On the pulse of the Global Drum Community - umarain.com · tory space at East Ravenswood Avenue and...

On the pu l se o f the G loba l Drum Communi ty

A Free PublicationVolume VIII, Issue 2Spring/Summer 2007

Annette A. Aguilar

Inside

• Interviews: Gilberto Serna,

Annette Aguilar, Paoli Mejias,

Joe Gonzalez, Angel Guerrero,

Jay Puente, Ozomatli

• Gahu Recreational Dances, Part II

• Photo Essays: Chicago Rhythm Scene,

KoSA XI— Vermont and KoSA Cuba

• Ca∆jon Pa’ Los Muertos— Thesis Abstract

• Beat Gallery, CD reviews

and much more!

Gilberto Serna ofDeagan Marimbas

Paoli Mejias

WPR is celebrating10 years!

Lookinsideto see ifyou’vewon oneof 130

specialprizes!CheckCheck usus outout online!online!

www.RhythmCommunity.com/WPRmagazineContact Jerry: [email protected]

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Editor’s Welcome

World Percussion and Rhythm magazine brings you the best of thevibrant and richly varied global drum scene. It’s the only magazine ofits kind. “WPR’s coverage is authoritative, to the point and is of theauthentic rhythms, questions, instruments and issues.” WPR gets intothe hands of drummers, percussionists and champions of rhythm inmore than 30 states from New York to California, from Florida to Wis-consin and from more than 19 countries from France, Canada, Cuba,Puerto Rico, Brasil, Africa, and beyond. WPR continues to attractdynamic contributors and top quality advertisers representing theglobal drum community. Become part of the WPR Team! World Per-cussion and Rhythm magazine is accepting submissions for articles inall areas. We also accept submissions of artwork, photography andpoetry related to percussion. Call (773) 348-0966.

Congratulations! World Percussion and Rhythm magazine is 10 years old! When I decidedto expand the Women’s Spirit Drummers’ monthly newsletter after eight years, I enrolled thehelp of friends in the Primal Connection. Since that time, so many drum experts and enthusi-asts have contributed so much and shared so deeply, the wisdom of the drum. From BabatundeOlatunji (7/97), Giovanni Hidalgo, Zakir Hussain and Santana, we’ve covered so much rhythm! Welcome our latest, greatest Art Director/Production Manager, Kathleen Hardy! Look insideyour issue to see if you’ve won a prize! WPR will give away 10 FREE BUSINESS CARD AD SPACES($550 value)! 10 FREE 2-YEAR SUBSCRIPTIONS! 10 DRUM TOY GIFTS! 100 WPR DRUMBAG/BUMPER STICKERS to lucky random winners! —Terry Reimer, WPR Editor/Publisher

World Percussion and Rhythm • Volume VIII Issue 2

We believe the process of drumming is healing and life enhancing. Our mission is to

serve as a venue for the support of the worldpercussion community and to provide a

publication that addresses the ideas, concerns, news and information that

is of interest to this community. �

Published by

Terry Reimer, DBA World Percussion and Rhythm

Publisher, Editor & Creator

Terry Reimer

Art Director/Production Manager

Kathleen Hardy

Distribution Assistant

Aimee Bass

Cover Photos

Gilberto Serna and Paoli Mejias by Terry Reimer

Annette A. Aguilar, courtesy photo

Contributors

Jessica Anzaldua, Mani Bances, Carlos Cornier,

Patsy Crocker, Leonard Ferris, Isaac Gutwilik,

Jennifer Horton, Gingi Lahera, Eric Lieb,

Juan J. Martinez, Aldo Mazza, Allison Neiderkorn,

Mark Powers, Terry Reimer, Charlie Rosario

World Percussion and Rhythm magazine is published

bi-annually by Terry Reimer, DBA World Percussion and

Rhythm. Opinions expressed by any of its authors do not

necessarily reflect positions of World Percussion and

Rhythm or the Publisher. Copyright 2007. All rights reserved.

The respective authors and creators copyright the content of

this magazine. Law prohibits reproduction of any part of this

publication without written consent of the Publisher.

Correspondence and submissions:Terry Reimer,

1020 Wellington, #1F, Chicago, IL 60657

Evening (773) 348-0966

Email: [email protected]

Advertising: (773) 348-0966 Call for our LOW RATES!

Classified Ads: $20.00 up to 25 words Discount web ads available

for print advertisers!Tell ‘em you saw their ad in WPR!

Mission Statement

Staff

On the pulse of the Global Drum Community

Contents

Interview: Gilberto Serna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Interview: Paoli Mejias . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

QuestFest 2006 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Interview: Annette A. Aguilar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Interview: Joe Gonzalez (part I) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Interview: Angel Guerrero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

KoSA XI and KoSA Cuba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Interview: Jay Puente . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Interview: Ozomatli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Chicago Rhythm Scene (photo essay) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Hot House and Jamaica (photo essays) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Beat Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Gahu Recreational Dances (part II) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

CD/Video/Book Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Cajon Pa’ Los Muertos (Thesis Absract) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Egypt: Nubian music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Of Note/Repercussions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Phot

o by

Cla

ir Le

wis

Art Director Kathleen Hardy

3

DEAGAN —A SHORT HISTORY

Excerpts from Mallet Shop.com, by Shannon Wood

Deagan marimbas were invented by John Calhoun Deagan, whose interest in

mathematics, physics, music and the science of acoustics, changed

and shaped the world of music and percussion. He produced his first

instrument in 1880, a glockenspiel and then invented the scaled tun-

ing by grinding the steel bars until the tuning was balanced. He also

attached the bars to a support frame and thus began his one-man

operation on 1004 Market Street, St. Louis, Missouri. In 1886 he patent-

ed the 20-note scale Cathedral Chimes. Deagan transformed the crude

German instrument called the Strohfiedel (Straw Fiddle) that had four

rows of wooden blocks on a frame with braided rafia fiber, into the

first J.C. Deagan xylophone. It became an essential percussion voice in

Vaudeville acts, bands and orchestras around the world. He continued

to perform on clarinet, write arrangements and teach while supplying

his bells and xylophones, moving from St. Louis to LA and San Francisco. He

then moved to Chicago and after a number of places, finally called the fac-

tory space at East Ravenswood Avenue and 1770 W. Berteau, home. Deagan

used "Nagaed" premium Honduran rosewood (Deagan spelled backwards)

and Klyposerus, a Caribbean cocobolo wood for their exceptional brilliance

and extreme durability. He established the tuning standard for tuning forks

and bars with A=440 as the standard. Between 1914 and 1916, the company

manufactured over 600 items. In 1923, the

Deagan No. 870 and 872 xylophones sold for

$100. In 1983, Slingerland sold the company

to Larry Rasp who filed Chapter 11 one year

later. Yamaha bought it out and has since

owned the Deagan name.

GILBERTO SERNA

In 1968, Gilberto Serna

from Colombia walked

through the doors of

Deagan. He knew he had

found his life's passion.

Within his first year of working at Deagan, Serna was building the series 900

xylophones, the Diana Deluxe marimbas, the Aurora and Commander vibra-

phones and the 1558 glockenspiels. The most popular instruments, the No.

870's, No. 145's and No. 40 Diana were all made before he started and had

ended production by the beginning of the 1940's. They needed service and

Deagan wasn't providing this. Deagan would simply trade them in and scrap

the instruments. This void eventually led to Gilberto Serna's formation of Cen-

tury Mallet Instrument Service to restore these important instruments, the

same year Deagan turned 100 years old. He split the company at the age of 33

and began getting orders for repair from customers such as the Chicago Sym-

phony and the Air Force Band. By 1990 his business was booming.

WPR: Gilberto Serna, how did you begin working for Deagan?

Serna: There were no openings when I applied for a job here, but the way I

approached them, they made an opening for me. I said I wanted to work. I said

I could do anything, sweep the floors. They said if I wanted to work so much

they were going to hire me. I never did any of this kind of work before. I used

to work at the church in Colombia with my family. Most of my family now lives

in Bogota. But I was hired here and put to work in all the different areas. This

way I learned the whole business in one year, every aspect of it. It was the

best thing that could have happened to me.

4World Percussion and Rhythm • Volume VIII Issue 2

Gilberto SernaBy Terry Reimer

World’s Fair Marimba Band

makes music history

WPR: Tell us about your

recent work and plans for

the near future.

Serna: I'm covered for jobs

until January of 2008! It's a

lot I'm trying to take and I

have so many already. Every-

where else it's the same. I'm

working in Vienna twice

a year in March and April.

Then at the end of Sep-

tember I'm helping the

Strauss Philharmonic

Orchestra. I have a nice

place outside Vienna with

a shop and equipment there. I relax and work two days out of the stay. I'm

thinking of going there eight months out of the year for two years, two

months here and then back to Europe. Then I'll disappear for some time. I'll

still be in touch and go to the PAS [Percussive Arts Society] shows in Novem-

ber. I'll have a place in this building for my own stuff and materials for the

Mallet Shop.

WPR: Show us around this beautiful, old building. The instruments here are

gorgeous!

Serna: The building was built before 1900 because J. C. Deagan moved here in

1907. I met him when I came here in 1968. He was already 81 years old then.

Some of the instruments are from 1903. The oldest instrument is from 1897.

It's this one with the car battery attached to it. It's called the Unafon. Charlie

Chaplin used it. Charlie Chaplin lived at Winnemac and Glenwood here in

Chicago and went to the University here in the 1930's. I connected the sounds

with electricity designed to make it play. There is a photo of Charlie Chaplin

playing it. They were advertising his movies with it. The second oldest instru-

ment here is this metal marimba. It's from 1907. You can play it with mallets

or a violin or cello bow against the edge. There is a 1968 gold marimba. This

wooden one can be played with a bow too. Marimbas and vibraphones were

used a lot in jazz. We have a photo of Lionel Hampton here. He was a fine

drummer too! I also have a bomba drum I brought from Baranquilla. They

make good percussion instruments in Colombia. These maracas are from

there. There's also an old Ludwig kit and a Slingerland kit here. And a steel

drum.

WPR: Show us how you tune and repair the instruments.

Serna: I use my ear to select good woods. I can tune by ear but it takes much

longer. I get it close first and then grind the keys with the tuning machine. If

I tap on this wood key, I hear a "C" note and see it registered on the "Strobo-

conn" tuning unit machine. I can bring it down to a "G" by shaving it down on

the sanding machine. There are different frequencies or herz. This is the

marimba used with the biggest marimba band in the world, the Tennessee

State Airforce Academy. There are several big bands like the Century of

Progress and the West Point bands. The assembly of their marimbas is done

here. I work at this desk with the metal pieces, nails, bolts, polishing, scrap-

ing. This is part of the stuff I work with. My whole truck is full too. The Blue

Man Group bought instruments from me. I also did instruments for Eighth

Blackbird, a Skokie, IL touring group. There is at least one job per day or more

for repairs and several jobs for tuning every day.

WPR: How low can you go?

Serna: I was asked if I could build a six-octave marimba but

there's no such thing. You can go 5+1/2 octaves. Lower than

that doesn't sound good. I would not want to go lower. The

music doesn't require it. The music from the 30's and 40's

is beautiful music. I don't like the new music though I have

respect for it. You can play Bach, Brahms, Beethoven,

Mozart on marimba. It costs $240 to $300 for each key that

goes on the marimba. It's $70 to $160 to buy one key

[tune/repair?]. A decent marimba can cost $3,500. I've built

so many marimbas, I can't remember how many. We use

mallets mostly from Balter, Mike Balter Mallets. We have

them here. Balter Mallets are the most recognized and

respected. I recommend them.

WPR: What are your plans for the future? You have indi-

cated that you are going to leave here.

Serna: I would like to be involved in helping young kids from 7-15 years old

involved in music groups, teaching them to make the keys, notes and clean

and repair keyboard instruments. I'll be working in Vienna, Scandinavia and

I worked in Prague too. My idea is to bring teachers to teach them how to

play. I'll be doing that as a resource and working at the National University in


5

continued on page 20


WPR: At what age did you start to play?

Mejias: 10-11 years old.

