bongo player. So I started learning more and more with Son de la Loma, Armando
Sanchez and also later, Mario Bauza until I got the experience. And I started listening to a lot of recordings. A
lot of Machito recordings, a lot of Cuban recordings. I
started listened to mostly descargas. That was the first
descarga recording I heard. Someone recommended it
to me and I heard it. It was the Cachao classic ‘Descar10
gas in Miniature’ with Tata Guines and Yeyo Iglesias, and Guillermo Baretto. I started listening to them. I had my cousin, his name was Steve Gonzalez and he got a
hold of a Cal Tjader recording called ‘Los Ritmos Caliente’ and we used to rehearse
to it constantly. I used to play conga drums. He used to play timbales and we used
to rehearse in my grandmother’s apartment on 125th Street.
WPR: I love that, with Daniel Ponce on Congas?
Gonzalez: Right, Daniel Ponce, Ignacio Berroa, Patato and myself. Mario called me
up and that was my first major recording. So that was that. From there I was still
performing with Mario for more than 10 years until his passing. I forget what year
he passed away.
WPR: Did you live around there or in the Bronx?
WPR: I think it was 1993.
Gonzalez: I was brought up on 62nd Street on 10th Avenue, in the projects. The
Amsterdam Houses. I'd listen to a whole bunch of music. My parents used to listen to a bunch of popular music at that time. They had Tony Bennet, Frank Sinatra, Johnny Mathis, Dina Washington and they used to have a radio station, WNEW,
they used to have William B. Williams. My father and I used to listen to that radio
station. The first Latin album I ever bought was Joe Cuba's. I just bought it because
of the cover. I didn't know anything about him. I just went to a place. They had
some Latin records and the record just stood out. The Joe Cuba album cover. So I
bought that and started listening to that.
Gonzalez: So I was with him from 1977 until his passing in ‘93.
WPR: There's a documentary film I saw and it shows him rehearsing the band
downstairs, at the Harbor.
Gonzalez: At the Boys Harbor, [in NYC] yeah.
WPR: I recognize the posters that are still there on the wall!
Gonzalez: I have some of the videos that I just recently got from Graciela and some
of them I'm in. Some of them I'm not in, because I was working at the time. I had
Gonzalez: I think it was, in English, called “Hanging Out”. My cousin turned me on a day job. And Mario was good because he always told me I don't need you for the
to Cal Tjader’s recording with Willy Bobo and Mongo Santamaria. We used to play rehearsal, I need you for the gig. So he understood. It’s not like a lot of musicians
it together at the house until we got the tunes down. So I used to listen at the house who say nowadays, if you don't do the rehearsal you don't make the gig.
and I used to play along with the recording. And I kept on and on and I kept meeting different people until I got into steady bands. I used to play a lot on the east WPR: It’s funny, the people who say that are not necessarily the best musicians.
side. East Harlem because where I was brought up in midtown Manhattan, they
didn’t have many Latin groups at that time. I remember having a girlfriend on 52nd Gonzalez: Exactly! So Mario was always good that way. He understood. He said,
Street and they introduced me to someone who played the piano. A different area. you know you take your job first. But then I stopped working and we became very
They introduced me to a piano player and he came and spoke to me and we busy until his passing. We went back and forth to Europe, toured the United States,
formed a group. I used to play timbales with that group and we recorded and made two more recordings on Messador Records and that was that. After that I
played all around town. We played the Hunts Point Palace, St. George Hotel in started working with a lot of groups. There was Daniel Ponce’s recording, “Chango
Brooklyn and Casino 14. After that I developed a following. I had a fan club from Te Llama”. We did the debut of the recording. I think it was a press party at the
the East side. Every time I used to play in clubs they used to come and see me. SOB club and I performed with him a couple of times.
They used to get me to compete with the other groups and I used to get on stage
and play the timbale. One day I was at the Corso Club and Jimmy Sabater with Joe WPR: I used to go up to Soundscape and he'd often be playing there.
Cuba were there, Charlie Palmieri's orchestra was there also. I asked Joe Cuba if it
was OK for me to play the timbales. He told me to come on up and I took a solo Gonzalez: Yeah, that’s where he started. I started working with him and I started
on the timbales. Everybody stopped dancing and started watching me perform. working with a lot of other groups. Now I'm in the business until the present day
From there I had a following! I took a break after that because my wife had our but it’s been a long time.
daughter so I went to get a steady day job. I worked for a while and didn’t perform at all. But then that was around the same time that Mario Bauza came out of WPR: It’s been 29 years now?
retirement with Graciela and they formed their own group. They weren’t working
Gonzalez: Yeah, 29 years! Through Mario Bauza I met and played with so many
much, so I worked with them any chance I got.
great musicians, Jorge Dalto, Dizzy Gillespie, Jose Fajardo. You know Mario was the
WPR: That was actually the first time I saw you play. It was with Mario and Los tops. Yeah he’s the top, and I started with him, right from the top. Chico too.
Munequitos on the same bill on Broadway in 1991.
WPR: That’s very fortunate.
Gonzalez: Oh yeah! That was at the Symphony Space.
Gonzalez: Yeah, I'm very fortunate, blessed, to have someone like Mario Bauza
and learn so much, just to be in his presence. He never told me much, he told me
WPR: I was on cloud nine at that concert!
little things, he wanted it this way or he wanted it that way. Mario was an extraGonzalez: Oh man, it was great that night. I wish I had a recording. But that was ordinary band leader, conductor, composer, because Mario knew what he wantway after Mario Bauza was getting busy. We just started recording for the Mes- ed from the start. He knew your ability, and where to take it. You know. Your talsador label from Germany. So he did the first one, the “Tango Suite” that is a five- ent, he knew where to take it, to what level. And he wouldn’t push you any furmovement Chico O‘Farrill arrangement. We did that and we got a lot of work. We ther. And he just knew that. He was just that type of person and I learned so much
were going to Europe constantly back and forth. Then he did a couple more with him. Not like other bandleaders. They don't know much about the rhythms,
recordings. But I did my first one with him when he started his Afro-Cuban Jazz about percussion.
band, because he had done one before when I was in his orchestra. He did one
WPR: Right, or they can’t admit it.
called “La Botanica”.
WPR: Do you remember which album it was?
Gonzalez: But Mario knew everything, he knew what he wanted, he knew
the rhythms, and he knew how to explain the rhythms, he knew the dancGonzalez: That was done in 1977. Papo Pepin was the percussionist on that one. ing, the conducting was great, everything! So you learned so much. And it
So then I got in after Papo left. They called me. A friend of mine recommended was always different. He didn’t want the basic rhythms. It was always
something different. The important role was the bass player, he would
me to Mario Bauza.
even tell the bass player how to phrase and play what he wanted. The timbale too. For me he was the best.
WPR: The one I have is “Afro Cuban Jazz”.
WPR: I never heard that one.
Gonzalez: That’s the first one I did.
Joe Gonzalez
Continues in the next issue of WPR
11
Angel Guerrero
Interview and transcription
By Nolan Warden
An Interview with Angel Guerrero, Member of the Afro-Cuban Abakuá
Society*
To many people, Angel Guerrero Vecino is known only as a mild-mannered software salesman from Chicago. Sadly, it is unlikely that his
business associates and clients are aware of the deep cultural traditions
that he carries with him from his homeland of Cuba. As a member of the
Abakuá society – a secretive Afro-Cuban religion and brotherhood with
origins in the Calabar region of Nigeria – Angel’s knowledge of liturgical
chants and rituals might shock those who know him only from his “day
job.” He carried this cultural and musical legacy with him when he
emmigrated to the U.S. in 2002. After some time in Lansing, Michigan,
Angel moved to Chicago where he now resides. His deep knowledge of the
ancient Abakuá society and language has given him the chance to participate in conferences at Harvard, Northwestern University, DePaul University, and Columbia College, among other institutions. He was also
involved in the production of the CD Ibiono (2001, Caribe Productions),
the first commercial recording entirely of Abakuá music. Recently, I sat
down with Angel to talk about his thoughts on Abakuá, his role in the creation of Ibiono, and his changing relationship with Afro-Cuban culture
in the U.S.
WPR: Angel, could you tell me a little about what the Abakuá society
means to you?
