07 Spring 1998 - Bronx Conexion

Latin Percussionist
SPRING 1998
lssue 7
Mike Collazo: Master Timbalero
By Ken Ross and Victor Rend6n
Timbaleroldrummer Mike Collazo is by all standards one
of the most respected percussionists in the music industry
today. His outstanding career spans over three decades
working with major artists such as Eddie Palmieri,
Marcelino Guerra, CeliaCruz, Hector Lavoe, and the
legendary bands of Tito Puente, Tito Rodriguez, and
Machito. Mike is among an elite group of musicians who in
the 1960's pioneered what was to become the New York
City Latin sound. His musical application of the drumset in
Latin music, particularly his distinct hi-hat pattern and deep
grooves are characteristic of his style which earned him the
reputation as a "musician's musician." During the past
fifteen years, Mike has been keeping a busy schedule with
Orquesta Broadway and continues to freelance with
numerous artists. We at Latin Percussionist are honored to
with our readers about this legendary musician.
grew
Mike
up in New York City's "El Barrio. " He recalls one of his earliest experiences that first inspired him to
take up playing a musical instrument."When I was a teenager,I went to a place called The Melrose House in the Bronx.
They had a band that turned out to be A1 Santiago and his band the "Chakanunu Boys." That was the first time I saw a
band and I thought it was fantastic. My god! Just like the records! That's what I want to be,"said Collazo. "So, I got
interested ar,rci started tc practice at home. I didn't have money to buy sticks or timbales, so I took the wooden dowels
from coat hangers to use as drumsticks. For the timbales, I used to practice on a desk drawer." Mike was too young to go
to dances so he listened to the Saturday night radio shows that featured the.music of Noro Morales and his brother
Humberto who played a set of Leedy Ludwig timbales with a bass drum. "While listening to the radio program I would
practice with my dowel sticks. The side of the drawer was the paila and the top was the drumhead."
share this interview
Totally inspired and determined, Mike made it his business to find a teacher. "I heard that tlbaldo Nieto (timbalero
with the Machito orchestra) was giving lessons and so I hooked up with him. He was a very nice man. I took lessons with
him once a week and sometimes when I didn't have the
money, he would teach me any.rvay."
Inside This Issue
At the age of seventeen Mike enrolled in the Manhattan
Feature: Mike Collazo: Master
School of Music where he studied music history, piano, theory
Timbalero
and percussion with Fred Albright , a very well known
Jimmy Ramirez: A Drum Legacy
percussionist/author/educator. "He was a great teacher,"
Bongo Repiques
recalled Collazo. "He taught me how to read music among
other things."
Instructional Columns by John
Almendra & John Santos
CD, Video & Book Reviews
This issue features master timba!ero. \like Collazo
who needs no introduction to dedicated Latin
percussionists. Mike talks about his erperiences * ith
Marcelino Guerra, Eddie Palmieri. Tito Rodriguez. tc
name a few. John Almendra brings us s hat he ca,ls s..re
Jacked Up Salsa". These grooves realll sound g.-.r1.
Be sure to check them out. John Santos u a-. r: Gs::Tra:i)
while this issue was being prepared. \onethelss he .:ill
"Hip
found time to fax in an article from halfii a1 a:.- u: j
=:
world. Occasionally, we will pay' rribue rc a :is::-i: '.i:-:
has made an impact on others over a perioC ,:,i ::;;. \-..u
will read about Mr. Jimmy Ramirez u ho ha-. ss--.: : .i::e
portion of his life helping others learn therr :=-'- -{--included are some bongo riffs urinen h ;l:i: T-:.:s: r-e
some of the most common riffs used arc a:e --a-_i:,: ::
=:
Boys Harbor Performing Arts Center in \e'i \-::s. . .-.
Finally, check out our new website at
http://"**Jeigpgtgtq:qg11. Till ner: :rn:r
L.{TI\
PERCT'SSIONIST
Issue'. Spring
1998
Pubtished by- Tortilla FIat Music: Victor Rend6n/Armando Rodriguez
Ediror: .{rmando Rodriguez
CO\-TRIBUTING WRITERS
-Io= Almendra
Greg.{skew
.1..e1
(e:l
Lituin
Ross
-roin Santos
Pazcual Villaronga
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IIucho!
Mike started to get some u'orli '* ii: a -; .:ra- :,::,;-<. "I started playing with a young band leader Eddie Forester called "Eduardo"
who took alot of people under his u:::. -:i: :;;,; P-::eri and "Chickie" Perez."