WPR: Where did you go to play around Puerto Rico (San Juan? Local clubs

or jams?)

Mejias: My first gig was playing congas in a hotel in Isla Verde (near the San

Juan airport) with a steel drum Band. I also played in carnivals around the

island.

WPR: Who are your influences?

Mejias: Irakere, Batacumbele, Patato Valdez, Tata Güines.

WPR: Have your influences changed over the years as you have developed

your sound?

Mejias: Yes, by traveling all over the world my style has been influenced

and I’ve learned and incorporated elements of other cultures.

WPR: Did your family influence your music when growing up?

Mejias: No, no musicians in my family.

WPR: You were a sideman for some heavy hitting bands in your teens.

What was that

like?

Mejias: Excel-

lent experience

to be able to

play with well

known groups.

It was an

intense way to

know the pro-

fession. I also

perfected my

style of playing

and sound for a

group focused

on dance.

WPR: Tell us

about studying

bata with Jose Ramirez. Do you practice Santeria/and or incorporate bata

rhythms in your style?

Mejias: No, I do not practice Santeria, although I do incorporate my knowl-

edge of Yoruba music, just like any other folkloric rhythm. Jose was my

teacher of Yoruban music.

WPR: Who were your teachers for each instrument (conga, djembe, bongo,

timbale, bomba drums, etc)?

Mejias: I am self-taught.

WPR: I saw you play in Chicago at the Old Town School of Folk Music in

December of 2006. That was a fantastic show! I have to ask about your

methods of playing— you play very quickly but also with an ease that is

natural. How did you learn that method of playing?

Mejias: Aside from many hours of practicing my instrument, you need a

control and a connection with your mind, body and instrument to feel the

music and be connected with the other musicians.

WPR: Tell us about your set up(s)/endorsers.

Mejias: Please see my rider http://www.paolimejias.com/Rider.htm

WPR: Reflect on the nature of trance in drumming or for you personally.

Mejias: I would say for me it’s more of a connection between myself and

the music.

WPR: You have had so much success in your career: Touring with the leg-

endary Eddie Palmieri, receiving a Latin Grammy nomination for Mi Tam-

bor. What is your proudest moment so far in your career?

Mejias: My proudest moment in my career so far≥≤÷... there are many and it’s

impossible to pick just one. One of the most fulfilling experiences is the

reaction of the audience when I am performing live with my own group.

Also, it’s very satisfying to hear the feedback and comments from those

who’ve purchased my CDs.

WPR: What has surprised you the most in your career?

Mejias: That my wife and I have been able to completely run all aspects of

my business as musician and band leader (including production of my CDs,

Paoli MejiasBy Jessica Anzaldua


bookings, website design, CD

Distribution, etc is all done by

the two of us) and the amazing

achievements we’d accom-

plished so far.

WPR: How do you feel about

recording music versus playing

live? What are those musical

situations that you love?

Mejias: The majority of my CDs I

recorded playing live with the

other musicians. One difference is when playing in front of a live audience,

their energy and reaction can influence you on stage. The best situations

are the inspiration you get from playing with other musicians.

WPR: Being from Puerto Rico, how has that helped define your music?

Mejias: By nature the music and folklore of the island is reflected in my music.

WPR: How have you seen the Puerto Rican music community evolve?

Mejias: It has evolved a lot, there’s new interest in the younger generations

to incorporate our native bomba and plena.

WPR: Do you find any differences in Puerto Rico and the U.S. in the

direction of Latin Jazz?

Mejias: Not really, Puerto Ricans have been evolving their way of playing

Latin jazz.

WPR: Tell us about the two

albums Mi Tambor in 2004 and

Transcend in 2006.

Mejias: It’s very difficult to

answer this question in a con-

cise manner after having passed

the process of recording, pro-

ducing, promoting, distributing

and selling the cds. I can say

that Mi Tambor has been very

well accepted all over and opened many doors for me in the market. I

believe it’s a revolutionary cd because of the diversity of the music within

one cd. With Transcend, I was able to create a more uniform sound and

solidify my style, having had the experience of recording Mi Tambor. In

general I feel I improved all aspects of this second production.

WPR: Any advice for aspiring congueros/latin jazz musicians?

Mejias: Have faith in their projects, practice their instruments, and listen

to all types of music.

WPR: What is next for you?

Mejias: Find a way to perform in the most renowned festivals around the

world, now that my cds have received great acclaim by both the public and crit-

ics from all over. Transcend was rated #1 by Latin Beat as best of 2006.�

Paoli Mejias and Jessica Anzaldua Paoli Mejias and Terry Reimer

Belly Dancing

Rabbi Menachem of the Shiviti Drummers

Drum Divas

Dahui & Groove Ova

Rick Neuhaus with DjembeSummer Camp All Stars

QuestFest 2006photos by Jeff Hallman & Robbie Soska

Charlie Barberra (center) Environmental Encroachment

WPR: You are an amazing percussionist. It's difficult for women to play pro-fessionally and accomplish all you have. Does your cultural backgroundplay into your career?

Aguilar: Yes, because I grew up in San Francisco at a time when music was justa part of everyday life. Between the Haight Asbury, the Mission district, the Fil-more West and Golden Gate Park, everyone heard something great. But for theLA RAZA and as a first generation Nicaraguan (both of my parents are fromManagua, Nicaragua I was born in San Francisco) you could not pass up theLatin Rock that took over the Mission District (a Latin community, basic Latinpopulation is Mexican American and Central Americans, it has changed withdifferent Latinos but this was the majority). Santana was a Mexican Americanand his percussionist was Chepito Areas who was Nicaraguan and was a keyfigure for incorporating the Latin Beat in Santana's rhythm section. At that timeI did feel the cultural background had a huge impact, because the music andthe tradition, the language is all part of it as well. And most people within thattime of Latin Rock and then the Salsa scene where Latinos. Only the seriousCaucasians who respected the music were there. In the late 60's and early 70'sthere was a lot of prejudice toward Latinos. San Francisco State University justfinished their big protest and riots because we did not have an ethnic studiesdepartment etc. Let's face it, white people were not hanging out too much withus. The cops in the Mission used to harass us. And later in the late 70's theybanned conga drumming in Dolores Park which is where a lot us of hadlearned how to play. This is because there were people who did not want tohear that drumming and it was not the Latinos. In fact John Santos and RaulRekow where given tickets and fines for playing in Dolores park. This is whenmore Caucasian people started moving into the Mission District. It's almost likethe banning they did in Cuba and other places around the world of people con-gregating and playing their music. It's obvious when a non-Latin immerses inthis style. They learn as well as someone who's from that culture. That's thebottom line, and we have some of the greatest players who are non-Latinos.They have respect for the culture. But the real Masters are the elders that comefrom Cuba, Puerto Rico and New York.You also have the New Generation ofpeople in San Francisco like John Santos and Michael Spiro who are carryingthe torch with honesty. But culture should be shared and kept alive for all toexplore and to keep the music alive and growing.

WPR: Is it harder for you in a male-dominated profession? Do you haveadvice for other women?

Aguilar: Technically and basically yes. It is harder for women. Women aregreat drummers. They have a certain time in their bodies. We do carry thereproductive system. Yes there are guys out there that have their opinionabout women drummers. This is always a tricky question. Some guys like topatronize women when it comes to drumming. In my teaching I've seen thisin African American girls (especially) and of course the Hispanics and Cau-casian girls. But again African American and Latino girls will pick it up fasterthan the Caucasian because it's just part of their culture. My Harpist-Percus-sion player Ellen Uryevick -Adams holds a mean paila and clave. She's play-ing the paila on both of my records right there with Vince Cherico and VictorRendon. Sheila E. was really a great player. We played together in our teens.She had no mic but you could hear her in the back of the hall.There's alsogreat set drummers like Terry Lyn Carrington, Cindy Blackman, BerniceBrooks, Barbara Merjan. Women are told not to play drums because it's sup-posed to be a "Man's instrument". It's such bullshit. But I have been very for-tunate to have a lot of support from male percussionists like my long timeteacher Louie Bauso, and my time with Jerry Gonzales, and friends like EddieBobe´, Vince Cherico, Chembo, Wilson Corniel, Renato Thoms, John Santoswho till this day was very supportive and has always been a positive figure.In the mid to late 70's there was a band called Tipica Cienfuegos from S.F. inwhich my brother Jaime sang and played guiro and maracas. John Callowaywas also part of this group and conguero extraordinaire Harold Munoz. Alsoin that scene was Carl Perazzo who I met when I was around 12 years old. Wetook a workshop together and my old friend Rudy Ortiz. My advice for womenand what I always have to practice is keeping your strength physically, takingcare of your body, eating right and you have to exercise, mentally focus onyour well being. May it be spiritual, be positive and work out your problemswith supportive people. Take care of your head. A lot of women go into sub-

stance abuse andit's not only that,getting overweightetc. You have to dothings for your self-esteem. Peoplefreak about goingto therapy to dowork and to talkabout things thatwill help you grow.Hey, we are onlyhuman. If you needhelp ask. Avoidbeing afraid. “Lifeis too short and theday waits for noone." That's a quotefrom Toshi Reagon.And last, study,study, listen, listen,listen to the music.The discipline ofknowing your craftempowers you totake the hits thatyou will come upagainst in this maledominated society.But there are play-ers in this field thatdo not thinkwomen should playthe drum. You haveto stay away from that energy. There are guys out there with major issues.Women can throw a hard pitch and there are certain male percussionists whodo not allow women in their circles. So this is when you have to be creativeto make your own gig. In other words don't wait for the phone to ring.

WPR: How did you move from symphony work to all the other music you do?Please share some of the highlights of your playing career.

Aguilar: The challenge is making sure that you study the genre of the music.You have to make quality time for it. When I was an undergrad at San Fran-cisco State University I went to see the symphony twice a week, sometimesmore. I had a band at that time and I would listen to Irakere and Los Papines.I was playing in an Afro-Brasilian group and escola de Samba. I was spendinglost of my time with the orchestral music. I needed to study that more. I wasstudying all the mallet instruments, tympanis and snare drum and percussion.Orchestral work is more about precision and executing along with 40 - 60other players. I was the first student to give a classical Jazz and Afro-Cubanand Brasilian recital at San Francisco State. When I first moved to New York(fall 1985) I played Alice Tully Hall and Lincoln Center. I was really hoping todo more work with that but it's not easy to get those jobs since there are veryfew orchestras. Plus I was being called to do Broadway stuff and club datesand touring with pop groups. I do play tympanis with the Bronx Symphonyand it's a good thing. One special highlight was at the Kennedy Center inWashington D.C., May 2001. Also playing with Sheila Escovedo and her dadPete, plus Cal Tjader and Chepito Areas from Santana. Last year when myquartet was in Madagascar for the US State department and Jazz at LincolnCenter's Latin Jazz Ambassador program. We were invited to play for the pres-ident of Madagascar last year at the Paris Opera house.

WPR: Tell us about the challenge of being a band leader.

Aguilar: I've always been a side person. Both of my first degrees are inOrchestral percussion (Bachelor's of Music in performance and a Master's inMusic from Manhattan school of Music). My third one is Music Education,which I've been working on for a while, with the touring and the gigs it is achallenge. The conservatory taught me how to FOLLOW and take directionfrom a Conductor and a music director. As a musician you are hired to do ajob, not to have arguments. As a sideman you have to keep those chops up asa team player and follow through on the gig. A side musician does have choicein taking a certain gig. You can say no. As a bandleader you have to develop


Annette A. AguilarBy Terry Reimer

relationships with people. I've created a roster of players and I have playerswho have been with me since the beginning. This year it will be 15 years ofAnnette A. Aguilar and StringBeans. It's a lot of work and you have to do thedirty work, the paper work and convincing promoters producers, club andrestaurant owners why they should pay you what you are worth.

WPR: Sounds like you enjoy some cool travel.

