.

'L atin P e rc u s s i o ni st"

Issue 3 January 1996

Thmbores
Iyesa
JOHN SANTOS: En La Tradicion
by Victor Rendrin

John Santos is one oJ-the leading exponents of Afro-Latin music in the United
States todav. He is known.for his innovative use ol'traditional./brms and
instruments in combination with contemporary music and has earned much respect
and recognition as a record and event producer. John was in New York City in the
Fall perlitrnring with Cachao at Madison Square Garden. We werefortunate to
schedule an interview during his busy schedule.
VR: John , why don't we start with your background and how you got into
percussion.
JS: I think I got into percussion the way a lot of kids do just banging on things. It
seems kids like to clo that. Kids are always banging on desks at school. I used to get
into trouble for doing that. I used to bang on pots and pans when I was a kid and my
mom would 1et me because that would keep me in the kitchen while she was
washing dishes or whatever. That way she could keep an eye on me. I didn't have
any formal training on the drums. The clarinet was my first official instrument
when I was in the third grade. I stayed with the clarinet for about three years.
Whatever basics I know about music now I learned at that point like reading and
writing music. Then I stopped music all together for a couple of years because I
really got into sports. I was playing basketball, softball and baseball in the little
league team. It wasn't until I was about twelve years old that I picked up the tumba.
It was mainly because my grandfather had a band at the time. There was a lot of
music around my grandmother's housc all the time with live music for every
occasion. We have a largc family on the Puerto Rican side of my mother. We had
lots of uncles, aunts, cousins and so we had these big parties at my grandma's house
en el barrio in San Francisco. There would,always be live music there with my
granclfather's band playing. That would be for all the holidays like the Fourth of

music and typical food at these family

gatherings. Aftcr a while I just
took an intcrest after being around that
for awhile and watching the old guys
play. It was around the same time in
the late 1960's that Carlos Santana
came up out of the same barrb in San
Francisco. He went to high school with
my older brothers and cousins. You
know how it is when you have older
siblings, you really emulate them a lot
Inside This Issue
Feature: John Santos: En La Tradici6n
Tambores Iyesii by Greg Askew
John Almendra Column
Tumbao Diferente # 2by John Santos
Drumset Applications: 6/8 Fusion
Timbale Fills
Video and Book Reviews
Page 2 Latin Percussionist
FROM THE EDITOR LATIN PERCUSSIONIST
It was brought to my atlention that the name Latin American lssue 3,January 1996
Percussion Neu)slelter was atlrfies kind of difficult to rememher.
Afler considenng several titles we decrded to call the magazrne the Published by Tortilla Flat Music: Victor Rend6niArmando Rodriguez
Latin Percussionist starting wlth this issue. We will of course
continue to publish information pertaining primanly to the area of CONTRIBUTING WRITERS
Afro-Cluban percussion and drumset applications. Check out the
article by Greg Askew on Tambore.s lyesd. To the besl of my Greg Askew Bobby Rever6n
knowledge this is the first article written on the subjecl in an John Almendra Ken Ross
English language publication. We also apologize for the delay in Louie Bauz6 John Santos
the release of this issue which was due tn Novemher of 1995. Victor Rend6n Pazcual Villaronga
With all the different schedules of the musician/writers involved, il
sometimes takes a real effort to get it together. Thank you for vour
patience.

Latin Percussionist welcomes manuscript material, however, cannot

assume respoosibrlity for them. Items must be accompanied by a self-
addressed, stamped envelope.

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"a;,"
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This issue of the Latin Percussionist is TORTILLA FLAT MUSIC
dedicated to Willie Bobo, master 327 12th Street
Brooklyn, NY 11215
timbalero.
Note: Please do not copy this newsletter and give to your friends.
Publications like this will only survive through the support ofits
readers. lNo Cueste Mucho!

to be hip. Whatever they are into, in fashion or in music, that's the thing you grasp on to. So when they
started talking about Santana we wcre ready for that. When he came out with his first album around 1968 it
really hit hard in San Francisco. Wc werc all very much into rock "n" roll at the time. In San Francisco we
inaa
janir Joplin, Jcfferson Starship and Jimi Hcndrix. As a rcsult we wcre very much into the electric guitar
lsound so when Santana combined all that with the congas and timbales it took my attention back to
Itraditional tlrums. From that point I never stopped. It became a hobby and eventually a career. So it was
iactually when I was about twelve that I startecl playing. I had one lesson when I first started. My father had
ia friend who was a merchant marine. A Puerto Rican guy by the name of Rene Rivera.
He gave me one
killed in a ship- I
ll"rroo and showed me some of the basics like the tunrbao. He thcn shipped out and was
i of course never saw him again but the lesson
inspired me.
ivnr So you never had any formal teachers. Like for instance Peter Escovedo is from your area.
playing in the scene at the time but it
,JS: No, "t tt ut time I didn't know who Pete was. He was of course
iwasn't until a few years later aroun d l97l or 1972 that I became aware of Pete when he formed the group
',Azteca with his broiher Coke Escovedo. That was very influential with me but I only learned from them by
llistening and watching as I have throughout most of my career. Eventually we became friends and I
respect them all a gteat deal. I
lUecame a member of his band. I became very close with the Escovedos and
ihur" known pete and his kids since I was a teenager. Sheila is about my age. We used to play basketball
I
'and stuff togcther with the kids. The Escovedos are also a typical west coast case. They don't have any
formal training. This may surprise some people but Pete Escovedo is really not a traditional teacher. He
learned by eaiin a sclf-taught manner. He and his family all play that way. They are very creative and play
'froa1 the heart. There weren't that many people playing traditional Latin music in the 60's in the Bay area.
You learned from watching the older guys.
VR: VYho were some of these older guys that you got to see?
JS: I don't remember the names of some of the guys. One guy was Marcos who played with my
Latin Percussionist Page 3

