Latin Percussionist

lssue 4 Summer 1996

.fos6I!Fa,d-era.
by Victor Rend6n and Armando Rodriguez

Jose Madera: arranger/ percussionist, has long been a drivingforce behind the
bands of many artists including the Machito and Tito Puente Orchestras. A top
qrranger in the Latin.lield , he has written over 300 atangements for the likes of
Machito, Puente, Fania All Stars, Louie Ramirez, Pacheco, and Willie Rosario to
name a.few. Coming.from the timbale tradition of Ubaldo Nieto (Machito's timbale
player for many years) he continues to pass on the tradition with live peqformances
qnd with his teoching at the Boy's Harbor Performing Arts Center in "El Banio" o.f
New York City.

LP: Jos6, let's start with your background and how you got started.

JM: I guess I became interested when I was about six or seven years old. We used to
have records at home. My dad was a working musician with Machito and he would
bring records home of dates that they had done. My first records were the Tito Puente
78's that had been put on LP by the Tico label. They were a bunch of 78's compiled
into an album titled Cha Cha Cha For Lovers. I also had things like Cuban
Carnival, and some early Machito albums on the Tico label. I was not aware of some
of the earlier recordings until I got older. That's really how I got started by listening to those records. This might sound like a
clichibut I learned by just playing them over and over.
LP: What years were those?
JM: This was like the late 1950's or early 1960's. Just playing the records over and over, you can hear things. Of course now I
play them and I hear other things that I did not hear then. As a kid I was impressed by all that and that's really how I picked up a
lot of things, It wasn't until a little while later that I saw some of it played live.
LP: Tell us a little about your father, Jos6 Madera Sr.
JM: My father was one of the original members of the Machito band before Mario Bauza. All those early recordings of
"Sopa De
Pich6n," "La Paella", "El Muerto Se Fue De Rumba", "Que Vengan Los Rumberos", "Rumbantela" which I later rearranged for
Machito were,originally my dad's arrangements. He wrote arrangements for Daniel Santos and for Vitin Aviles that were big hits
llke"La Televisi6n. " He also did quite a few things for Tito Rodriguez including a ballad on the album Palladium Memories which
was "El Ultimo Fracqso. " This was when Tito was with Noro Morales in 1947-48.

LP: When did you actually start playing with bands?

JM: We had a bunch of kid bands. When I was about fifteen years
old along with Louie Bauz6, we had these little bands for which we
wouid go around and play. We wouid earn twenty bucks and some
Inside This Issue
nights we were lucky to get paid. The scene really hasn't improved I Feature: Jose Madera
much. Guys are still playing for one hundred dollars a night which The Secret Abaku6 Socie8
is not any kind of money to make. To produce a certain amount of John Benitez: Bassist Point Of View
talent and play in front of a crowd takes a certain amount of
John Almendra Column
discipline.
John Santos: Tumbao Diferente # 3
The Bolero
Reviews and more
 LATIN PERCUSSIONIST
Issue 4. Summer 1996

Pub[shed by Tortilh Flat Music: Victor Rend6n/fumando Rodriguez

-< - ;* EJrafi.adon on any kind of Latin music was very
i: -a
Editor: Armando Rodriguez
limtec u a i-r :ir.cLi To make itworse, many of the books CONTRIBUTING WRITERS
pbhsirec :.-arEE. r!:rrxrrrion thal was incorrect which only added to the John Almendra
confirg.-- \!"titrr:orar{.rg has brought us the PC computer and video Greg Askew
*'Lich eslia :F r sblne rqtrormarion, publish, and film the masters ofthis Louie Bauz6
music so dr r= srd. riem- So many CD's, books. and videos are Joel Litvrin
being rdxa: eacn - )€rr rhd it is often difficult and quite expensive to keep
Ken Ross
tp *iri ir ft65 *ry {1m. DCl{Iy'arner Bros. will release at least five Victor Rendon
videos of Grlus itlrga and Jose Luis Quintana (Changuito) Bobby Rever6n
demonsnnar &q; pial_:,ne techniques in detail making it possible for us to
John Santos
sUtuy-*ith rt,e 15! Erst s eodlessly for the price of a video (look at Pazcual Villaronga
review secd!1n h's r ercr ome to be a student of Latin percussion.
However. don'r i..rgl=- drt-e is no slbstitute for actual playing in order to Letin Percussionist welcomes manuscript material, however, cannot assume
hone your shit responsibilitt, for them. Items must be accompanied by a self-addressd, $8mped
envelope.

SUBSCRIPTIONS are $6.00 per year ( U.S. and Puerto Rico). Outside U.S. and
P.R. . rate is $10.00. Individual copies are 53.00 each

Send all correspondence to:

TORTILLA FLAT MUSIC
P.O. Box 556
NY, NY l0l16-0556

Note: Pleese do not copy this newsletter end give to your friends. Publicetions
like thls will only survivethrough the supportofits relders. 1No Cueste Mucho!

LP: Did I'ou particularlv study with somebody?