Guerrero: I belong to the Abakuá society because, for me, it’s like a big
family. Many times I’ve received help from the Abakuá society. For example, when I was in Cuba and won the visa lottery to leave the country –
because you know it’s very expensive to leave Cuba even when you can
do it legally – the Abakuá people, my ecobios, brought me the money for
the paperwork. When I got to the United States the first place I went was
to the house of an ecobio in Miami. That’s what I mean by family. Anywhere I go I meet Abakuá people – in Boston, New York, New Jersey – I
meet Abakuá people and we help each other out.
WPR: You use the word ecobio to refer to other Abakuá members. How is
that different from asere [sometimes spelled acere] which is used in
Cuba among guys talking to each other on the street?
Guerrero: Ecobio is “brother,” someone who has a link to you through
the religion. Asere is “friend.”
WPR: In the past, people used the word ñañigo to refer to Abakuá members. What do you think of that word?
Guerrero: Ñañigo is a disrespectful word. Many people used it to discriminate against the Abakuá society. We are not ñañigos, we are
Abakuá, you know? And also, the name of the [masked Abakua] dancer is
ireme, but people used to call it diablo [devil]. The devil [laughter]!? So
that was the way they used to talk about Abakuá and say “these people
are very bad, they kill people.” But, we are Abakuá.
WPR: Some people talk about Abakuá as a “fraternal society,” but others call it a religion. Which do you think is more accurate, or is it both?
Guerrero: Both. For me it’s both. It’s a religion, of course, but it’s a brotherhood also. I never try to separate one side from the other. They go
12
together, the religion and the fraternity, the friendship, the relationships.
WPR: Tell me about the CD you made called Ibiono. My understanding
is that this is the first commercial recording consisting entirely of
Abakuá music. Is that true?
Guerrero: Yeah, I think so. There are some other recordings – Chano
Pozo, Mongo Santamaria – but this is the first one that is completely
Abakuá music. The recording was the idea of Dagoberto González, a musician with Pablo Milanés. He did a similar project on Yoruba music with
Abbilona so, he told me he wanted to do something similar with Abakuá.
So I went to some Abakuá that I knew; good musicians and good people.
I talked to everybody about this work and they all told me “you are the
guy to do it.” You know, the Abakuá is a secret society and many people
are scared to talk about it, to sing [in public]. But I know what I’m saying
and what I’m singing. It’s not a problem – it’s just music. You can go to
the plante [building where Abakuá ceremonies take place] and hear the
music, no? But, I had to explain it to people in the right way. Right now,
in the Abakuá society, things are different than in the past. Many years
ago, you could go to the plante and hear an entire hour of tratados [long
sung treatises]. Right now, you go to any Abakuá party and the people
just want to play ñongo [a popular batá drum rhythm], to play music and
dance, but they’re not able to do a long conversation [in Abakuá]. So,
many people thought it would be a good idea to do this so that the young
people could learn to sing, you know? Ibiono was also an opportunity for
the Abakuá people, though. For example, if you’re not Abakuá or if you’re
outside of Cuba, the only way you can hear Abakuá music is to get the CD
of Los Muñequitos, AfroCuba de Matanzas, or Yoruba Andabo. If they play
nine rumbas, only one will be some Abakuá thing. With Ibiono, the whole
thing is Abakuá and it’s also the first time we’ve used the Abakuá instruments. Because you know the rumba groups play with a tambor [lit: drum;
meaning tumbadoras or conga drums]. In this case the whole thing was
with the Abakuá instruments. That was the idea behind Ibiono.
WPR: Since it was made in Havana, is this more of a representation of
the Havana style of playing? If it was made in Matanzas, would it
sound different?
Guerrero: Yes, it’s a different sound so on the first track [“Bacoco”] we
play the efo music in Matanzas style then, in the second part, we play
Havana style.
ger across the drumhead to get a moaning sound. I read somewhere that
this technique comes from the Abakuá drum called bonkó enchemiya. Is
that so?
WPR: You mentioned that Abakuá is a secret society, but here is at least
some of the music recorded on a CD. You also mentioned that anyone
can go to a plante and hear the music. How much of the society is still
secret these days?
Guerrero: Yeah, yeah, many people use that [technique] in Abakuá. It’s the
same. Bonkó and bongó – it’s coming from the Abakuá word. It went to the
popular music and they changed the word: bongó. It comes from bonkó.
Guerrero: Well, it’s not a secret to go to the plante and hear the music.
What’s secret is the ceremony we do in the church [plante or ceremonial
house]. So it’s not a secret for everybody. You can go to the Abakuá party
and hear the music, it’s okay. You can even see people get initiated and all
of that ceremony before we go inside the church. So, the music is no secret.
Ibiono is even in Cuban music like salsa, people say “ibiono, ibiono.”
WPR: What does that mean?
Guerrero: It means to play with groove, you know? To play good and not
loose the clave! When everybody’s singing to the music, that’s ibiono.
But, this word is also used in popular music when people say “ibiono,
ibiono.” It’s origin is in Abakuá.
WPR: The connection between Afro-Cuban religious music and popular
music is often unnoticed by those who are unfamiliar with the religions.
Could you tell me how you see Abakuá represented in popular music?
Guerrero: Well, for me when you listen to son, and rumba, it’s Abakuá
music. The clave, the tambores, the rhythms, it’s almost the same. For
example, in many rumba songs they take Abakuá words. The famous
rumba “guaguanco amana amana berio” [from the song “Mañana”] comes
from the Abakuá words “amana amana umbario.” It’s Abakuá, but the people in the rumba say “guaguanco amana amana berio” without knowing
the meaning. It’s the same with the song “pa’ ‘lla tumbadores, pa’ ‘lla”
which is used in rumba and carnaval. That comes from Abakuá, but it’s
“illa llumba o, illa.” But now, many times you go to the plante and the
Abakuá people say “pa’ ‘lla tumbadores, pa’ ‘lla.” In the Abakuá party!
WPR: I’d like to talk to you a little bit about your activities in Chicago.
Right now there seems to be a growing need in Chicago for people who
can perform religious ceremonies, people who have a deep connection
with Afro-Cuban culture in general. In Cuba you only practiced Abakuá,
but now you are beginning to be involved in other religious practices. Is
your relationship with other Afro-Cuban religions changing or getting
stronger since you moved here?
Guerrero: Yeah, it’s very strange. In Cuba, I never sang Yoruba music,
never. But, right now in the United States, I’m singing the cajón pa’ muerto [ceremonies for the dead], the Yoruba music, and Palo. It’s beautiful
right now, far away from my country I can do many things I never did in
Cuba. It’s interesting, yeah. Every time I think about it, it’s a… it’s cool.
Maybe this year I’ll get santo [get initiated in Santería], but right now I’m
only Abakuá. In the end, I think the Abakuá… for me it’s good. I’m proud
to be Abakuá. *The final, edited version of this article was approved by Mr. Guerrero.
Abakuá is also sometimes spelled “Abacuá” or “Abakwa.”
WPR: Oh, so it got reversed!
Guerrero: It’s reversed. It’s supposed to be “illa, llumba o, illa.” There are
many mistakes. Even the drumming has changed. For example, in Matanzas, the drumming is slower than in Havana. In Havana, the Abakuá music
is too fast. It’s terrible, the music right now. It’s terrible to sing, it’s terrible to dance.
WPR: Why do you think it’s so much faster in Havana? Has it changed,
or was it always like that?
Chicago Didjeridu Chorus
Tibetan Buddhist Center Benefit
Harris Theater July 28th, 2007
Guerrero: You know, it’s a big question. All Cuban music is getting faster –
in timba [popular Cuban dance music] it’s the same way. In the Yoruba music
right now, people don’t play it like 20 years ago. Even here in Chicago – people play for San Lázaro, Obatalá, and Aggayú – you’d think it would be slower because it’s for the elder Orishas [Yoruba deities], but it’s very fast. It’s
the same in the Abakuá music, but it’s better to play slowly so you have more
space to sing, you know? In Matanzas they play the ekon [bell] slowly and
the music slowly – you can sing. These problems can be fixed, but people
need to go to the elders and learn. Here it’s different – you can listen to
recordings in your house, you have internet. In Cuba, you go to the [Abakuá]
party and that’s the only way to learn to sing.