grandfather's band. Richie Giraldez a Puerto Rican from New York was a singer, conguero and composer.
The most famous tune that he wrote was a big hit by El Gran Combo called Un Verano En Nueva York. He
also passed away at an early age due to drug problems. Then there was Piliche, Ismael B6rras and Quique. I
don't remember the last names of some of these guys. Actually there were two Quiques, little Quique and tall
Quique (laughs) who played congas. They were both Puerto Rican. The Puerto Rican community in San
Francisco is quite small but very typical and very much guarding the tradition. They always have.fiestas with
pleneros,lechon, pasteles and other typical food in addition to the music. They had something there which I
remember very distinctly called the Puerto Rican Picnic. Once a year in a park Puerto Ricans from all over
the place would gather to celebrate. They have Puerto Rican clubs like el Club Social Puertorriquefio. As a
matter of fact this club is the oldest Puerto Rican social club in the country which surprised me because I
would have assumed that it would have been thc one in New York. [t was founded in 1912. The community
is very strong even though it is small. I learned much from watching those drummers. There weren't that
many people playing much less teaching. Thc few people that were playing were mostly self taught and did
not teach. During the 60's and 70's Armando Peraza, Francisco Aguabella, Victor Pantoja, Beny Velarde,
Carlos Federico and Carmelo Garcia were featured a lot in the San Francisco Bay area.
VR: Who were some of the first people that you started to play with in the 60's?
JS: The first band that I played with was my grandfather's band. I was about thirteen years old and I played
tumbas. In high school there were various garage "santana"copy bands. We learned a lot with that. In the
early 70's one of the things that helped me with the drumming was my previous experience playing clarinet.
I retained the ability to read and write music rhythmically. I basically lost the melodic and harmonic part but
retained the rhythmic aspect. It helpcd me trcmendously. Another thing that helped was that I was always
very meticulous about writing things down. I was into baseball since I was a very small kid. I used to keep
the statistics of the players by computing the batting averages of the players, etc. I had a handwritten binder
with detailed records of the players. I later applied that to music. As I was learning drumming I kept records
of everything that I came across. If I heard something on the radio or heard a rhythm I would stop and write it
down on a napkin or something. Eventually after a few years I had a collection of notes. That enabled me to
look at it from a historical perspective. That always fascinated me as well. I ended up kind of gravitating
towards being a teachcr. I didn't intend to but there weren't teachers there and I was gathering information.
My family and friends who kncw I had this interest startcd finding things for me. They would bring me
recordings and books from Cuba or Puerto Rico. I started getting a little library. I ended up sharing this
information through classes. By 1972I had only been playing about four years but was already teaching a
percussion class at Mission High School. The teaching thing helped me to learn a lot. One of the things that I
like about playing is teaching and learning. It's about how you turn people on and you see what they go
through when they're learning. When you are teaching you are learning. You're reviewing all the basics all
the time and it's a constant learning process. That's the most important thing for me about the playing as
opposed to the performance aspect.
VR: That was going to be my next question. I've read all of your Modern Drummer Magazine articles.
I have them in file and always recommend them to my students. As a matter of fact last year I made
them required reading for one of my classes at Boy's Harbor. I was going to ask how you came to be so
coherent in your historical knowledge. Like I said , you've already answered that question.
JS: It just kind of happened that way by gathering information and when I played with friends, we shared that
information. For the purpose of study we'd start writing things out, give each other parts and start working
things out. The bands were small groups at the time. I also had a couple of my own groups at the time. I had
a group called El Grupo Folklorico Yambu. In 1974I joined a salsa band called Ritmo 74. I also played
latin-rock in my cousin's band who was a gootl guitarist. As a result I had the latin-rock, salsa and folklore
background. It all kind of happcned at the same time in the early 70's with the teaching. I've always had my
own groups from that point in adclition to my free-lance work. I had a charanga group in the late 70's called
Page 4 Latin Percussionist
Tlpica Cienfuegos. Cieryfuegos is the city in Cuba where Orquesta Aragon is from. It was like a Cuban
charanga with the addition of horns, cuato and tres player, batds, etc. We tried to do a lot of stuff with it
within the basis of the charanga.
VR: Was that the same group later called Batachanga?
JS: No, there were a few members of that group who passed on to the next group around l98l which was
Batachanga. That was my first real recording experience. Batachanga actually started without me.
Cienfuegos lasted about five years. The band kind of outgrew itself. People started to leave to spread their
wings, travel, etc. I also had a problem with my hand. I injured my hand playing basketball causing a cyst to
form in my palm. I traumatized it due to the fact that I had an injury and I kept on playing. I ended up having
to stop playing. It got to be very big and I had to have an operation. That stopped me from playing hand
drums for about a year and a half. In the interim some of the members of the group and some other local
players, including a very yoyng Rebeca Maule6n, formed Batachanga. They asked me to play but I was not
ibl. to do it because of my hand. About a year after the group formed they got a record deal. They asked me
to come on boarcl to produce the record. By that time I was feeling better and ended up playing and assuming
the leadership of the group. The album was recorded in 1982 called La Nueva Tradici1n. The second album
was recorded in 1984 and released in 1985 called Mafiana Para Los Nifios. I put that record out on my
Macheterecord label. It's interesting because in 1985 Batachanga was going to break up for the same type of
reasons as the group CienJuegos. We did not have a record deal at the time. The band had been playing about
two years since the release of our first album and had improved a lot. I thought it was important to document
the progress of the group so I took it upon myself to record the band and put it out on the Machete label.
After the record o,rt we had a recorcl release party with a big show including Eddie Palmieri. The band
"u*"
never played again after that event.
R coupte of y"urr later I formed the group Machete and did a similar thing. When I formed the group I
decided that I would like to recorcl first. We didn't do one gig until the record came out. It is called Africa. lt
was recorded in 1987. [t was released in 1988 and we did our debut performance opening for Mongo
Santamaria in San Francisco. It took another seven years before we did the next record. There's always that
fight. None of the labels were interested in our music back home. We have Fantasy records and Concord but
non. *"r. interested. They were mostly recording cast coast groups. Finally the Xenophile label from
Connecticut took an intereit. They became interested when I producecl two records for Conjunto Cispedes.
VR: What are your future Plans?
JS: Well next year we have Volume II coming out from the last one we did this year. In the interim we this
folkloric record coming out called Coro Folklorico Kindembo. Ever since the early 70's when I had the
Yambi group, I always maintained a folklore group to study basically and do performances in the
We recorde6 a little bit over the years. The first Batachanga record in 1982 had a couple of
"o*-uoity.
folkloric tunes with the Folklorico. We dicl the same thing with the second Batachanga record and the
Machete group- So now we made a whole record of Folklorico. lt has Francisco Aguabella, Anthony
Carrillo, Roberto Borrell, Cachao, Chocolate, Orestes Vilat6 as guests and other local players from the Bay
area
YR: What ere some of the memories or experiences which you may have from your music career?
JS: One memory or experience was playing with the great Armando Peraza who has been a San Francisco
resident for about forty years. He's been a great inspiration and a teacher in his own way. Again not formally
sitting down and giving you a lesson but being around him is always a lesson. He's such a walking history
book and loves to share information through stories. He's been a friend and mentor ever since I started
playing. Also Francisco Aguabella who's been a resident of the Bay area off and on over the years. I learned
a tot Ao- these guys just having them around. Of course playing and recording with Tito Puente has been an
experience and great honor. It's always an experience being around those guys because they are such
reiositories of the tradition and the stories that they tell really show you their human side. That human side I
Latin Percussionist Page 5