JM: I ieamed b_v- obsen ing Uba Nieto (timbale player with Machito) for many years. He gave me my first cowbell and cymbal.
Eventually' I went out to play with Machito. Watching Lrba and the band play live impressed me so much that I guess subconsciously
I decided to become a musician. On hearing the three bands (Machito, Puente, and Tito Rodriguez) there is no comparison to the
Machito band. As \r'ell as Tito played and as well as Tito Rodriguez sang. there was no comparison to the Machito band.
LP: How did 1'ou eventually get to play with Machito?
JM: We had a band called La Orquesta,Son which had a hit in 1969 titled "Tender Love". It was pretty hot. I did one project
called "I Regret " for Orquesta Capri. When I split with the guy he took the tune and gave himself credit. Anyway, one day I got a
call from Mario Bauza and he asked my father to speak to me, He didn't have a timbale player for that weekend. At first I said to
myself, "It sounds great. I don't know if I can or not". But I said to Mario, "Yeah I'11 go, I'll try and do what I can".
LP: How old were you?
JM: I was seventeen or eighteen, more or less. The gig was at the Concord Plaza Hotel and I remember walking on the stage and
seeing these guys. They had four saxes, three trumpets, piano, and bass. The conga player was Julian Cabrera and Henry Rosa was
the bongo player.
LP: So is this sti[ in the late 60's?
JM: This is like 1969 or 70. I just played. I don't remember much about the night except that I had a good time finally playing
with a bunch of professional musicians. For me the arrangements were no problem because I knew all those tunes having grown up
around them. I had a good time. I remember we did the weekend and then Mario asked me if I wanted to stay and play and I said,
"Well yeah, why not". So, I stayed for a while. What I learned in that band was invaluable. That is like the Latin band of all time.
LP: Was this after Uba?
JM: This was after [Jba, Frankie Colon, and a few other guys that had played at the time. I'm not positive but I think maybe
Frankie had taken the job at the Roseland doing seven nights because at that time in the scene you worked two or three days a week
and it wasn't that good. Naturally, musicians have to look for steady work where ever they can find it. I did it for a couple of years
and I had a great time. It was an invaluable experience hearing that band. Having sat in that band and played, having sat in Tito
Puente's band for many years and playing Tito Rodriguez' music, Machito was the best experience. It's like the Count Basie band.
LP: How did you get in writing and arranging music?
JM: I guess I started fooling around as a kid back when I was hfteen or sixteen. I didn't know my key signatures that well,
transpositions of instruments and all that kind of stuff. I tried to iearn with two trumpets. You couldn't really mess with two or
three trumpets too badly. Whenever I would have a question I would ask my dad and he would tell me. Also all the years of playing,
looking at scores, and analyzing things like that evenhrally developed into whatever I am now.
LP: I guess growing up in your family was quite an education.
JM: My whole family are musicians. All my uncles are musicians and my dad obviously. Of all the people in my family I am the
worst musician. If I knew one quarter of what my father knows, I would be a millionaire in Hollywood now. Those guys were great
musicians--transposition, arranging, sight reading, everything.
LP: You play a little bit of piano also.
JM: Yes, I know the keyboard from writing. But, most of those things I've learned on my own including the experience of writing
for strings. There're things that you learn as you write. You can go to school all your life and take arranging courses. But,
arranging is not learned until you actually go stand in front of thirty guys, tap l-2-3-4 and start playing the arrangement. Those are
the things that a school cannot teach you. That's what we have here at Boy's Harbor Performing Arts Center. We have a workshop
where people play and you can bring your arrangement in and hear it played. Years ago we didn't have that. You have an
arrangement, bring it in. There's a wrong note. What chord is that? Who has that wrong note? Those are things that you learn as
you progress.
LP: Eventually you wrote a lot for the Machito Orchestra. Didnot you arrange a whole album for him?
JM: Yeah, I did a lot of it. I also rewrote a lot of it. Actually it was the one on Mericana. The name of it is plainiy Machito. Tito
Rodriguez was the A&R man. It was done back in 1970. From then on I went to write for a lot of artists on the Rico and Fania
labels.
LP: I remember you wrote some things for Willie Rosario and Tito Puente.
JM: I had Willie's last three hits, "Za Pelota", "Lluvia", and"Negra Linda", I just did a tune called "On Green Dolphin Street"
for Tito (Puente) and Maynard Ferguson for a new aibum that is coming out. I must have written at least three hundred
arrangements that have been recorded and/orplayed. It's been a long haul. A lot ofnotes.
LP: So what are you doing now?
JM: Right now I'm on the road a iot with Tito Puente. I'd say that we've come back to about 100 dates ayear. We used to do about
150. We do less now which is fine with me because I'd rather be home now. I've had all my fun moving around the country
entertaining strangers all my life.
LP: You've been able to make a living from just playing music.
JM: I've never had to work in anything besides music. I've done this (teaching at Boy's Harbor) because every time I leave, Ramon
(Rodriguez) eventually asks me to filI in for somebody. So I do it to help out the school. I've never had to do anything like sit in an
office. I've just gone out, playing on a drum or cowbell. lt paid my rent (laughs).
LP: What recommendation do you have for students here at Boy's Harbor and percussionists in general to prepare for
what's out there?
JM: The only thing you can do is take your lessons and practice a lot. Join some kind of workshop where you can actually play
with other people. That's reaily how you learn to play, By sitting with twenty other people you learn dynamics, what to play and
what not to play. Someday someone might see you and decide to give you a call. All the spots are taken. It's kind of hard to break
in anywhere.
LP: Do you recommend that drummers study other instruments.
JM: I think they should study all of the percussion. You can't play all of them great. It's impossible. You should be able to play
one very well and the others well enough to cover the job if you're called for it.
LP: What is your main ax?
JM: Timbales is my main instrument. I play congas because when Madamo (who is my substitute here) moved to California they
had no conga player in Tito's band. So they moved me over. Tito said, "Go get a conga and start playing". I had never played the
drum in my life. I learned on the job. Then I brought Louie Bauz6 in and he played bongos for a couple of years.
LP: I always see a "pressing touch" when you play the bell. A lot of players bounce the stick.
JM: That pressing is from Uba (Nieto). That is what keeps the time together, He didn't need a conga player because he had a great
left hand. He would take that band (Machito's band) and carry it where he wanted. He had a great bell. Until this day I wish I
could have gotten my hands on it when he passed away, I don't know what happened to any of that stuff.
LP: Did you have any mentors that you looked up to?
JM: As far as writing, my favorite aranger is Rene Hemandez (pianist and arranger for the Machito Orchestra). He's been dead
now about eighteen years. With all due respect to people like Tito Puente, Harold Wegbreit, and Ray Santos he was the best. Rene
was the standard that I tried to emulate.
LP: What about players who influenced you?
JM: I would have to say my favorite big band drummer was Uba still. My favorite band was Machito's band not just because my
dad and I played in it but because I just like the way it sounded.
LP: That's about it Jos6. Is there anything else you want to add?
JM: I would say that anyone that's involved in the arts can't really expect to make a lot of money. Only about twenty percent are
making the money and the other eighty percent are just struggling. That's the way an art form is. You can't let that get you
discouraged. Just keep plugging away because you never know who's watching. Somebody might get impressed and say, "l'm
going to hire this guy/girl". You might have a better shot in the American scene because there is more variety but even that scene
has been cut down a lot. A lot of the recordings have gone to the wayside. It's just a bad cycle that we're in. I don't know if we are
going to recover or not. I've been lucky that I've been paid to play and see the world. I can't ask for anything more than that.
Point Of View