WPR: In Son music there is sometimes a bongó technique that rubs a fin-
13
KoSA XI Vermont Festival
Michael Wimberly & Co.
John Amira
Faculty and students
The eleventh edition of the KoSA International Percussion Workshops and Festivals offered its total-immersion educational experience to over 100 individuals
from many nations, of all ages and of all skill levels.
Held at Vermont’s Johnson State College, in Johnson
Vermont from August 7th to 13th, 2006, participants
came from the United Kingdom, Belgium, Canada and
throughout the United States to experience a renewed
sense of self, both as human beings and as musicians.
Cassio Duarte
Kalani
Giovanni Hidalgo
Aldo Mazza, Director (center)
For all those who experienced the magic of KoSA this
year, the event, without a doubt, delivered on the
promise that anyone attending KoSA would "rediscover
(their) soul". Photos here are only a sampling of the
wonderful faculty featured. Nightly concerts dazzled,
Hudson Music teamed up with KoSA to release the first
“live at KoSA” DVD and four scholarships were once
again graciously awarded by Tama, Mapex, Factory
Metal and Evans.
Glen Velez
Clayton Cameron
Robinson Class
Valerie Naranjo
Marie Josee´ Simard
Grand Finale Concert
14
KoSA Cuba/Havana Drum Festival
For the fifth year, the KoSA Cuba Workshops
teamed up with the Havana Drum Festival and
held an unbelievable educational experience at
the historic Havana Libre Hotel. Participants
came from diverse parts of the world such as
Belgium, Switzerland, Ireland and North America. Masterclasses and intimate hands-on classes
with Cuban greats were led by the following distinguished faculty: Giraldo Piloto, El Peje, Oliver Valdéz and Julio el Pechere. Conga artists
included El Panga, Julio, Jesus Abreu, Yaroldi
Abreu and Rumba specialist Alexis. The Havana
Drum Festival concerts featured legendary
Cuban artists such as Tata Güines, Changuito,
Giraldo Piloto and Klimax, Yaroldi Abreu,
Caraibe Girls, El Panga, Eliel, Oliver Valdes,
Miguelon Rodriguez and Los Tres de la Havana.
Participants also enjoyed a visit to the musical
instrument factory of Havana, a traditional
Rumba party, nightly performances and a competition held in conga, bongo, timbales, bata
and drumset. Aldo Mazza and Memeo Acevedo
played solo as well as sitting in with Klimax.
www.kosamusic.com or info@kosamusic.com
15
Jay
Puente
myspace.com/jaypuenteproject
By Terry Reimer
WPR: You were pro at 15! Was your family a great influence? Was it a
mixed blessing to be a young professional?
Puente: My fathers name is Emilio Puente and he exposed me to the
beautiful world of percussion and the music that it involved. This was
surely a blessing to my young career. In 1963, at the age of 5 years old my
dad Emilio took me to see that great Puerto Rican institution called “El
Gran Combo” I was watching the three percussionist Marc Quiñones on
congas, Pacheco on timbales and Roberto Roena on bongos. It was a
mixed blessing because while my cousins were on skateboards, bicycles,
etc… I was inside my room learning about rhythms, beats and drums.
WPR: Who were some of your other first influences and whom did you
study with for timbale and congas?
Puente: My first influences were Tata Guines, Marc Quiñones, Roberto
Roena and Ray Barretto. I studied with Mr. Ramón López (conga player
with Stan Kenton) and then Giovanni Hidalgo.
WPR: You were just 15 when you began your professional career. How
did you handle the pressure?
Puente: Yes, at 15 years old I was called to play with La Lupe. Being only
a teenager it was a brand new experience for me, my heart raced fast and
I could hardly sit still before the performance. Finally, La Lupe walked
over to me and said “just play like you know how, it will be ok”, her pep
talk calmed me down.
WPR: You’ve played with some really great musicians. Please list some
and tell us about some of your most memorable gig or recording experiences.
Puente: Larry Spencer w/ La Lupe, Oscar Hernández w/ Justo Betancourt,
Gilberto Díaz w/ Sabor de Nacho, Alex Acuña w/ Don Moen, Giovanni
Hidalgo, Eddie “Gua
gua” Rivera and a
great new talent in
Smooth Jazz Eric Darius.
WPR: How would you
describe your style
and how do you see it
evolving?
Puente: My style is a
fusion of Classical,
R&B, AfroCaribbean,
Be-Bop all mixed in
one. I am a product
of all of these styles,
the way I play, the
way I hear, the way I
write music.
WPR: Share some of
your thoughts about
16
the spirituality of playing music.
Puente: As a Music Minister for the Church of the Nazarene in Tampa,
FL, I praise God for creating music. The bible says in Psalm 150 “Let everything that hath breath praise the Lord. Praise ye the Lord.”
WPR: Congratulations on forming your own group! How did your (great!)
song, “JESUCRISTO.COM” come about?
Puente: Thank you Terry. I created a situation in a song that people
could relate to. Today we live in a fast paced world full of computers
and electronics, etc…. The song shows that even through a computer
Jesus could touch you in spiritual way. I must mention my partners in
this song are Willie Molfulleda and Eddie Mercado helping with arrangement.
WPR: Tell us about your set-up and tips for up-keep and tuning.
Puente: For the Salsa gigs it is either a set of congas, bongos, or timbales. For jazz gigs it would be all of the instruments mentioned above
plus about thirty extra percussion toys I use. I always treat my instruments with the most care possible. They are my bread and butter in
music.
WPR: What is your advice for percussionists who’d like to take it to the
next level?
Puente: Stay open minded to all styles of music, new and old, American
and non American, World Beat.
WPR: What are your plans for the future (short and long term)?
Puente: My plans are as follows: To spread God’s good news that Jesus is
the only way, to continue to be a better husband to my wife, a good
father to my children and finally to be a man of integrity.
Justin “Niño” Poreé
of Ozomatli
By Mani Bances and Carlos Cornier
Transcribed by Eric Lieb and Mani Bances
WPR: Tell us about Ozomatli, a little history of the band.
Poreé: I started with the band from the beginning. Actually like just two
months after its inception, when I was about 17 or 18 years old. I've been
doing it ever since you know, touring and doing the whole thing.
WPR: When the group started was it sort of like a community situation?
Poreé: Yeah, Will Dodd the bass player was working at a community
center called Peace and Justice Center in Los Angeles, downtown. It was
a group dedicated to the youth in the area. It revolved around art and
culture and teaching kids other things than what they're going to get in
the normal public school, expanding their minds.
WPR:
Can
you fill us in
on some of
the
things
that you're
planning on
doing with
the
new
album?
Photo by Allison Neiderkorn
Poreé: When
we start out,
we never talk
about concepts.
We
kind of just
go with it but
we've been Mani Bances, Justin Poreé, Carlos Cornier
writing a lot
of songs, listening to a lot of Motown stuff so we're doing some soul stuff and whatever is, I don't know. You can't really categorize our music. Wherever
life takes us, that's where we go.
WPR: And that's still going on?
WPR: In terms of all the switching around you guys do in the section,
how do you work that out, like when you're switching from timbales to
Poreé: No. That center has shut down since then, but a whole scene conga?
kind of spiraled out of that place. There's a lot of bands like Quetzal in
Los Angeles that kind of came out of that scene and Asian Underground Poreé: It just happens man. We try new things, try new instruments and
and other bands.
when it works then we use it. It's hard when you switch instruments a
lot. I do rap vocals too. It takes a lot of your wind trying to play timbale
WPR: How do you work out the arrangements-the drummer and all the and then conga. It takes a lot of energy and remembering what you're
other percussionists?
going to do and to just breathe. Sometimes it gets difficult because of the
sticking and the positioning of the hands is different. We play more
Poreé: It just kind of falls into place. It's a collective so everyone's input shows per year than we're home. So it's like off the wall, kind of like secis put into a song before it becomes a song. That's what makes an Ozo ond nature. You don't even think about switching, you just do it. Yeah,
song. So ya' know we try to bring different vibes from different cultures just breathe and Red Bull! and different places around the world, mixing Latin music with dumbek.
It's not very common.
Photo by Mani Bances
WPR: When I met you I thought you were Latino and you mentioned
that you were a Choctaw.
Poreé: Yeah, Creole and Choctaw Indian.
WPR: How did you learn to play a badass shekere like that?