think is very important. It's not just about music. It's about this brotherhood relatedto jazz, popular and
folkloric music of the Caribbean. It's an honor to be a part of that lineage and continue that tradition. The
more you are around those kind of guys you realize that they have dcdicated their lives to it and did not get
rich from it. They are playing from the heart and they carry the tradition by playing for the public and bring-
ing that aspect of the culture to the community.
I also had the great honor of being able to record and perform withDizzy Gillespie a few years before he
passed away. Dizzy was exactly the same way. He was a complete humanitarian, jokester, prankster and very
down to earth----ao airs, you know. You could sit down with the guy and talk about anything. I've heard it
said that before you die something happens that what you give is very profound. The people that are around
you before you pass experience that. We had the opportunity to experience that with Dizzy. He played his
butt off. He wasn't feeling well and was losing a lot of weight but, he had a sound and inspiration that camc
from "mds alla."
VR: In conclusion, is there any advice that you might give to upcoming young players?
JS: I think the key is how music connects to life. Music might attract us because of the glitter, fun,
entertainment, and seeing how musicians communicate this. That's usually the attraction but the importance is
what it means socially, historically, and functionally. Music has a role and is a vehicle of expression. Music
has been traditionally one of the most importance tools of education for centuries. It's something that really
goes way beyond what we are faced with in this country which is the marketing value within the music
industry. You are not worth anything unless you are selling X amount of records. That whole perspective is
such a contradiction that you have to look past it. It's great when you can see that at an early age. It takes
musicians a long time to realize this and others never see it. Music is a gift that is given to you. The idea of
packaging and selling music is such a contradiction that it is easy to overlook what the music is really all
about. You find that the greatest musicians are fantastic human beings in most cases. Musicians who are
mean or bitter usually don't get very far in this business. What you learn is about life and about being a
positive element in the community. I try to impress upon the younger students that there is something more
important than just the notes on the paper and the fact that you can make X amount of dollars. Trying to be
another Michael Jackson is not what it's all about.ff
Page 6 Latin Percussionist