Bassist: John Benitez on Latin

D ru mmers/P ercussio nists
by Ken Ross

John Benitez is one of the busiest bass players in the New York City Latin jazz scene today. John's gift for music is
documented on mrmerous albums with many 0f the top artists in the industry. Currently he is working with Eddie Palmieri ,

Seis Del Solar .David Sanchez, Michel Camilo, and is looking fonvard to his upcoming concert in Puerto Rico with the
great Cuban pianist Gonzalo Rubalcaba.
The relationship between the bassist and the percussionist is of critical importance in any musical situation. By learning
the viewpoint of the bassist, we can develop a better understanding of our role as drummers/percussionists in the rhythm
section. John was gracious enough to take time out of his busy schedule to share his views and insight discussing some of
the world class drummers and percussionists he enjoys working with.
Horacio "El Negro" Hernandez: "Well to me Horacio is one of the most creative drummers I ever worked with. I love
the way he brings all of the percussion instruments into the drumset. I also like the way he work on sounds in terms of
how he orchestrates the latin rhythms and instruments into the drumset."
Robbie Ameen: "Robbie has that funk background. He plays many styles of funk like the Meters, Tower of Power, and
James Brown. He knows different styles of funk and mixes that with the Latin rhythms. He can play any style and has a
very strong background in be-bop. He is also very proficient, accurate and professional. I really admire that about him."
Adam Cruz: "For me he is the ideal drummer. He is what I think aLatin jazz drummer should be. He can really fuse
the swing or be-bop tradition with the Latin. He can really do that and sounds great in both. Adam worked with many of
the great masters of jazz such as the Mings Dynasty and Ronnie Cuber. He's also played with the Latin masters so he has
both traditions in his playing. He is the drummer of the future."
John Almendra:' "Johnny can play any style. He has the traditional Latin style down where he can play all the
traditional Latin instruments, but a lot of people don't know he is also a great drummer too. For me as a bass player, I can
really feel that. That's important. I can feel that foundation!"
Ignacio Berroa: "Ignacio is another master. He is the first guy to open the door for the Latin drummers in terms of the
cross over with Latin/jazz. Thavetapes when we played with Danilo Perez and he sounds like, WHOO! He can sound very
contemporary and he's got all the polyrhythms together. He is very professional in the business. He knows the grooves and
plays any style. The African heritage is spread all over South America and there is so much to learn! Brazilian music,
Puerto Rican music, Dominican, Colombian....that's the future! That's why the Cubans are always growing because they
are always concerned about this.
"In gineral I like to set up where I can focus on the cymbals. A lot of guyb like to hear the bombo (bass drum) but for
me it is not as important because we don't always have to play the same rhythm as the bass drum. That's always been a
misunderstanding. For example on the John Scofield live album, Dennis Chambers played his bass drum pattems together
with the bass player which I love but I realized that you don't always have to play that. I can play around the bass drum.
He can play around me or with me. He can play behind me or on top, whatever! So for me it's more important to hear
where the cymbal is and hear where the subdivisions are. That way we are more free to do things with the time.
"Working with a percussionist is another thing especially in terms of orchestration of sounds. I realized that many
percussionists have another approach in terms of where they feel the time, The conga player can be a little more free than
the drummer. Seis Del Solar is a good example. We have congas, timbales. and drumset. The only thing we are missing is
a bongo player. In this setting I try to listen to Robbie (drums), Paoli (congas). and Ralphy (timbales) at the same time.
The piano is also a big part of this because we all make up the rhythm section."
"In closing, I am going to tell you what Papo V6squez told me once,...he grabbed one John Coltrane record and then he
grabbed one of Manny Oquendo's Libre records and said, "If you want to learn how to play Latin-jazz, you have to know
what is Latin and what is jazz." So deal with the whole aspect of music and then apply that to the drums. That is what I
think."
ER EIrI EIIIf (C OLIIIYf Ilf
\rrEDE(OS
Giovanni Hidalgo: In The Tradition
DCI\Warner Brothers Publication conclusion I would like to add that the cover is eye catching
1500 NW 48th Ave. with its vivid colors and design.
Miami, FL 33014
Price: $39.95 Rating 4 claves Ken Ross
42 minutes approx.
1-800-628-f 528 Ext. 215,214 Josi Luis Quintana (Changuito):
This is the second instructional video on DCI/IVarner The History Of Songo
Bros. by conga virtuoso Giovanni Hidalgo. Appropriately DCI\Warner Brothers Publication
titled In The Tradition, Giovanni covers the four basic 1500 NW 48th Ave.
sounds, tuning, bolero, son montuno, charanga, and the Miami, FL 33014
danz6n. Price: $39.95
The four basic sounds covered are the open tone, slap, bass 90 minutes
tone, and muff which Giovanni demonstrates and suggests 1-800-628-1528 Ext. 215,214
that they be practiced and developed to its fullest. He then
demonstrates the actual process of tuning the drum in a This video is long overdue. Finally the father of songo
clockwise fashion stressing the imponance of turning the lugs sets the record straight. In this video Changuito takes us on a
evenly until one gets the "central" sound of the drum. ninety minute musical journey beginning with the frsl songo
The first rhyhm covered is the son montuno. lt is groove which he graciously credits ex Los Van Von mate Blas
demonstrated on one tumbadora (conga) and then with two. Eg0es as the creator. He then goes on to demonstrate how he
It is followed by the gradual addition of clove, gtiiro. and developed the songo rhythm and it's many variations on
bongos. A short segment follows showing Giovanni and John drumset and tumbadoras (known as congas in the U.S.).
Almendra playing variations and "riffs" on tumbadoras and Changuito plays with incredible "sabor". Some of these
bongos. This gives the viewer the opportunity to see how grooves are very funky!
these instruments function as a section in relation to one With the help of pianist/composer/author Rebeca
another. The same process of presentation is used for the Maule6n, a wonderful translator, we are also treated to some
bolero, charanga, and the danzon which include the addition less familiar rhythms such as the pil6n, some original
of timbales. rhythms he calls primordial and bota, as well as the more
The danz6n section is particularly interesting. Giovanni popular conga and mozambique.
did a nice job explaining the different sections which include The camera angles are great, particularly the use of split
the transition from the danzdn lo lhe mambo section where screen technique. This allows the viewer to see Changuito
the timbal goes to the cha chabell. The band then plays the play all the patterns at the same time while Rebeca holds
classic Abelardo Yaldez, composition "Almendra" wtth down the clave. Another great technique is the use of slow
Changuito on giiro and John Almendra on timbales. lf you motion. I was surprised at how clear the audio came out.
are not familiar with the proper playing of the danzon in its This is a great way to catch all of the phrasing and nuances
entirety, this is it. that give Changuito his signature sound.
Each rhythm is also preceded with a short verbal Included is a transcription and analysis booklet clearly
background/tristory by Giovanni which should be of some notated detailing all of the rhyhms and variations
help to newcomers in conceptualizing where these rhythms demonstrated in this video.
came from. Band demonstrations are also included with the Guest musicians include Rebeca Mauleon on piano, Papo
help of John Almendra; drums and percussion, Eddie V6squez on trombone. Giovanni Hidalgo on tumbadoras, and
"Guagua"; bass, Eric Figueroa; piano, Richard Gant: Eddie (Guagua) Rivera on bass. The sound quality is very
trumpet, Jacques Schwarz; sax, and Jos6 Luis Quintana good.
"Changuito"; percussion. The pace of this video at times moves slow due in part to
Giovanni plays a solo called "Peace" on one tumbadora, the bilingual translations and Changuito's relaxed manner,
demonstrating what one can do with one drum. The video but that will not effect the historical, educational, and
finishes with a jam called "Sports Rumba Jam" with John entertaining quality of this fine video by D.C.VIVarner Bros.
Almendra playing a rumba abierta on the tumbadoras and
Changuito playing a comparsa type pattern on the timbales Rating 4 claves Ken Ross
while Giovanni solos. Changuito also plays a timbale solo on
this tune (For more on Changuito, read the following review).
At the time of this writing, more videos by Giovanni and
Changuito are in the works at DCI with loads of information
which will be very beneficial to the drumming community. In
 6 Latin Percussionist
Lincoln Goines and Robby Ameen: Funkifying Legends of Jou Drumming: Part I
The Clave, Afro-Cuban Grooves for Bass and Warner Brothers Publication
Drums 1500 NW 48th Ave.
DCI\Warner Brothers Publication Miami, FL 330f4
1500 NW 48th Ave. Price: $39.95
Miami, FL 33014 63 minutes
Price: $39.95 1-800-628-1528 Ext. 215,214
94 minutes
1-800-628-1528 Ext. 215,214 Legends of lazz Drumming, Part One, traces the history of
jazz drumming in America from its earliest, pre-1920 roots to
This 1996 follow up video is based on the best selling the advent of the be-bop revolution in the mid-1940's and
method book titled A-fro-Cuban Grooves For Bass snd Drums beyond. Included in this ground-breaking retrospective are
by drummer Robby Ameen and bassist Lincoln Goines. The rare film clips and still photographs of early pioneers like
book and video are designed to help bassists and drummers Baby Dodds and Paul Barbarin, percussion legends Chick
apply and adapt Afro-Cuban grooves to different styles of Webb, Gene I(rupa, Buddy Rich, Dave Tough and Sid Catlett,
music. Some of the grooves presented arc clave and tumbao, as well as innovators like Jo Jones and Kenny Clarke. Host