Aguilar: I've been fortunate to travel with my group. We were selected asLatin Jazz Ambassadors in 2003 and again in 2005 by the U.S. State Departmentand the Kennedy Center and Jazz at Lincoln Center. We toured SouthernAfrica and Rwanda in 2003. Last year we went to Eastern Africa which includ-ed Ethiopia, Tanzania, Kenya and Madagascar. And this past September I wentback to Ethiopia and Madagascar. It was great presenting, learning and shar-ing the music. On my own I've gone to Brasil several times to study, mostlyin Rio. I've gone to Salvador. The past five years I've been learning Maracatuand I will be making my way up to Recife soon. I felt that I needed to go toBrasil to really get to understand the music as well as trying to get a hold ofthe language. I have not been to Cuba yet which I was supposed to do 25 yearsago. Since I was so exposed to Cuban music, I felt that I had to go to Brasilfirst.There is a Brasil camp in Northern California that both Scott, Jorge and myself

will be at this summer in August. I highly recommend it to anyone who wantsto study this music and dance. In January I went home to San Francisco to doa recording with guitarist Leny Carleson. This is a real Jazz Latin record. I cameback to New York City to work on a 20-piece Brasilian/Afro Cuban recordingrun by Gary Morgan. This really drives towards the Brazilian side. I think thisis where I met you at one of these concerts. I am basically the only female inthis group. This last two weeks I've been in Puerto Rico in Ponce as a guestArtist at the third Women in Percussion Festival. These are run by an oldfriend, Mercedes Troncoso, a percussionist who is trying to lift the femaleconsciousness level in Puerto Rico.

WPR: Congrats on your second CD, No Cheap Dates!

Aguilar: No Cheaps Dates is my second CD and I am itching to get back in thestudio ASAP.I am satisfied with No Cheap Dates and the musicians whoworked on it as well. I am pleased with the arrangements and all the hardwork my engineer David Merrill and my long time associate producer VivianStoll put into this project. I have been working with some great vocalists. Myroster includes Pablo Vergara pianist, Uli G. piano, Benny Koonyevsky drums,Barry Olsen piano/trombone, Eddie Venegas violin/trombone, bass JenniferVincent, Ruben Rodriguez, David Hertzberg and the Vocalist Sofia Torsello andSofia Koutsovitis.

WPR: What music do you enjoy? Any hobbies?

Aguilar: I enjoy all styles of good music. I like soul, rock, pop. I love Paulin-ho da Viola, Brasilian music, escolas de Sambas, Jerry Gonzalez, good classicsalsa from the 70's, Los Van Van, Irakere and great folkloric and progressiveCuban music. Batacumbele and good Puerto Rican salsa and bomba, and Ilove Count Basie and big bands that swing hard and of course orchestralMusic, Beethoven Mozart, Stravinsky Prokofiev, Mahler, Bartok. My hobby hasalways been running. I've run and completed 7 New York City Marathons. Ialso enjoy sports and classic cars.

WPR: How do you handle the "business" of music?

Aguilar: Networking is the key. It's important to relate to people and to askfor things that you need. The only bad thing they are going to say is "no."Incorporating technology is vital to your networking, It's difficult to keep upwith the communication aspect, but it is part of the gig. Public relations area tool that you need to use. You have to talk to people whether you like toor not, these are the tools of survival especially if you are an independentartist with your own Label and band. Every gig is important from little moneyto big money. Yes it's important that my players are treated fair.

WPR: You also teach! What do you emphasize to others?

Aguilar: What I emphasize to others is to learn how to learn. Listening andwatching others teach as well. A slow disciplined practice is crucial, stayingfocused. I returned to school to work on a second Master's in Education. Istudied with instrumentalists who became educators in the school system anddeveloped techniques for ensemble playing and general music. These studies

taught me to organize and handle a large class. Presently I teach 3 days a weekin the South Bronx and the new Bronx performing H.S. called Celia Cruz H.S.This school is a like a young conservatory. I teach classical, jazz, and Latin

percussion. But the emphasis is orchestral. I also conduct the Latin Jazz bandas well. I make sure my teaching jobs understand that when an importantconcert comes that there is a priority with that.

WPR: What are your dreams and aspirations?

Aguilar: My dream is to have a self supported label that is lucrative and gener-ates money for all artists involved. Also a good production and business thatwould support concerts and travel. But most important to be able to give a goodsalary to my musicians which would also include health and pension. I want totravel more on my own and study with lots of time to be able to keep up all thelanguages I've been trying to study. But most important is to be able to practice,study and play many hours all the instruments I want to play. �


(Joe, in addition to being the Bongocero with the Conga Kings, has played formuch of his career with two of the original legendary Mambo Kings - Compos-er/Arrangers Mario Bauza and Chico O'Farill. He's currently still with the O'Far-rill Orchestra which is going strong today under the leadership of Arturo O'Far-ill.)

I’m sitting in the Inwood, Manahattan home of Joe Gonzalez, one of the best andbusiest all-around percussionists of New York. Joe was in a reflective moodabout his career, mostly as Bongocero for Mario Bauza, one of the originalMambo Kings.

WPR: Where are you playing next?

Gonzalez: Tonight I’m playing in Astoria park with Bobby Matos from the westcoast. We had rehearsal yesterday and now we’re performing tonight. We haveHector Martignon on piano, we have Guillermo Edgehill on bass. We have LouisKahn, trombone and violin, Enrique Fernandez on alto sax. Who else? That’sabout it. We have myself on conga drums and Bobby Matos on timbale. He hasmaybe a couple more gigs, one gig in Jamaica, Queens, outdoors and at Gonzalezand Gonzalez sometimes next week.

WPR: So he’s doing a little tour.

Gonzalez: Right, and I’m still performing with the Chico O’Farrill Orchestra. Wehave a gig on Sunday. I think it’s from 4-5 at Queens College outdoors. Then fromthere we all be going straight to Birdland (O’Farrill Orchestra is there every Sun-

day), and then I’ll be goingto Brazil in October withthe Conga Kings. TheConga Kings consists ofGiovanni Hidalgo, CandidoCamero, Patato Valdez,myself on bongos, DavidOquendo playing tres,Guillermo Edgehill on bass,Enrique Fernandez on sax.We might have somesingers. It all depends,sometimes we have singersand sometimes we don’t.When we use vocals weuse Herman Olivera. RaySantos is the musical direc-tor. So that’s what’s coming up. And then you know, local gigs here and there.

WPR: So let’s go back in time. Tell me a bit about your musical beginnings. Whatage did you start, what were your early musical influences, who taught you?How did you get into it?

Gonzalez: I started at an early age. I can’t remember the age but my parents saidthat at a young age I was playing on pots. It’s a similar story to the Tito Puentestory, a typical percussionist’s story. I used to play on pots, on mailboxes, on cars.

Anything I could get my hands on. But I remember myfirst recording was at 16 years old. It was for SpeedRecords and that time was during the Boogaloo era. Iwas self-taught on timbales. Then I took up the congaand then the bongo. So that was around 16 years old. Wehad a few local groups around the neighborhood (Hell’sKitchen). I used to study the records. I would listen toRicardo Ray, all the New York groups, Ray Barretto,Eddie Palmieri mostly, Manny Oquendo. I used to listento him a lot. I didn’t get into Machito until later years.Then I got involved with the group Son de La Loma at ayoung age.

WPR: That was the late Armando Sánchez, (conga play-er, bandleader, and master of son).

Gonzalez: Yes, Armando Sánchez. Someone recom-mended me to Armando, so I started performing withArmando. That was before Mario Bauza. With Mario Istarted in 1977 through a friend of mine who recom-mended me to Mario. But before 1977 I played withArmando Sánchez’ ‘Son de la Loma’.

WPR: You were on bongos?

Gonzalez: I was on bongos. But I really didn’t play bon-gos at all. I was just starting. I had mostly played tim-bales before that, but then they called me for the jobbecause they needed a bongo player. So I started learn-ing more and more with Son de la Loma, ArmandoSanchez and also later, Mario Bauza until I got the expe-rience. And I started listening to a lot of recordings. Alot of Machito recordings, a lot of Cuban recordings. Istarted listened to mostly descargas. That was the firstdescarga recording I heard. Someone recommended itto me and I heard it. It was the Cachao classic ‘Descar-


BONGOCERO OF THE KINGS Joe Gonzalez — Part IBy Isaac H. Gutwilik

gas in Miniature’ with Tata Guines and Yeyo Iglesias, and Guillermo Baretto. I start-ed listening to them. I had my cousin, his name was Steve Gonzalez and he got ahold of a Cal Tjader recording called ‘Los Ritmos Caliente’ and we used to rehearseto it constantly. I used to play conga drums. He used to play timbales and we usedto rehearse in my grandmother’s apartment on 125th Street.

WPR: Did you live around there or in the Bronx?

Gonzalez: I was brought up on 62nd Street on 10th Avenue, in the projects. TheAmsterdam Houses. I'd listen to a whole bunch of music. My parents used to lis-ten to a bunch of popular music at that time. They had Tony Bennet, Frank Sina-tra, Johnny Mathis, Dina Washington and they used to have a radio station, WNEW,they used to have William B. Williams. My father and I used to listen to that radiostation. The first Latin album I ever bought was Joe Cuba's. I just bought it becauseof the cover. I didn't know anything about him. I just went to a place. They hadsome Latin records and the record just stood out. The Joe Cuba album cover. So Ibought that and started listening to that.

WPR: Do you remember which album it was?

Gonzalez: I think it was, in English, called “Hanging Out”. My cousin turned me onto Cal Tjader’s recording with Willy Bobo and Mongo Santamaria. We used to playit together at the house until we got the tunes down. So I used to listen at the houseand I used to play along with the recording. And I kept on and on and I kept meet-ing different people until I got into steady bands. I used to play a lot on the eastside. East Harlem because where I was brought up in midtown Manhattan, theydidn’t have many Latin groups at that time. I remember having a girlfriend on 52ndStreet and they introduced me to someone who played the piano. A different area.They introduced me to a piano player and he came and spoke to me and weformed a group. I used to play timbales with that group and we recorded andplayed all around town. We played the Hunts Point Palace, St. George Hotel inBrooklyn and Casino 14. After that I developed a following. I had a fan club fromthe East side. Every time I used to play in clubs they used to come and see me.They used to get me to compete with the other groups and I used to get on stageand play the timbale. One day I was at the Corso Club and Jimmy Sabater with JoeCuba were there, Charlie Palmieri's orchestra was there also. I asked Joe Cuba if itwas OK for me to play the timbales. He told me to come on up and I took a soloon the timbales. Everybody stopped dancing and started watching me perform.From there I had a following! I took a break after that because my wife had ourdaughter so I went to get a steady day job. I worked for a while and didn’t per-form at all. But then that was around the same time that Mario Bauza came out ofretirement with Graciela and they formed their own group. They weren’t workingmuch, so I worked with them any chance I got.

WPR: That was actually the first time I saw you play. It was with Mario and LosMunequitos on the same bill on Broadway in 1991.

Gonzalez: Oh yeah! That was at the Symphony Space.

WPR: I was on cloud nine at that concert!

Gonzalez: Oh man, it was great that night. I wish I had a recording. But that wasway after Mario Bauza was getting busy. We just started recording for the Mes-sador label from Germany. So he did the first one, the “Tango Suite” that is a five-movement Chico O‘Farrill arrangement. We did that and we got a lot of work. Wewere going to Europe constantly back and forth. Then he did a couple morerecordings. But I did my first one with him when he started his Afro-Cuban Jazzband, because he had done one before when I was in his orchestra. He did onecalled “La Botanica”.

WPR: I never heard that one.

Gonzalez: That was done in 1977. Papo Pepin was the percussionist on that one.So then I got in after Papo left. They called me. A friend of mine recommendedme to Mario Bauza.

WPR: The one I have is “Afro Cuban Jazz”.

Gonzalez: That’s the first one I did.

WPR: I love that, with Daniel Ponce on Congas?

Gonzalez: Right, Daniel Ponce, Ignacio Berroa, Patato and myself. Mario called meup and that was my first major recording. So that was that. From there I was stillperforming with Mario for more than 10 years until his passing. I forget what yearhe passed away.

WPR: I think it was 1993.

Gonzalez: So I was with him from 1977 until his passing in ‘93.

WPR: There's a documentary film I saw and it shows him rehearsing the banddownstairs, at the Harbor.

