12 Spring 2001 - Bronx Conexion

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Frank rChieoil Guemerot
Latin Sounds from the lDrumset
by Victor Rend6n
Frank "Chico" Guerrero came up the ranks
performingwith Carmen Miranda, Xavier Cugat,
Joe Loco, Daniel Santos, Stan Kenton, and many
others before settling in his native California. An
unsung hero, he developed into a top rate
H o I lyw o o d s tudio drummer/p ercus s ionis t wit h a
career that spannedfrom the lqte 1920's to the mid
90's. In this article, we look at his thorough musical
training os a child that led to his experiences in the
West Coast circuses, New York City, Las Yegas, the
Caribbean, and much of the world.
Frank "Chico" Guerrero was born on October 24th, L9LS in Miami, Arizona. He was raised mainly in East Los Angeles
and Fillmore, Califomi4 which is in the Santa Clara valley. Fillmore was a farmland area where they used to pick
oranges during that era. The workers would live there with their families to work the orange groves. His mother was a
housewife with nine children and his father was a bootlegger. His father loved music and insisted that all his children
study music. He therefore brought a well-known "maestro"
named Manuel Lucero from Mexico to teach all his children.
lsgue
lttsroe
They had music lessons every day with solfeggio (the use of
6Chico'Guerrero
Feature:
Frank
sol-fa syllables to note the tones of the scale) in the morning
1
and an instrument in the afternoon.
Conre.sation by D. Pefralosa & P. Greenwood
It was in this rich musical environment that Chico was
'
trained on clarinet, saxophone, and flute. Out of the nine
children, three brothers, Frank, Joe, and Lalo became
CD & Book Reviews
professional musicians. Lalo played violiru and bass. Chico
and Joe always leaned towards the drums even though they
still had to do their basic training on the woodwind
ffirg
LATIN PERCUSSIONIST
LATIN PERCUSSIONIST
Issue I 2, Spring 2001
Issue 12, Spring 2001
Published by Tortilla Flat Music: Victor Rend6n
Published by Tortilla FIat Music: Victor Rend6n
CONTRIBUTINGWRITERS
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Cardona
Stann Ginn
Joel Litwin
Greg
Milton
t
'\.*lLfLaH"*
I
I
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I
Ken Ross
Trevor Salloum
John Santos
Pazcual Villaronga
David Meade
David Pefralosa
Latin Percussionist welcomes manuscript material, however, cannot assume
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this will only survive through the support of its rerders. lNo Cuesta Mucho!
(cont.
p.l).
instruments. Chico's first professional gig was with the traveling circuses that were traveling up and down the state of Califomia' The
two main circuses were the Gutierrez and Escalante circuses. Not going beyond the fourth grade in school, Chico joined the Escalante
circus when he was twelve or thirteen years old. He was sought after because of his reading ability (a skill that eventually paid off in
the lucrative recording studios of Hollywood). West Coast circus musie at the time was mainly polkas and Mexican rancheras' He had
the Mexican music in him because he grew up with it but he was also influenced by classical music. The swing music of Benny
Goodman also influenced him as well.
Later, Chico studied with two Hollywood studio drummer/percussionists that would have a big impact on his music career. They
were Hal Reese and Murray Spivak. Hal Reese was a premier pe.rcussionist in the 1930's for films such as King Kong, Gone with the
Wind, and other early classics. Murray Spivak started out contributing soundtracks for silent films and went on to manage the sound
effects at RKO Studios in Hollywood. It was he who came up with the sound effects of the original King Kong movie in 1933. He also
became known for his specialty on technique and hand development. His students included Louie Bellson, David Garibaldi, Peter
Donald, and many others. Both teachers taught orchestral percussion to Chico. Consequently, Chico became very proficient on the
mallet instruments as well as drumset as evidenced by his vibes playing with Joe Loco on the LP Poco Loco.
