05 Winter 1997 - Bronx Conexion

latin Percussionist
lssue 5
Winter 1997
Ca,nd.ido
by David
B.
Meade
At seven$t-three years,Candido Camero is as busy as any musician could hope to
be in New York City. I naively thought that it would be no problem to line up an
oppointment with someone his age. I was grossly mistaken. It took two months to
.finally line up a date to meet with him. Between jingles, club dates, concert
appearances dance .festivals, clinics and recordings, I was fnally able to sit with him
and talk qboul his career in January of 1994. I had been fortunate enough to play
with Candido the previous summer and welcomed the opportunity to find out more
about his life.
DM: When did you start performing as a professional?
CC: When I was fourteen
DM:
What year was that?
CC: Well, I was born in
DM:
was your
1921.
Where were you born?
CC: In
DM: What
years old.
Havana, Cuba.
first instrument?
CC: My first instrument
was the bongos. One of my uncles from my mother's side taught me how to play, Then my father taught
me how to play the tres. That's the Cuban lead guitar. My mother, you know, was a singer. Not a professional, but just around the
house. We had a little group - we had a good time. I played since I was four years old. That's when I started to play the bongos.
DM: Did you have other family
CC: Yes, I have two brothers
members who played?
and one sister. One of my brothers took my place at the club in Cuba when I came to the United
States.
DM: What
groups did you play for in Cuba?
CC: Well, I worked
Q
That was the number one station in all of Cuba. Also the number one
at the number one radio station, C M
So between these two. I recorded with weryone - all the big names. We did concerts,
recordings, broadcasts coast-to-coast.
nightclub called the Tropicana night club.
DM: Did you always
go by the name "Candido"?
CC: Yes, since I was fourteen years
name Candido in the states.
DM:
old. Candido is also my father's name. My full
Today, it'v very. popular for big stars to go by only one
name. You must be one of the earliest musicians to go by one
name.
CC: Well I started doing that
since I was professional. Just
Candido.
DM: Your first
CC:
gigs were on the bongos?
Yes, the very first ones.
name is Candido Camero. But I only use the
Inside This Issue
I Feature: Candido
2
3
4
5
Drumset: Horacio Hern6ndez p.6
The Art Of Salidor Playing p.10
El Abanico p. I I
CD. Video & Book Reviews
This issue of Latin Percussionist features master
percussionist and innovator, Candido. He along w'ith Chano
Pozo, Francisco Aguabella, Julito Collazo, Mongo Santamaria
and Armando Peraza paved the way ibr later generations in the
U.S. Ken Ross is currently assisting Horacio "El Negro"
Hernandez in the writing of his drumset book. Included in this
issue is a taste ofthe four-w.av coorduration as applied to AfioCuban rhythms from Horacio's upcoming book. Greg Askew
continues to bring us the folkloric side to Cuban percussion
with his salidor transcriptions of tlie late percussionist
Gregorio Alfonso Diaz. Finallv, but not 1east, John Almendra
brings us insight into the art of plai i:tg and executing tlie
abanico on the timbaies.
LATIN PERCLTSSIONIST
Issue 5, Winter 1997
Puhlished by Tortilla Flat Music: Victor Rend6n/Armando R.odriguez
Editor: Armando Rodriguez
CONTRIBUTING WRITERS
John Almendra
Greg Askew
Joel Litwin
Dave B. Meade
Ken Ross
John Santos
Pazcual Villaronga
Lrtln Percussionist welcomes manuscript material, however, cannot assume
responsibility for them. Items must be accompanied by a self-addressed, stamped
envelope.
SUBSCRIPTIONS are $6.00 per year ( U.S. and Puerto Rico). Outside U.S. and
P.R. , rate is $10.00. Individual copies are $3.00 each
Send all correspondence to:
TORTILLA FLAT MTiSIC
P.O. Box 556
NY, NY 10116-0556
Note: Please do not copy this newsletter and give to your friends. Publications
like this will only survive through the support of its readers. 1No C\resta Mucho!
DM: Did you play the tres professionally-?
CC: Yes. I've recorded on tres both here and in Cuba.
DM: When did you start pla.v-ing congas?
CC: I started playing congas in 19'10 $hen I was nineteen.
DM: Why did you start?