Poreé: I was kind of just thrown into the fire, man. In LA when I first
started learning, one of my teachers, Liz Gonzales, a girl that I went to a
magnet high school with, started me off. She was in the jazz band. She
kind of sat me down, started me off and then soon after that when I
graduated I started doing Toques, hanging out with a lot of Cubans doing
Bembes and Palo and Guiro in LA. Long John Olivier passed away recently. Actually the first Guiro I went to was with him and I didn't know, he
just took me to his house. I didn't know what was going on because I had
never been exposed to that and he just gave me the shekere then I went.
I just started playing man.
Justin Poreé and Jiro Yamaguchi
WPR: Various religious beats as well as...
Poreé: Yeah, I'm not in the religion but I play. I know a lot of
Cubanos who are and I play a lot in a lot of ceremonies in LA when
I'm around. Palo's my favorite.
WPR: What's next for Ozomatli?
Poreé: Just more touring and we're going to take a break in about a
month and try to write a new album. We've got a new DVD coming
out, in a couple months, in August.
WPR: What was it like to open for Santana?
Poreé: Yeah, it's amazing man, like that's Latin music 101 ya' know!
We were in the D.F. (Districto Federal) with them hanging out and you
know me and Karl [Perrazo] and Bobby [Allende] got a chance to sit
down and rumba a little bit. Those guys are amazing. [Raul Rekow is
back in the band now.]
17
Chicago Rythm Scene
photo by Terry Reimer
53rd Annual Powwow, American Indian Center
Hamid Drake, Michael Zerang— Winter Solstice
photo by Mani Bances
John Yost with Taiko, Millennium Park
photo by Juan J. Martinez
“I’ve been
wanting to
do this all
my life!”
Bances/Marsh Senior Drum Circle
Mani Bances, Fred Armisen at Weeds
photo by
Juan J. Martinez
Carlos Cornier, Mani Bances- Hot House
Aztec drums and dance, OTS Folk and Roots Fest
Carlos Cornier Benefit, OldTown
Rich Conti, Paul Cotton, Carlos Cornier
Funkadesi 10th Anniversary, Hot House
photos by Terry Reimer
Gingarte Capoeira, OTS (Carlos Cornier Benefit)
18
18
Erica Azim (center) leads a Zimbabwean mbira workshop.
photo by Juan J. Martinez
Mani Bances, (2nd from left) with Picante fans—
Hot House
photo by Gingi Lahera
Heitor Garcia, PC, Mani Bances—
Chicago Cultural Center
Rich Conti, Carlos Cornier, Mani Bances,
Rhythm Brothers
photo by Leonard Ferris
Jammin’ at OTS Folk and Roots Fest
Members of Minianka Drum & Dance,
Jeremiah Silas (right)
Kwame (Steve Cobbs) and Maninder Singh
Backstage, Hothouse. Funkadesi
10th Anniversary
Terry Reimer with OTS Latin Jazz class
Lenny Marsh and Mani Bances
Field Museum
King Tut / Egypt Event
63rd Street Conga Drummers’ Association
photo by Jennifer Horton
19
Continued from page 5
Bogota, Colombia as a consultant. I came
from the town
of
Armenia,
Colombia. I'll
have a studio
there and bring
instruments. I'm
trying to work it
out with the
government to
bring the instruments without
paying taxes. I
earn my way
now. I think it's
going to hapGilberto Serna with his award from the Percussive Arts Society
pen. They can
come and practice. We'll supply the mallets and form a non-profit group. I'll have the space
for them to practice. I have plenty of music teachers from the States who
would love to go there for free just to be in Colombia. I've got three or four
of them. One went with me and stayed in my apartment. They can stay for a
week or two teaching there. Many people are waiting for me to move there.
There's a guy from Missouri, Dave Robbins from Indianapolis and a woman
from Chicago. She's been to Europe. She's teaching the group I sponsor; the
Holy Cross Group in Chicago. It's an all marimba group. She'll go to Colombia
too. I'll try to bring the high quality, bigger marimbas, the 3+1/2's and the 4's.
WPR: Does the government support the music scene in Colombia?
Deagan Clocktower
1770 W. Berteau and Ravenswood, Chicago
20
Serna: Music is strong
in private schools. The
government is pretty
much like the American
government with a Congress and Senate. There
are Foundation programs. The National
University in Bogota
has a good program.
There is a group going
from city to city there. The government supports the arts better now. The last
government took away money because of the war but the terrorists are all
over. Most of them are in Venezuela. The President isn't doing anything. The
terrorists just go into Colombia and blow up a town and the government can't
destroy them because they're trying to protect human rights. Give me a break!
A lot of people may not look at it that way. But I think it should be called
"criminal rights protection". They put bombs on burros, put them in the cities
and blow them up with remote control. You cannot touch them. It's a joke. My
niece was murdered nine years ago in Bogota. Two of the bodyguards managed to get to them. They were going to put them in jail but they lost their jobs
instead because of the human
rights. For nine years now I've
hated them. The following year,
the Head of Human Rights was
murdered.
WPR: Too much war and not
enough love and art and music,
huh?
Serna: I know. When I go there I
am going to use good wood that is
there, not far from the city of
Armenia. It's "Cedra Roja" or Rosewood. I have some here with the
same name and color. I'll bring it,
cut it to the size of the bar and it
sounds very close. I can build the
instruments there. We have steel,
iron, big foundries there. Everything is there. But I need time. I need help from
the government to make sure they're not going to touch me. I'm getting an
agreement that the equipment can't be sold, only used for teaching purposes.
It's almost certain that the government will do it.
WPR: Who will take over Century Mallet Instrument Service for you?
Serna: My brother is in the jewelry business. My son is 26 years old and works
for him. My daughter is here. I wish they were interested in the company. But
if all goes well, Gabriel Arallano will take over in June. I want him to stay.
There's no other way. The business is going to be even bigger. There's going
to be an expansion. He's going to keep the business going. He never missed a
day and didn't leave the country for five or six long years. I put 60-70 hours
per week in, working here. I trained the guys working here now. I'll have more
free time to go around and do what I want.
WPR: Do you have any hobbies?
Serna: I used
to go fishing
with my brother in Wisconsin and Canada on fishing
trips. They
bring you in to
the wilderness
and you're on
your own out
there. It was
fun. World Percussion and Rhythm • Volume VIII Issue 2
Hot House 3rd Annual Jazz en Clave Fest
(All photos by Terry Reimer)
CubaRican Charanga All Stars
Dafnis Prieto (kit) Quintet
Jane Bunnett and Spirits of Havana
Bobby Matos and the New York Latin Jazz Allstars in clinic
Isabelino Landor, Terry Reimer, Bobby Matos
Jimmy Sabater, Ruben Rodriguez, Johnny Rodriguez, Alfredo de la Fe
Jimmy Sabater, Terry Reimer
Jamaica drum scene - Photos by Patsy Crocker
Junkonnu
Fi-Wi Sinting
Annual African
Culture & Heritage
festival,
Portland, Jamaica
Traditional Orisha Drumming— Jamaica
Junkunno Jamaican Drummers
21
BEAT GALLERY
Artwork and background by
Charlie Rosario
Nelson Mandela’s Inaugural Speech, 1994
(Thanks, Mom for sharing this with me!)
I’m going to keep trying…Terry Reimer
from The Exclamation Point
(a 70,000 word long run-on sentence)
by Wolf Larsen
WolfLarsen.org
…the drums crashed and echoed
through the concrete and glass valleys of Manhattan –drums crashing
down buildings and splintering highways into crying asphalt – the drums
hurtling trucks and cars to the neon
heavens, the drums eating the
oceans and splashing the mountains
into falling ash and debris clouding
over the planet, while the lonely
piano drifted gloomily through the
night and the bass birthed rhythm
crying softly through the centuries
while the human race colored the
music with a labyrinth of passions,
and the saxophone kept birthing the
words and the bass formed them
into phrases and the piano keys
splintered the phrases into running
words and no one was quite sure...
and no one was quite sure... and
piano keys kept creating words that
ran around and around the urban
maze piano keys that crashed and
fornicated and birthed pregnant sentences that grew into centuries…
22
Our deepest fear is not that we are inadequate.
Our deepest fear is that we are powerful beyond measure.
It is our light, not our darkness that most frightens us.