Before World War II, he was in Carmen Miranda's orchestra in the 1930's. It was in this band that tre rnade friends with apandeiro
player named Gringo. They called him Gringo el Pandeiro. He was a very famous Brazilian percussionist who committed suicide
during the war. It was with Gringo that Chico learned many of the authentic Brazilian rhythms. He traveled all over the world with
Carmen Miranda being that she was very famous in the movies, etc. He also recorded with the orchestra but it's difficult to track down
the specific tunes because musician credits were not given on record liner notes in those days. It was around this time that he also
played with Xavier Cugat who was at the peak of his popularity.
Chico eventually made it to New York playing Mexican music with a band. They were booked in a place called Bill Miller's Riviera
just on the other side of the George Washington bridge in Port Arthur, New Jersey. They called the music "musica tropicaf'butit
wasn't close to what Chico was exposed to when he took off to New York City on his nights off. It was in New York that he saw
Machito and his Afro-Cubans with I-lbaldo Nieto on timbales. This is when Chico started learning Afro-Cuban rhythms in detail. He
would sit there and write down some of the pattems that Uba was playing on a napkin or any other piece of paper. He would then apply
these rhythms to the drumset. This eventually developed into his book in the 1970's.
Another percussionist whom Chico met in New York who was a big influence was Willie "Wee" Rodriguez. Willie was a big band
drummer/Latin percussionist who was one of the frst call Latin drummers in I.[YC. Says Chico's nephew, Alfred R. Rubalcava; "I was
exposed to Willie Rodriguez around 1953 when Chico came back from New York. He had this 10" inch LP titled The Drums of
Rodriguez which I have to this day. Willie and Chico became very good friends in New York. Two other guys who really influenced
Latin Percussionist
2
him were Humberto Morales and UbaNieto".
Chico also studied with Henry Adler (renowned teacher and author) in New York. Mr. Adler sent Chico to take lessons with Billy
Gladstone (another premier snare drummer in the Broadway shows). Mr. Gladstone sent Chico back to Adler after one lesson and told
him, "I can't help this guy. He's got perfect hands".
ln 1944 Chico was drafted into the army. Never having to go to combat, he was stationed at Fort Dix, New Jersey in an artillery unit
close to New York City. When he got out of the army, he ended up staying in New York throughout the 1940's and early 50's getting
called for jobs as a trap drummer who played Latin. He worked with Jos6 Curbelo, Mario Bauza, and Charlie Palmieri among others.
Chico had ultimate respect for Tito Puente whom he met during this time. Tito used to sub for Chico on certain gigs that he couldn't
make. He also did a brief stint with Miguelito Valdds before going with Daniel Santos and Pedro Flores. It was through these bands that
he was exposed frst hand to Cuban and Puerto Rican music.
When Chico went back to California for good, he started breaking into the recording studios really quick mainly as a Latin
percussionist. There were a lot of sessions going on in the 1950's and 60's. The main studio session drummers at the time were Shelly
Manne and Earl Palmer as well as percussionists Milt Holland and Emil Richards. He was very close to these guys and would work
right beside them. However, he would almost never get called for anything other than Latin percussion. Says Alfred, "He was kind of
stereotyped into that even though he was an excellent drumset player".
In the 1970's, after much encouragement from Bob Yeager (the owner of the Professional Drum Shop in Hollywood), Chico
decided to write an instructional book on Latin drumming for drumset. Bob financed the complete production of the book and took care
of everything. He told Chico to take his time because he wanted it to be an extensive book. It turned out to be a book with 312 pages
titled Latin Sounds f.q-thg-Drumqg!-Says Alfredo, "I had just come back from Vietnam tn l97l-72. To keep me busy, Chico would
teilm@[Jtentothetimbaleiostoseeiftheywereplayinganythingdifferent.So,Iwouldgooutanddo
what Chico did with Machito. I would go out to the clubs and write out anything that was different and sounded hip so heiould apply it
to the book. One of the patterns that stands out was a bell pattern that had gotten to the west coast played by salsa bands in New York
and Puerto Rico. There was a Puerto Rican timbalero by the name of Jerry Rivera who played with the Johnny Martinez band in LA.