CC: Well, it was a coincidence. reall)'. because of the group I played with
called "Gloria Habanera" ( means glories of Havana). I
and hire another tres player.
was playing tres at that time and the ionga player got sick so they decided to use me on the congas
in 1940. That's when I
Then in the end, they said. ''Okat. let's just have a guitar, no tres. and the conga drum instead". This was
started playing congas.
UM: *no did you listen to pla.r- congas? Did you have a hero or favorite drummer?
group. That was
CC: The first group I heard rn Cuba \lith congas was Arsenio Rodriguez. His brother Kiki played congas in the
Casino de la
valdes,
jazz band in Cuba, it was Miguelito
the first time I heard congas *ith a group. Then on a orchestr a. called
Playa, and Desi Arnaz.
DM: You knew Desi in Havana?
CC: No. no. I met him here. because he came to the United States in 1934.
DM: Did you listen to American radio broadcasts in Cuba?
CC: Oh yis. All rhe rime. I knerv all the big bands and groups at that time. ,\ll the jazz bands.
DM: You heard beboP on the radio?
CC: Oh yeah,Dizzl- Gillespie. Charlie parker and then all the big bands like Count Basie, Cab Calloway,
Duke Ellington, and
Woody Herman...
DM: So you knew all the bands before you eYer came to New York?
CC: Oh yes, by radio and records.
DM: Did you try to pla.r- that music Havana?
Buddy
CC: At the Tropicaaa. \r'e $,ould plav big band arrangements. Also, big bands would come down and tour - Gene lftupa,
Rich, Woody Herman. That rvas all in the forties.
DM: So why did you go to New York?
CC: A dance team asked me to come to New York in 1946'
DM: Did you think you would stay in the United States?
frfty-first
CC: No. Not at that time. We came u{th a twelve week contract to play at a club called "Havana Madrid". It was on
street and BroadwaY.
DM: What sort of show did
you do?
Latin Percussionist
7
XREIrIEIISSI
IruEDEOS
This video is exactly what the title says. It is a private
time. A true master
and innovator, Giovanni has brought the art of conga
playing to a level that was once unimaginable. The video
lesson with the leading conguero of our
Jose Luis Quintana (Changuito):
Evolution Of The Tumbadora
starts with some wrist exercises which Giovanni suggests be
practiced 5-10 minutes daily. Next, he goes to some
independence exercises in 6/8 and 4/4. To give you an
example. the first pattern plays the 6/8 bell pattern with one
hand while the other plays the same at half speed. In one of
the 414 examples, one hand plays the timbal bell pattern
while the other plays the cascara. These exercises are very
challenging and can be easily applied to timbales or
DCUWarner B rothers Publication
1500 NW 48th Ave.
Miami, f,.L 33014
Price: $39.95
84 minutes approx. + 54 page booklet
l-800-628-1528 Ext. 215,214
Miami, FL 33014
Master percussionist CHANGUITO along with
interviewer GIOVANNI HIDALGO, demonstrate and explain
the important fundamentals of the tumbadora (known as
conga in the U.S.). Changuito starts with a review of the
basic sounds which are the slap, open tone, muffle, bass tone.
and harmonics sound. He then talks about the position of the
hands and wrists on the drum. He continually stresses
conservation of enerry by minimizing movement. He then
talks about and gives playing examples of some of the pioneer
congueros from the 1940's. Some of these names are
Campe6n with Fdlix Chapotin. Eliseo Madnez "El Colorao"
with Antonio Arcaflo Y Sus Maravillas, Carlos "Patato"
Vald6s, Pedro Soroe with Orquesta Riverside, and others.
Padcularly interesting is that these players played on one
drum and each one of them had their own unique tumbao
ride. It's within this context that Changuito talks about and
demonstrates the son montuno, guajira. and Bebo Valdds'
Batanga rhlthm from the 1950's.
The next section deals with technique exercises starting
with his famous palm-tip exercise (P T P T). These are
gradually developed inro lumbadora fills which can be used
in a variety of settings such as applicatrons within the
tumbao. He also plays a combination of open slap and palm
tip exercises that can add much to one's vocabulary.
Changuito also demonstrates the changing of rhythms within
a tune such as 414 to 618 Guaguanco to Ahakua and Palo.
The Abakua and Palo are then covered in greater length by
breaking down the individual parts. Extended quinto (solo.
riffing ideas) are also demonstrated for rumba,6/8. and
bembe. Included is a 54 page booklet with transcriptions,
analysis, bibliography and a discography.