We ask ourselves, Who am I to be
brilliant, gorgeous, talented and fabulous?
Actually, who are you NOT to be?
You are a child of God.
Your playing small doesn’t serve the world.
There’s nothing enlightened about shrinking
so that other people won’t feel insecure around you.
We were born to make manifest
the glory of God that is within us.
It’s not just in some of us, it’s in everyone.
And as we let our own light shine,
we unconsciously give other people
permission to do the same.
As we are liberated from our own fear,
our presence automatically liberates others.
Charlie Rosario with his artwork
and photo studio.
Terry Reimer with drums and mask art
created by Charlie Rosario.
photo by Charlie Rosario
I Am Music
Anonymous
I am music, most ancient of the arts.
I am more than ancient, I am eternal.
Even before life began upon this earth, I was here—in the winds and the waves.
When the first trees and flowers and grasses appeared, I was among them.
And when humanity came, I at once became the most delicate, most subtle
And most powerful medium for the expression of emotions.
In all ages I have inspired people with hope, kindled their love,
given a voice to their joys, cheered them on to valorous deeds,
and soothed them in times of despair.
I have played a great part in the drama of life,
whose end and purpose is the complete perfection of human nature.
Through my influence, humanity has been uplifted, sweetened and refined.
With the aid of humanity, I have become a Fine Art.
I have a myriad of voices and instruments.
I am in the hearts of all and on their tongues, in all lands
among all people, the ignorant and unlettered know me,
not less than the rich and the learned.
For I speak to All, in a language that all can feel.
Even the deaf hear me, if they but listen to the voices of their own souls.
I am the food of love.
I have taught people gentleness and peace;
and I have led them onward to heroic deeds.
I am comfort for the lonely, and I harmonize the discord of crowds.
I am a necessary luxury to all.
I am MUSIC.
23
GAHU: Part Two
Boba master drum rhythms
By Mark Powers
www.powerspercussion.com
Last issue, we explored the bell (gakogui), rattle (axatse) and ‘supporting’
drum rhythms from Gahu, a recreational dance of the Ewe people of
Ghana, West Africa. Those drums were the kagan, kidi and sogo. As
promised, this time we will take a look at a few of the rhythms played by
the boba, the ‘master drum’ that is commonly used during Gahu performances. The rhythms we will focus on M — —
here are patterns found in Kokosawa, the slow section
of Gahu. As we discussed in the previous article, Kokosawa was the Yoruban style that the Ewes of Benin,
Togo and Ghana rearranged and sped up. It is common
to hear this slower version performed before kicking into the newer, fast
version of Gahu. All of the rhythms introduced below are found in both
the slow and fast arrangements.
Master drum(mer)
The first topic I’d like to address is a misconception of the meaning of the
title ‘master drummer.’ For many Westerners, the term immediately conjures thoughts of a highly technical performer, a prestidigitator with
speed, power and, in general, impressive ‘chops.’ Although it is indeed
true that these characteristics may very well be possessed by a master
drummer, they do not even begin to explain the reasons for his title.
Let’s examine the master drummer’s instrument. The boba is a large
drum (mine pictured measures about 2.5 ft. tall, with a head diameter
of roughly 16 inches) that is carved from one solid piece of wood or
constructed in a stave-style, much like a cooper’s barrel. The head is
made of antelope skin and, to facilitate playing, the drum is leaned forward on a wooden or iron stand. The boba is labeled the ‘master drum’
because of its function in the music being played. Its role is to send audible signals to the dancers and other drummers, cueing the necessary
musical transitions, breaks and endings.
Therefore, the ‘master drummer’ tends to • • - • - • •
be the musician who can best evaluate the
current musical situation, quickly make
decisions as to where the music should go
and clearly communicate the appropriate
signals. He must also stay aware of the energy level of the dancers, the
drummers, the singers- even the other attendees. The decision to move
the music in different directions might be affected by how well a section
is being received by the audience, how tiring a particular step is for the
dancers, or the fact that the vocalists have completed their accompanying lyrics. In my studies with Rubben Agbeli in Kopeyia, Ghana, he added
that one cannot consider himself a master drummer until he knows how
to play all the instrument parts for all of the [Ewe] songs, sing all the
songs, dance all the steps, and fix/rehead all the drums.
There are many embellishments that can be added to each of the boba
patterns. Ewe musical traditions and the drum’s role at that moment dictate which are and aren’t acceptable. Only immersing oneself in the culture and studying their music firsthand will bring about the understanding to discern between them. For our purposes here, we are looking only
at the primary rhythms (without embellishments) played during these sections of Gahu. That said, let’s take a look . . .
a relaxed step during which the dancers enter the staging area and form
a circle, swinging their arms loosely from side to side. The boba player
uses two large drumsticks and plays a basic phrase consisting of two muffled strokes, followed by a series of normal (open) stick strokes. Get the
short, higher-pitched, muffled strokes by pressing into the drumhead with
one fist while striking the head with the opposite stick. As in the previous
article, we will use both boxed and standard notation styles. In our boxed
notation, the muffled strokes are represented by the letter M and regular
(open tone) stick strokes are shown as a bullet (∑). Each box represents
one subdivision, or small, equidistant unit of time. In the standard notation, the regular stick strokes are written as regular noteheads and the
muffled strokes are seen as X’s.
—
M
— — — •
• — •
•
— — —
Rolling
After allowing the participants to enter, dance and sing to the rhythms of
the free movement, the master drummer sends a rhythmic cue to lead
everyone seamlessly into the next section of the performance. Before
sending that cue, he needs to make sure that he has the attention of all
present. To do that, he plays a short, intense passage called ‘rolling,’ creating excitement and anticipation for the upcoming variation. All drummers maintain their original patterns throughout this section. The dancers
respond to the call of the master drum by shouting and waving their arms
in the air.
• — • • • — •
• • — • • • — • •
Signal
After a couple repetitions of the rolling phrase, the master drummers signals the change into the next section of music with an obvious signal. The
signal again utilizes regular and muffled strokes.
- M - M - • - M - • • - • • - - -
Serious Movement
That signal leads the entire ensemble- drummers, dancers, singers and
bystanders- directly into the ‘serious movement.’ The intensity builds; the
sogo player switches to a busier, energetic 16th-note rhythm; the dancers
bend towards the ground, throwing their arms in front of them to match
the steady quarter-notes being played by the boba. In addition to the loud
pulse he’s playing on the drumhead, the master drummer often adds
sharp stick shots on the side of the drum shell. This creates a more balanced rhythm and infuses yet more volume and excitement. The shell
stroke has been notated as a letter S (boxed notation) or a circled X (standard notation).
Sogo:
• • • • • — M — • • • • • — M —
Basic/Free Movement
The first pattern, often called ‘basic,’ accompanies the ‘free movement,’
24
Boba:
• — S S • — • — S S • — S —
Boba
Ending
After Kokosawa’s serious movement, the master drummer sends another signal, this time to cue the ending of the performance. This final signal is identical to a rhythm known to many as ‘clave,’ which permeates a great deal of the music from Africa, South America and the Caribbean. The drummer will often play
this phrase with both hands in unison- the right stick rapping against the shell of the drum; the left hand
letting its stick strike the rim of the drum while simultaneously playing a closed-fist stroke in the center
of the drumhead. Immediately following this signal, the drumming concludes with ‘gede-gede’ (right, leftright, left)- a short series of boba open strokes.
S - - S - - S - - - S - S - - - • • - • • - - -
I hope that this series has offered you fresh insight into the rhythms of Gahu. Please feel free to contact
me anytime at: mark@powerspercussion.com or 920-410-0465.
++++++++++++
Mark Powers has studied and performed throughout the United States, China, Thailand and West Africa.
His teachers of world percussion styles include Emmanuel and Rubben Agbeli, Inchai Srisuwan, Carlinhos Pandeiro de Ouro, Jorge Alabe, Mamady Keita, Jerry Leake and Takaaki Masuko. Mark is a freelance
percussionist and educator in Salem, Oregon and co-holder of the Guinness World Record for longest
drum roll by a group. He can be found online at: www.powerspercussion.com
25
arranged with Theo Saunders. Matos: "This is real music created by real musicians who care passionately about their work. It is meant to heal and direct
energy toward self-realization and the well being of all humanity. *The next
issue of WPR will feature an interview along with his latest CD!