He was playing a mambo bell pattern where some of the notes of the main ride were left out. It gave a whole new swing that came out
in the late 1960's-70's with bands such as Ray Barretto with Orestes Vilat6 on timbales. It was a slight nvist in the sound of the rhythm
section. It was basically the clave in the left hand. The right hand omitted a couple of notes on the main ride. It was kind of new at the
time. It didn't feel or sound that way in the 1950's".
A good portion of the book was dedicated to the use of the left hand'on the timbales which he learned from Uba. Chico took this
further to incorporate the sound of the congas with his left hand while playing drumset. Says Alfred, "Machito used to come to
California and they would stay at our house. My grandmother would cook for them and l;ba would always show Chico new stuff. The
concept of the book was to fully detail how a drummer could simulate a Latin percussion section. The book is still used at Northern
Illinois University and various other colleges/universities. The late Paul Guerrero (no relation) also used it at the University of North
Texas School of Music as well as Joe Porcaro in LA".
Latin Percussionist
3
Chico was one of the first Latinos to do session work in LA along with Rafael Mendez (famous trumpet player). He was also very
instrumental in opening the doors for other Latino musicians in Los Angeles bringing in players like Justo Almario, Luis Conte. and
Alex Acufla. In addition. he was also very active on the board of directors at Local 47 inLA getting more recognition for Latinos. He
was also proud of the fact that he was a hlexicano who made it in New York and went back to the West Coast with what he heard in
New York. Cuba. Puerto Rico. and South America.
In his remairung, years he was very active as a musician. He did a lot of studio work from the 1950's into the 70's. One of the movies
in which Chico was featured is Fun In Acapulco (availablc on videocassctte) with Elvis Presley. He is seen playing pandeiro in a club
scene. He recordcd albums with Jack Costanzo. Juan Crarcia Esquivel. Eddie Cano. George Shearing. Rene Touzet. Laurindo Almeida.
Shofi Rogers. Mike Pacheco. Stan Kenton. and rnany others. He also did sorne R&B things with drulruncrs Paul Humphrey and Earl
Palmer backing up artists like Lou Rawls and O.C. Smith. One of his last movie sessions was Godfather II. In all. he did a total of I82
movies. Some of the composers tlxat he worked for in the movie industry were Alex North. Jerry Goldsrnith. Henry Mancini. Elmer
Bernstein. Nino Rota. Alfrcd Newtnan. Lioncl Newman. iud I-,alo Schifrin.
Cluco passed away on Monday. November l3lh. 1995 of a massive cardiac arrest. He died instantly. He was eighty years old. His
nephew. Alfredo is activc in the LA scene. He played drums for the military in the 1970's. Now he concentrates on playing bass and
writing music. His brother Joe is still :rlive. Joe did a lot of studio work and played with Spike Jones. Eddie Cano. and others. His
brother Lalo passed away in 1991. Throughout his career. Chico cndorsed Leedy. Ludwig. Pearl. Gonbop. Rogers. Paiste cymbals. and
Remo drumheads.TF
Rcsources:
Discography: Doris Day Move Over Darling: Juan Garcia Esquivel Other Sounds Other Worlds: Joe Loco Poco Loco. Ella Mae Morse
Barrelhouse. Booeie & Blues: Shorty Rogers Mantcca: Afro-Cuban Inlluence: Phil Spector Back to Mono: Stan Kenton Affstry in
Rh).thrn: Mike Pacheco Con Sabor Latino: Les Baxter
Movie soundtracks: American in Paris. Fun in Acapulco. Godfather ll
Instructional Video: Murray Spivak: A Lesson witlt Louie Bellson
Bibliography: Guerrero. Frank "Chico". Lal-in Sounds from the Drurnset. Try Publishing. 8-54 Vine Street. Hollywood, CA. 1974
The Complete Historv of the Leed-v Drum Cornpanv. Cook. Rob. Centerstrearn Publishing. P.O. Box 5450. Fullerton. CA92635,
1993. p. l-5(r
I
woulcl like to lhank NIr. (iuerrero's nephew, Alfred Il. Ruhalcava,.fur granting, nte on inteniew, moking it possible lo
vrite lhis
orlicle.