Tambores Iyesi
by Greg Askew

Iyesa is a religious sect from the Yoruba culture of Nigeria closely related to lhe santerla ttadition in Cuba. Other
names or pronunciations used for iyesa are yesa, ilesa, ijesha, illasa, and iyeza, etc. /yesri songs are very popular in
Cuban folklore and can be heard in other Afro-Cuban music traditions such as in the rumba styles of gaaguanc6,
columbia and religious styles such a^s gi)iro,drwn and giiiro, bembd, and bata. The rhythm however is not well known
even in Cuba. In Matanzas, Cuba where the tradition has been most preserved, the rhythm is dying out. It is sometimes
faked by using other instrumentation such as the bata (sacred two-headed drums of Yoruba origin, used in the
ceremonies of santeria), drltm and gi)irr>---a tumbadora (conga drum), three shekeres and guataca (hoe blade), cajones-
wooden boxes used in rumba such as the yambu. These styles are very closely related because of their Nigerian/Yoruban
roots.
There are very few persons in thc United States who know iyesa well. One such person is Felipe Garcia who was
"
musical tlirector of "Grupo Emikeke De Matanzas in Cuba (he ha^s recently been living in New York City). Felipe has
the only set of iyesa drums in this country. Unfortunatcly, we were not able to photograph the drums due to their sacred
nature. Nevertheless, it was through Felipe that much of the information presented here was confirmed.

INSTRUMENTATION: The iyesa orchestra consists of six instruments: four drums, and two bells.
Drums
Omele: also called okdnkolo/tercera is the highest pitched drum
It6tele: also called segunda is the next highest pitched drum
ly6: also called ciia or primerz is the next to the lowest pitched and is the lead drum/soloist. This drum
does most of the conversing or talking.
Baba: also called baio, is the lowest pitched drum.
heads of
The omele and itoteleare played with one stick. The ivri is played with hand and a stick on one of the two
the drum. The baba is played with both hands on one of the two heads of the drum.
Bells: Two bells (campana, aggogo, cencerro, cowbell) of different pitch are played: one low and one high. (The bells
used by Felipe Garcia are the same type of handbell used by bongo players).Tf

Itit lyesfl
IIu- Yoruba word for drum
Latin Percussionist ?age 7

Iyes6 (Ilyesa, IlIeSr, lyeza, etc.)

Campana / Cencerro / Bell 2-3 Clave

/ Cenceno / Bell HH HH

Omele (Okonkolo)

Itotele (Segunda)

Iya (Caja / Primera) Ta o

"llame" (call) stick on rim or side of Iya

Baba Ta Ta Ta Ta

Parenthesis This note is not used by mos1.

Optional/stylistic timekeeper It is a stylistic option.

H = the center of the high pitched part of the bell O = open tone
L = the mouth or low pitched part of the bell Ta= "tapao " muffled sound
= the beginning of the rhythm (pick-up notes)

Sources of information:

Antologia De La Misica A{ro Cubana Musica l-vesri Vol. III

LP recorded in Matanzas, Cuba in 1977 on Areito label LD 3647
Liner notes by Dr. Argeliers Leon

Conjunto Folklorico Nacional de Cuba; taped rehearsal of the 1963-l9tt0 group under the direction of Carlos Aldama. On a
research video at the Harbor Performing Arts Center in N.Y.C.

Ortiz, Fernan do. Los Instrumentos de la Misica Alrocubana. Havana, Cuba, 1954. Volume IV. pp. 369-373.

Puente, Tito, Top Percussion, 1957 recording in N.Y.C. with percussionists Francisco Aguabella, Mongo Santamaria, Patato,
Willie Bobo and Julito Collazo. Originally released on RCA LSP-1617 and reissued on the Tropical Series CD 3264-2RL. Has
two example s of iyesd: "Obatal6 Yeza" and "Alaumba Chemache." Francisco Aguabella was the main source of information.