Rating 5 claves
A hivate Lesson With
Giovanni Hidalgo: Mano A Mano,
One On One
1500 NW 48th Ave.
Miami, FL 33014
Price: $39.95
Over 6E minutes + 34 page booklet
1-800-628-1528 Ext. 215,214
Miami, FL 33014
V.R
drumset.
He then goes on to demonstrate some technique exercises
using a variety of singles and doubles. Giovanni also makes
use of the traditional rudiments applied to the congas such
as the 5 stroke roll, 7 stroke roll, nine stroke roll, paradidles,
etc. He then goes to demonstrate some one-hand exercises
making use of open tones, muffle, slaps, heel (palm), and
tip. He also does some triplet exercises using open slaps
shifting the accents on difierent parts of the triplet that
brings to mind the Ted Reed Syncopation book. Next,
Giovanni does an exercise with flam triplets and an overdub
of the tumbao in a 414 feel. This is totally mind boggling.
One has to hear and see this section to believe it. The video
closes with some tumbao variations, a 6/8 with a 414 feel, a
9/4 pattern, and fast mambo rumba pattern. Included is a 34
page booklet with transcriptions and analysis.
A great new feature on this video is a running time code
that references the transcriptions in the accompanying
booklet. This makes it very easy to study the examples in
the booklet and find them on the video.
Rating 5
claves
Mozambique! Volume
with Kim Atkinson
V.R
I
Pulse Wave Percussion
P.O. Box 703
Sebastopol, CA 94573
Price: $30.00 + $4.00 S.&H.
60 minutes approx.
Phone: 707-823-8885
Fax: 707-823-5217
In Cuba, people have street festivals or carnivals such as
on the 6th of January (Dia De Los Reyes). The organization
of the event is called comparsa (meaning march) and the
rhythm is called conga. Circa 1963, Pedro Izquierdo known
as Pello El Afrokan, organized an orchestra usingthe conga
rhythm as a basis for his music, calling itmozambique. The
ruozambique was then modified to function in a small group
setting in New York city by the Eddie Palmieri rhythm
section. Manny Oquendo was playing timbales with the band
at the time. Palmieri's version is what became known as
Latin Percussionist
8
mozambique in the U.S. Many percussionists however, do
not know the original parts created by Pello El Afrokan. That
may soon change due to the efforts of Kim Atkinson. Mr.
Atkinson studied with Pello in Havana in 1985. During the
course of his lessons, Pello asked Kim to take the
mozambique out to the world and make it famous again. This
video is a result ofthat request. The film is a concise
presentation of the mozambique which includes a short
history and a breakdown of the individual bell, tumbadora,
and bass drum parts in relation to rumba clove. The parts are
then played together.
The 2nd half of the video feature s the mozambique in
combination with songo and batd. A transcription booklet is
included with all parts written in both standard notation and a
time unit box system. Perhaps, the best aspect of the video is
that the parts are first played individually and fully explained
with the clave. The parts are then played in a group making
it possible for the viewer to hear what the rhythm sounds like.
The video is available through Pulse Wave Percussion (see
information above) and the Descarga catalog (718-693-2966).
Highly recommended.
in a classroom situation to teach rhythm section playing
well as individua.l study.
Finally, Part III addresses the drumset. The autlor
suggests that the previous material be fully studied before
attempting the drumset chapter (a point that cannot be
stressed enough). The book ends with a list of significant
artists, ensembles, suggested listening and reading, resource
centers, and a glossary.
It does have a few minor drawbacks. The photographs are
a bit too dark making it diffrcult to see the instruments and
positions. The angle position of some photos also seems to
sometimes confuse the eye. I personally prefer the more
standard notation for drumset such as an (x) for the cymbal,
etc. Other topics such as Abakua could have been further
dweloped starting with the rhlthms on the traditional
instruments instead of assimilations on the conga drums.
Palo and lyesri are also not included. However, these are
minor details in contrast to the vast quantity of information
presented. It is deeply researched and is an excellent source
for any student or teacher looking for information.
v.R
Rating 4 claves
Rating
4ll2
clave
as
v.R
E3oolxs:
The Essence Of Afro-Cuban Percussion &
Drumset: Includes Rhythms Purts For Bass, Piano,
Guilar, Horns, and Strings * 2 CD's
by Ed Uribe
Warner Brothers Publication
1500 NW 48th Ave.
Miami, FL 33014
Price: 539.95
1-800-628-1528 Ext. 215,214
This book starts with information pertaining to the
colonization and development of the West Indies and the
Caribbean from the early 1500's to the present. The book is
divided into three parts. Part I talks about the percussion
instruments covering plaleng techniques and rhythm patterns
in the variotrs styles such as the sor, mambo, guajira, danzon,
etc. Particularly interesting is the historical information on
the instruments such as timbales that are a descendant of the
European timpani.