songo, guaguanci, Afro-Cuban 618.cha cha cha, and Louie Bellson guides us through this fascinating look at jazz
moza,mbique. history, and Roy Haynes adds incisive commentary (taken
This first ofa kind video addresses the relationship from cover liner notes).
between the bassist and drummer through a variety of Afro- A must for any drummer.
Cuban styles from the basic clave and tumbao to a funkyfied
version of the mozambique. Robby and Lincoln emphasize Rating 4 claves
the importance of understanding all the elements of this
music such as time, the relationship to the ever present c/ave, Bobby Sanabria: Getting Started On Congas VoL
phrasing, and understanding what the other musicians are I-3
playing. DCI\Warner Brothers Publication
Our hosts pay homage to the tradition before taking us on Conga Basics
a musical excursion through many styles and subjects of Afro- $19.95,47 minutes
Cuban music. Both Robby and Lincoln are clearly breaking Fundamental I
some new ground here with their innovative and incredibly $24.95,62 minutes
funky application is this style of music. Lincoln's in the Fundamental II
pocket playing is perfect for Robby's intense grooves. $24.95, 60 minutes
Later in the video Robby and Lincoln are joined by veteran 1500 NW 4Eth Ave.
musicians Wayne Krantz on guitar and keyboardist Bill Miami, FL 33014
O'Connell, as they play updated tunes from the book and 1-800-62t-1 528 Ext. 215,214
apply much of the material that was covered in the earlier
segments of the video. They burn! This is a set of three videos with Bobby Sanabria
Both Lincoln and Robby speak well and clear in their providing a much needed source for the beginner conga
presentation although the necessary translations do slow player. The first video provides a short history of the
down the pace at times. DCI cleverly uses a split screen instrument along with tuning tips, proper playing positions,
technique that allows us to see Robby's bass drum patterns four basic strokes. care ofthe hands, concept of clave, and
while viewing the rest of the screen. The sound quality is three basic tumbao patterns for one conga. The 2nd and 3rd
exceptional and can be firrther enhanced by connecting the videos move logically to applications on two and three
VCR to a slereo system. congas. Some of the rhythms demonstrated individually and
There is a wealth of information, talent and vision on this in a trio setting are: guajira, son montuno, mambo,
video by two of today's finest musicians. Highly guarocha, bolero, and cha cha chd. The trio consisting of
recommended! Mario Rodriguez on bass, John DeMartino on keyboards, and
Bobby oncongas, does a nice job in its rhythm
Rating 4ll2 claves Ken Ross demonstration.
One of the highlights of the three videos is the interview
and performance of master percussionist and pioneer,
Candido Camero. In the course of the interview Candido
demonstrates some of his independence technique such as
playing gtiiro with one hand, congas with the other and a bell
with his foot. Highly recommended for beginners.