Villamil, Felipe Garcia. Interview with former musical director of "Grupo Emikeke de Matanzas ", now living in New York City.
Page 8
Review Column
IrIDE(OS
Alex Acufra
Drums and Percussionl
Soath American, Caribbean, African and American Jau
Music Source International
P.O. Box 46758
Kansas City, MO 64118
Price: $39.95 each
Visa or Mastercard orders call: 1-800-442-4674
Drums and Percussion
Musicians: Acufla, drums & perc.; Efrain Toro, perc.; Pedro
Eustache, flute & wind synthesizer; Cocho Arbe, keyboards;
Otmaro Ruiz, keyboards & synth,; Ram6n Stagnaro, guitar.
These two videos are not exactly new- I 989 and I 993-
nor are they considered classics; at least not yet. Nevertheless,
they are well worth reviewing.
On Drums and Percussion. Alex starts out by playing along
to a sequenced track. But instead of going right into a drum
set solo in the middle of the piece, as we're used to seeing
Weckl and so many others do, he takes a detour toward the
Cuban instruments first. Only after playing some phrases on
the tumbadoras and timbales does he come baok to the kit and
take a solo. This sets the tone for the remainder of the video,
for Alex is a person who takes the term "multi-percussionist"
quite seriously. But, coming back to the drum solo, there are
some parts that are a little weak-like the double-pedal
filF-but in my view, the overall musicality of what he does
makes up for it.
Acufla then proceeds to demonstrate a variety of different
sounds available on the tumabadoras and finishes this section
by playing solo 6/8 and guaguancd. both of which are quite
impressive.
What I didn't find too impressive was the segment where he
is playing timbales and keeping the clave with his left foot. In
my mind, I remembered it as being much more in the pocket
than it seemed to me this time around.
Later in the tape, Acufla demonstrates some rhythms on
cajdn, such as : .feste.io, lando and marinera. He demonstrates
the marinera on the drum set on which he also shows us the
Andean huayno. Also included in this section are the
Brazilian samba. marchinha and baido. This makes a nice
transition to the next piece played by the band because it also
is a baido.
Acufla also plays some simultaneous drum set and
tumbadora on a funk beat and what he calls fast Latin. He
then proceeds to demonstrate some Cuban rhythms to round it
all off.
All in all, there is quite a bit of useful information here,
especially if you are interested in learning some South
Latin Percussionist
American rhythms and the band also plays well.Tf
Rating 3 1/2 claves Bobby Rever6n
South Amertcan, Caribbean, African and American Jazz
Musicians: Acuf,a, drums & perc.; fuchie Gajate Garcia, perc.;
Walter Rodriguez, perc.; Rudy Regalado, perc.; Pedro
Eustache, flute & sax; John Pefra, bass; Otmaro Ruiz,
keyboards; Ram6n Stagnaro, guitar.
On Soulh American, Caribbean, African and American Jazz,
the band is larger and tighter and Acufla himself seems more
relaxed. His kit playing is definitely more on the money than on
the earlier video.
On this tape we see Acufla demonstrating the different
grooves and patterns after each piece. I say "we see", because
the way he speaks when doing so gives me the impression that
he thought these segments would go before the pieces. But
apparently the director changed his mind while editing.
Early in the tape, he starts dealing with the caj6n. Firsthe
uses if on "lnvitation", where I thought his solo was really good.
Next, on "Rumba Santa", there is a cajdn ensemble composed
of three voices, just like the Cuban ones. It wasn't until he
explains the parts that I realized that these were Peruvian
rhythms. They sounded similar to the Cuban yambi. lt's
remarkable that not only do these two countries have similar
instruments, but the rhythms they apply to them seem to be
related as well.
On this tape Acufla takes a solo where he gets to play just
about every percussion instrument in the room. The best way I
could describe it, would be by calling it "very Alex."
The band seems to play a little more on this video and
sounds quite good. It is always gratifying to catch a band like
this one, Dave Garibaldi's, or Claire Fischer's (with whom Alex
has played).
So check it out. I think you'll like it. Tf
Rating 4 claves Bobby Rever6n
Giovanni Hifulgo: Conga Virtuoso
Warner Brothers Publications
1500 NW 48th Ave.
Miami, FL 33014
Price: $39.95
1 -800-628-1 528 Ext. 215,214
Prior to this release the only videos available of Giovanni or
Changuito were amateur videos made by someone in a club,
concert or someone's home. Usually the quality was a very
blurry tenth generation copy but nevertheless percussionists
always sought them out. Now, thanks to DCI we now have at
our disposal top quality instructional video tape recordings of
Ignacio Berroa (see next review), Changuito and Giovanni
Hidalgo. This instructional video with Giovanni Hidalgo is not
for beginners. There are other videos in the market that address
Latin Percussionist
this issue. However, there is a lot of information which can
be checked out by anyone regardless ofplaying level.
The video is done in three sections. The first section
starts off with a mini-history lesson on the evolution of the
tumbao (the basic rhythm of the congas). Giovanni starts
with examples using one conga, progressing to two and
three congas. In conjunction with Ray Romero and Jos6
Luis "Changuito" Quintana, Giovanni demonstrates how the