Part II deals with the rhythm section including bass,
piano, guitar, horns, strings, andtres (a derivative ofthe
Spanish guitar with either three sets of two strings or
sometimes three sets of three strings). Various tumbaos for
bass and montunos for piano demonstrate the various rhlthms
including clave direction. It also covers the guajeo for tres,
guitar, strings, and horns as well as the mofta. Section II
deals with arrangements-charts, notation, and terminology
such as the montuno and mambo sections. A very beneficial
aspect are some scores that demonstrate playing style
examples for all rhythm section instruments. These styles
include the sor, danz6n, cha cha cha, etc. These can be used
The Latin Real Book:
Salsa, Brazilian Music,
Latin Jaa
Sher Music Co.
P.O. Box 445
Petaluma, CA 94953
Price:
$40.00
t-800-444-7437
Website: www.shermusic.co
When we received the new Latin Real Book published by
Sher Music we were pleasantly surprised. The Latiq_Bgal
Book offers much more than other collections of Latin
American music.
The book contains 177 anangements that were provided
by the composers and transcribed from recordings by Larry
Dunlop and Rebeca Maule6n-Santana. Most of the pieces
have two or three stave arrangements for both hands.
Everything is written in concert pitch. The music is clearly
written with chord symbols indicated. Many fake books will
provide a melody line with some chord symbols. The music
in this new collection is much more detailed because the
arrangements indicate horn parts, bass parts, piano guajeos,
lyrics and coros as well as drum and percussion cues. About
40 ofthe arrangements have added rhyhm section and or
horn parts on separate pages. Some ofthe selections are
written on one staffwith lyrics and chord symbols. Some of
these have additional bass parts. A few of the Brazilian
pieces are written in this one staffformat as well as some of
the more common boleros such as "Bdsame Mucho" and the
cha cha ch6 - "Frenesi". "Bdsame Mucho" comes with a set of
alternate changes by Joao Gilberto. Even though these few
arrangements are on one staffthey often include sections with
9
3 or 4 note voicings and sketches of bass and rhfihm parts added at
the end.
The book opens after the Index and introductions from the
editors with a Basic Vocabulary section in English and Spanish that
explains terms such as songo, plena, guajeo, andtumbao. Next is
an explanation of abbreviations and notation s)rynbols that are used
in the book. This is followed by a complete chart of 80 chord
symbols with the chord tones spelled out in detail. The C chord is
voiced in about 69 variations from C triad to C sharp major 7th sus
flat 5. These voicings cover the chords that are used in the
arrangements. The book also has two appendix sections. Appendix
I gives an overview ofrhythmic styles. There are short samples of
what the rhl'thm section will be playing in a son montuno, mambo
guaracha, cha cha chd, conga habanera, bomba, guaguancd,
songo, and plma. The Brazilian rhy'thmic samples inclllLdeft'evo,
baiao, partido alto, the reverse partido alto, samba, samba de
carnaval (batucada) and the bossa nova. Appendix I also has drum
and or percussion parts for individual tunes. These drum and
percussion parts are provided for about 60 difl'erent tunes and cover
all the styles of the selections in the Latia Real Book. Appendix II
is a list ofsources for the 177 selections. The composers
represented include Johnny Pacheco, Cal ljader, Ray Barreto, Eddie
Palmieri, Antonio Carlos Jobim, Milton Nascimento, Arsenio
Rodriguez, P6rez Prado, Dizzy Gillespie, Beffly More, Mongo
Santamaria and many others.
The book is published with a plastic coated wire binding that
allows the book to be opened flat. It can be easily opened on the
piano or music stand. The printing of the music is large and clear.
The Sher Music Co. has provided a compact disk (The Latin Real
Book Sampler CD) that features reissues of original recordings of l2
tunes that are included in the Latin Real Book.
There are many different kinds of Latin music. One book cannot
include every bolero arrd merengue that exists. The publisher has
given us a hne collection ofdifferent styles. They have provided
much more than the simple melody and chord symbols. They have
published an important source for all musicians and music educators
who have an interest in this rich and varied music. Sher Music Co.
is preparing a second volume of The Latin Real Book. We will be
eagerly waiting.