Eventually Mike's name sol &rul.:rJ -.: i:
=--::,i :=;cmmended him to Marcelino Guerra. Mike explains, "The timbalero tvas
Willie Bobo who was leaving the t=; :: :,.1 r::i:: ; lir Tito Puente. As a result, I was asked to play in Marcelino's band. That
was great exposure for me becau-:e a: ::,i :::= :-.: ].l-;elino Guerra band was the rival to the Machito Orchestra similar to the rivalry
between Tito Puente and Tito Rod::5:r .::: ; - : :=ai professional band! Doc Cheatam and Sahib Shahib were in the band among
other great jazz musicians. \IarcelLx '; ::-; :-:r- :-: ;: and take me home from the gigs because I was still young."
After a while, Vicentico \-alce. -; \I,-*-. -.:-=::'r '* ere leaving the Tito Puente band to form Vicentico's orchestra and they
asked me to play timbales * ith rne r-,. -: ;:s :
erperience to play with them. These guys were well established. The fint
=3:: :: u a.'< Tommy Lopez.I stayed in the band for about five years and Manny was
conguero with that band ll a-i Jchr:.'. ?, : - " ::-c -3=:
like my best friend. Eddie Palmre.-- ;:*: :-s; - :i :a-nJ and we learned alot from Manny. He exposed us to alot of Cuban music.
Everybody in New York * a-r ,:.:e--.'-g -: I---: i:-=. \Iachito, and Tito Rodriguez but Manny was a fanatic about listening to Cuban
groups llke Orquesta Rlr e rsio-.-. -!r r -- -; :,(:-*;:-; Orouesta Aragon, Sendn Sudrez and all the other top bands in Cuba. He would
take the guys to his house anc !.--- - i -:.: ',: ; --: :'.?'. ,?'ionrunos and gtajeo.s. He was a great teacher and he changed alot of things in
New York like the wav the ;c i :r.- :-. :..1 :: ,r-:-=: '* orking with Vicentico I went into the army for two years."
When Mike came home ..n l=:'.: :r::
playing timbales with Johnny Pacheco. "Pacheco was the
=€ =:... ris friend Manny was
hottest thing with the pachanz; J-'-: ?.:c-,=-:: 'i li er en considering replacing his horns with a flute and violins to do the choranga
thing! That's how hot Pacl:;; ; ,r -:-:-- -= \-=. -;e I began playing with Eddie Palmieri's band. The band was cookin' and people
were starting to take notiri. fl- --. '; - ::.: :Ei-:-:t:i c,f --La Perfecta" in trio form. Later he got people like Barry Rogers, Ismael
Quintana, and Mark \\-eins:::: E: . -:: =:ce: ::::--: :o become more organized. I played timbales and "Chickie" Perez played
congas."
Mike was then called:c ;":, ';:: I---: i-:.=.;-ez *hen Papi Pagani was leaving the band. Unfortunately Mike had to leare
Eddie's band, but this u a: s
:
-,: -.-- j ::: \like and as it turned out, he made a good decision. "Tito started selling alot of
=-=-,--:-l:-:records including the hir a.i-:-.
:*" tsa:k Home in P.R., and Tito With Love.
--=--.
Tito ran a strict banq. Vr'='..=i., trith y*, rhoes unshined he would say. "&e que pasa
-.n,torrr,t lt y*
=--'=-=
"urn.
mulatto?" As a result. rhe :--: -:,:'=; -=-i:, -iid ven sharp and disciplined.
The band also had a lot of dynamics. Since Tito was a
=c
':e -:._.
singer, the volume could
:,:: :.-uld come down to nothing just like the Count Basie band. He used to rehearse the
=<=.
trumpets first, saxes nert '.h- : -:=
r -=-=rl-. He *'as also a perfectionist in the way he handled business. When we went out on
=tour we had a new albun: .-r--- :--- - - :-:-.. =-i ei.n ne\r' cases with the name Tito Rodriguez Orchestra painted on them."
2
Latin Percussionist
solid time
Mike Collazo is known among drumset players as the drummer with Tito Puente. His distinct hi-hat pattern and rock
"the hi-trat pattern started when I was working with Richie Ray and Bobby Cruz' The guy
became his trademark. Mike
"*pluinr,
before me played a hi-hat, and i.ichie's music wasn't just salsa. we playedTa ta jala, calypso, cha cha chd, etc.It was similar to
Willie Colon's band that used to play all those different rhythms. Everything the timbalero played was written out including fills,
paila,bell,and hi-hat. Once you learned the chart, you could add your own thing. The best experience I had playing with Ray was
taking solos, which I had not done before. When I started playing, the only one I remember who took timbale solos was Tito Puente! I
took a solo on a tune called "Aguzate" which became a hit. My name was mentioned on the recording and people still remember me
because
ofthat."