Rating 4 claves Armando Rodriguez

 7 Latin Percussionist
There is a supplementary section (with a great photo) by
tlbaldo Nieto who wa"s the timbalero with the Machito
ESoolxs: Orchestra for many years. It is interesting that some of the
How To Play Latin American Rhythm terminology that he used is not heard today such as: slow
Instruments mambo and double mambo.
by Humberto Morales and Henry Adler This is a classic and should be in every timbalero s library.
Supplementary section by Ubaldo Niao
Sponish Translation by Ernesto Bsrbosa Rating 3 1/2 claves v. R.
AdleriMarner Brothers Publication
1500 NW 48th Ave.
Miami, FL 33014
Other Significant Releases:
Price: $16.50 Adventures in Rhythm: From Afro-Cuban to
1-800-628-1528 Ext. 215,214 Rock
LPV150N LP Music Group
First published in 1954, this book by Humberto Morales. 160 Belmont Avenue
(brother of the pianist Noro Morales) and Henry Adler was Garfield, New Jersey 07026-2394
one of the few sources on Latin drumming. It was also one of Price: $39.95
the first books on Latin percussion written by a percussionist 60 minutes
with first hand experience in the field. Bass and piano 201 -47 8-6903 Fax: 201-7 7 2-3568
examples are also given in addition to English and Spanish
text. To the best of my knowledge, the only other compatible This new release by LP Music Group features Raul Rekow
book on Latin drumming was Drummine The Latin and Karl Petzzo, world renowned percussionists with Carlos
American Way by Ernesto Isabelo Marrero (who was working Santana. The introduction of the video starts with some
with the Desi Arnaz Orchestra at the time) published in 1949 footage of Raul and Karl in concert with the Santana band
and now out of print. Various photos are shown with while they play some percussion solos. It is evident that this
Humberto sitting down like a drumset player as opposed to is an entertainment video with plenty of playing in addition to
standing which was common practice. One can also see educational content. Raul starts the educational section with
various photos of the now famous Leedy timbales in mint some basic sounds ofthe congas such as open tone, slaps,
condition with the company badge and calf skin wrapped muff, etc. On the timbal, Karl mentions six tones on the
around the rims. It is with this historical perspective that we timbales which include rim shots, open tones, muffle tones,
took interest in this book. paila, and bell sounds. Raul then demonstrates the basic
The book is a reflection of the time and the particular tumbao after which Karl demonslrates rumba clwe and son
demands on Latin drumming during the 40's and 50's. As clave (which he calls straight clave). He also mentions the
mentioned by Tito Puente in a Modern Drummer interview, fact that rumba clave is basically used for folkloric "rumba"
drummers had to know many styles of music from South such as guaguanci, columbia, etc. while the son c/ave is used
America, Spain. Caribbean Islands and the U.S. Therefore. for dance music such as cha cha cha , guaracha, guajira, and
the book covers rhythms such as the beguine, Argentine so on. They then demonstrate some of these rhythms such as
tango, joropo from Venezuela, Spanish tango,calypso, paso guajira, guaguanci, cha cha cha, rumba columbia and Afro-
doble in addition to the Cuban rhythms such as son montuno, Cuban 6/8. The articulate and informative explanations by
bolero, nafiigo,etc. Raul and Karl are concise and to the point. The rhythms are
Several pages are spent with lhe "baqueteo" then presented in a musical sitr"ration with a performance by
(a combination of rim clicks, open and muffle tones) which is the session's rhythm section or the Santanaband. They also
sort of a dying art in timbale playing. The "baqueteo" was demonstrate how some of these rhythms can be applied to a
used a lot in the Americanized "rhumbas " played by bands contemporary setting by "mixing" rhythms. The first groove
such as the Xavier Cugat Orchestra and Desi Arnaz presented is abatd "toque" calledcha cha la safun adapted
Orchestra. However, the "baqueteo " is essential in the to the congas while Karl plays a songo-llke pattern on the
charanga tradition particularly playing the danz6n. Other timbales. Two other grooves are presented including "Soul
small percussion instruments are also covered such as the Sacrifice" from Santana's first album.
Brazilian cabaza, chocallo, maracqs, giiro, claves, hand Raul and Karl also talk about solo technique mostly in the
bell, and the quijada (a donkeyjaw bone hardly ever seen form of demonstration. Karl in particular demonstrates some
today). Some basic instruction is also included for playing nice cross-stick technique which looks very flashy and a
one tumbadora (conga) drum between the player's knees or "lick" (of Orestes Vilat6 influence) where he plays between
slung from the shoulder by means of a strap (another the high and bottom of the timbal by reaching and striking
reflection of the times). It is also interesting to see the drum from under.
tumbadora and bongo photos with tacked skins (heads) for My only criticism is that some of the rhythms used in the
the playing surface. Humberto mentions that the heads must band examples are different from the ones used when they
be stretched as tightly as possible using dry heat (not steam) were broken down individually. For example Raul first
to tighten them (now we have tension screws). demonstrates the 6/8 with a pattern that combines elements of
 8 Latin Percussionist
bembd and then uses another totally drfferent 6/8 pattern for every day life in Cuba. Some intricate interplay between
the band performance. While both are correct, it may cause Bobbi C6spedes (dancer) and Francisco on quinto is seen
some confusion for the novice looking for information. The here followed by a descarga in which Sheila and Pete
educational aspect would have also benefited with a Escovedo are shown taking a tumbadora and timbale solo.
transcription booklet. Another highlight is the appearance of Armando Peraza on
There is a lot of information and good playing in this bongos who as mentioned before was one of the pioneer
video. The rhythm section performances are further percussionists who came to the U.S. from Cuba.
enhanced by Myron Dave on bass guitar, Billy Johnson on Also appearing in the film are Katherine Dunham,
drums, and Rebecca Mauleon on keyboards, shekere, and Rebeca Maule6n, Jesus Diaz, and Carlos Santana.
vocal. There is also a lot offootage ofthe Santana band
which is simply entertaining and great to watch in addition to Rating 3 1/2 claves V. R.
the extended solos by Raul and Karl.