Gonzalez: At the Boys Harbor, [in NYC] yeah.

WPR: I recognize the posters that are still there on the wall!

Gonzalez: I have some of the videos that I just recently got from Graciela and someof them I'm in. Some of them I'm not in, because I was working at the time. I hada day job. And Mario was good because he always told me I don't need you for therehearsal, I need you for the gig. So he understood. It’s not like a lot of musicianswho say nowadays, if you don't do the rehearsal you don't make the gig.

WPR: It’s funny, the people who say that are not necessarily the best musicians.

Gonzalez: Exactly! So Mario was always good that way. He understood. He said,you know you take your job first. But then I stopped working and we became verybusy until his passing. We went back and forth to Europe, toured the United States,made two more recordings on Messador Records and that was that. After that Istarted working with a lot of groups. There was Daniel Ponce’s recording, “ChangoTe Llama”. We did the debut of the recording. I think it was a press party at theSOB club and I performed with him a couple of times.

WPR: I used to go up to Soundscape and he'd often be playing there.

Gonzalez: Yeah, that’s where he started. I started working with him and I startedworking with a lot of other groups. Now I'm in the business until the present daybut it’s been a long time.

WPR: It’s been 29 years now?

Gonzalez: Yeah, 29 years! Through Mario Bauza I met and played with so manygreat musicians, Jorge Dalto, Dizzy Gillespie, Jose Fajardo. You know Mario was thetops. Yeah he’s the top, and I started with him, right from the top. Chico too.

WPR: That’s very fortunate.

Gonzalez: Yeah, I'm very fortunate, blessed, to have someone like Mario Bauzaand learn so much, just to be in his presence. He never told me much, he told melittle things, he wanted it this way or he wanted it that way. Mario was an extra-ordinary band leader, conductor, composer, because Mario knew what he want-ed from the start. He knew your ability, and where to take it. You know. Your tal-ent, he knew where to take it, to what level. And he wouldn’t push you any fur-ther. And he just knew that. He was just that type of person and I learned so muchwith him. Not like other bandleaders. They don't know much about the rhythms,about percussion.

WPR: Right, or they can’t admit it.

Gonzalez: But Mario knew everything, he knew what he wanted, he knewthe rhythms, and he knew how to explain the rhythms, he knew the danc-ing, the conducting was great, everything! So you learned so much. And itwas always different. He didn’t want the basic rhythms. It was alwayssomething different. The important role was the bass player, he wouldeven tell the bass player how to phrase and play what he wanted. The tim-bale too. For me he was the best.


Joe GonzalezContinues in the next issue of WPR

An Interview with Angel Guerrero, Member of the Afro-Cuban AbakuáSociety*

To many people, Angel Guerrero Vecino is known only as a mild-man-nered software salesman from Chicago. Sadly, it is unlikely that hisbusiness associates and clients are aware of the deep cultural traditionsthat he carries with him from his homeland of Cuba. As a member of theAbakuá society – a secretive Afro-Cuban religion and brotherhood withorigins in the Calabar region of Nigeria – Angel’s knowledge of liturgicalchants and rituals might shock those who know him only from his “dayjob.” He carried this cultural and musical legacy with him when heemmigrated to the U.S. in 2002. After some time in Lansing, Michigan,Angel moved to Chicago where he now resides. His deep knowledge of theancient Abakuá society and language has given him the chance to par-ticipate in conferences at Harvard, Northwestern University, DePaul Uni-versity, and Columbia College, among other institutions. He was alsoinvolved in the production of the CD Ibiono (2001, Caribe Productions),the first commercial recording entirely of Abakuá music. Recently, I satdown with Angel to talk about his thoughts on Abakuá, his role in the cre-ation of Ibiono, and his changing relationship with Afro-Cuban culturein the U.S.

WPR: Angel, could you tell me a little about what the Abakuá societymeans to you?

Guerrero: I belong to the Abakuá society because, for me, it’s like a bigfamily. Many times I’ve received help from the Abakuá society. For exam-ple, when I was in Cuba and won the visa lottery to leave the country –because you know it’s very expensive to leave Cuba even when you cando it legally – the Abakuá people, my ecobios, brought me the money forthe paperwork. When I got to the United States the first place I went wasto the house of an ecobio in Miami. That’s what I mean by family. Any-where I go I meet Abakuá people – in Boston, New York, New Jersey – Imeet Abakuá people and we help each other out.

WPR: You use the word ecobio to refer to other Abakuá members. How isthat different from asere [sometimes spelled acere] which is used inCuba among guys talking to each other on the street?

Guerrero: Ecobio is “brother,” someone who has a link to you throughthe religion. Asere is “friend.”

WPR: In the past, people used the word ñañigo to refer to Abakuá mem-bers. What do you think of that word?

Guerrero: Ñañigo is a disrespectful word. Many people used it to dis-criminate against the Abakuá society. We are not ñañigos, we areAbakuá, you know? And also, the name of the [masked Abakua] dancer isireme, but people used to call it diablo [devil]. The devil [laughter]!? Sothat was the way they used to talk about Abakuá and say “these peopleare very bad, they kill people.” But, we are Abakuá.

WPR: Some people talk about Abakuá as a “fraternal society,” but oth-ers call it a religion. Which do you think is more accurate, or is it both?

Guerrero: Both. For me it’s both. It’s a religion, of course, but it’s a broth-erhood also. I never try to separate one side from the other. They go

together, the religion and the fraternity, the friendship, the relationships.

WPR: Tell me about the CD you made called Ibiono. My understandingis that this is the first commercial recording consisting entirely ofAbakuá music. Is that true?

Guerrero: Yeah, I think so. There are some other recordings – ChanoPozo, Mongo Santamaria – but this is the first one that is completelyAbakuá music. The recording was the idea of Dagoberto González, a musi-cian with Pablo Milanés. He did a similar project on Yoruba music withAbbilona so, he told me he wanted to do something similar with Abakuá.So I went to some Abakuá that I knew; good musicians and good people.I talked to everybody about this work and they all told me “you are theguy to do it.” You know, the Abakuá is a secret society and many peopleare scared to talk about it, to sing [in public]. But I know what I’m sayingand what I’m singing. It’s not a problem – it’s just music. You can go tothe plante [building where Abakuá ceremonies take place] and hear themusic, no? But, I had to explain it to people in the right way. Right now,in the Abakuá society, things are different than in the past. Many yearsago, you could go to the plante and hear an entire hour of tratados [longsung treatises]. Right now, you go to any Abakuá party and the peoplejust want to play ñongo [a popular batá drum rhythm], to play music anddance, but they’re not able to do a long conversation [in Abakuá]. So,many people thought it would be a good idea to do this so that the youngpeople could learn to sing, you know? Ibiono was also an opportunity forthe Abakuá people, though. For example, if you’re not Abakuá or if you’reoutside of Cuba, the only way you can hear Abakuá music is to get the CDof Los Muñequitos, AfroCuba de Matanzas, or Yoruba Andabo. If they playnine rumbas, only one will be some Abakuá thing. With Ibiono, the wholething is Abakuá and it’s also the first time we’ve used the Abakuá instru-ments. Because you know the rumba groups play with a tambor [lit: drum;meaning tumbadoras or conga drums]. In this case the whole thing waswith the Abakuá instruments. That was the idea behind Ibiono.

WPR: Since it was made in Havana, is this more of a representation ofthe Havana style of playing? If it was made in Matanzas, would itsound different?


Angel GuerreroInterview and transcription By Nolan Warden

Guerrero: Yes, it’s a different sound so on the first track [“Bacoco”] weplay the efo music in Matanzas style then, in the second part, we playHavana style.

WPR: You mentioned that Abakuá is a secret society, but here is at leastsome of the music recorded on a CD. You also mentioned that anyonecan go to a plante and hear the music. How much of the society is stillsecret these days?

Guerrero: Well, it’s not a secret to go to the plante and hear the music.What’s secret is the ceremony we do in the church [plante or ceremonialhouse]. So it’s not a secret for everybody. You can go to the Abakuá partyand hear the music, it’s okay. You can even see people get initiated and allof that ceremony before we go inside the church. So, the music is no secret.Ibiono is even in Cuban music like salsa, people say “ibiono, ibiono.”

WPR: What does that mean?

Guerrero: It means to play with groove, you know? To play good and notloose the clave! When everybody’s singing to the music, that’s ibiono.But, this word is also used in popular music when people say “ibiono,ibiono.” It’s origin is in Abakuá.

WPR: The connection between Afro-Cuban religious music and popularmusic is often unnoticed by those who are unfamiliar with the religions.Could you tell me how you see Abakuá represented in popular music?

Guerrero: Well, for me when you listen to son, and rumba, it’s Abakuámusic. The clave, the tambores, the rhythms, it’s almost the same. Forexample, in many rumba songs they take Abakuá words. The famousrumba “guaguanco amana amana berio” [from the song “Mañana”] comesfrom the Abakuá words “amana amana umbario.” It’s Abakuá, but the peo-ple in the rumba say “guaguanco amana amana berio” without knowingthe meaning. It’s the same with the song “pa’ ‘lla tumbadores, pa’ ‘lla”which is used in rumba and carnaval. That comes from Abakuá, but it’s“illa llumba o, illa.” But now, many times you go to the plante and theAbakuá people say “pa’ ‘lla tumbadores, pa’ ‘lla.” In the Abakuá party!

WPR: Oh, so it got reversed!

Guerrero: It’s reversed. It’s supposed to be “illa, llumba o, illa.” There aremany mistakes. Even the drumming has changed. For example, in Matan-zas, the drumming is slower than in Havana. In Havana, the Abakuá musicis too fast. It’s terrible, the music right now. It’s terrible to sing, it’s terri-ble to dance.

WPR: Why do you think it’s so much faster in Havana? Has it changed,or was it always like that?

Guerrero: You know, it’s a big question. All Cuban music is getting faster –in timba [popular Cuban dance music] it’s the same way. In the Yoruba musicright now, people don’t play it like 20 years ago. Even here in Chicago – peo-ple play for San Lázaro, Obatalá, and Aggayú – you’d think it would be slow-er because it’s for the elder Orishas [Yoruba deities], but it’s very fast. It’sthe same in the Abakuá music, but it’s better to play slowly so you have morespace to sing, you know? In Matanzas they play the ekon [bell] slowly andthe music slowly – you can sing. These problems can be fixed, but peopleneed to go to the elders and learn. Here it’s different – you can listen torecordings in your house, you have internet. In Cuba, you go to the [Abakuá]party and that’s the only way to learn to sing.

WPR: In Son music there is sometimes a bongó technique that rubs a fin-

ger across the drumhead to get a moaning sound. I read somewhere thatthis technique comes from the Abakuá drum called bonkó enchemiya. Isthat so?

Guerrero: Yeah, yeah, many people use that [technique] in Abakuá. It’s thesame. Bonkó and bongó – it’s coming from the Abakuá word. It went to thepopular music and they changed the word: bongó. It comes from bonkó.

WPR: I’d like to talk to you a little bit about your activities in Chicago.Right now there seems to be a growing need in Chicago for people whocan perform religious ceremonies, people who have a deep connectionwith Afro-Cuban culture in general. In Cuba you only practiced Abakuá,but now you are beginning to be involved in other religious practices. Isyour relationship with other Afro-Cuban religions changing or gettingstronger since you moved here?

Guerrero: Yeah, it’s very strange. In Cuba, I never sang Yoruba music,never. But, right now in the United States, I’m singing the cajón pa’ muer-to [ceremonies for the dead], the Yoruba music, and Palo. It’s beautifulright now, far away from my country I can do many things I never did inCuba. It’s interesting, yeah. Every time I think about it, it’s a… it’s cool.Maybe this year I’ll get santo [get initiated in Santería], but right now I’monly Abakuá. In the end, I think the Abakuá… for me it’s good. I’m proudto be Abakuá. �

*The final, edited version of this article was approved by Mr. Guerrero.Abakuá is also sometimes spelled “Abacuá” or “Abakwa.”