Photos
from Alfred R Ruhalcava's collection.
Latin Percussionist
4
QulquAxoo'
0unro-f ur{ 0u-$equx00 0oxug?6lf tox
by David Peialosa & Peter Greenwood
ln past issues of Latin Percussionist we have qramined two aspects of rumba quinto, fire lock and the cross. In this article we'll look at a
conversation baween the guinto, tumba and segundo. Like the written examples used in past quinto articles, this could be considered a
template or e:rercise.
rhythmic
-tn
many uaditional African dnrm systems such as the bat5, conversations are linrgical call-and response exchanges' In rumb4 the
tumba andsegundo may respond to thl qlinto's dialogue, but it is in an ad-lib setting. There are generally no raditional responses required
of the two suppotting aru-i in rumba otirer than intro and outro breaks.
It is i.port"rrt to note that the hrmba and segundo may play variations at will. They need not only answer the quinto, but may respond to
dancers, ti"g.rs or any other source ofinspiration.
The iollowing conversation is a transcription from a homemade recording of L,os Mufiequitos de Matanzas made in the early 1980's' I
don't think it's a coincidence that drum conversations such as these have a batrlJike quality since the Mufiequitos are bat6 drummers as well
as master rumberos (see Hearing Clave in the Batd" LP #8)'
The conversation is presented as an exercise which can be repeatedly cycled. An extra clave's worth ofthe basic drum melody
(measures 7-8) is included so that the quinto's alternating tone-slap melody (explained in LP #9) won't be intemrpted. To create a sparse
drum melody tontrasting with the dense conversation, I have used the "bare-bones" quinto lock of three strokes in the extra clave's worth of
the rhythm.
Quinto
The quinto's "call" is the same as the quinto cross tonplate from the cross exercises presented in LP #10. It begins on the three side of clave
(measure l) and resolves on the same side (measure 5).
rumba clave
Quinto
quinto call (cross)
2
return to lock
Latin Percussionist
f,
There is no standard sticking or "ride" for the quinto. The quinto player usually altemates hands while playing without the aid
of time-keeping strokes. tf this is too diffrcult for you at this time, you can use your left hand as a time keeper as needed. Left
handed drummers reverce all hand sequenoes.
Tumba
The tumba's response both begins (measure 2) and resolves (measure 6) on the two side of clave. To depart radically from the
basic tumba pattern while the quinto plays a cross-rhythmic figure is indeed difficult. To resolve is even harder. It requires
technique, attentiveness and a healthy dose of musical intuition. In its response, the tumba reinforces the effect initiated by
the quinto's cross. When the tumba "goes out" like this, it is preferable that it resolves at the same time as the quinto.
Iiis important that the two supportive drums refrain from creating an ensemble of three lead drums. As long as the tumba
and segundo variations are subordinate to the quinto, the quinto remains the lead drum. This conversation works because the
tumba doesn't continue to improvise once the quinto resolves.
rumba clave
Tumba
The left hand of the tumba marks the beal
which are the drum's fundamental melody.
Latin Percussionist
l-2-34 with muted
bass strokes. The right hand plays the remaining strokes,
6
Segundo
Tumba variations often ride off-beats as a quinto does. Since the segundo is an anchor, playing its fundamenial open tone
on the beat, its variations tend to be on the beat as well.
This particular segundo variation creates the more typical call-and-response conversation by beginning at the conclusion
the quinto's cross.
of
rurnba clave
Segundo
open tone
The segundo's basic hand pattern is heel-heel, tip-tip and is played hand-to-hand (R-L-R-L, etc..). The pattern is maintained
throughout the drum's variations. Open tones are simply substituted where appropriate.
Three Drum Ensemble
The Composite Rhythm of Quinto, Tumba and Segundo
When we look at the melody created by all three drums, we can see that the entire conversation occurs within a cycle of three
claves (measures l-6).