Mike was eventually asked to play drumset for Tito Puente. "Tito started to experiment using a trap drummer. Julito Collazo was
in the band before me. He wasn't a trap drummer but he was keeping time, playing fills and kicking the band. I bought a drumset and
did the same thing. Tito wanted a maraca effect on the hi-hat and he didn't want it too involved because we had congas, bongos, and
timbales.If I played too much it would get in the way. I was basically there to keep time which is basically my thing anyway!" (much
the way his teacher Ubaldo Nieto played with the Machito Orchestra).
After twelve years with Puente, Mike accepted an offer to play with Orquesta Broadway. The band plays a different style of Cuban
music called charanga. "I love the music!" says Mike. "It's typical Cuban music. The band works alot and the money is good! It's
alot easier on me because I don't have to carry a drumset". Besides playing with Orquesta Broadway Mike is also enjoying some
freelance work. "I feel very fortunate to have made a living and played music with the high caliber of musicians I've worked with,"
says Mike.
The Collazr, legacy continues with Michael Collazo Jr., an accomplished timbalero in his own right and a proud son. Michael
is busy working in the New York area with Sergio George's project D.L.G.(Dark Latin Grooves), Miles Pefla, Johnny Ray, Willie
Colon, and most recently a new rising star Frankie Negr6n. He obviously has his father's gift for music and is just beginning to find
his niche in the business. "There was always a set of drums and timbales at the house," says Michael. "I naturally got into the drums
first because when I was growing up my dad was playing drumset with Puente. I used to go to some of those gigs to hear them play.
Forget about it! My dad was also into all the great jazz big bands like Basie, Ellington, and drummers like Grady Tate. My father
never gave me formal lessons but when he was playing a gig, I would get up and jump behind the kit during the break!"(laughs)
Michael continued to get more serious about his drumming and played in the Stevenson High School JazzBand in the Bronx, one
of the top high school bands in New York State. I didn't get serious about the timbales until I was into my twenties," says Mike Jr.
After studying with Johnny Almendra at the Boys Harbor Performing Arts Center, things started to develop quickly for Michael. At
the present, his music career looks very promising. His proud father is quick to point out that he can't take the credit. "I didn't teach
him", says Mike Sr. "Michael always had a good ear. I bought him a drumset when he was young and he started playing in school.
When I heard him play in a school concert, I was amazed! He is always practicing. I look at him now and I see myself when I was
young", says the proud father.
Mike Sr. adds, "Playing Latin rhythms has changed so much. People are doing things now that they didn't do before. He explained
that musicians like Orestes Vilato would break tradition and try new things. "And, why not?" says Mike. "Who said there's only one
way to play! We didn't have formal training like today. Now we have places like the Boys Harbor Performing Arts Center in "El
Batio" with guys giving lessons. We also have videos, books, and teachers like Louie Bauzo who have all this great information to
teach. I think it's great
As for advice for younger players Mike says, "The most important thing I want say to young musicians is to study, practice!
practice! and practice! your instrument. And, don't be afraid to experiment. If people like it, and accept it,.....then it's O.K!" TF
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Mike Collazo's Hi Hat Pattern
This is a hi hat pattern that was used by Mike Collazo in the 1960's
and 70's with the Tito Puente Orchestra. It blends perfectly with the
rest of the rhyhm section and really makes the section swing if played
correctly. Notice that the sticking leads with the left-hand even though
it can lead with the righthand if desired. The bass drum can
occasionally be varied but make sure it is feathered (played very
lightly). As stated by Mike, "Tito wanteda maraca effect that wouldn't
get in the way of the timbales, congas, ao.rd bongos. " It can be played in
3-2 or 2-3 clave.