13

Chicago Didjeridu Chorus Tibetan Buddhist Center Benefit

Harris Theater July 28th, 2007


KoSA XI Vermont Festival

Michael Wimberly & Co. John Amira Cassio Duarte Giovanni Hidalgo

Aldo Mazza, Director (center)KalaniFaculty and students

Glen Velez

Clayton Cameron Robinson Class

Valerie Naranjo Marie Josee´ Simard

Grand Finale Concert

The eleventh edition of the KoSA International Percus-sion Workshops and Festivals offered its total-immer-sion educational experience to over 100 individualsfrom many nations, of all ages and of all skill levels.Held at Vermont’s Johnson State College, in JohnsonVermont from August 7th to 13th, 2006, participantscame from the United Kingdom, Belgium, Canada andthroughout the United States to experience a renewedsense of self, both as human beings and as musicians.

For all those who experienced the magic of KoSA thisyear, the event, without a doubt, delivered on thepromise that anyone attending KoSA would "rediscover(their) soul". Photos here are only a sampling of thewonderful faculty featured. Nightly concerts dazzled,Hudson Music teamed up with KoSA to release the first“live at KoSA” DVD and four scholarships were onceagain graciously awarded by Tama, Mapex, FactoryMetal and Evans.


KoSA Cuba/Havana Drum FestivalFor the fifth year, the KoSA Cuba Workshopsteamed up with the Havana Drum Festival andheld an unbelievable educational experience atthe historic Havana Libre Hotel. Participantscame from diverse parts of the world such asBelgium, Switzerland, Ireland and North Ameri-ca. Masterclasses and intimate hands-on classeswith Cuban greats were led by the following dis-tinguished faculty: Giraldo Piloto, El Peje, Oliv-er Valdéz and Julio el Pechere. Conga artistsincluded El Panga, Julio, Jesus Abreu, YaroldiAbreu and Rumba specialist Alexis. The HavanaDrum Festival concerts featured legendaryCuban artists such as Tata Güines, Changuito,Giraldo Piloto and Klimax, Yaroldi Abreu,Caraibe Girls, El Panga, Eliel, Oliver Valdes,Miguelon Rodriguez and Los Tres de la Havana.Participants also enjoyed a visit to the musicalinstrument factory of Havana, a traditionalRumba party, nightly performances and a com-petition held in conga, bongo, timbales, bataand drumset. Aldo Mazza and Memeo Acevedoplayed solo as well as sitting in with Klimax.

www.kosamusic.com or [email protected]

WPR: You were pro at 15! Was your family a great influence? Was it a

mixed blessing to be a young professional?

Puente: My fathers name is Emilio Puente and he exposed me to the

beautiful world of percussion and the music that it involved. This was

surely a blessing to my young career. In 1963, at the age of 5 years old my

dad Emilio took me to see that great Puerto Rican institution called “El

Gran Combo” I was watching the three percussionist Marc Quiñones on

congas, Pacheco on timbales and Roberto Roena on bongos. It was a

mixed blessing because while my cousins were on skateboards, bicycles,

etc… I was inside my room learning about rhythms, beats and drums.

WPR: Who were some of your other first influences and whom did you

study with for timbale and congas?

Puente: My first influences were Tata Guines, Marc Quiñones, Roberto

Roena and Ray Barretto. I studied with Mr. Ramón López (conga player

with Stan Kenton) and then Giovanni Hidalgo.

WPR: You were just 15 when you began your professional career. How

did you handle the pressure?

Puente: Yes, at 15 years old I was called to play with La Lupe. Being only

a teenager it was a brand new experience for me, my heart raced fast and

I could hardly sit still before the performance. Finally, La Lupe walked

over to me and said “just play like you know how, it will be ok”, her pep

talk calmed me down.

WPR: You’ve played with some really great musicians. Please list some

and tell us about some of your most memorable gig or recording experi-

ences.

Puente: Larry Spencer w/ La Lupe, Oscar Hernández w/ Justo Betancourt,

Gilberto Díaz w/ Sabor de Nacho, Alex Acuña w/ Don Moen, Giovanni

Hidalgo, Eddie “Gua

gua” Rivera and a

great new talent in

Smooth Jazz Eric Dar-

ius.

WPR: How would you

describe your style

and how do you see it

evolving?

Puente: My style is a

fusion of Classical,

R&B, AfroCaribbean,

Be-Bop all mixed in

one. I am a product

of all of these styles,

the way I play, the

way I hear, the way I

write music.

WPR: Share some of

your thoughts about

the spirituality of playing music.

Puente: As a Music Minister for the Church of the Nazarene in Tampa,

FL, I praise God for creating music. The bible says in Psalm 150 “Let every-

thing that hath breath praise the Lord. Praise ye the Lord.”

WPR: Congratulations on forming your own group! How did your (great!)

song, “JESUCRISTO.COM” come about?

Puente: Thank you Terry. I created a situation in a song that people

could relate to. Today we live in a fast paced world full of computers

and electronics, etc…. The song shows that even through a computer

Jesus could touch you in spiritual way. I must mention my partners in

this song are Willie Molfulleda and Eddie Mercado helping with arrange-

ment.

WPR: Tell us about your set-up and tips for up-keep and tuning.

Puente: For the Salsa gigs it is either a set of congas, bongos, or tim-

bales. For jazz gigs it would be all of the instruments mentioned above

plus about thirty extra percussion toys I use. I always treat my instru-

ments with the most care possible. They are my bread and butter in

music.

WPR: What is your advice for percussionists who’d like to take it to the

next level?

Puente: Stay open minded to all styles of music, new and old, American

and non American, World Beat.

WPR: What are your plans for the future (short and long term)?

Puente: My plans are as follows: To spread God’s good news that Jesus is

the only way, to continue to be a better husband to my wife, a good

father to my children and finally to be a man of integrity.�

Jay Puente myspace.com/jaypuenteproject

By Terry Reimer



WPR: Tell us about Ozomatli, a little history of the band.

Poreé: I started with the band from the beginning. Actually like just twomonths after its inception, when I was about 17 or 18 years old. I've beendoing it ever since you know, touring and doing the whole thing.

WPR: When the group started was it sort of like a community situation?

Poreé: Yeah, Will Dodd the bass player was working at a communitycenter called Peace and Justice Center in Los Angeles, downtown. It wasa group dedicated to the youth in the area. It revolved around art andculture and teaching kids other things than what they're going to get inthe normal public school, expanding their minds.

WPR: And that's still going on?

Poreé: No. That center has shut down since then, but a whole scenekind of spiraled out of that place. There's a lot of bands like Quetzal inLos Angeles that kind of came out of that scene and Asian Undergroundand other bands.

WPR: How do you work out the arrangements-the drummer and all theother percussionists?

Poreé: It just kind of falls into place. It's a collective so everyone's inputis put into a song before it becomes a song. That's what makes an Ozosong. So ya' know we try to bring different vibes from different culturesand different places around the world, mixing Latin music with dumbek.It's not very common.

WPR: When I met you I thought you were Latino and you mentionedthat you were a Choctaw.

Poreé: Yeah, Creole and Choctaw Indian.

WPR: How did you learn to play a badass shekere like that?

Poreé: I was kind of just thrown into the fire, man. In LA when I firststarted learning, one of my teachers, Liz Gonzales, a girl that I went to amagnet high school with, started me off. She was in the jazz band. Shekind of sat me down, started me off and then soon after that when Igraduated I started doing Toques, hanging out with a lot of Cubans doingBembes and Palo and Guiro in LA. Long John Olivier passed away recent-ly. Actually the first Guiro I went to was with him and I didn't know, hejust took me to his house. I didn't know what was going on because I hadnever been exposed to that and he just gave me the shekere then I went.I just started playing man.

WPR: Various religious beats as well as...

Poreé: Yeah, I'm not in the religion but I play. I know a lot ofCubanos who are and I play a lot in a lot of ceremonies in LA whenI'm around. Palo's my favorite.

WPR: What's next for Ozomatli?

Poreé: Just more touring and we're going to take a break in about amonth and try to write a new album. We've got a new DVD comingout, in a couple months, in August.

WPR: What was it like to open for Santana?

Poreé: Yeah, it's amazing man, like that's Latin music 101 ya' know!We were in the D.F. (Districto Federal) with them hanging out and youknow me and Karl [Perrazo] and Bobby [Allende] got a chance to sitdown and rumba a little bit. Those guys are amazing. [Raul Rekow isback in the band now.]

WPR: Canyou fill us inon some ofthe thingsthat you'replanning ondoing withthe newalbum?

Poreé: Whenwe start out,we never talkabout con-cepts. Wekind of justgo with it butwe've beenwriting a lotof songs, lis-tening to a lot of Motown stuff so we're doing some soul stuff and what-ever is, I don't know. You can't really categorize our music. Whereverlife takes us, that's where we go.

WPR: In terms of all the switching around you guys do in the section,how do you work that out, like when you're switching from timbales toconga?

Poreé: It just happens man. We try new things, try new instruments andwhen it works then we use it. It's hard when you switch instruments alot. I do rap vocals too. It takes a lot of your wind trying to play timbaleand then conga. It takes a lot of energy and remembering what you'regoing to do and to just breathe. Sometimes it gets difficult because of thesticking and the positioning of the hands is different. We play moreshows per year than we're home. So it's like off the wall, kind of like sec-ond nature. You don't even think about switching, you just do it. Yeah,just breathe and Red Bull! �

Mani Bances, Justin Poreé, Carlos Cornier

Justin “Niño” Poreéof OzomatliBy Mani Bances and Carlos CornierTranscribed by Eric Lieb and Mani Bances

Justin Poreé and Jiro Yamaguchi

Photo by Mani Bances

Photo by Allison Neiderkorn


18

Hamid Drake, Michael Zerang— Winter Solstice

Chicago Rythm Scenephoto by Terry Reimer

53rd Annual Powwow, American Indian Center

photo by Terry Reimer

John Yost with Taiko, Millennium Park

photo by Mani Bances

Bances/Marsh Senior Drum Circle


Mani Bances, Fred Armisen at Weeds Carlos Cornier Benefit, OldTownRich Conti, Paul Cotton, Carlos Cornier

photo by Juan J. Martinez

Carlos Cornier, Mani Bances- Hot House


Aztec drums and dance, OTS Folk and Roots Fest


Funkadesi 10th Anniversary, Hot House

photo by Terry Reimer

Gingarte Capoeira, OTS (Carlos Cornier Benefit)


Erica Azim (center) leads a Zimbabwean mbira workshop.

“I’ve been

wanting to

do this all

my life!”

photos by Terry Reimer


Mani Bances, (2nd from left) with Picante fans—Hot House


Heitor Garcia, PC, Mani Bances—Chicago Cultural Center

photo by Gingi Lahera

Rich Conti, Carlos Cornier, Mani Bances, Rhythm Brothers

Kwame (Steve Cobbs) and Maninder SinghBackstage, Hothouse. Funkadesi

10th Anniversary

Terry Reimer with OTS Latin Jazz class

Lenny Marsh and Mani BancesField Museum

King Tut / Egypt Event

63rd Street Conga Drummers’ Association


photo by Leonard Ferris

photo by Jennifer Horton



Jammin’ at OTS Folk and Roots FestMembers of Minianka Drum & Dance,

Jeremiah Silas (right)

Bogota, Colom-

bia as a consul-

tant. I came

from the town

of Armenia,

Colombia. I'll

have a studio

there and bring

instruments. I'm

trying to work it

out with the

government to

bring the instru-

ments without

paying taxes. I

earn my way

now. I think it's

going to hap-

pen. They can

come and prac-

tice. We'll supply the mallets and form a non-profit group. I'll have the space

for them to practice. I have plenty of music teachers from the States who

would love to go there for free just to be in Colombia. I've got three or four

of them. One went with me and stayed in my apartment. They can stay for a

week or two teaching there. Many people are waiting for me to move there.

There's a guy from Missouri, Dave Robbins from Indianapolis and a woman

from Chicago. She's been to Europe. She's teaching the group I sponsor; the

Holy Cross Group in Chicago. It's an all marimba group. She'll go to Colombia

too. I'll try to bring the high quality, bigger marimbas, the 3+1/2's and the 4's.

WPR: Does the government support the music scene in Colombia?