congas, timbales and bongos function as a section. There is
some nice interplay with solid time-keeping and some
trading of eights. The demonstration on three congas starts
with a melodic pattern which Giovanni states he got from
Carlos "Patato" Valdez (pioneer and innovator going back
to the forties). He then expands this idea with his own
interpretation progressing into an extended solo showcasing
his incredible technique.
Section two introduces the traditional music of Puerto
Rico known as musica jibara. This is an area of Caribbean
music which has not been explored much through
instructional books and videos. Some of the rhythms
demonstrated are seis chorreao, plena and some variants of
bomba music such as xica, cuembi, iuba and holandds.
The third and last section talks about the rudiments of
congas. Giovanni demonstrates doubles, ruffs and some
applications of a palm-tip technique sometimes referred to
as la mano secreta (the secret hand). There is a lot of
soloing and technique display which is good to see for its
own sake.
Overall there is a wealth of information in this video as
well as visual entertainment from just watching Giovanni
perform by himself and the accompanying group as well.
There is also a 32 page booklet accompanying the video
with many of the music examples written out with text and
analysis. Highly recommended for any conguero or
percussionist.Tf
Rating: 4 claves V. R.
Ignacio Berroa: Mastering The Art of Afro-Cuban
Drumming
Warner Brothers Publications
1500 NW 48th Ave.
Miami, FL 33014
Price: $39.95
1-800-628-1528 Ext. 215,214
I Hard.core Glraranga
JOVENEIS del BARRIO
I
(at it's best'
John Abnendra
7tc-rr7'499c,
Page 9
Ignacio Beroa is a Cuban drummer who came to the United
States in 1980. His first major gig in the states was with Paquito D'
Rivera , another fellow countryman. Since then he has been
involved with many top bands including Batacumbele, Michel
Camilo, McCoy Tyner, Tito Puente andDizzy Gillespie to name a
few.
Ignacio starts off the video with the concept of clave explaining
son and rumba clave zs well as 3-2 and 2-3 clave. He then gives
some suggestions on determining what clave to play. With the
assistance of master conguero Giovanni Hidalgo he goes on to
cover the following folkloric rhythms: guaguanci, bembd, and
abakua. All rhythms are broken down on the drumset so that they
are easily understood.
The next section covers dance music and the roots olwhat is
now called "salsa". The rhythms covered are danajn, cha cha cha,
and soz montuno along with feature band demonstrations. Ignacio
first covers the soz montuno demonstration on the timbales before
he applies them to the drumset. One interesting point is that Ignacio
plays on the toms with his left hand (sometimes doubling the conga
part) as opposed to the school of thought that no one within the
percussion section should play the same part.
Ignacio eventually leads all this information to the sorgo
explaining that there is no such thing as a songo rhythm but rather a
concept containing elements of the following rhythms: danz6n, cha
cha chd, son., etc. He then proceeds to provide four different
examples of son.go application on the drumset. This section also
features Cuban master percussionist Josd Luis "Changuito"
Quintana. Changuito demonstrates a movement (as he calls it)
which he did on drumset on an early 1970's I-os Jau-Yau recording.
The session also includes some group performances of Ignacio
joined by Giovanni Hidalgo on congas, Michael Spiro on
percussion, Danilo P6rez on piano, David Sanchez on reeds, John
Benitez on bass and Changuito on bongos/timbales. The sound and
camera angles are very good allowing one to really focus on what
TIMBALE SOLO TIMBALE SOLO
TRANSCRIPTIONS
by Victor Rend6n
solos by
TRANSCRIPTIONS
GUILLERMO BARRETO
CHAN(;IIITO
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NICKY MARRERO LEARN TO PLAY
MANNY OQUENDo
TITO PUENTE
EXCITING SOI,OS BY
RAY ROMERO STUDYING THE MASTERS
ongstes vtLlt6
torot l
of Latin Timbale Masters including:
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HERENCU RUMBEtul: Endcl Dueno
UN PUESTO VACANTE: Nicky Marrero
LLORA TIMBERO: Manny Oquendo
CORTA EL BONCHE: Tito f'uente
POR ENCIMA DEL NIVEL; Changuito
INDESTRUCTIBLE: Ray Romero
Price: $12.00 + 52.25 P&H Tortilla Flat Music
Page lO Latin Percussionist
Ignacio is doing. The accompanying booklet is also very Books:
useful in analyzing the demonstrated rhythms and can be easily West African Rhythmsfor Drumset
added to one's practice schedule. by Royal Ilartigan
What I really like about this video, from an educational point with Abraham Adzenyah and Freeman Donkor
of view, is the fact that Ignacio took the time to demonstrate edited by Dan Thress
some of these rhythms on the timbales before applying them to Price: $24.95 1-800-628-1528 Ext. 215,214
the drumset. This makes it a lot easier for newcomers to Afro- This book/CD package demonstrates West African rhythms
Cuban music to understand where these rhythms are coming applied to the drumset. The book concentrates on four rhythmic
from and how they can be played correctly and traditionally on groups from Ghana---Sikya, Adowa, Gahu and Akom. The
the drumset. Sr. Berroa is an excellent drummer with a lot of rhythms are demonstrated on the traditional instruments hrst and
chops, solid time and a great feel for this music. Highly then applied to the drumset. You really have to hear it to
recommended.ff believe it.