Compiled by Terry Reimer
Paoli Mejias
Transcend (paolimejias.com)
Paoli Mejias' first CD, Mi Tambor, was
nominated for a Grammy! This is his
second CD. At a young age, Mejias has
proven that he is a master of percussion on congas, bomba drums, djembe, bongo, cajon, timbales...he can
play them all and he can play all
styles with extreme skill and "sabor"!
Mejias was born for this and we're
grateful for his gift. On this release he partners with some of the best;
Hans Glawischnig, Luis Perdomo, Antonio Sanchez, Jaleel Shaw and Miguel
Zenon. Also featured are 13 of his peers including the likes of Yan Carlos
Artime, Ralph Irizarry, Jerry Medina, Javier Oquendo and Ricardo Pons.
Mejias dedicates this CD to the island of Puerto Rico.
Annette A. Aguilar & Stringbeans:
No Cheap Dates (Stringbeans)
Selected as Latin Jazz Ambassadors of '03 and
'04 for the US State Dept. and the Kennedy
Center and Jazz at Lincoln Center. She electrifies with her dynamic style! "We have all
learned from their struggle and perseverance
at a time when women were looked at as second-class citizens. Being able to play and study
the music of Afro-Cuban and Brazilian jazz and
music in general is a gift...and a commitment...not a cheap date." Aguilar proves she has what it takes to be Leader on
conga, djembe, bongos, marimba, pandeiro, repinique, tamborim, surdo, cajon,
snare and percussion. She plays with some of the best; Eddie Bobe, Vince Cherico, Victor Rendon, Glenn Jude Healy, Scott Kettner, Cliff Corman, Harvie S.
Jay Puente: Jesucristo.com (His Time Inc.)
Jay Puente is a "Music Minister", tours with
Eric Darius, and has his first hit single being
heard in Tampa, Orlando, Puerto Rico and on
the web. Puente has recorded over 20 CD's
and shared the stage with artists such as Giovanni Hidalgo, Alex Acuña, La Lupe, Justo
Betancourt, Gumbi Ortiz, Larry Spencer and
Walfredo Reyes Jr. He turned pro at age 15. His
Afro-Puertorican style was influenced by the
greats, Tito Puente, Cachete Maldonado, Milton Cardona, Ray Barretto, Patato, Tata Güines, etc. There is only one song on
this CD but it's one of my favorites. I listen to it over and over and over!
Bobby Matos: "Acknowledgement" (bobbymatos@hotmail.com)
Matos plays congas, timbales and sings coro on
this wonderful CD. "Chango's Charanga"... has this
driving force which can only be akin to a musical
"Holy Spirit" that grabs you and makes you want
to get up and dance!"-Jud Matos. All songs were
composed and arranged by Bobby Matos, except
three composed by John Coltrane and one co26
Dafnis Prieto: Absolute Quintet (Zoho)
Drum kit player extraordinaire, Prieto is
influenced by European concert or chamber
music, Africa, Spain, France and Italy and
their influence on the music of Cuba. Prieto
wrote all the tunes. He uses the full kit, playing orchestral patterns and complicated
rhythms along with a strong clave groove.
The fast improvisations, romantic melodies,
percussive drive are amazing. Prieto combines strings, Hammond organ, keys and
horns into his supercharged music. Jason Lindner: organ, keys and vocals.
Yosvanny Terry: alto, tenor and soprano saxes and shekere. Christian
Howes: violin. Dana Long: cello. Henry Threadgill: alto sax on track 4.
Ubaka Hill: Beyond the Wind
(Splevine Music Network)
With the ShapeShifters and Drumsong Orchestra
Ubaka Hill has been an inspiration to so many
throughout her 30-year professional career.
She is a native New Yorker, drummer, percussionist, vocalist, songwritier, composer, poet
and teacher who has passion and vision to
inspire joy and positive soulful change for the
health and well being of all. She is the
Founder/Director of the Drumsong Institute Museum of Women's Drum and
Percussion Traditions. She is the Musical Director of ShapeShifters (with Judy
Piazza, Valerie Naranjo, etc.) and Founder/Director of the Drumsong Orchestra, a national, folkloric, multi-cultural ensemble of female drummers.
Alex Garcia: Afromantra/Uplifting Spirit
(AfroMantra Records)
The rhythms of the Carribean, South America
and hardbop jazz, with a strong Afro-Cuban
flavor influence Garcia. All the compositions
and arrangements on this CD are by Garcia.
His mother is a dancer and choreographer
and his father was a musicologist and composer of contemporary classical music. Moving from Chile to Peru to Cuba to New York
Garcia has witnessed all the styles and many
of the greats live from traditional to modern, in jazz and beyond, His music
conveys spirituality and optimism. His trap playing is full of polyrhythms,
passion and skill.
Forward Kwenda 2006: Bass Nemakonde
Tuning (Mbira)
Kwenda is one person but sounds like a full
group! He is considered by many to be the
greatest living mbira player today. In Zimbabwe, ancient spirits come to help the living
before Kwenda can finish playing one mbira
piece; thus his mbira style is considered more
ancient than other styles. The deep sound and
hypnotic, circular rhythms and prayers are
powerful medicine. On this CD, Kwenda plays
an extremely low Nemakonde tuning mbira, a
third lower than his previous recordings. Mbira is a non-profit organization
devoted to educating the public about traditional Shona mbira music of Zimbabwe.
Brazil: Performed by Pancho Cataneo Y
Los Cubaztecas (Elap Music Ltd.)
This compilation of Brazilian samba, baion,
samba batucada and rumba reflects African
and Portuguese traditional music. Enormously popular forms of dance music such as the
samba and bossa nova originated in Brazil.
The samba was derived from West-African
circle dances performed in Brazil by the
African slave population. A blend of native
Indian, European and African cultures with
Afro-Brazilian/Catholic religious traditions developed into Candomblé. This
CD presents some of the most popular and exciting rhythms. Syncopated,
call-and-response singing combines with heavy and varied percussion featuring bateria drums.
Triplicate: Day and Age
(Rhythmelodic Records)
Dave Stanoch on trap set, Joel Shapira on
electric guitars and Bruce "Pooch" Heine on
acoustic and electric basses form Triplicate.
(See Dave Stanoch interview in WPR, VIII 1.)
Dave Stanoch tops the call list of national
and international entertainers. Stanoch studied with Max Roach, Elliot Fine, Alan Dawson, Jeff Hamilton, Ignacio Berroa, Clyde
Stubblefield and Chad Wackerman among
others. Now a master drummer himself, he is also an instructor at the
McNally Smith College of Music. Triplicate members write their own material and adapt jazz classics. They've just released their second CD, Day & Age.
Paul Samuels: Speak (LKS Music)
A drummer with rare musicality, Samuels has
performed with many artists such as James
Moody, David "Fathead" Newman, Larry
Coryell, Hank Crawford, R&B artist Gerald
Levert and many more. His hot and fresh
delivery flows with ease and has the intellect
and artistry to satisfy a seasoned jazz fan's
taste while easy on the palette of a wider
audience. Samuels leads eight great tunes
written by Monk, Coltrane, Wayne Shorter,
Frank Foster and Ornette Coleman. The title track "Speak", is an engaging
conversation of musical intrigue written by Samuels, Osby (saxes) and Wall
(organ). Jamey Haddad plays percussion.
Andres Chacon Y El Grupo Ire Ire: Tambor
Lucumy (middlepathmedia.com,
earthcds.com)
This three disc set includes bata pieces of
Arara; (Chacon is the only owner of a set of
fundamento Arara bata drums in Havana) Calabar, Kongo and Yoruba sources. Chacon was
raised near Havana, Cuba and was steeped in
the spiritual traditions of the region whose
philosophies and insights are expressed
through the performance of percussion,
chants and movement. Each of the deeply rooted spiritual practices from this
zone is considered distinct and complimentary avenues to channel divine
power. Chacon learned from the master drummers of his day and is a conduit from direct links with Mother Africa to the future.