Serna: Music is strong

in private schools. The

government is pretty

much like the American

government with a Con-

gress and Senate. There

are Foundation pro-

grams. The National

University in Bogota

has a good program.

There is a group going

from city to city there. The government supports the arts better now. The last

government took away money because of the war but the terrorists are all

over. Most of them are in Venezuela. The President isn't doing anything. The

terrorists just go into Colombia and blow up a town and the government can't

destroy them because they're trying to protect human rights. Give me a break!

A lot of people may not look at it that way. But I think it should be called

"criminal rights protection". They put bombs on burros, put them in the cities

and blow them up with remote control. You cannot touch them. It's a joke. My

niece was murdered nine years ago in Bogota. Two of the bodyguards man-

aged to get to them. They were going to put them in jail but they lost their jobs

instead because of the human

rights. For nine years now I've

hated them. The following year,

the Head of Human Rights was

murdered.

WPR: Too much war and not

enough love and art and music,

huh?

Serna: I know. When I go there I

am going to use good wood that is

there, not far from the city of

Armenia. It's "Cedra Roja" or Rose-

wood. I have some here with the

same name and color. I'll bring it,

cut it to the size of the bar and it

sounds very close. I can build the

instruments there. We have steel,

iron, big foundries there. Everything is there. But I need time. I need help from

the government to make sure they're not going to touch me. I'm getting an

agreement that the equipment can't be sold, only used for teaching purposes.

It's almost certain that the government will do it.

WPR: Who will take over Century Mallet Instrument Service for you?

Serna: My brother is in the jewelry business. My son is 26 years old and works

for him. My daughter is here. I wish they were interested in the company. But

if all goes well, Gabriel Arallano will take over in June. I want him to stay.

There's no other way. The business is going to be even bigger. There's going

to be an expansion. He's going to keep the business going. He never missed a

day and didn't leave the country for five or six long years. I put 60-70 hours

per week in, working here. I trained the guys working here now. I'll have more

free time to go around and do what I want.

WPR: Do you have any hobbies?

Serna: I used

to go fishing

with my broth-

er in Wiscon-

sin and Cana-

da on fishing

trips. They

bring you in to

the wilderness

and you're on

your own out

there. It was

fun. �


Gilberto Serna with his award from the Percussive Arts Society

Deagan Clocktower

1770 W. Berteau and Ravenswood, Chicago

Continued from page 5


Jamaica drum scene - Photos by Patsy Crocker

Hot House 3rd Annual Jazz en Clave Fest(All photos by Terry Reimer)

CubaRican Charanga All StarsJimmy Sabater, Ruben Rodriguez, Johnny Rodriguez, Alfredo de la Fe

Jimmy Sabater, Terry Reimer

Jane Bunnett and Spirits of HavanaDafnis Prieto (kit) Quintet

Bobby Matos and the New York Latin Jazz Allstars in clinic Isabelino Landor, Terry Reimer, Bobby Matos

Traditional Orisha Drumming— Jamaica

Junkonnu

Fi-Wi Sinting

Annual African

Culture & Heritage

festival,

Portland, Jamaica

Junkunno Jamaican Drummers


BEAT GALLERYBEAT GALLERY

Artwork and background by Charlie Rosariophoto by Terry Reimer

…the drums crashed and echoed

through the concrete and glass val-

leys of Manhattan –drums crashing

down buildings and splintering high-

ways into crying asphalt – the drums

hurtling trucks and cars to the neon

heavens, the drums eating the

oceans and splashing the mountains

into falling ash and debris clouding

over the planet, while the lonely

piano drifted gloomily through the

night and the bass birthed rhythm

crying softly through the centuries

while the human race colored the

music with a labyrinth of passions,

and the saxophone kept birthing the

words and the bass formed them

into phrases and the piano keys

splintered the phrases into running

words and no one was quite sure...

and no one was quite sure... and

piano keys kept creating words that

ran around and around the urban

maze piano keys that crashed and

fornicated and birthed pregnant sen-

tences that grew into centuries…

Nelson Mandela’s Inaugural Speech, 1994

(Thanks, Mom for sharing this with me!)

I’m going to keep trying…Terry Reimer

Our deepest fear is not that we are inadequate.

Our deepest fear is that we are powerful beyond measure.

It is our light, not our darkness that most frightens us.

We ask ourselves, Who am I to be

brilliant, gorgeous, talented and fabulous?

Actually, who are you NOT to be?

You are a child of God.

Your playing small doesn’t serve the world.

There’s nothing enlightened about shrinking

so that other people won’t feel insecure around you.

We were born to make manifest

the glory of God that is within us.

It’s not just in some of us, it’s in everyone.

And as we let our own light shine,

we unconsciously give other people

permission to do the same.

As we are liberated from our own fear,

our presence automatically liberates others.

Charlie Rosario with his artwork and photo studio.

Terry Reimer with drums and mask art created by Charlie Rosario.

from The Exclamation Point(a 70,000 word long run-on sentence)

by Wolf LarsenWolfLarsen.org

photo by Charlie Rosario


I Am Music

Anonymous

I am music, most ancient of the arts.

I am more than ancient, I am eternal.

Even before life began upon this earth, I was here—in the winds and the waves.

When the first trees and flowers and grasses appeared, I was among them.

And when humanity came, I at once became the most delicate, most subtle

And most powerful medium for the expression of emotions.

In all ages I have inspired people with hope, kindled their love,

given a voice to their joys, cheered them on to valorous deeds,

and soothed them in times of despair.

I have played a great part in the drama of life,

whose end and purpose is the complete perfection of human nature.

Through my influence, humanity has been uplifted, sweetened and refined.

With the aid of humanity, I have become a Fine Art.

I have a myriad of voices and instruments.

I am in the hearts of all and on their tongues, in all lands

among all people, the ignorant and unlettered know me,

not less than the rich and the learned.

For I speak to All, in a language that all can feel.

Even the deaf hear me, if they but listen to the voices of their own souls.

I am the food of love.

I have taught people gentleness and peace;

and I have led them onward to heroic deeds.

I am comfort for the lonely, and I harmonize the discord of crowds.

I am a necessary luxury to all.

I am MUSIC.


24

GAHU: Part TwoBoba master drum rhythmsBy Mark Powerswww.powerspercussion.com

Last issue, we explored the bell (gakogui), rattle (axatse) and ‘supporting’drum rhythms from Gahu, a recreational dance of the Ewe people ofGhana, West Africa. Those drums were the kagan, kidi and sogo. Aspromised, this time we will take a look at a few of the rhythms played bythe boba, the ‘master drum’ that is commonly used dur-ing Gahu performances. The rhythms we will focus onhere are patterns found in Kokosawa, the slow sectionof Gahu. As we discussed in the previous article, Koko-sawa was the Yoruban style that the Ewes of Benin,Togo and Ghana rearranged and sped up. It is commonto hear this slower version performed before kicking into the newer, fastversion of Gahu. All of the rhythms introduced below are found in boththe slow and fast arrangements.

Master drum(mer)

The first topic I’d like to address is a misconception of the meaning of thetitle ‘master drummer.’ For many Westerners, the term immediately con-jures thoughts of a highly technical performer, a prestidigitator withspeed, power and, in general, impressive ‘chops.’ Although it is indeedtrue that these characteristics may very well be possessed by a masterdrummer, they do not even begin to explain the reasons for his title.

Let’s examine the master drummer’s instrument. The boba is a largedrum (mine pictured measures about 2.5 ft. tall, with a head diameterof roughly 16 inches) that is carved from one solid piece of wood orconstructed in a stave-style, much like a cooper’s barrel. The head ismade of antelope skin and, to facilitate playing, the drum is leaned for-ward on a wooden or iron stand. The boba is labeled the ‘master drum’because of its function in the music being played. Its role is to send audi-ble signals to the dancers and other drummers, cueing the necessarymusical transitions, breaks and endings.

Therefore, the ‘master drummer’ tends tobe the musician who can best evaluate thecurrent musical situation, quickly makedecisions as to where the music should goand clearly communicate the appropriatesignals. He must also stay aware of the energy level of the dancers, thedrummers, the singers- even the other attendees. The decision to movethe music in different directions might be affected by how well a sectionis being received by the audience, how tiring a particular step is for thedancers, or the fact that the vocalists have completed their accompany-ing lyrics. In my studies with Rubben Agbeli in Kopeyia, Ghana, he addedthat one cannot consider himself a master drummer until he knows howto play all the instrument parts for all of the [Ewe] songs, sing all thesongs, dance all the steps, and fix/rehead all the drums.

There are many embellishments that can be added to each of the bobapatterns. Ewe musical traditions and the drum’s role at that moment dic-tate which are and aren’t acceptable. Only immersing oneself in the cul-ture and studying their music firsthand will bring about the understand-ing to discern between them. For our purposes here, we are looking onlyat the primary rhythms (without embellishments) played during these sec-tions of Gahu. That said, let’s take a look . . .

Basic/Free Movement

The first pattern, often called ‘basic,’ accompanies the ‘free movement,’

a relaxed step during which the dancers enter the staging area and forma circle, swinging their arms loosely from side to side. The boba playeruses two large drumsticks and plays a basic phrase consisting of two muf-fled strokes, followed by a series of normal (open) stick strokes. Get theshort, higher-pitched, muffled strokes by pressing into the drumhead withone fist while striking the head with the opposite stick. As in the previousarticle, we will use both boxed and standard notation styles. In our boxednotation, the muffled strokes are represented by the letter M and regular(open tone) stick strokes are shown as a bullet (∑). Each box representsone subdivision, or small, equidistant unit of time. In the standard nota-tion, the regular stick strokes are written as regular noteheads and themuffled strokes are seen as X’s.

Rolling

After allowing the participants to enter, dance and sing to the rhythms ofthe free movement, the master drummer sends a rhythmic cue to leadeveryone seamlessly into the next section of the performance. Beforesending that cue, he needs to make sure that he has the attention of allpresent. To do that, he plays a short, intense passage called ‘rolling,’ cre-ating excitement and anticipation for the upcoming variation. All drum-mers maintain their original patterns throughout this section. The dancersrespond to the call of the master drum by shouting and waving their armsin the air.

Signal

After a couple repetitions of the rolling phrase, the master drummers sig-nals the change into the next section of music with an obvious signal. Thesignal again utilizes regular and muffled strokes.

Serious Movement

That signal leads the entire ensemble- drummers, dancers, singers andbystanders- directly into the ‘serious movement.’ The intensity builds; thesogo player switches to a busier, energetic 16th-note rhythm; the dancersbend towards the ground, throwing their arms in front of them to matchthe steady quarter-notes being played by the boba. In addition to the loudpulse he’s playing on the drumhead, the master drummer often addssharp stick shots on the side of the drum shell. This creates a more bal-anced rhythm and infuses yet more volume and excitement. The shellstroke has been notated as a letter S (boxed notation) or a circled X (stan-dard notation).

Sogo:

M — — — M — — — • • — • • — — —

• — • • • — • • • — • • • — • •

• • - • - • • - M - M - • - M - • • - • • - - -

• • • • • — M — • • • • • — M —

Boba:

Ending


• — S S • — • — S S • — S —

S - - S - - S - - - S - S - - - • • - • • - - -

I hope that this series has offered you fresh insight into the rhythms of Gahu. Please feel free to contactme anytime at: [email protected] or 920-410-0465.++++++++++++

Mark Powers has studied and performed throughout the United States, China, Thailand and West Africa.His teachers of world percussion styles include Emmanuel and Rubben Agbeli, Inchai Srisuwan, Carlin-hos Pandeiro de Ouro, Jorge Alabe, Mamady Keita, Jerry Leake and Takaaki Masuko. Mark is a freelancepercussionist and educator in Salem, Oregon and co-holder of the Guinness World Record for longestdrum roll by a group. He can be found online at: www.powerspercussion.com

Boba

After Kokosawa’s serious movement, the master drummer sends another signal, this time to cue the end-ing of the performance. This final signal is identical to a rhythm known to many as ‘clave,’ which perme-ates a great deal of the music from Africa, South America and the Caribbean. The drummer will often playthis phrase with both hands in unison- the right stick rapping against the shell of the drum; the left handletting its stick strike the rim of the drum while simultaneously playing a closed-fist stroke in the centerof the drumhead. Immediately following this signal, the drumming concludes with ‘gede-gede’ (right, left-right, left)- a short series of boba open strokes.