Rating 3 1/2 claves V. R.

(cD
Illu Afra - Sacred Rhythms
Fundamental Productions
Sworn To The Drum:' Box 35065 Unit 83
A Tribute To Francisco Aguabella 1644 Hillside Ave
Les Blank, Flower Films Victoria 8.C., V8T 3A0 Canada
10341 San Pablo Avenue
El Cerrito, CA 94530 This recording was made during a ten-day workshop of
Phone: 510-525-0942 Fax: 510-525-1204 Afro-Cuban dance, music and culture, called Afrocubanismo!
35 minutes held at the Banff Centre for the Arts in Alberta, Canada in
The film is a portrait of Cuban drummer, Francisco August, 1994. The most significant aspect of this CD is the
Aguabella, born in Matanzas, Cuba and immigrating to the performance of the Oru del lgbodi or Oru Seco (a set of
United States in 1957 while working with the Katherine toques or rhythms onthe batd drums paying homage to each
Dunham Dance Company. He is a master of the batd orisha (deity) in the Lucumi religion. This is actually the first
tradition as well as the secular conguero tradition. As stated available recording of the Oru,Seco (Havana style) in
by John Santos (narrator and chief advisor), Francisco wa^s complete form. Each toque stops before going on to the next.
among the first group of percussionists who came to this This makes it easy to study each toque in isolation and can be
country starting with Chano Pozo in the 1940's and repeated many times on a CD player. The sound quality is
continuing with Carlos "Patato" Vald6s, Candido Camero. also very good. The lhree batd players are Regino Antonio
Armando Peraza, Mongo Santamaria, and Julito Collazo. Jim6nez (iya),Fermin Nani Socarras (ilotele), and Sose Pilar
They set the standard with the recordings they made with (okonkolo). It is a great study source for students of batd and
jazz and pop artists as well as keeping the tradition. will set a new standard.
Francisco is shown in various musical settings throughout
the film which includes a tribute concert with his Latin Jazz Conjunto Folkl6rico Nacional de Cuba
Orchestra, a conga summit with Latin A11 Stars: Carlos
Mrisica Yoruba
"Patato" Vald6s, Daniel Ponce. Carmelo Garcia, Julito
Bemb6 CD 2010-2
Collazo, and Israel "Cachao" Lopez, Kimball's East with
Bemb6 Records
Dizzy Gillespie, a santeria ceremony, and an NEA (National
P.O. Box 1730
Endowment of the Arts) performance.
Redway, CA 95560-1730
Considerable footage is devoted to the bata drums which
are a set of religious drums used inthe santeria religion.
This CD first came out on vinyl in the 1970's as Toques
The first of these segments shows Francisco playing the
Y Cantos De Santos on the Cubilandia label. Now available
"meta" toque (bata rhythm) lo Chango with Francisco on
in the U.S. the CD contains nine Lucumi songs for the
iyd, Michael Spiro on okinkolo, and Harold Muioz on
orishas by the world famous Conjunto Folklirico Nacional
itdtele. It is followed by an actual santeria ceremony. There
de Cuba and accompanied by batd drums. Three master
is actually quite a bit of information concerningthe batd,
akpwons (lead vocals) are present: Linuo Ros, Felipe
songs, orisftas (deities), and the practice of santeria.
Alfonso, andZenaida Armenteros. The three batdplayers
Commentary is also provided by John Santos and Robert
are Carlos Aldama (iyd), Mario Jauregui (itotele) , and
Farris Thompson (Professor of African Art History, Yale
Ramiro Hern6ndez (ok6nkolo). Yet another excellent source
University).
of study for Lucumi songs and batd drumming.
Some comparso from Santiago, Cuba is also shown
followed by a rumba which Francisco stresses is a part of
 9 Latin Percussionist

From John Almendra

bell Ta|tern with Fill Variatione

The following are a set of variations which are played with the left hand or in combination with the right.
Basically, they provide some different feels and variations without changing the main bell ride. The bell ride is
played with the right hand while the left hand plays the fills or variations unless otherwise notated. The example
can be played on timbales or adapted to drumset by playing the high drum on the snaredrum and the low note on
the small mounted tom.

2-3 clave
 THESEAPfi AqAKUA SOAEN
by Greg Askew

Abakua a secret all male society in Cuba of African origin was established by African slaves who were descendants of the Efik
people in the Calabar region of West Africa. It's members are sometimes called fiaiiigos. However, Fernando Ortiz states they
prefer to be called abakuq or abakuqs (plural form). During the colonial period, these slaves from the Calabar region (which
extends from the republics of Nigeria and Cameroon ) were called carobalies. The ftrst potencia or group was established in Cuba
around 1836 by a group of csrabalies from the Appapa Eli trlbe and named Efike But6n. The majority of these potencias were
established in the Havan a and Matanzas region. Among the basic intentions of initiates was to unify its members who were free
slaves. maintain the tradition of their culture, and to make easier the buying of other prospective members out of slavery. It was
exciusively for men and only carabalies born in Africa could participate. It was only through years of insistence that criollos and
blancos (whites) were initiated.