RHYTHMS AND TECHNIQUES FOR
LATIN TIMBALES
by Victor Rend6n
THE MOST COMPLETE BOOK WRITTEN FOR
LATIN TIMBALES
A comprehensive method book for leaming to play Latin
Timbales in a traditional format. A valuable source of
information and study guide for Latin percussionists of every
level. Text and music examples include execution of abanico
rolls, bell sounds, set-up, playing in clave, applications and
examples of modem timbale playing. Rhythms include:
Afro, Bomba, Bolero, Cha Cha Cha, Conga-Comparsa,
Dtnz6n, Guaguanco, Guaracha, Merengue, Mozambique,
Pambiche, Plena, 6/8,Songo, Bell Patterns, Modern
Appications and more!
price: $13.00 +$2.25 P&H TortillaFlatMusic
p.4
Latin Percussionist
Teacher Tribute
Jimmy Ramirez: A Drum Legacy
By Victor Rend6n
We often overlook the people that sometimes push us
to achieve certain goals and eventually make a difference
in our lives. There are many musicians out there that
dedicate themselves to the art of teaching. One such
person is Jimmy Ramirez. Mr. Ramirez was born in
Pleasanton, Texas on March 30, 1939. At age six his
family moved to San Antonio, Texas. He started playing
drums at the age seventeen after seeing Manuel Guerra
playing drums with Isidro "El Indio" Lopez (leader of a
l5-piece Orquesta Tejana in the mid 1950's. One of his
first teachers was John Kendred who taught him the art of
rudimental drumming. He continued his studies at St.
Mary's College while playing jazz professionally in the
San Antonio area. After graduating in 1962, Jimmy
started teaching the following year in Gregory Portland,
Texas.
In 1965 he moved to Robstown, Texas (five miles
from Corpus Christi) to teach instrumental music (band)
in the public school system. It was not long before I
(along with others) was taking lessons at his home from
6:30 till about 9:30 every evening Monday-Friday. Yes,
you read correctly. The lessons were three hours long five
days a week. It sometimes included weekends in the
afternoon especially if we missed a day during the week.
We would go through the 26 standard drum rudiments and then spend some time reading out of the current snare drum books such
as the Podemski, Wilcoxin, Albright, Cirone, Haskell Harr, etc. Other studies included the leaming of rudimental drum solos such
as "The Downfall Of Paris, "Connecticut Halftime", "The Glenwood Boy", as well as the study of tympani and marimba.
Occasionally, the lesson would also include a brief but very informative drumset demonstration that always emphasized the
importance of keeping good time. This went on for five years. It was in Mr. Ramirez's living room that we were first exposed to the
music of Buddy Rich, Oscar Peterson, Miles Davis, James Brown, Luis Gasca, Mongo Santamaria, to name a few. It must also be
mentioned that money was never asked as compensation for the countless hours of instruction except concentration on the task at
hand anC a stl'ong commitment. Says Mr. Ramirez, "I've never charged for private lessons because if I do then it becomes a job.
When it becorres a job, then it's a total drag for me. I do it because I enjoy it."
In spitc of his healy teaching schedule he was still active as a player working regularly with saxophonists Bobby Galvan and
Eddie Galvan (two prominent jazz musicians in the Corpus Christi area). He would often take one or two of his students and have
them sit next to him while he did the gig. The students were able to learn how to play drumset simply from watching an
accomplished drummer. "At that time the jazz stage bands in the small towns were not happening. They were mainly interested in
developing all-state level players that emphasized rudimental and orchestral playing. This was my way of making up for that gap,"
says Mr. Ramirez.
Many of his students reached a high level of snare drum technique and music reading proficiency that was legendary among
music educators in the Corpus Christi area. Several made top chairs at the district, regional, and all-state band competitions held
annually in Texas. Says Mr. Ramirez, "Many band directors in the state thought I had a magic pill or secret for creating these type
of players. Some of them didn't quite believe how much time we put into it."
ln 1972, Jimmy moved his family back to San Antonio to teach at the high school level. Says Mr. Ramirez, "I was teaching and
playing at night. Eventually I had to stop playing because I had to give priority to my family. Making money was important but it
wasn't going to pay to keep my two sons from drugs, etc. I concentrated my efforts on teaching my sons at home. Rodney, my
oldest, is an accomplished saxophone player who has played with the famed one o'clock lab band at the University of North Texas.
He currently plays with top bands in the area. My youngest son, Andy, developed into a very fine drummer. For a living, he decided
to be a ranch foreman which is something he loves to do." Many of Jimmy's former students are now teaching and or playing in
Texas as well as other parts of the country. Carolyn Corder, a classical percussionist now teaching at the University of Alaska
studied under Mr. Ramirez as well as myself. I perform and teach in New York City.
Latin Percussionist
Mr. Ramirez is now a retired band director and lives in San Antonio with his wife Mary of 35 years. He was recently called back
to teach mornings at Irving Middle School in the westside section (el barrio) of San Antonio. Says Mr. Ramirez; "I'm still active in
music. I practice out of the Jim Chapin book and I am expanding my knowledge taking Latin percussion lessons with Papo Morales
and Jr. Santos, two fine percussionists from Puerto Rico. I also take timbale lessons."