Rating: 4ll2 cbves V. R. Highly recommended.

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Videos: not handle these orders nor do we make any profit from it.
Conga Masters: Changuito & Giovanni Duets Please direct all your orders/inquiries to the company 800 phone
This is a PERFORMANCE-ONLY tape with Changuito and number.
Giovanni Hidalgo playing duets on congas for 40 minutes.
There is a lot of soloing and interplay here. The sound quality
and picture are excellent. Every latin percussionist should
have this in their collection. RATING SCALE
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5 claves: Perfect
David GartbaWi: Tower of Groove Parts I & 2
4 claves: Excellent
These are two instructional videos by the innovator of funk
drumming, David Garibaldi. Don't let the name or his 3 claves: Good
background fool you. There are a lot ofAfro-Cuban derived 2 claves: Fair
grooves in these videos. Every groove is fully explained and I clave: Poor
meticulously written on the accompanying booklets.
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RHYTHMS AND TECHNIQUES
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Latin Timbales in a traditional format. A valuable
source of information and study guide for Latin
These two videos are a clinic and performance of Pete
percussionists of every level. Text and music examples
Escovedo and his two sons accompanied by Pete's group. Pete
include execution of abanico rolls, bell sounds, set-up,
is a veteran percussionist who has worked with the likes of
playing in clave, applications and examples of modem
Mongo Santamaria, Carlos Santana and led the legendary latin-
timbale playing. Rhythms include:
rock fusion group, Azteca, in the 1970's. Pete displays some
nice timbale work throughout these two videos with traces of
Afro, Bomba, Bolero, Cha Cha Ch6' Conga-
Puente and Willie Bobo influence.
Danz6n, Guaguanc6, Guaracha,
Merengue, Mozamtlique, Pambiche, Plena, 6/E,
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Latin Percussionist
coNCEPrs
lllil
Did you know that all ethnic groups
throughout the world recognize the drum?
Or that all musical cultures have been
influenced by the drum?
From the beginning of time Man has
sought sound producing instruments to
express his emotional drives (The sound
of a drum can have strange
mysterious qualities).
Mother Nature takes the credit for
making the first drum as far as I'm
concerned because in all probability the
first drums were fallen trees whose cores
had rotted and which were feasted upon
by insects, leaving behind a hollowed-out
log. The Australian aborigines (earliest
known inhabitants of that country actually
placed logs or sticks in an ant hill and
removed them after they have been bored
out. Later, man was to develop tools and
do his own carving.
Primitive societies throughout
entire world have given great importance
to the sound that emanates from hollow
wood and they all gave sPiritual or
religious meanings to these sounds (Man
has always been a superstitious be ing).
West Africa, particularlY Nigeria,
Dahomey, Ghana and the Western Congo
all have certain characteristics such as the
dominance of percussion. They
five-tone scales and the music is usually
polyrhythmic and polymetric (two or
more rhythms or patterns played at the
same time). Due to this, the African
concept of rhythm is more complex than
the European. To avoid confusitln thcre is
always the presence of a beat that never
varies. In African rhythm this special beat
is held by the smaller drum while the
larger drum does all the improvisation
contrary to the Afro-Cltban rumbas where
the smaller drum (quin.to) improvises and
the larger one (tumbadora) holds the basic
rhythm pattern.
Alricans use the drum not onlY to
produce music, but for social gatherings,
weddings, beer drinking gatherings and
just about anything else under the sun. In
Africa today, most drummers are
Page I 1
TALKING DRUM
by Milton Cardona
(female) and the basic pattern is called the
"martillo".
Next we come to the timbales. These
drums are placed on a tripod stand and are
played with one hand striking the larger
drum and a stick in the other hand striking
the body (side) of the smaller drum.
Another stick is always in reserve to replace
and
the bare hand.
The timbales were born in Cuba and are
a blend of African ariA European
characteristics. These drums have metal
bodies with open bottoms. They are usually
tuned about on-fifth apa(, and while the left
hand carries a straight beat, the right hand
fit the arrangement. These
pattern alters to
drums are most popular with "charan.ga"
bands.
Now we come to my axe, the "conga"
drum. This drum has a sound chamber or
professional musicians (paid lbr their
barrel, which is headed with animal hide. It
services), live in one compound and fall
that the name was gotten from
the under different categories: band is believed
drummers "high life", association and
the "conga" a popular dance in Cuban
cabarets. The body usually has a slight
state drummers, who are required to
bulge in the middle. The heads, up until the
attend all major state gatherings. You
of drummers: early fifties, were tacked to the body. Today
also have two types
we have turnable hardwarc to raise or lower
master and secondary. The secondary
the tone on these drums. Chano Pozo made
usually plays contrasting rhythms and
provides the base of the music while the
this drum very popular here in the states
while playing with Dizzy Gillespie.
master drummer is considered the most
proficient and is "in command."
By tilting a conga drum you can change
have
the sound somewhat. They are percussed
Duties of a drummer are passed from
with the bare hands, while the feet are used
father to son and if the father is a good
drummer, so the son is expected to be.
to raise the drum for more volume.
Personally, I think that this instrument has to
Like the old African saying goes, "the
be dominated by the drummer or else the
bird is never the offspring of the crab."
dominate him. A set of these may
The basic and most poPular drums drum will
used by "salsa" bands are lhe bongos,
consist of the tumbadora, tres golpe and
quinto. The sizes represent time, counter
congas and timbales. The borgo drums
time and improvisation respectfully.
are very similar to Yoruba drums of
The conga is probably the second most
Africa with both African and European
internationally known drum of Cuba. Along
characteristics. They are tuned about
with the bongo, it is associated with Afro-
one-fifth apart and held between the
Cuban music throughout the world. Yes, in
legs. They are hit with the fingers and
a world where we have diverse instruments,
are the most widely known Cuban drums
even though most Americans refer the
to drums are universal. "Que viva el tambor"
conga as a bongo or bongos. The skins Long live the drum.Tf
on these drums are very thin, usually This article originally appeared in Clave
being kiphide (goatskin). The smaller magazine in the 1970's. Used b1,
drum is refened to as the "macho" whtle permission.
the larger one is called "hembra"
Page L2 Latin Percussionist

John Santos Column

Trcr&lrdo De/ewa* #2
Tumbao Diferente is a series of unusual exercises and rhythms for congas, usually based on traditional movements
and patterns. bf .or.r., the exercises can be creatively applied to timbales, bongos and drumset as well. I've written the
following exercises for one conga and adapted them so that they are comfortable for me. Feel free to do the same. By
interpreting them in your own way in terms of drum set up, hand sequence, number of drums and experimentation with
sound, you will undoubtedly arrive at new tumbaos diferentes. As always, take the exercises slowly at first, building the
speed gradually.
'
ThJ preseni exercises are baied on a movement that Cuban percussion genius, Changuito, calls bota. These
displacing
variations, which are excellent hand and sountl builders, are achieved by substituting tones, adding notes and
the rhythm so that it falls in a different relationship to the "one".Tf
KEY

H - HEEL (Palm)
T - TOE, TOUCH or TAP (fingers)
S - SLAP
O - OPEN TONE
M - MUFF
B - BASS

Exercise # 1 "Bota"