Misterios: A Film by Giovanni Savino (Magnetic Arts Productions, earthcds.com)
Filmed in Haiti, the Dominican Republic and
the Bronx and NYC, Misterios is a journey into
the world of VUDU. "I was looking for Santa
Marta la Dominadora, the most misterious
being of the VUDU Pantheon." From small
rooms, homes, open streets and village processions, Savino captures real people in real
rituals. There are in-depth interviews, lots of
music, always great close-ups of the drums,
the hand rhythms, the lead singers and coro,
the clave, shekere, tin scrapers [güiro], bells.
There are altars, candles, foods, flags, baskets full of ritual objects and
symbols of Catholicism. Wonderful!
The Culture of Palo: Palo Music and Oral
Traditions from the Dominican Republic
(Magnetic Art Productions, earthcds.com)
(Spanish with English subtitles.) Giovanni Savino has produced the most remarkable DVD
showing the real people, instruments and traditions of Palo. "While shooting the documentary about Dominican VUDU, "Misterios", I
came across a lot of wonderful music that
could only find a marginal place in the finished film. Here I assembled all of the "missing" footage, often blurry, grainy and unedited
but in my opinion priceless in an effort to
preserve a small part of the rapidly disappearing and mutating popular
oral culture of the Dominican Republic." Absolutely priceless!
Tierrazo Jazz: Live in Puerto Rico, 1982
(frankferrer@hotmail.com)
This DVD is a two-disk set with a total of 20
pieces performed live and filmed lovingly and
with skill. The Jazz Festival Tierrazo, was celebrated in December of 1982 in the Centro de
Belles Artes in San Juan, PR. Featured are the
grand exponents of Latin Jazz. These famous
groups represent Brazil, Argentina, New York,
Cuba and Puerto Rico. Just a few of the groups
are Batacumbele, Tito Puente, Irakere, Tania
Maria, Dave Valentin, Chucho Valdés and Jerry
Gonzalez. This DVD is a treasure and a collector's
item. One of a kind!
Ethnic Heritage Ensemble: Hot 'N' Heavy Live
at the Ascension Loft (Delmark Records)
Kahil El'Zabar plays his earth drums (congas he
constructs himself), the mighty mite kalimba
(African thumb piano), and the trap set "that
releases many colors". Kahil El'Zabar has imparted a steady pulse to the music community of
Chicago and beyond and has been one of the
most prolific and innovative players for the last
30 years. New member/phenom Corey Wilkes
joins him on trumpet, flugelhorn and percussion, Ernest "Khabeer" Dawkins on saxes and
percussion and Fareed Haque on electric and
acoustic guitar. Featured is a commentary and interview with El'Zabar. 27
mances by Grupo Cuero y Cajon. In this issue of WPR, we run the abstract,
acknowledgements and the table of contents along with a few photos. In
the next issue, we will be privileged to share a short version of the complete thesis, (that now runs almost 200 pages)! I’m looking forward to it!
Nolan Warden has generously agreed to share a bit of his Master’s thesis
with us. His extensive work highlights the cajon as it is used especially in
ceremonies for the dead. In addition to the research paper, photos and
charts, Warden has included three audio CD’s and one DVD-R of perfor-
CAJÓN PA’ LOS MUERTOS
TRANSCULTURATION AND EMERGENT TRADITION IN AFRO-CUBAN
RITUAL DRUMMING AND SONG
A thesis, submitted by Nolan Warden
In partial fulfillment of the requirements for the degree of Master of Arts in Music (Ethnomusicology)
TUFTS UNIVERSITY
August 2006 ©2006 Nolan Warden Adviser: Professor David Locke
Abstract
Cajón pa’ los Muertos ceremonies are relatively unknown compared
to other forms of Afro-Cuban religious music. As such, this is the first indepth study of these heterodox musical ceremonies for the dead, which
combine Espiritismo, Palo, and Santería, among other religions practices.
Grupo Cuero y Cajón, from Poglotti, Marianao (Havana), are the case
study for this thesis. Personal fieldwork with them over the past six years
has led to this presentation of the drum rhythms they use as well as over
two hundred songs from their repertoire, analyzed for their cultural and
spiritual significance.
This thesis is written from the framework of transculturation and
foregrounds the role of musicians in the emergence of new traditions
through the use of cohesive acts. It also studies the antecedents of Cajón,
issues of pragmatism in ritual, Cajón as a site of preservation and innovation, and suffering as expressed in popular religion.
Acknowledgements
First and foremost, this thesis would not have been possible without
the support of my wife, Hilda Torres Urista. She has been supremely patient
during my reckless diligence to write this thesis. Like the princes and dukes
of yore, she is truly a modern-day patron of the arts.
This thesis also would not have been completed without the willingness of the members of Grupo Cuero y Cajón. Luciano, Pedro, Silvano,
Dairon, and Lekaim are excellent teachers and, it is fair to say, friends. My
thanks go out to them and their families for supporting my work by simply
allowing it to happen.
I am grateful to my adviser, Professor David Locke, who provided
invaluable feedback on my writing and wise guidance throughout my time
at Tufts. My thanks also go out to the other members of my thesis committee, Professor Jeffrey Summit and Professor David Guss. I truly feel privileged to learn from this group.
Thanks to all my music teachers who helped make the study of music
my life’s work. Thanks to Jeff Parthun, who gave me an important lesson by
tearing up the lead sheet to which my eyes were glued in eighth grade jazz
band. Thanks to Mikael Ringquist and Ernesto Diaz, my primary hand percussion teachers at Berklee College of Music, and to Joe Galeota, the Elegguá of my studies at Tufts.
Thanks to Professor Jane Bernstein, who let me audit my first seminar
at Tufts, to Professor Sarah Pinto who provided excellent comments on
what became Chapter Ten, to Kristine Juncker for making me aware of the
work of John Thornton, to Dan Dallis for letting me use some of his excellent photos, and to Professor Glenn Jacobs of UMass-Boston for providing
stimulating ideas during the early stages of this research.
I would also like to acknowledge the Graduate School of Arts and Sciences at Tufts for their financial support, and Rubén Salinas Stern at the
Latino Center who helped navigate the process of making my trips to Cuba
legal.
Last, but no least, I would like to recognize my parents for their
unconditional love and support during my life’s path. Words cannot express
my thanks to them.
INTRODUCTION
PART ONE
ENTRADA—ENTRANCE
AL LECTOR—TO THE READER
GRUPO CUERO Y CAJÓN
LIMITATIONS OF THIS RESEARCH
TRANSCULTURATION
PRAGMATISM, INNOVATION, AND PRESERVATION
OVERVIEW
1
1
2
4
9
10
16
17
CHAPTER TWO: ESPIRITISMO
22
ORIGINS
THEOLOGY/PHILOSOPHY
ESPIRITISMO IN CUBA
MUSIC
22
23
25
32
Luciano, Pedro, Nolan Warden, and Silvano
28
CHAPTER THREE: BANTU ANTECEDANTS
ETHNICITY
RELIGION
MUSIC
34
34
36
40
CHAPTER FOUR: LUCUMÍ/YORUBA ANTECEDANTS
ETHNICITY
RELIGION
ON “SYNCRETISM” AND “SANTERÍA”
MUSIC
43
43
44
48
56
CHAPTER FIVE: OTHER ANTECEDANTS
MARIANISM AND POPULAR CATHOLICISM
TUMBA FRANCESA
ISLAM
62
62
63
64
PART TWO
CHAPTER SIX: CAJÓN (THE INSTRUMENT)
ORIGINS
ORGANOLOGY
CAJÓN AS A SUBSTITUTE
CAJÓN: NO LONGER JUST A SUBSTITUTE
67
68
70
74
77
CHAPTER SEVEN: CAJÓN (THE ACTIVITY)
THE ACTIVIDAD
79
82
LOS MUERTOS
ON THE SACRED & THE SECULAR
87
92
CHAPTER EIGHT: SONGS
95
SONG CYCLES
96
SONG CYCLE ORDER
98
SONG MELODY AND RHYTHM
103
LANGUAGE(S) OF CAJÓN SONGS
106
SONGS AS COHESIVE ACTS
107
SONGS AS A SITE OF PRESERVATION AND INNOVATION 109
POPULAR RELIGION AND SUFFERING
110
CHAPTER NINE: RHYTHMS AND DRUMMING
112
GRUPO CUERO Y CAJÓN’S INSTRUMENTATION
114
DRUM RHYTHMS USED BY GRUPO CUERO Y CAJÓN
117
THE COHESIVE ACT OF COMBINING DRUM RHYTHMS AND
SONGS
124
PART THREE
CHAPTER TEN: TRANSCULTURATION AND FERNANDO ORTIZ
FERNANDO ORTIZ (1881-1969)
127
THE ORIGINS OF TRANSCULTURATION
129
THE “AVATARS” OF TRANSCULTURATION
130
TRANSCULTURATION AND ACCULTURATION: IS THERE A
DIFFERENCE?