Armando Rodriguez
Rating 5 claves
Latin Percussionist
CD
!Afrocubanismo Live!
Featuring Chucho Vald6s & Irakere
Bemb6 CD20l2-z
Bemb6 Records
P.O. Box 1730
Phone
& Fax:
(707) 923-7262
Redway, CA 95560-1730
http://w w w. bembe. conn
This is a live recording made during a ten-day workshop ofAfroCuban dance, music and culture, calledAfrocubanismo! lttook
place in BanfI, Canada in the summer of 1994. It features Chucho
Valdes and Irakere with other Cuban artists such as Changuito,
Miguel "Anga" Diaz, Enrique P16, Richard Egries, Los Muflequitos
de Matanzas, and Grupo Ilit Afle. The CD opens with an up tempo
tune (in character with the aggressive and tight sound oflrakere)
featuring "Anga" on tunrbadoras. The tune "Cha Cha Cha" carries
a nice groove with Changuito on timbales. It follows with
'Neurosis" leaturing "Anga" ontumbadoras and an extended solo
by Enrique Pl6 on drumset. "Rumba Tonada" is the only cut not
recorded live. It is part ofa Furdamento Productions release called
Grupo llu Aiia: Sacred Rhvthms (see L.P. issue 4 for review). This
is the only secular piece on that album that is a rumbqwrittena\d
sung by Jose Pilar who also plays solo drum at the same time.
"Estella A Las Estrellas" is a medium tempo that feahres "Anga,"
Enrique Pla, and Changuito trading solos. "Building Bridges," a
Memo Acevedo composition, presents a collaboration between the
Cuban and Canadian musicians. Memo plays drumset on this cut
with Changuito on timbales. Once again the percussion trades eight
bar solos between drumset, congas, and timbales. Finally, I-os
Muflequitos de Matanzas join hakere in the piece "Xiomara"
combining rumba, salsa, jazz, and funk. This recording is not only a
snmmit meeting for these master musicians but a showcase for the
percusslon.
Ken Ross
Rating 4 cltves
Rating Scale
5 claves: Excellent
4 claves: Very Good
3 claves: Good
2 claves: tr'air
1 clave: Poor
unx**
m*t
B00e
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[ffirn}rrtl8*
ut$$rl3
LNUN REAL BOOK
TNE
Over 550 pages of the best in contempordry and classic
SAISA.
BRAJZILIAN
MUSIC' TATIN JMZ
Detdiled arrangenents exactly as recorded by.,.
Tito
puente
Milton
Ruben
Blades
lvan
Eddie
Pa
Tom
funia
A
meri
"Stars
Ton
Nascimento
Lins
Job m
nho Horta
RayBanetto CaetanoVeoso
Arsen
c Rodrrquez
BenyMord
JohNny Pdcheco
Ce
a Cruz
Ce
lader
PuertoRicoAl-Sta6 EgbertoGsmont MarcBd|rza
|akere
Dpvan
Van Joio Bosco
Los Van
Manny
@'7
t-tTwr.l
Oquendo
Atrto & ilora
Purim
Andy Nare
i
Dave Va eni n
AND MANy MOREI
Latin Percussionist
10
The Art of Salidor Playing In The Rumba
by Greg Askew
Rumba is the generic name of a form of Cuban Folkore. The three surviving tlpes of rumba performed today are l) yambu 2)
guaguanc| and 3) columbia. The trio of drums which make up arumba orchestra, in descending order are the quinto, golpe (or
tres) and,the salidor. Other instruments include clave, guagua (a piece of bamboo mounted on a stand, played with sticks) and
maracqs. The quinto generally does most of the riffing. However, the quinto is not exclusively a solo, as perceived by many, but an
interaction between lead singer, chorus, drummers and dancers (see article by Louis Bauz6, LAPN Issue 2). The golpe or /res is the
middle drum and the salidor is the lowest drum. The salidor can also have variations. The following are examples of some basic
salidor variations played by the late Gregorio Diaz Alfonso from the Lo.s Muftequito De Matanzas. The first example is the basic
ride followed by five examples in 3-2 clave. All variations should be started on the second bar (the "2" side of the clave).