One of the most interesting figures of the abakua is the ireme or diablito (little devil). They each wear a distinct conical cloth
mask and a costume thut .ou.ri thi entire body. ireme also wear a long heavy leather belt called anakitq to which bells are attached.
They say that the ireme represents the spirits of past generations, provides the society with protection and purifies everything that it
crosses. Each ireme is identified with a different tree and each mask though similar, is distinct. He is guided and compelled to act
by lhe morua (chief singer) who communicates to him by singing in the Efik language and using a cross shaped rattle to srrlnmon
him. A1l the dancing bitongs to the ireme with his graceful and sometimes complicated movements, thus eliminating any kind of
group dancing. tvten.loin around the drummers under one of the ireme's tree and singabakud songs while the ireme dances in the
outside court or lodge.

There are two orders of drums used in the abakua ceremonies. The first order is a set of symbolic drums which are not used to
play music but to produce sounds of a symbolic nature. The names of these drums are ekuefion, seseribo, empeg6' enkrlkamo, and
ekui. The second order of drums used to make music are called conjunto biankomeko and are described below'
It is often a misconception that the abakua is a religion. During the slave period, Africans were continually pressured to
convert to Christianity. Therefore, certain religious articles such as a crucifix at the altar were used to camouflage or make it look
like they were practicing Christianity. In this way they were protecting themselves from retaliation of the authorities.

INSTRUMENTATION: The abakua orchestra called conjunto biankomeko consists of seven instruments. The first three drums
are generically called enk1mo or enk6. They are the binkome, kuchi-yerema, and obi-apd. They are small enough
so that they are
ptaced under the left arm and played on the skin with the fingers of the other hand. The bonkd (which is larger) is strapped on the
body and played with both hands on the skin. All the drums have only one skin ( usually made of goatskin and held by cords and
wedges) and are open at the bottom. The other instruments include an ek6n (be11), two erikunde (shakers), and a pair of itones
(sticks).
Drums
Binkomi: highest pitched drum of the enkdmo. It marks the time with steady open tones'
Kuchi-yeremrj: next to highest pitched drum of the enkomo. Plays alternating open and muffle tones to produce a three against two
polyrhythm
-OUi-aja: effect.
third drum of lhe enk1mo and next to the lowest pitched drum. Plays alternating muffle and open tones on the 2nd and
5th beats of the 6/8 meter.
Bonk6- enchemiya: is the fourth drum with tapering sides, approximately three feet in height and ten inches in diameter. A11 the
repiques (improvisation) and conversations belong to Ihe bonk6 with a variety of open, tapao (muff\e), bass, and slap tones.
Bell
Ek6n: cenceno or campctna (bell) played with a small stick made of wood; generally plays the clave in 6/8.

Shaker/rattle and sticks

Erikinde: tubular shaped rattles with basket like handles. The body of the erikinde canbe made from woven cane or cloth-covered
cardboard. The bottom is made from a piece of gourd, Small cubes of wood are placed inside the erikinde to produce a rattle effect.
Itones: pair of sticks usually played on the side of the bonk6; can also be played on a log.

There are two styles of Abakud drumming: Havanu and Matanzas. Thefolhwing parts are in the Havana stylefollowed by the
three other Matanza styles.
11 Latin Percussionist
Conjunto Biankomeko: Abakui Instrument Ensemble
Havuna and Mutanzas Styles
O or natural sign = open tone; M = muffled tone; S = Slap

o o lo o

fTi',flJ, -,)\

?,
Y-
V
---[ I lr v
'1 \t I
jtf,l

-4
oo oo o o oo

MO MO MO MO
T-;-r; ). -

o S S o S S
 t2 Latin Percussionist
Bibliography:

Couriander, Harold. "Musical lnstruments Of Cuba" The Musical Ouarterlv (July, 1941) pp.232-234-
Fure, Rogelio Martinez. "Los Abakud". Cuba pp.4445.
Ortiz, Fernando. Los Instrumenros de La Misica Afrocubana. Havana, Cuba, 1954. Volume IV. pp. 1-85.
Rodriguez, Olave, Al6n, l)r. De LoAfrocubano A La Salsa: Gdneros Musicales de Cubs. Editorial Cubanaciiu:., 1992.pp. 24-26
Thompson, Robert Fanis. Flash Of The Spirit First Vintage Books' 1984.

Recordings:

Conjunto Folkl6rico Nacional de Cuba. Toques Y Cantos De Santos. Cubilanda C-CD 513 Volume II'
Los Mufrequitos De Matanzas, Congo Yambumba. Qbadisc QB 9014
The Rumba Originals. GlobeStyle Records CDORB 053
Rumba Caliente 88/77. Qbadisc QB 9005

ttlrllrtlrtttl

Please send me copy(ies) of "Poet."

Enclose a check or mone.v order in the amount of 810'00 plus
61.00 postage and handlin$ for each copy ordered' Make it
payable to Pazoual \illaron$a.

Address

City / State

Zip Code

Mail order form and payment in enclosed return envelope to:

Pazcual Villaronga
71-05 37th Ave, 2H
Jackson Heights, NY 11372

Includes:
I Am A drum - for master drummer, Frankie Malabe
Commit To Memory - for Johnny Almendra, Louis Bauzo, and Victor Rend6n
The Chess Players - for Tomasito Santiago
From Memory - for Los J6venes Del Barrio
Puertoriquefio -The Trilogy Of Life
ITIIfTTTII
 13 Latin Percussionisr
John Santos Column:

Tumbao Diferente # 3
The following exercises are based on various applications of doubles, triplets, and flams. Anthougi fr+ are
rwitten for one or two congas as indicated, they can easily be adapted to the bongos in manl' creatir e ll-a'r s. l
would consider these exercises to be riffs or licks intended to build coordination, dexterity. speed- su'engrh- and
perhaps most importantly, sound. However, depending on context and interpretation, they could easili heocne
(or give birth to) supportive rhythms. As always, take the exercises slowly at first, building the speed -waiJuaily'.

KEY
H = heel (palm)
T = Toe, touch or tap
(fingers)
S = slap
O = open tone
M = muff
B = bass

Example 1 is for two congas. I B simply takes the last 8th note of the phrase and doubles it into two I 6th notes.