Latin Percussionist
7
rumba clave
guagua
Three Drum Ensemble
Composite Rythm of Quinto, Tumba & Segundo
I
conversation begins
primary beat rycle
Guagua is slang for bus-the guagua drives the rhythm. It's played with rwo sticks on bamboo, a woodblock or the side of a
drum.
Latin Percussionist
8
quinto
open tone
segundo
left heel-tip
right heel+i
open tone
tumba
muted tone
open tone
muted bass
bass tone
Author Dqvid Pefialosa and editor Peter Greenwood are collaborators on their upcoming book Clave: The Key / Rhythmic
Principlesfor Playing, Improvising and Composing Clave Music.David is on thefaculty of Explorations in Afi'o-Cuban
Danci ani Orum lwww.himboldt.edu/-extended/afrocuban/). He's also VP of Bembd Records and answers musicai
questions at the "Ask Dr. Claye" webpage at www.bembe.com. David Pefialosa may be reached al [email protected].
peter Greenwood author & editor
reached at proedil@hotmail.
has edited bootcs on
vqrious musical subjects including drumming and rhythm. He may be
AFRO.CUBAN PERCUSSION
with Armando Peraza & Trevor Salloum
Ilollyhock,Cortes Island, BC
Back Issues of
Latin Percussionist
Issues available:
213141617r8r9r10 & 11
ssues 1 & 5 available in xerox
ice: $4.00 each
ake check or m.o. payable to:
Tortilla Flat Music
339 E.6'h St. # L5
NI-Y,ITY 10003
Website:
www.latinpercussion.com
August 24-29,2001
It has been said that no single percussionist has been more instnmental in influencing latin
rhlthms than Armando Peraza. Spend an inspiring week with this trailblazing musician and delve
inio the rich rhythms of Cuba and their applicationin jazz, rock and L,atin music. Hear the history
and experience the magic with a living legend of the Afro-Cuban tradition. Suitable for those with
some ixperience in hand drumming, there will be specific classes for less experienced players and
for advanced levels. In addition, you'll leam correct drumming techniques ' posture, breathing,
and body mechanics. Bring at least one hand drum (conga, bongo, ashiko, djembe) and any hand
percussion instruments you have (shekere, maracas, clave). This is anopportunity of a life time,
not to be missed by any serious percussionist.
Percussionist, composer and arranger Armando Peraza has been an inspiration to many
generations of musicians. With a career that spans over five decades and several continents, his
recording and performance credits read like a "who's who" in the jazz and popular music arenas.
From 1972 to 1990, Peraza played, toured, and recorded with Carlos Santana- During his l8 years
with Santana, he helped influence the band's groundbreaking melding of tatin rhythms, rock,
blues, and jaz". He's been featured on classic recordings by Mongo Santamaria, George Shearing,
Tito Puente, Cal'ljader, Aretha Franklin, Linda Ronstadt and Eric Clapton, to name a few, and
he's performed with jazz greats like Miles Davis, Count Basie, Charlie Parker and Billie Holiday.
He was inducted into the Smithsonian Institutd's Hall of tazz Legends, and has been honored with
two Armando Peraza Days by the city and county ofSan Francisco.
Trevor Salloum is a percussionist and music educator who has taught
percussion for over 20 years in Canada and the U.S. He studied with legendary Cuban master
d-mmers and music schools in Cuba. Trevor is a thorough and patient teacher of drumming
fundamentals. He is the author of Fun with Bongos/CD, The Bongo Book/CD, Bongo Drumming:
Beyond the Basics/cD, Afro-l-atin Polyrhythms (Mel Bay Publications) and many articles on
Afro-Cuban percussion.
Hollyhock is situated within the majestic beauty of Cortes Island, approximately 6 hours drive
north of Vancouver, BC. The sparkling ocean, fresh air, abundant forests all add to the peaceful
ambiance ofthe event. Participants enjoy swimming, ocean kayaking, yoga and nature walks in
their free time. Gourmet vegetarian meals and comfortable cabins are available to participants.