Key: P=palmofhand T=tipsoffingers O:opentone M=muffletone R=righthand L:lefthand
o/M
o/M
CC: It was a Cuban dance production. We had comedians. The stars of the show were Dean Martin and Jerry
were a trio dance team. A girl, a man and myself.
DM: Did you dance also?
CC: No, no, no! I would play for the dancers. I would play congas and bongos at the same time.
Lewis! And we
DM: What other styles did you play in Havana?
CC: We had to play everything.
DM: So you were playing congas with jazz big bands in Havana?
CC: That's right.
DM: Were there other people besides yourself doing this?
CC: Oh yes, many fine players. We were all very close. People like Mongo
Santamaria. We used to have a septet. That's when I
was playing the tres and Mongo was playing bongos. At that time we didn't use congas yet. We had tres, guitar, bongos, claves,
mzracas, bass, and trumpet. Seven all together. Most bands were using bongos. but I started playing congas in 1940.
DM: Did you know Chano Pozo?
CC: Yes, he was the first one to play congas with jazz musicians in the United States.
DM: But you and others were playing jazz music with congas before Chano came to the United States?
CC: Oh yes. In Cuba, Chano was at the Tropicana night club playing in the show. He was the star of the show. After I finished
my contract at the Tropicana, I went to another club called the "Sansusi". So I was playing at the Sansusi and Chano was playing at
the Tropicana.
DM: Were you rivals?
CC: No, no, no. Everybody liked everybody.
Everyone had their own style, you know, personality - way to play. There was no
competition. It was more like friendly competition. After work all the musicians used to get together. We were always talking.
eating, and staying up late into the morning talking about music.
DM: What was Chano Pozo's style of drumming like?
CC: Well, he was good. He was a composer. singer, and dancer. He wasn't just a drummer. He was a showman. He went with
Dizzy Gillespie.
DM: Did Dizzy see him in Cuba?
CC: No, someone. ah, Mario Bavza recommended him to Diz,zy.
DM: Did Dizzy bring him up from Cuba?
CC: No, no. He came here with another dance team.
DM: Like you did?
CC: Yes, but that dance team included his wife and his wife's partner. They came here the same way I did. He came after me in
1947. I came in 1946. Mongo came after that in 1948.
DM: What happened to you after your twelve week contract with Jerry Lewis and Dean Martin was up?
CC: We went to "La Conga Nightclub".
DM: Where was that located?
CC: One block away from the "Havana Madrid Club". That's when Machito was there with his band and Chano came to La Conga
also.
DM: What street was that club on?
CC: Broadway and fifty-first. Very near Fifty-second. Fifty
second Street was all the jazz clubs. Side to side. The whole block.
All the greats played there.
DM: Tell me about the dance team you came here with.
CC: Carmen and Rolando were their names. We worked in a club in Cuba. They were the ones who wanted to come here. They
said they needed a bongo and conga player. There were supposed to have both but they didn't have enough money. So I told them
to let me try and do both and since that moment up until now, I do both.
DM: Up until then you would normally play tres, bongos or congas?
CC: Yes, this was the first time somebody would do both: congas and bongos at the same time. Normally the man who played
conga would keep the time. The other man would be soloing on the bongos. I did both at the same time. I would put the bongos
between my legs and the congas on the floor to my left. My left hand would play a pattern on the conga and my right hand would
riffon the bongos. I Would riffalong with the dancers.
DM: Who were the people who came to see you then?
CC: We got werybody at the show.
DM: So it wasn't segregated?
CC: No, no.
DM: Do you think people were more open at that time in terms of music and race?
CC: I never pay attention to that. I only know that people from all over, all races, all nationalities.
and all religions come to hear
the music. That's the only thing that matters. That's why I never discuss religion, race or politics. I just concentrate on the music.
That's how I make my living and that's how I've been able to travel all over the world and never have problems. People keep asking
me, "When you coming back?" I went to Japan once for twelve weeks and ended up staying a year and when I finished that contract
they came back with another and I said, " Let me finish what I have to do in the United States first". Everywhere I go, that happens-
-
South America, Central America, all over the United States, Canada, Japan, Mexico, Europe, the Caribbean Islands, everywhere,
since I 946. I never stopped traveling until now. I do a lot of recordings, jingles, concerts, ard clinicr at schools.
DM: So you're busy enough?
CC: Very busy, too busy. Too-oo busy!
DM: Did you study.congas with anyone?
CC: No. I basically taught myself.