Exercise # 2

Exercise # 3

Exercise # 4
Latin Percussionist Page 13
Exercise # 5

Exercise # 6

HTS HTS

LLR LLR

Exercise # 7
ooT ooT

RRL RRL

Exercise # 8
H OOOOS H T H OOOOS H T

RLRLR RLRLRLR
Exercise # 9
H OOOOS H T H OOOOS H T

RRLLRL LR RFILLRL

Subscribe to the:
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Page 14 Latin Percussionist
From John Almendra llll

u**r***rrrr*r, ]]]l

flmbqles aod Drumset lndepeadeacc

eppfieatloas
by John Almendra

On the last issue I provided different bell patterns which can be used in a variety of Cuban music styles. In
this issue we will explore some independence exercises using some of the same bell patterns which can be
applied to timbales or drumset.
Each exercise has two lines. Start by playing the top line on a cymbal or cowbell with your right hand.
The second line can be played with the left hand on any other surface such as a second bell, hi hat, cymbal,
snare drum, etc. Feel free to experiment with your own ideas. You'llbe surprised at the different
combinations you'll come up with.
There are endless ways that one can add the bass drum and hi hat. The first example is used a lot by Steve
Berrios with the Fort Apache Band. The second example makes use of the left foot playing rumba clave with
the hi hat or a jam woodblock mounted on a bass drum pedal. Some drummers who use this approach are
Horacio Hernandez, Alex Acufla, Julio Barretto and Walfredo De Los Reyes Sr. who goes back to the 1950's.
The art of independence using Cuban rhythms is nothing new. In the late 1940's, C6ndido Camero would
play three congas with his left hand, with his right hand he would play a giiro mounted on one of the congas
and with his right foot he would play a cowbell on beats 1 & 3 or l-2-3-4 on a pedal which he made himself.
On the montuno or mambo section of a tune, his right hand would go to a cymbal. He would also be standing
and singing while doing this. As previously mentioned, Walfredo De Los Reyes Sr. was already employing
independence techniques on the drumset during the 1950's. All examples are in3-2 clave.Tf
t)

I I

,2)

3)

I I
Latin Percussionist
--fese-1-s
,\

I I

5)

o)

t)

a)

g)

rl I r---rtr

+H

ro)
Bass Drum and Hi Hal
7
COMMIT TO MEMORY
by Pazcual Villaronga
WE ARE CONSTANTLY
REMINDED THAT
WE MUST BE VIGILANT
WITH OUR SOULS
LEST THEY GET LOST
WITHIN THE LABYRINTH OF TIME
ENDLESS WITHOUT DIRECTION
WE ARE IMPLICITLY TOLD
TO KEEP AN EYE
UPON OUR HEARTS
LEST IT DISAPPEARS
WITH A SEA OF PASSION
WE FORGETTING TO STAY AFLOAT
THE NEED TO BREATHE
BECOMES IMPERATIVE
L
Latin Percussionlst
I I
WE ARE REMINDED
TO KEEP THE DOOR
TO OUR MIND OPEN
LEST WE FORGET
ABOUT THE VITALITY OF LIFE
FORGET THAT WITHIN THE DARKNESS
LIES DEATH,
THAT THE LIGHT COMES
THROUGH THE KEYHOLE
W MUST REMEMBER
TO KEEP IT OPEN,
THE DOOR TO OUR BEING
LEST WE FORGET
WHERE WE'VE COME FROM!
Latin Percussionist Page 17

Timbale Fills
by Victor Rend6n

I like to start my beginning students with the basics such as good time, knowledge of all the rhythms and
basic reading skills. Lately I have begun to incorporate basic exercises on a pad such as singles, doubles,
paradidles, elc. in the lessons for the purpose of building hand technique. This portion of the lesson includes
iome timbal fills which not only provide additional hand building exercises but also teach the student practical
fills which can be used in a variety of situations.
The following fills are not necessarily in a given clave. They can be played in 3-2 or 2-3 clave. I suggest
that you practice them in 2-3 clave first with four bars of time on the paila and then playing the two'bar fill.
SomL of the fills end with a down beat on the third bar making it necessary to write the figures as a four bar
pattern for the sake of clarification. Examples 3-6 are some fills and stickings that Changuito uses in his
ptaying. They can also be applied to drumset by simply playing the low drum on the mounted tom
tom.ff
Page 18 Latin Percussionist

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Latin Percussionist Page 19

Drumset Applications

6/8 Bass Ilrum Yariations by Victor Rend6n

The basic pattern below is a 6/8 fusion rhythm played between the hi hat and mare drum- All the srrare
drum notes are played as ghost notes with the exception of the first beat on the second bar whici is accented
giving the pattern a "funk-latin" character. The purpose of this exercise is to develop independence and some
variations with the bass drum. When you first go through the exercises keep the hi har closed- Aft€r you feel
comfortable with the bass drum variations experiment with opening and closing of the hi bet m any beat at
your discretion. You can also play the right hand on a cowbell or the cup of the c)'mtnl for a change of sound-
I first heard this type of 6/8 playing on a Paquito D' Rivera album titled Blowing: The tide of the ume is
"Waltz For Moe" with Ignacio Berroa on drums. After you go through the ten exaryles spcod srxne time just
improvising with your bass drum while maintaining the same hand pattern. This will hdp dcrdop your
creativity and keep you from relying solely on the ten examples given.Tf

Basle Pattern
Page 2O Latin Percussionist

Next Issue: Summer L996