LRRL

o o o oo

Example 2 is for one conga. It uses doubles in a triplet context. 2A is a one bar phrase. 2B places the
phrase in a two bar tumbao frame.

2a)
r-
lo o ol
3-----r
s
r-3---1 r-3---r 1-3-1 r E-3;6-3;
-; w ttttt I

LLRRLLRRLL

r-3_--
'Hoo' r-3--r r-3-----r
'ooo'ooo' s
t4 Latin Percussionist
Example 3 is for two congas, combining triplets and flams. 3,A is a one bar phrase. 38 stretches the riffinto a
two bar phrase. I especially like this riff on bongos.

f-3'1
ro o o o sS .-3--1
lo o o o sS ,-S-,
o o o o sS lo o^- o o 1

sS
-5

ro o^4 o
--J
o sS 16 o o o sS
-3-1

Example 4 is for one conga using flams in a quarter note triplet context. At faster tempos, 48 will be more
effective.4C places the phrase in a two bar tumbso frame.

H r s r fo "3--; H r s T
t-l
oO oO O

Check out John's work as producer, percussionist, and vocalist on the recordings: "Hacia El
Amor" by the Coro Folklorico Kindembo and "Machete" by the Machete Ensemble, both on
Xenophile records, Connecticut (203) 730-0333. For booking concerts, lectures, or clinics
5 I 0- 5 3 5 - 2 67 4, Jo hn endors es L P Percussion instruments.
 15 Latin Percussionist

Ihkr*mn
Iurl hnila|tln nn flumhn Jnll fisffirdr ". ,. e.Aaruf ilGf x,rci/rau!"
t/4p al* ol tle hb eo,l Xf,b-
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"rl t/-," lafe uilaf ed 7fb ryrl*tQ& f/*

l"fr, ad iog2 Wv,ttc*lt,
al
7/* 84f^.L B&$s. *-ry b tarrcn al
f/nf hcd.if;o* pr.d+-
- Josef \rYocs*a': S J -.:=ce-cect

- Max Saiaza. -z:-'3e:.: Vaoaz;r:e

Availabb on CD only
To order, send 516 tpqrce indudes postage) to

THE ESTRADA BROTHERS "ABOUT TIME" PO. BOX 622 Dept. LB

Oxnad, CA 93032-0622
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llol and erdling uorld tlns lalin iiur nl ils [inesl l"-r :r,-r-,i
D,:=: 3l--.3i nili'-=e

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 16 Latin Percussionist
Transcription Corner
Transcribed by Ken Ross CD: Mongo Santamaria & Friends
Timbale Solo by John Almendra Mambo Mongo
Chesky Records JDl00

Timbale Solo: La Mogolla

Cha Cha Tempo

muffled sound with laid back feel--------

>>>>>>

laid back feel------------

>>>

bended triplet feel

>- :>
t7 Latin Percussionist

small cowbell

T3l ;s1T3-T 1_Blr3] I-g-1a3-1

--t
[-3--
L.-I
I FU-
I
o
\ I
-flrr.,
;3--11-3 T3tt 3-l -- T3-t fxl 1g-l rs

rim shots------

Key
I

High drum Lowdrum muffle sound rim shot small C.B. cymbal

Plfrfi, eOUNly By Joel Litwin

hel
EXar)se Hrn,.... I. ana what rrefer ia I
Ai, t'4like a set we5r" hatel/q . .. ) nd A" yov r,tllnt
4o l"v 7re{er?
ol cle\tert Fle)se. >nA tz/g styles, th"se ia slod,nedieft:,
bQ s s' ? ? o, \ ? e"f f t.. n?.
O(ery,4hSt+ ?i"4 lnA t.h.e.1'.re d,l or $>sl tenTo?. How )bo..rf <AecEt"9
.l
avail>ble in eif her outthe brand nent
2-) .r )-Z ?.

r ight or le{l-\7v)
Da.1ti.^e or E,leni;1
Selen irsrv.. nodels,
ser tes 7 3ls.3v3il>!le in )n
!on{i7"rat ien . ..
eleclric Vers!9n...

&, (t6, q-"{a-b5A $c*li^

>LJ"I lhis rlace.

% ,,,?h
%
/
@?a urT"r,.l
 18 Latin Percussionist
Rhythm Section

rilt Bo!.tRo
by Victor Rend6n

The bolero is comparable to a ballad in American music in that it is usually played at a slow tempo
and lyrics dealwith some aspect of love, sadness, etc. The timbale player plays the pattern on the
paila (metal sides of the timbales) with the tip or side of the sticks, according to the sound desired.
The following are the basic patterns tor maracas, bongos, tumbadoras (congas), and timbales
followed by examples for drumset application.

Bolero: Maracas, Bongos, and Tumbadoras

The first line is a basic pattem played on the maracas. The second example isthe martilloon the bongos
followed by the tumbadorar pattem.

Bongos Basic Martillo

T T TTHT T OTH T T TTHT T OTH

PTSTPOOO PTSTPOOO

P = palm; T = tips of fingers; S = slap; O = open tonel TH = side of thumb

The following are some of the most comm on bolero patterns played or the paila (metal shells) of the timbales.

Timbale Paila Patterns

r)

2)
 t9 Latin Percussionist

3)
r-3-r r3-r

LH

RH

The following are an assimilation of the timbale paila on the closed hi hat while the bass drum plays very
lightly with the bass player. This is the most fundamental way of playingbolero on the drumset. It can be used
in a full percussion section or by a single drummer.

Drumset Examples
Closed Hi l{at

R LRLR L R L R L R LRLR L R L R L

Finally, the next two examples can be used by a single drummer playing without a full percussion section.
Notice that the small tom and the snare drum are playing the conga part. Keep in mind that this article has mb
covered some very basic fundamentals on the bolero which can have many subtle differences.

Closed Hi Hat

rim click snares off

bass drum variation

 Wi.&*tE ffill$lf F*O, .E'Ht lHtlDI
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