DM: Did you approach the congas with bongo technique?
CC:
Yes.
DM: Many
technique.
players tell of how you are able to get such great sounds from your fingers that normally requires hand
CC: Yes. I use a lot of technique. I like the sound. It's clean, like a crystal sound for me...when I play the bongos and then play
the congas...I like the sound just by using the fingers. when I solo I use my whole hand.
DM: IIow do you get a slap with the fingers?
CC: Well, the slap has to use the whole hand. The four fingers.
DM: Are you pulling on the head as you come down?
CC: No, I just come down.
DM: Does the head have to be a certain tension?
CC: It depends on the sound you like. You tune your drums to the interval
you want. I use the notes A, C, and D with A being the
lowest.
DM: How long have you used three drums?
CC: I started using three drums in 1950.
DM: What was the common set-up at that time?
CC: In Cuba at that time. the only time you had three drums was with
three different men playing. Now it's d.ifferent. Sometimes
will play one, two or three drums.
DM: What did Chano Pozo use?
CC: One.
DM: So the best of your knowledge, you were the first person to play bongos and congas at the same time and the first
one person
person to play three drums at the same time?
CC: That's right.
DM: What made you want to use three drums'l
CC: I did it so I could play melodies. I got the inspiration from the timpani.
DM: Do you play timbales?
CC: Yes. Timbales are used in charanga orchestras to play the danz6n. I was honored
Enc.vclopedia
by having my picture in The World Book
a tom tom. bass drum, and a conga.
in 1960. Under the letter "D" for drum on page 290. They have a snare drum,
And I'm behind the conga. My picture!
DM: I'd like to ask some questions atlout the people you have worked with.
CC: My list is like a phone book!
DM: What do you recall about Charlie Parker?
CC: I played with him many times. I recorded with him also. We did a concert at Carnegie Hall. I played both congas and bongos
with him. One of the tunes I recorded with him at Carnegie Hall is called "Repetition". i played bongos and soloed on congas. He
was a beautiful man-very humble-a genius. A11 those great players back then--whenever they put their horn in their mouth, wow!
DM: How did you, as a Cuban percussionist, adjust your style when you came to New York and started working with the
bebop jazz, musicians such as Charlie Parker?
CC: You had to adjust, because the feeling is different.
DM: In what way?
CC: Well, in jazz you have a "two-feel" and a "four-feel".
DM: Did you feel more at home in a particular style?
CC: No. I like everything. Every time I play, it's like me going to the street for the first time. That's why I enjoy it so much.
DM: Concerning the clave, many American musicians struggle in trying to understand where the pattern stafts whether it's
in 2-3 clave or 3-2 clave.
CC: Well. it depends on the music.
DM: How do you know when something is (2-3' or "3-2" clave?
CC: You can tell by the tune.
DM: What if the tune is not in clave? What if the composer didn't know the clave when the tune was written?
CC: So you have to change the part so it's in clave. Ifyou really know the clave. you know as soon as you play the tune.
IIM:
CC:
How can you develop that skill?
By listening.
DM: Did you ever talk about
clave with musicians such as Charlie Parker? When the early Latin-jazz forms came together, Cuban
musicians working with Black Americans, were there arguments or conflicts like, "No you can't do that. That's out of clave!',?
CC: No, no, no. It never happened.
DM: How come it happens now but never happened then?
CC: I don't know why. Maybe out of respect between musicians.
DM: Were they trying to fit into you or you trying to fit into them?
CC: Well, both.
DM:
So you never
talked about clave with Charlie Parker?
CC: No, no. As soon as I heard him, I knew
DM: But did he know
what to do.
what you were doing?
CC: Ohyes. Dehnitely! Andhow! Every one ofthose musicians. Theyknew. Yes!
DM: Ifow did they develop it?
CC: They associated the conga drum with the hi-hat. The conga drum was corurected
Figure
to beats two and four. (see Figure I )
1
bongos/congas
Hi Hat
CC: In those days, the clave started on the "three" section. That's
DM: How did you learn that? Did someone teach you that?
CC: No, no, no. That's my ear who told me. My right ear!
the strongest part. But it always depends on who comes first.
DM: Did you ever discuss this with Mongo Santamaria?
CC: No. This sort of thing was never an issue. Everyone just played. It's
a very uncomfortable feeling to play out of
clave. Oh wow! If you
know clave, then it's very uncomfortable when someone you play with is not in clave. It looks like nothing, but those two little sticks...wow! It's
the foundation of your house. You have to have a strong foundation, especially for Afro-Cuban music.