We were fortunate to visit his classes last August of 1997. Upon reaching the parking lot we were astonished to see at least forty
students lined up quietly in front of the building. It was soon discovered that this is the overall tone of the school under the guidance
of principal, Ray Bibb. Upon arrival at the band hall, Mr. Ramirez was seen conducting a saxophone sectional rehearsal at7i45 il
the morning. It was like reliving something out of the past. The students were sitting in their chairs with music in front of them,
listening to the instructions of the veteran teacher. Other rehearsals included concert band and jazz stage band under the direction of
Joe Cortez and George Tullos.
It is often said, "Those that can, do and those that can't, teach." While this may be true in some cases it cannot be denied that it
takes a special and skillful person to transfer information and a specific skill to others. Not all good players make good teachers.
There are however many excellent players who are known for their teaching ability as well as their playing. We have Gary Chaffee,
Joe Morello, the late Gary Chester, and a host of others. In Latin percussion we have Louie Bauzo, John Almendra, Jimmy Delgado,
Jose Madera, John Santos, Greg Askew, among others. Jimmy Ramirez definitely belongs to the list of the many professional
drummers who have spent a good portion of their lives helping others learn their craft. He has inspired his students to play by
example and intuitively teaches that achievement comes through plain hard work. That is something that younger teachers today
sometimes have to compete with in this age of modem technology and instant gratification. The legacy lives on. TF
New Release!
The Armando Rodriguez / Victor Rend6n Latin Jazz Orchestra
Havana Blues
w/ special guest conductor / composer I arranger Chico
Featuring
Jim Seeley: trumpet
Peter Brainin: tener sax
Charlie Lagond: baritione
Arturo O'Farrill: piano
Mario Rodriguez: bass
0' Farrill
Guest Musicians
sax
Joe Gonz6les
congas
Ray Colon: bongos
John Berdeguer.
Govanni Hidalgo
Milton Cardona
Andy Gonz6les
Victor Mendoza
Victor Paz
Papo V6squez
Bernie Minoso
Ken Ross
Adela Dalto
Manny Duran
Mauricio Smith
John Walsh
r others
Tunes
Havana Blues
The Cobra
Palabras De Mujer
Guajira
Afrodisia
Huachinango De Veracruz
Percussion Excursion
Tres Palabras
Blue Mambo
Where You At?
6
Available in stores May 5th, 1998
To order by mail contact:
Palmetto Records
71 Washington Pl. #1A
N[Y,
NY 1OOII
I-8OO.PALM CD'S
www.palmetto-records.com
Latin Percussionist
Hidalgo
REVIEWS
VIDEOS
Steve Gadd and Giovanni
Horacio Hernandez
This film is simiiar to the Talking Drummers video joining two
master percussionists in percussionist related duets between the two.
Here we have Steve Gadd (a legend) and Giovanni Hidalgo (one of
the greatest congueros) tearn up to present us a variety ofpercussion
performances. It shows Steve and Giovanni working out their pieces
from scratch in the studio to their performance at the Modern
DCVWarner Brothers Publication
Price: $19.95
DCI/Warner Brothers Publication
1500 NW 48th Ave., Miami, FL 33014
Price: $29.95 50 minutes approx.
1-800-628- 152 8 Ext. 215,214
Horacio is probably the most influential Cuban drummer to hit the
shores of the United States since the arrival of Ignacio Berroa in the
early 1980's. He is known for his incredible technique and
independence, particularly his ability to play a vast variety of AfroCuban rhythms while maintaining the clave with his left foot. This
technique, however, is not new. Candido was doing this type of thing
during the 40's with three congas. Walfredo De Los Reyes Sr. was
experimenting with such independence going back to the 1950's
playing drumset with congas ar,d timbales to the side. However,
Horacio has taken it to the next level being able to not only play
rhythmic patterns but also play incredible solos with a high level of
independence.
He starts by explaining that the rumba clave can be felt in a pulse
of 414 and 6/8 at the same time. This is demonstrated by playing
sixteenth notes with either hand or the clave with the other. He then
shifts gear to play triplets with one hand while playing the clave in
6/8 with the other. Horacio goes further to explain that this concept of
going between 414 and 6/8 can be used during solos and any other
type of improvisation. He points out that many drummers sometimes
learn Latin rhythms as repetitive patterns, which are an end to
themselves. His concept is to learn a pattern as a basis for
improvisation stating that it is a language rather than individual
patterns. The clave is compared to a melody from which other
melodies can be derived. He then goes on to play a variety of grooves
with improvisation by himself and with guest artist, John Patitucci on
bass.