134
CRITIQUES OF TRANSCULTURATION
WAS ORTIZ A FUNCTIONALIST?
SUBJUGATED KNOWLEDGE
137
138
139
CONCLUSION
141
GLOSSARY OF TERMS
145
APPENDIX ONE: EXAMPLES OF SONG CYCLES
APPENDIX TWO: SONG TRACK NUMBERS
APPENDIX THREE: SELECTED SONGS
APPENDIX FOUR: PHOTOS
148
162
167
183
DISCOGRAPHY
BIBLIOGRAPHY
190
191
DRUMS
Cajón • Cajón flamenco
GCyC’s tumbadora and cajon in front
of El Indio.
Underside of Pedro’s cajon showing some of the crosses
inside.
Egypt: Nubian music
All photos by Gail Gennuso
Notes by Gail Gennuso and Lonely Planet
These photos show a Nubian singer, drummer and boat hand and the Captain of the boat playing frame
drums. School children were also seen playing these drums and singing. Nubian music is conspicuously
absent from Egyptian or national TV and radio but Nubian artists sell rack-loads of CD’s and play to sell-out
audiences in Europe. The biggest name is the late Ali Hassan Kuban. Unlike Arabic music with its jarring use
of quarter tones, Nubian music is extremely accessible. The music has a rhythmic quality that is almost
African, mixing simple melodies and soulful vocals. Nubian culture is closer to Sudanese culture than it is to
Egyptian or Arabic culture. Some names to look for are Salamat, Hamza Ad-Din, the Kronos Quartet, Sayyed
Gayer, Ahmed Monieb or Mohammed Hamam. The only place to pick up some of this music in Egypt, is in
Aswan music shops or try to get yourself invited to a Nubian wedding.
Wooden bongo • Wooden conga
TO ORDER, contact:
Pedro Barriera
P.O. Box 331341
Ponce, PR 00733-1341
Phone: 787.349.3296
woodenbongo@yahoo.com
www.woodenbongo.com
29
Illustration by Anthony J. Stagg
SUBSCR
IBE
Today!
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On the pulse of the Global Drum Community
Complete the form below (please print) and send it with $12.00 to:
Terry Reimer, World Percussion and Rhythm, 1020 W. Wellington #1F
Chicago, IL 60657
Do not send cash. Make checks or money orders payable to World
Percussion and Rhythm. Back issues available – call (773) 348-0966.
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Of Note
Compiled by Terry Reimer
Richard, “Bongo Dick” Schultz passed away last fall and Glen “The Wiz”
Wierzbicki hosted the most incredible Memorial Jam Session at Riverdale Marina
in Illinois. I wanted to publicly thank Glen for his hard work and for being such
a good friend to “Bongo”. I was gifted with the nicest donation of drums and percussion instruments from “Bongo”! He knew I am a special education teacher and
thought I could use some of his instruments in our school. Yes, his drums have
been the favorite of so many of my students! The process of drumming has been
healing and life-enhancing. We have used them for assemblies for graduation,
talent shows and to jam in the classroom. Everyone is impressed with my great
array of cool drums! I always thank “Bongo” and will remember him forever. His
generosity in life and after, have inspired, challenged and benefited so many.
Terry Reimer, Editor, Publisher, WPR
Carlos Cornier, long-time Latin percussionist, founding member of Funkadesi,
Picante, Rhythm Brothers, Old Town School teacher, WPR staff contributor, good
father and friend, is doing well after a bout with prostate cancer. Congratulations
Carlos on your successful recovery. Please don’t scare us again! Much respect and
Love, Terry Reimer and all at WPR. His benefits were a rousing success.
Candido Camero celebrated his 86th birthday April 25th with a concert at the
Blue Note in NYC. He was born in El Cerro, a barrio of Havana, Cuba, and is one
of the best percussionists of our time. Happy Birthday!
Congratulations to the following musicians who received the Chico O’Farrill Lifetime Achievement Award 10/19/2006: Dave Valentin, Carlos “Patato” Valdez, Edy
Martinez, Ramon Rodriguez and Andrea Brachfeld.
Websites recommended by Africa.dot.com: Drums to Digital exhibit at the Hyde
Park Art Center in Chicago, ’06. Check ‘em out: SmithsonianGlobalSound.org
africamusica.skynetblogs.be • africanmusic.org/links.html
Sincerest Condolences to the following musicians who have passed recently.
Manny Duran, great trumpet player who “embodied the very essence of jazz at
all times” (Willie Martinez), passed on Oct. 3rd, 2006.
Thomas Stowsand, eminent booking agent and champion of jazz and Brazilian
music in Europe, died 10/5/06 at 59 years old, in Schwaz, Austria.
Braguinha (Joao de Barro), born Carlos Alberto Ferreira Braga, died 12/25/06 at
the age of 99. He composed songs whose humorously ironic melodies influenced
generations of Brazilian musicians. His work extended to Bossa Nova and Tropicalia styles of the 50’s and 60’s.
30
L e t t e r s to t h e E d i to r
WPR is really needed in the community. You’re doing a great job. I was
involved with Onda, a 20-page arts and music magazine for the Latin and
Afro-Cuban communities. I was involved with Onda for six years. Thanks
for all you do!—Bobby Matos, LA, CA
I recently received a copy of the latest issue of WPR from Mark Powers
that includes his interview with me. [Dave Stanoch] It was a nice surprise.
Thanks so much for your time and interest in presenting it. You have a
very cool magazine. I enjoyed reading it from cover to cover. It would be
cool to share your magazine with our students at McNally Smith College
of Music.—Dave Stanoch, Minnetonka, MN
Thank you! I got WPR and it looks great! Everything’s awesome. I’m certainly pleased with it. [Gahu Recreational Dances, Dave Stanoch interview
and From Zero to Drummer in Three Easy Lessons.] I’d like to put my
three articles up on my own website saying they were published in WPR.
Thanks!—Mark Powers, Salem, OR
I love your magazine! I look forward to getting it and always read it.
Please put me down for another advertisement.—Steve Wright, Wrighthand Drums, Hagerstown, MD
Yes! We always like to support what you’re doing. The magazine is really
interesting to read. Please go ahead with our ad again.—Brad Boynton,
Rhythm Traders, Portland, OR
You can just keep running my ad because I always want to continue to
support WPR. I will send the magazine out
with all my orders, all over the world! They
get to so many drummers. I just sent one
along to England. Keep up the good work.—
Tom Alexander, Volcano Percussion, Ocean
View, HAWAII
It’s an honor and a privilege to be featured
in WPR. Thanks so much. Check out my info
on myspace.com/jaypuenteproject.—Jay
Puente, Lakeland, FLA
Thank you so much for WPR. I appreciate
the magazines. I’m going over to school now,
and I’m going to distribute them to my students.—Chuck Silverman, Winnetka, CA
I just received WPR and am sending some money to help make sure you
stay in business! I love the new issue! I distribute to Drum Center, Guitar
Center, Syracuse Community College and other drum shops here.—Vinny
Ludovico, Syracuse, NY
Classifieds
GO TO PERCUSSIONMUSIC.COM for a huge selection of drum and percussion
instructional materials. We carry instructional videos, DVD's and CD's for all drum
and percussion instruments, for congas, bongos, djembe, tabla, timbales and much
more! We also carry sheet music and books.
James Brown, The Godfather of Soul, died on Christmas morning at 73 years old.
He did 50 albums, 119 hit charts, influenced thousands, especially to develop funk
and hip-hop and left a lasting impression on everyone who witnessed his ferocious energy live.
Corrections: Chicago, 2006 photos include Carlos Equis Aguila with Nachito Herrera (L). Also Meshach Silas’ son, Jeremiah.
Plena Libre: Tommy Olivencia, Charlie Pizarro, Gadwin Vargas.
Sorry for the misspellings!

Spring/Summer 2007

Transcription

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