DM: At 73, you've still got your health and you're able to move three drums and that rack! Any secrets to your longevity?
CC: Well, when I started playing professionally at age fourteen, every time I came home from work, my father used to smell my hands. That way
he could tell if I had been smoking or not. Then he used to tell me to say "lIA". He wanted to know if I had been drinking. So I've stayed like
that until now. No dr'mking, smoking, and no false inspirations because I feel I have talent and all I have to do is show it. That's all.
DM: Thank you, Candido.
CC: You're very welcome!
Many Thanks to David Meade for submitting this article and Lenny Kingfor the front page photo.
Drumset: Horacio Hernhndez
by Ken Ross
Cuban drummer Horacio "El Negro" Herniindez is known for his brilliant work with Gonzalo Rubalcaba, The Tropi-All Stars,
Ed Simon, Paquito D' Rivera, Michel Camilo, and a host of others. Besides his technical prowess and uncanny versatility, Horacio
is a master at adapting traditional Afro-Cuban rhythms to the drumset. Here are some examples from his upcoming method book.
Notice that the hi hat is playing rumba clave with the left foot. The hi hat can also be substituted with an LP jam block on a pedal.
Both examples are in 2-3 clave.
Marnbo
tt
fl-e
J
J
u
H.H. with foot
Mozambique
H.H. with foot
Key
bell or cym.
small tom
rim click
floor tom
H.H. with foot
bass drum
Latin Percussionist
11
o'El Abanico" and The Drum Rudimenb
by John Almendra
The abanico (literally meaning a hand fan) is basically a rim shot and a roll onthe timbales used to kmg ee baul rnro anothEr
l- Srr:s
section of a tune. The very first type of abanico was played by Cuban timbaleros such as Ulpiano Diaz r-ith -trrano
sctxn n the
Marayillas in the 1940's and Orestes Varona with Orquesta Arag6n. It was used to take the band from the
monfitno or mambo section of a tune. It is executed by playing a rim shot with the right hand, dragging ffi hr?ryng th sick on the
left, and ending with a rim shot on the right hand (see example l). It can also be played by buzzing bo& sicls as fumsmted in
example 2.
Mt
llrctu
drug or bvzz lefl stick
drag or buzz both sticks
Olher timbale players like Guillermo Baneto started incorporating a rudimental approach lo lhe qbanico with the use of mlls such
as the 5 stroke, 7 Stroke. 9 stroke, and the paradidle-didle. The type of rudiment used depends on the rhythm and tempo berng
played in a particular tune. (See examples 3-7)
5 stoke
roll
RRL
T-3 --l
9
stoke roll
L
R
L
R
R
L
R
L
Latin Percussionist
t2
abanicos in time to a particular rhythm or style such as a cha cha chd or mambo. Also,
practice at different tempos and on both sides ofthe clave. For example the guajira and the cha cha chdhave more space because ofthe slower
tempo. Therefore, a longer roll such as a 9 stroke roll will work well here in addition to dragging the stick (examples I & 2). The examples
below demonstrate some of the things that I'm talking about followed by a list of suggested listening. Example 14 demonstrates the way some
current timbaleros sometimes play the abanico by ending on the "n" of one. Make sure to play at least four measures of time before playing each
I suggest that one practice the different
qlp es
of
example.
8) Cha Che Cha. Cuajire
Drag lefi stick
9) Mrmbo. Gurrach& Up
tempo L3 clavc
5 Stroke
l0) Mrmbo, Guarrh&
1l)
Son
RRLL
R
Monluno
Mambo, Guracha, Son Montuno 2-3 clave
l2) Mrmbo. Currrchr. Son Montuno 3-2 cleve
I 3) 2-3 chve
I 4) 2-3
chve
Suggested Listening:
Antonio Arcaffo Y Sus Maravillas 1944-51, Danzon Mambo. Tumbao TCD-029 reissue
Israel ,,Cachao,' Lopez, Cachao Y Su Ritmo Caliente, Cuban Jam Sessiorls In Miniature Descargas. Panart 2092
orquesta Arag6n, The Heart Of Havana volumes 1 & 2. RCA 3204-2-RL,3488-2-RL
Orquesta Melodias Del 40, Misica Cubana Bailable. Maype CD-160