Jack Delohnette & Don Alias
Talking Drummers
A Journey of Music, Friendship and Spirit
50 minutes
Dmmmer Festival.
Books:
A Master's Approach to Timbales
by Jos6 Luis Quintana "Changuito"
written in collaboration with Chuck Silverman
Manhattan Music / Warner Brothers Publication
Book and CD $24.95
Written in collaboration with noted author Chuck Silverman,
Changuito takes us through a variety of Afro-Cuban rhythms on the
timbales which include the danz6n, cha cha chd, mambo, pil6n,
mozambique, merensongo, conga,618 rhythms, and timba songo laye.
A history of the timbales is included tracing the instrument to the
European tympani along with some excellent photos. Topics include
setting up the timbales, tuning, sounds of the timbales, clave, and a
short history of the cowbell. Most of the material can actually be
studied with Changuito's instructional video, The History of Songo
(refer to review, Latin Percussionist issue 4) which can be used as an
additional study source to the book/CD. Some independence
exercises are included towards the end of the book, which will help to
develop Changuito's legendary technique ofplaying cascara or bell
with the right hand, and playing improvised melodic patterns with the
left hand. Perhaps the best thing about this book is that it presents the
thoughts and techniques of a master of the instrument, which can be
srudied many times over to not only get the right notes but also the
right "feel".
Homespun Videos
Box 694, Woodstock, NY 12498
In The Studio
with Louie Bellson
Their Time Was the Greatest!
http ://x.ww.homespuntapes.com
55 minutes Tel: I-800-33-TAPES
Price: $29.95 + $5.95 P&H
Warner Brothers Publication
Book and CD: $19.95
This is not an instructional video but rather
a
performance type
film in which two master percussionists, Jack DeJohnette and Don
Alias collaborate to present percussion based works. Their pieces
include a vast variety ofpercussion instruments such as congas,
drumset, djembes, log drums, ocarin4 clay drums, keyboards, etc.
Much of their playing is based on improvisation and the use of
overdubs to create new sounds. "Tales From The Woods", is one
the best cuts with Don Alias on traps and Jack on keyboards.
of
This is a book / CD publication in which Louie Bellson pays
tribute to Buddy Rich, Chick Webb, Max Roach, Tony Williams,
Elvin Jones, Gene Krup4 Art Blakey, Shelly Manne, "Big" Sid
Catlett, Papa Jo Jones, Dennis Chambers, and Steve Gadd. Mr.
Bellson, however, does not try to copy their styles other than to make
comments about their playing. The tracks were taken from Louie's
CD titled Their Time W* Thg G."utgltOn this package, the drums
,re
tracks with the
accompanying drum charts. These are the actual big band charts used
by Bellson in the studio with handwriuen notes and changes in the
music. Helpful performance notes and hints precede each drumchart,
which help establish the mood and feel for each tune. Some of the
styles covered are up-tempo, easy swing with brushes, and medium
swing. It's a great way for drummers to practice their big band chops
and reading with some of the best jazz and studio musicians in the
world. It's also a great study of one of the greatest big band
mi*"d@
7
Latin Percussionist
drunrnrcrs
John Almendrs y Los Jdvenes Del Baruio Live
I'rear
CD / Video RMM Records
ciet. fhe onll, rcgrei rs that the drunt traeks lre I()() I(\\\ t(r
everythrng that Bellson plays. [n order to appreciate Louie
Bellson's drumming; you'll have to purchase the original CD on
Concord.
Buddy Rich Jazz Legend 1917 - 1987
Warner Brothers Publication
Book and CD: $16.95
This book is a collection oftranscriptions and analysis of Buddy
Rich, considered by many, the world's greatest drummer. It can be
studied in conjunction with the videos Buddy Rich Jazz Legend,
Volumes I & II. It concentrates on the specifics of Buddy's playing,
which include left hand/ bassdrum coordination, crossovers, cymbal
patterns, and hi hats work. Of particular help is a real time indicator,
which gives you a cue to set the video to 00:00 at the beginning of
each piece. Time markings throughout the solo transcriptions also
coordinate with the occurrence ofeach highlighted focus technique.
Some solo favorites are "Hawaiian War Chant" with the Tommy
Dorsey Orchestra, "Channel One Suite", "Love For Sale" and "West
Side Story". This is a great srudy ofa legend and should be checked
out by every drummer who plays a drumset.