Paoli MejiasTranscend (paolimejias.com)Paoli Mejias' first CD, Mi Tambor, wasnominated for a Grammy! This is hissecond CD. At a young age, Mejias hasproven that he is a master of percus-sion on congas, bomba drums, djem-be, bongo, cajon, timbales...he canplay them all and he can play allstyles with extreme skill and "sabor"!Mejias was born for this and we're

grateful for his gift. On this release he partners with some of the best;Hans Glawischnig, Luis Perdomo, Antonio Sanchez, Jaleel Shaw and MiguelZenon. Also featured are 13 of his peers including the likes of Yan CarlosArtime, Ralph Irizarry, Jerry Medina, Javier Oquendo and Ricardo Pons.Mejias dedicates this CD to the island of Puerto Rico.

Annette A. Aguilar & Stringbeans: No Cheap Dates (Stringbeans)Selected as Latin Jazz Ambassadors of '03 and'04 for the US State Dept. and the KennedyCenter and Jazz at Lincoln Center. She electri-fies with her dynamic style! "We have alllearned from their struggle and perseveranceat a time when women were looked at as sec-ond-class citizens. Being able to play and studythe music of Afro-Cuban and Brazilian jazz andmusic in general is a gift...and a commit-

ment...not a cheap date." Aguilar proves she has what it takes to be Leader onconga, djembe, bongos, marimba, pandeiro, repinique, tamborim, surdo, cajon,snare and percussion. She plays with some of the best; Eddie Bobe, Vince Cheri-co, Victor Rendon, Glenn Jude Healy, Scott Kettner, Cliff Corman, Harvie S.

Jay Puente: Jesucristo.com (His Time Inc.)Jay Puente is a "Music Minister", tours withEric Darius, and has his first hit single beingheard in Tampa, Orlando, Puerto Rico and onthe web. Puente has recorded over 20 CD'sand shared the stage with artists such as Gio-vanni Hidalgo, Alex Acuña, La Lupe, JustoBetancourt, Gumbi Ortiz, Larry Spencer andWalfredo Reyes Jr. He turned pro at age 15. HisAfro-Puertorican style was influenced by thegreats, Tito Puente, Cachete Maldonado, Mil-

ton Cardona, Ray Barretto, Patato, Tata Güines, etc. There is only one song onthis CD but it's one of my favorites. I listen to it over and over and over!

Bobby Matos: "Acknowledgement" ([email protected])Matos plays congas, timbales and sings coro onthis wonderful CD. "Chango's Charanga"... has thisdriving force which can only be akin to a musical"Holy Spirit" that grabs you and makes you wantto get up and dance!"-Jud Matos. All songs werecomposed and arranged by Bobby Matos, exceptthree composed by John Coltrane and one co-

arranged with Theo Saunders. Matos: "This is real music created by real musi-cians who care passionately about their work. It is meant to heal and directenergy toward self-realization and the well being of all humanity. *The nextissue of WPR will feature an interview along with his latest CD!

Dafnis Prieto: Absolute Quintet (Zoho)Drum kit player extraordinaire, Prieto isinfluenced by European concert or chambermusic, Africa, Spain, France and Italy andtheir influence on the music of Cuba. Prietowrote all the tunes. He uses the full kit, play-ing orchestral patterns and complicatedrhythms along with a strong clave groove.The fast improvisations, romantic melodies,percussive drive are amazing. Prieto com-bines strings, Hammond organ, keys and

horns into his supercharged music. Jason Lindner: organ, keys and vocals.Yosvanny Terry: alto, tenor and soprano saxes and shekere. ChristianHowes: violin. Dana Long: cello. Henry Threadgill: alto sax on track 4.

Ubaka Hill: Beyond the Wind (Splevine Music Network)With the ShapeShifters and Drumsong Orches-traUbaka Hill has been an inspiration to so manythroughout her 30-year professional career.She is a native New Yorker, drummer, percus-sionist, vocalist, songwritier, composer, poetand teacher who has passion and vision toinspire joy and positive soulful change for thehealth and well being of all. She is the

Founder/Director of the Drumsong Institute Museum of Women's Drum andPercussion Traditions. She is the Musical Director of ShapeShifters (with JudyPiazza, Valerie Naranjo, etc.) and Founder/Director of the Drumsong Orches-tra, a national, folkloric, multi-cultural ensemble of female drummers.

Alex Garcia: Afromantra/Uplifting Spirit (AfroMantra Records)The rhythms of the Carribean, South Americaand hardbop jazz, with a strong Afro-Cubanflavor influence Garcia. All the compositionsand arrangements on this CD are by Garcia.His mother is a dancer and choreographerand his father was a musicologist and com-poser of contemporary classical music. Mov-ing from Chile to Peru to Cuba to New YorkGarcia has witnessed all the styles and many

of the greats live from traditional to modern, in jazz and beyond, His musicconveys spirituality and optimism. His trap playing is full of polyrhythms,passion and skill.

Forward Kwenda 2006: Bass NemakondeTuning (Mbira)Kwenda is one person but sounds like a fullgroup! He is considered by many to be thegreatest living mbira player today. In Zimbab-we, ancient spirits come to help the livingbefore Kwenda can finish playing one mbirapiece; thus his mbira style is considered moreancient than other styles. The deep sound andhypnotic, circular rhythms and prayers arepowerful medicine. On this CD, Kwenda playsan extremely low Nemakonde tuning mbira, a

Compiled by Terry Reimer


third lower than his previous recordings. Mbira is a non-profit organizationdevoted to educating the public about traditional Shona mbira music of Zim-babwe.

Brazil: Performed by Pancho Cataneo YLos Cubaztecas (Elap Music Ltd.)This compilation of Brazilian samba, baion,samba batucada and rumba reflects Africanand Portuguese traditional music. Enormous-ly popular forms of dance music such as thesamba and bossa nova originated in Brazil.The samba was derived from West-Africancircle dances performed in Brazil by theAfrican slave population. A blend of nativeIndian, European and African cultures with

Afro-Brazilian/Catholic religious traditions developed into Candomblé. ThisCD presents some of the most popular and exciting rhythms. Syncopated,call-and-response singing combines with heavy and varied percussion fea-turing bateria drums.

Triplicate: Day and Age (Rhythmelodic Records)Dave Stanoch on trap set, Joel Shapira onelectric guitars and Bruce "Pooch" Heine onacoustic and electric basses form Triplicate.(See Dave Stanoch interview in WPR, VIII 1.)Dave Stanoch tops the call list of nationaland international entertainers. Stanoch stud-ied with Max Roach, Elliot Fine, Alan Daw-son, Jeff Hamilton, Ignacio Berroa, ClydeStubblefield and Chad Wackerman among

others. Now a master drummer himself, he is also an instructor at theMcNally Smith College of Music. Triplicate members write their own materi-al and adapt jazz classics. They've just released their second CD, Day & Age.

Paul Samuels: Speak (LKS Music)A drummer with rare musicality, Samuels hasperformed with many artists such as JamesMoody, David "Fathead" Newman, LarryCoryell, Hank Crawford, R&B artist GeraldLevert and many more. His hot and freshdelivery flows with ease and has the intellectand artistry to satisfy a seasoned jazz fan'staste while easy on the palette of a wideraudience. Samuels leads eight great tuneswritten by Monk, Coltrane, Wayne Shorter,

Frank Foster and Ornette Coleman. The title track "Speak", is an engagingconversation of musical intrigue written by Samuels, Osby (saxes) and Wall(organ). Jamey Haddad plays percussion.

Andres Chacon Y El Grupo Ire Ire: TamborLucumy (middlepathmedia.com,earthcds.com)This three disc set includes bata pieces ofArara; (Chacon is the only owner of a set offundamento Arara bata drums in Havana) Cal-abar, Kongo and Yoruba sources. Chacon wasraised near Havana, Cuba and was steeped inthe spiritual traditions of the region whosephilosophies and insights are expressedthrough the performance of percussion,

chants and movement. Each of the deeply rooted spiritual practices from thiszone is considered distinct and complimentary avenues to channel divinepower. Chacon learned from the master drummers of his day and is a con-duit from direct links with Mother Africa to the future.

Misterios: A Film by Giovanni Savino (Mag-netic Arts Productions, earthcds.com)Filmed in Haiti, the Dominican Republic andthe Bronx and NYC, Misterios is a journey intothe world of VUDU. "I was looking for SantaMarta la Dominadora, the most misteriousbeing of the VUDU Pantheon." From smallrooms, homes, open streets and village pro-cessions, Savino captures real people in realrituals. There are in-depth interviews, lots ofmusic, always great close-ups of the drums,the hand rhythms, the lead singers and coro,the clave, shekere, tin scrapers [güiro], bells.

There are altars, candles, foods, flags, baskets full of ritual objects andsymbols of Catholicism. Wonderful!

The Culture of Palo: Palo Music and OralTraditions from the Dominican Republic(Magnetic Art Productions, earthcds.com)(Spanish with English subtitles.) Giovanni Savi-no has produced the most remarkable DVDshowing the real people, instruments and tra-ditions of Palo. "While shooting the documen-tary about Dominican VUDU, "Misterios", Icame across a lot of wonderful music thatcould only find a marginal place in the fin-ished film. Here I assembled all of the "miss-ing" footage, often blurry, grainy and uneditedbut in my opinion priceless in an effort to

preserve a small part of the rapidly disappearing and mutating popularoral culture of the Dominican Republic." Absolutely priceless!

Tierrazo Jazz: Live in Puerto Rico, 1982 ([email protected])This DVD is a two-disk set with a total of 20pieces performed live and filmed lovingly andwith skill. The Jazz Festival Tierrazo, was cele-brated in December of 1982 in the Centro deBelles Artes in San Juan, PR. Featured are thegrand exponents of Latin Jazz. These famousgroups represent Brazil, Argentina, New York,Cuba and Puerto Rico. Just a few of the groupsare Batacumbele, Tito Puente, Irakere, TaniaMaria, Dave Valentin, Chucho Valdés and JerryGonzalez. This DVD is a treasure and a collector'sitem. One of a kind!

Ethnic Heritage Ensemble: Hot 'N' Heavy Liveat the Ascension Loft (Delmark Records)Kahil El'Zabar plays his earth drums (congas heconstructs himself), the mighty mite kalimba(African thumb piano), and the trap set "thatreleases many colors". Kahil El'Zabar has impart-ed a steady pulse to the music community ofChicago and beyond and has been one of themost prolific and innovative players for the last30 years. New member/phenom Corey Wilkesjoins him on trumpet, flugelhorn and percus-sion, Ernest "Khabeer" Dawkins on saxes andpercussion and Fareed Haque on electric and

acoustic guitar. Featured is a commentary and interview with El'Zabar. �

AcknowledgementsFirst and foremost, this thesis would not have been possible without

the support of my wife, Hilda Torres Urista. She has been supremely patientduring my reckless diligence to write this thesis. Like the princes and dukesof yore, she is truly a modern-day patron of the arts.

This thesis also would not have been completed without the willing-ness of the members of Grupo Cuero y Cajón. Luciano, Pedro, Silvano,Dairon, and Lekaim are excellent teachers and, it is fair to say, friends. Mythanks go out to them and their families for supporting my work by simplyallowing it to happen.

I am grateful to my adviser, Professor David Locke, who providedinvaluable feedback on my writing and wise guidance throughout my timeat Tufts. My thanks also go out to the other members of my thesis commit-tee, Professor Jeffrey Summit and Professor David Guss. I truly feel privi-leged to learn from this group.

Thanks to all my music teachers who helped make the study of musicmy life’s work. Thanks to Jeff Parthun, who gave me an important lesson by

tearing up the lead sheet to which my eyes were glued in eighth grade jazzband. Thanks to Mikael Ringquist and Ernesto Diaz, my primary hand per-cussion teachers at Berklee College of Music, and to Joe Galeota, the Eleg-guá of my studies at Tufts.