CD'S:
Generoso Jim6nez and his orchestra:
El Tromb6n Majadero
Bemb6 Records, P.O. Box 1730, Redway, CA 95560-1730
Phone & Fax: (707) 923-7262 http://w w w. bembe. com
Generoso Jim6nez is regarded as one of the most influential
trombonists in Cuba having explored the improvisational aspects of
the instrument during the I 950's (a direct influence of the jazz
players in the United States). He was a member of the Benny More
orchestra (1955-59) and was also a participant in the Cachao
descarga recordings during that period. Firmly established as a
player, this recording was produced in 1965. It is the only
documentation of Generoso's brief time as a big band leader. It is a
masterful piece of emly Latin jazz work which sounds fresh to this
day.
A.R
Bobby Matos
Sessions: A 14 Year Retrospective Of Afro Latin
Jazz Sessions
Ubiquity Recordings/ Cubop
P.O. Box t92104, San Francisco, CA 94119
Tel. 415-864-8448, Fax. 415-864-8449
Web: [email protected]
Bobby Matos retums with his fourth CuBop release, which is a
retrospective ofthe past fourteen years. All tracks featured are
previously unreleased or long out-of print. It features some of the top
names in Latinlazz such as Poncho Sanchez and Artie Webb. Some
of the tunes are Herbie Hancock's "Chameleon", Mongo
Santamaria's "Mi Guaguanco", and Pharaoh Sanders' 'The Creator
Has A Master Plan".
A.R
8
In an era where many bands sound alike' this recording is a relief
from the usual scenario of a band backing up a salsa singer. This CD
was recorded live at Hostos Community College on October 17,
1996. It was also aired on television in the New York area during
Hispanic Heritage Month. Led by noted N.Y.C. percussionist John
Almendr4 this group exemplifies some of the best Latin music
coming out of New York. This is the third CD of Los Jdvenes Del
Barrio on RMM and their first live recording capturing the high
energy and interaction with the audience' Their first two albums,
Evolucionando and Reconfirmando made the charts across all Latin
stations wlttr hits such as "Telephone" and "Stop, Slow Down."
The band's basic format is based on the music style called
charanga (a Cuban style of music which utilizes flute and violins).
Keeping in this tradition are tunes such as "Habana Vieia", a danzdn
and Cafiafistula, a cha cha chd both featuring Cuban flutist Joaquin
Oliveros and pianist Oriente Lopez. Other higher energy tunes are
*No Me Toque Ese Punto" and "Ya Yo Se."
Lou Perez's
This band however is not simply limited to one style. They also
incorporate elements of jazz and R&B. This quickly becomes
apparent in "Caminalo." Jillian is featured in "Telephone" and
"Every Day I Have The Blues." Her jazz and R&B background are
immediately recognizable with her improvisational and scatting
skills.
This is a very well rehearsed band that plays on a regular basis and
it shows. The playing is tight and above all, it swings. The percussion
work is at its best with John Berdeguer on congas, Eric V6lez on
bongos, Willie Campuzano on gtiiro, and John Almendra on
timbales.lt also features veteran Karen Joseph on flute, Kimson Plaut
on piano, and bass iegend Victor Venegas.
Perhaps one of the best things about this recording is that you get
the feeling that you are there with its high energy and interplay
between musicians. The recording can also be purchased on video.
Not only can you hear the recording but you can also view and study
how they work together as a unit.
Machetazo! John Santos and The Machete Ensemble
Bembe Records P.O. Box 1730, Redway, CA 95560-1730
Phone & Fax: (707) 923-7262 http://w w w. bembe. com
John Santos / Omar Sosa
NFUMBE - For The Unseen
Price Club Productions 484 Lake Park Ave. Suite 32
Oakland, CA 94610
Phone: 510-834-0325 Fax 510-834-3302 email:[email protected]
John Santos has recently released two outstanding CD's. The first
titled Machetazo! features his Machete ensemble covering a wide
.-g" of Afro{*ibbean styles. It also includes some North
American tunes such as Henry Mancini's "We've Loved Before",
Wayne Shorter's "Footprints", and Juan Tizol's "Caravan" (of Duke
Ellington fame). The percussionists featured are Orestes Vi1at6,
Paoli Mejias, Jos6 Clausell, John Santos, and drummer Paul Van
Wageningen.
Nfumbe is a duet with Cuban pianist Omar Sosa. John plays a
,rariety of instruments which include bat4 congas, timbales,
ch6kere,etc. creating a musical dialogue with Omar Sosa. If you want
to hear musical creativity at its best, these two CD's are a must.
Latin Percussionist
INSTRUCTIONAL COLI]MN
Bongo Repiques
by Victor Rend6n
The formal study of the bongos is an area that is much overlooked in the study of Latin percussion. The basic pattern for the
bongos is the martillo played in straight eighth notes.Variations or riffs sometimes called repiques are then played according to
the "feel" of the music. These riffs are also played in clave. The first example shows the basic martillo followed by ten of some
of the most common repiques played by bongoceros.
Key: T: tips of the fingers Th: side of the thumb O: open tone on the low drum.
2-3 clave
martil!o
T T TTHT T TTH T T TTHT T
l)o
RR
RL
L
oo
oo
4)-
TTH
>
RR
L
L
RR
oo
>
:>
o
L
L
RRRR
:>o
:>
>
L
L
:>
o oo o o
LRR
6) oo
RR
L
ooo
R
L
L
oo
o
L
>
RR
ooo
I
o
Latin Percussionist
Hip Jacked Up Salsa
For Timbales
by John Almendra
played
These patterns make use of a snaredrum set up to the left of the low timbal. The left hand patterns are
also
between the high I low timbal, and the snaredrum. The right hand is playing the salsa bell pattern. The left hand
patterns incorporate elements of pil6n, changili, funk, etc. All examples are in 2'3 clave.
low timbal
p.10
Latin Percussionist
1218
Primer For Congas
by John Santos
These fundamental l2/8 movements will give a foundation from which to achieve the typical flavor of many West and
Central African-derived rhythms. A great example would be the Cuban form known as Giliro,which is typically played on one
conga, accompanied by chikeres and guataca or bell. It is of Yoruba (Nigeria) extraction.
These exercises are also ofgreat value in building technique and improving your sound. They are all presented here in
relation to the basic Afrocuban l2l8 bell pattern. Although they are written for a right-handed player, in the ideal world, you
should practice and master them how they are written as well as with the reverse hand sequence.
#3 is a combination of #l and#2.
#4B is based on a 6 stroke roll rudiment.
#5 is derived from #4A and incorporates three open flams.
#6 is based on a 6-stroke roll rudiment.
Exe r:ise #7 is an extension of #6 and incoporates three open flams.
Exercise
Exercise
Exercise
Exercise
Key: H = heel (whole hand, emphasis on palm) T
O=open M=muff B=bass
THS
THS
LLRLLRLLRLLR
HS
LR
t1
THS
LLR
THS
THS
L LR
:
toe, touch or tap
THS
THS
L LR
T
L
(fingers)
THS
LLRL
HS
LR
S = slap
THS
LRL
THS
LLR
THS
LRL
THS
L LR
THS
LR
THS
LLR
T
L
THS
TH S TH S THS
L L R L L R L L R L L R
TSTHSTHSTHS
L R L L R L L R L L R
R
THS
BH S THS
BHS
R L R R L R R L R R L R
THSBHSTHSBHS
R L R R L R R L R R L
R
Latin Percussionist
S
E
riI-1-J
THSBHSTHSBHS
L L R R L R LL
THSBHSTHSBHS
LLRRLRLLRRLR
R R L
R
B H S B HoO B H S B HoO
R L R R LTL R L R R LTL
B H S B H S B H S B HOO
R L R R L R R L R R LTL
S T
H THT
S THTHT
L
R R LLR
LRR
LLR
H THT
R R LL
HTHTSTHTHTST
RRLLRLRRLLRL
oOTBoO
TLLRTL
S
S THTHT
R LRRLLR
oOB
rLR
T
L
B MM
RLRL
S
Next Issue: Fall 1998
The Armando Rodriguez / Victor Rend6n Latin
iazz Oritrestra
-n'c.-uarez
Book and CD/Cassette package
A PLAY. ALONG GUIDE TO READING LATIN PERCUSSION AND DRUMSET PARTS
A reading book containing eight studio Latin percussion/drumset parts with an in-depth analysis of each.
Complete package includes book and audio cassette or CD featuring the ArmanOo nbdfgu
/Virto, Rend6n
Latin Jazz Orchestra.
",
Prices:
Juarez CD Recording: $12.95
Juarezcassette: $7.95
Book of 8 studio charts: $9.95
Juarez CD and book: $20.95
Juarez cassette and book: $15.95
add $2.25 for
P&H
Tortilla Flat Music p.o. Box 556 Ny, Ny 10116-0556
Latin Percussionist