Thanks to Professor Jane Bernstein, who let me audit my first seminarat Tufts, to Professor Sarah Pinto who provided excellent comments onwhat became Chapter Ten, to Kristine Juncker for making me aware of thework of John Thornton, to Dan Dallis for letting me use some of his excel-lent photos, and to Professor Glenn Jacobs of UMass-Boston for providingstimulating ideas during the early stages of this research.

I would also like to acknowledge the Graduate School of Arts and Sci-ences at Tufts for their financial support, and Rubén Salinas Stern at theLatino Center who helped navigate the process of making my trips to Cubalegal.

Last, but no least, I would like to recognize my parents for theirunconditional love and support during my life’s path. Words cannot expressmy thanks to them.


Nolan Warden has generously agreed to share a bit of his Master’s thesis

with us. His extensive work highlights the cajon as it is used especially in

ceremonies for the dead. In addition to the research paper, photos and

charts, Warden has included three audio CD’s and one DVD-R of perfor-

mances by Grupo Cuero y Cajon. In this issue of WPR, we run the abstract,

acknowledgements and the table of contents along with a few photos. In

the next issue, we will be privileged to share a short version of the com-

plete thesis, (that now runs almost 200 pages)! I’m looking forward to it!

28

AbstractCajón pa’ los Muertos ceremonies are relatively unknown compared

to other forms of Afro-Cuban religious music. As such, this is the first in-depth study of these heterodox musical ceremonies for the dead, whichcombine Espiritismo, Palo, and Santería, among other religions practices.

Grupo Cuero y Cajón, from Poglotti, Marianao (Havana), are the casestudy for this thesis. Personal fieldwork with them over the past six yearshas led to this presentation of the drum rhythms they use as well as over

two hundred songs from their repertoire, analyzed for their cultural andspiritual significance.

This thesis is written from the framework of transculturation andforegrounds the role of musicians in the emergence of new traditionsthrough the use of cohesive acts. It also studies the antecedents of Cajón,issues of pragmatism in ritual, Cajón as a site of preservation and innova-tion, and suffering as expressed in popular religion.

CAJÓN PA’ LOS MUERTOSTRANSCULTURATION AND EMERGENT TRADITION IN AFRO-CUBAN

RITUAL DRUMMING AND SONG

A thesis, submitted by Nolan WardenIn partial fulfillment of the requirements for the degree of Master of Arts in Music (Ethnomusicology)

TUFTS UNIVERSITYAugust 2006 ©2006 Nolan Warden Adviser: Professor David Locke

INTRODUCTION 1

ENTRADA—ENTRANCE 1AL LECTOR—TO THE READER 2GRUPO CUERO Y CAJÓN 4LIMITATIONS OF THIS RESEARCH 9TRANSCULTURATION 10PRAGMATISM, INNOVATION, AND PRESERVATION 16OVERVIEW 17

PART ONE

CHAPTER TWO: ESPIRITISMO 22

ORIGINS 22THEOLOGY/PHILOSOPHY 23ESPIRITISMO IN CUBA 25MUSIC 32

Luciano, Pedro, Nolan Warden, and Silvano

All photos by Gail GennusoNotes by Gail Gennuso and Lonely Planet

These photos show a Nubian singer, drummer and boat hand and the Captain of the boat playing framedrums. School children were also seen playing these drums and singing. Nubian music is conspicuouslyabsent from Egyptian or national TV and radio but Nubian artists sell rack-loads of CD’s and play to sell-outaudiences in Europe. The biggest name is the late Ali Hassan Kuban. Unlike Arabic music with its jarring useof quarter tones, Nubian music is extremely accessible. The music has a rhythmic quality that is almostAfrican, mixing simple melodies and soulful vocals. Nubian culture is closer to Sudanese culture than it is toEgyptian or Arabic culture. Some names to look for are Salamat, Hamza Ad-Din, the Kronos Quartet, SayyedGayer, Ahmed Monieb or Mohammed Hamam. The only place to pick up some of this music in Egypt, is inAswan music shops or try to get yourself invited to a Nubian wedding.


29

CHAPTER THREE: BANTU ANTECEDANTS 34ETHNICITY 34RELIGION 36MUSIC 40

CHAPTER FOUR: LUCUMÍ/YORUBA ANTECEDANTS 43ETHNICITY 43RELIGION 44ON “SYNCRETISM” AND “SANTERÍA” 48MUSIC 56

CHAPTER FIVE: OTHER ANTECEDANTS 62MARIANISM AND POPULAR CATHOLICISM 62TUMBA FRANCESA 63ISLAM 64

PART TWO

CHAPTER SIX: CAJÓN (THE INSTRUMENT) 67ORIGINS 68ORGANOLOGY 70CAJÓN AS A SUBSTITUTE 74CAJÓN: NO LONGER JUST A SUBSTITUTE 77

CHAPTER SEVEN: CAJÓN (THE ACTIVITY) 79THE ACTIVIDAD 82

LOS MUERTOS 87ON THE SACRED & THE SECULAR 92

CHAPTER EIGHT: SONGS 95SONG CYCLES 96SONG CYCLE ORDER 98SONG MELODY AND RHYTHM 103LANGUAGE(S) OF CAJÓN SONGS 106SONGS AS COHESIVE ACTS 107SONGS AS A SITE OF PRESERVATION AND INNOVATION 109POPULAR RELIGION AND SUFFERING 110

CHAPTER NINE: RHYTHMS AND DRUMMING 112GRUPO CUERO Y CAJÓN’S INSTRUMENTATION 114DRUM RHYTHMS USED BY GRUPO CUERO Y CAJÓN 117THE COHESIVE ACT OF COMBINING DRUM RHYTHMS AND

SONGS 124

PART THREE

CHAPTER TEN: TRANSCULTURATION AND FERNANDO ORTIZFERNANDO ORTIZ (1881-1969) 127THE ORIGINS OF TRANSCULTURATION 129THE “AVATARS” OF TRANSCULTURATION 130TRANSCULTURATION AND ACCULTURATION: IS THERE A

DIFFERENCE? 134

CRITIQUES OF TRANSCULTURATION 137WAS ORTIZ A FUNCTIONALIST? 138SUBJUGATED KNOWLEDGE 139

CONCLUSION 141

GLOSSARY OF TERMS 145

APPENDIX ONE: EXAMPLES OF SONG CYCLES 148APPENDIX TWO: SONG TRACK NUMBERS 162APPENDIX THREE: SELECTED SONGS 167APPENDIX FOUR: PHOTOS 183

DISCOGRAPHY 190BIBLIOGRAPHY 191

Cajón • Cajón flamenco

Wooden bongo • Wooden conga

DRUMS

TO ORDER, contact:Pedro BarrieraP.O. Box 331341Ponce, PR 00733-1341Phone: 787.349.3296

[email protected] www.woodenbongo.com

GCyC’s tumbadora and cajon in front of El Indio.

Underside of Pedro’s cajon showing some of the crossesinside.

Egypt: Nubian music


L e t t e r s t o t h e E d i t o r

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On the pulse of the Global Drum Community

SUBSCRIBEToday!4 issues

WPR is really needed in the community. You’re doing a great job. I was

involved with Onda, a 20-page arts and music magazine for the Latin and

Afro-Cuban communities. I was involved with Onda for six years. Thanks

for all you do!—Bobby Matos, LA, CA

I recently received a copy of the latest issue of WPR from Mark Powers

that includes his interview with me. [Dave Stanoch] It was a nice surprise.

Thanks so much for your time and interest in presenting it. You have a

very cool magazine. I enjoyed reading it from cover to cover. It would be

cool to share your magazine with our students at McNally Smith College

of Music.—Dave Stanoch, Minnetonka, MN

Thank you! I got WPR and it looks great! Everything’s awesome. I’m cer-

tainly pleased with it. [Gahu Recreational Dances, Dave Stanoch interview

and From Zero to Drummer in Three Easy Lessons.] I’d like to put my

three articles up on my own website saying they were published in WPR.

Thanks!—Mark Powers, Salem, OR

I love your magazine! I look forward to getting it and always read it.

Please put me down for another advertisement.—Steve Wright, Wright-

hand Drums, Hagerstown, MD

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interesting to read. Please go ahead with our ad again.—Brad Boynton,

Rhythm Traders, Portland, OR

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support WPR. I will send the magazine out

with all my orders, all over the world! They

get to so many drummers. I just sent one

along to England. Keep up the good work.—

Tom Alexander, Volcano Percussion, Ocean

View, HAWAII

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in WPR. Thanks so much. Check out my info

on myspace.com/jaypuenteproject.—Jay

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and I’m going to distribute them to my students.—Chuck Silverman, Win-

netka, CA

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Center, Syracuse Community College and other drum shops here.—Vinny

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Illustration by Anthony J. Stagg

Classifieds

Richard, “Bongo Dick” Schultz passed away last fall and Glen “The Wiz”Wierzbicki hosted the most incredible Memorial Jam Session at Riverdale Marinain Illinois. I wanted to publicly thank Glen for his hard work and for being sucha good friend to “Bongo”. I was gifted with the nicest donation of drums and per-cussion instruments from “Bongo”! He knew I am a special education teacher andthought I could use some of his instruments in our school. Yes, his drums havebeen the favorite of so many of my students! The process of drumming has beenhealing and life-enhancing. We have used them for assemblies for graduation,talent shows and to jam in the classroom. Everyone is impressed with my greatarray of cool drums! I always thank “Bongo” and will remember him forever. Hisgenerosity in life and after, have inspired, challenged and benefited so many.Terry Reimer, Editor, Publisher, WPR

Carlos Cornier, long-time Latin percussionist, founding member of Funkadesi,Picante, Rhythm Brothers, Old Town School teacher, WPR staff contributor, goodfather and friend, is doing well after a bout with prostate cancer. CongratulationsCarlos on your successful recovery. Please don’t scare us again! Much respect andLove, Terry Reimer and all at WPR. His benefits were a rousing success.

Candido Camero celebrated his 86th birthday April 25th with a concert at theBlue Note in NYC. He was born in El Cerro, a barrio of Havana, Cuba, and is oneof the best percussionists of our time. Happy Birthday!

Congratulations to the following musicians who received the Chico O’Farrill Life-time Achievement Award 10/19/2006: Dave Valentin, Carlos “Patato” Valdez, EdyMartinez, Ramon Rodriguez and Andrea Brachfeld.

Websites recommended by Africa.dot.com: Drums to Digital exhibit at the HydePark Art Center in Chicago, ’06. Check ‘em out: SmithsonianGlobalSound.org

africamusica.skynetblogs.be • africanmusic.org/links.html

Sincerest Condolences to the following musicians who have passed recently.

Manny Duran, great trumpet player who “embodied the very essence of jazz atall times” (Willie Martinez), passed on Oct. 3rd, 2006.

Thomas Stowsand, eminent booking agent and champion of jazz and Brazilianmusic in Europe, died 10/5/06 at 59 years old, in Schwaz, Austria.

Braguinha (Joao de Barro), born Carlos Alberto Ferreira Braga, died 12/25/06 atthe age of 99. He composed songs whose humorously ironic melodies influencedgenerations of Brazilian musicians. His work extended to Bossa Nova and Tropi-calia styles of the 50’s and 60’s.

GO TO PERCUSSIONMUSIC.COM for a huge selection of drum and percussioninstructional materials. We carry instructional videos, DVD's and CD's for all drumand percussion instruments, for congas, bongos, djembe, tabla, timbales and muchmore! We also carry sheet music and books.

Of NoteCompiled by Terry Reimer

James Brown, The Godfather of Soul, died on Christmas morning at 73 years old.He did 50 albums, 119 hit charts, influenced thousands, especially to develop funkand hip-hop and left a lasting impression on everyone who witnessed his fero-cious energy live.

Corrections: Chicago, 2006 photos include Carlos Equis Aguila with Nachito Her-rera (L). Also Meshach Silas’ son, Jeremiah.Plena Libre: Tommy Olivencia, Charlie Pizarro, Gadwin Vargas.Sorry for the misspellings!

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