For more information or free catalog call Hollyhock at I -800-933-6339 or see
the Hollyhock web site http://www.hollyhock.bc.ca
Latin Percussionist
9
Bomba Songuei Part
II
By John Santos
Music Notation Key: H - heel (palm), T - toe, touchortap (fingers),
M - muffle tone, B - bass tone
S
- slap, O - open tone,
Bomba Songue6 is not an official term used very often. Songueri or Songue6o (from Songueada or Songueado) is used when
you want to make an adjective from the noun, Songo. It is a very general description which refers to loosely interpreting a given
style or rhythm in a more modem and usually more elaborate way, similar to what Formell and Changuito's Songo does with the
Son. There is always a lot of room for personal expression.
In this case, we are taking the general feel of the Bomba from Puerto Rico and infusing the steady, eighth-note "marcha" more
commonly associated with Son, Songo, and other Cuban-based dance styles. These exercises are my interpretation ofjust a few
of the endless possibilities in the Bomba Songue6 direction. If you listen closely, you will hear not only groups from Puerto Rico
experimenting in this area, but also several groups from Cuba bringing their own sabor to this creative concept.
Exercises # I through 5 are for 2 congas. Exercise # 6 is for timbales or drumset.
LRLLRLRLRL
1S1'HOOH',fOo
LRLLRRLLRLRLRRL
s'IoTooosol'oTooH
Bell
$ts
LT
2nd bcll
John Sqntos is a renowned percussionist and producerfrom San Francisco. He can be heqrd on numerous recordings including
his Machete Ensemble, Coro Kindembo Folklhrico, and Batachanga. Recordings with Machete and Kindembo are available from
Xenophile (203-730-0333, Connecticut). Machetazo! is avaitable through Bembe Records (707-923-7262). His latest release,
Tribute to the Masters, is available through Wiquity/Cubop Records (415-864-8448). For booking, concerts, lectures, or clinics:
510-530-1903. Website: www.JohnSantos.com. John Santos endorses LP Percussion instruments.
Latin Percussionist
10
REVIEWS
CD'S:
Soul Caribe: Baile Delicioso @ance Candy)
Salsa, Meren gte, Latin J azz
www.soulcaribe.com
phone: 911-596-6369 Dallas, TX
The Dallas/Fort Worth area has always been a breeding ground for
jazz musicians. Part of the reason is the jazzprogram at the University
of North Texas in Dotton, Texas (40 miles north of Dallas)' It was there
that Dennis DeMetsenaere first went to from Rochester, NY to study
rnusic. It was not long before he was playing Latin music with, Lico
Cisneros, Daniel Cisneros, and Larry Spencer in the clubs of Dallas.
The Cisneros brothers had actually gotten started in their father's
cumbia/tropical band in the 1970's. Percussionists Bryan Brock and
Jorge Ginorio are both graduates of the University of North Texas.
Jorge has also studied in Cuba with Carlos Aldama, Crupo Olorun, and
Grupo Folkl6rico Nacional de Cuba. Other band members such as Larry
Spencer played with jazz luminaries; Buddy Rich, Natalie Cole, and
Ella Fitagerald. More than 20 years later, these highly skilled musicians
are still performing their prescription of salsa, merengue, and Latinjazz.
The CD kicks offwith "La Clave", a straight-ahead salsa tune in 3-2
clave and sung by Lico on bass and vocals. The lyrics ofthis tune are
about the clave and "in clave" it is with its solid percussion foundation
and tight brassy sounds in the mambo section. Bryan Brock on congas
trades a couple of well-executed eight bar fills with the hom section
before going back to the head. "Yo Soy Aguel", "Morena Concentida",
and "Lo Que Un Dia Fue No Senf'are other salsa tunes with bright
energy, supportive hom backgrounds, and splendid percussion
fills/breaks. They then jump into a fast-paced merengue/pambiche with
"A Mi Amiga". "Til Mi Delirio" is a bolero arranged by Lico Cisneros
and beautifully orchestrated by Roger Holmes. It features Lico on vocal
and Lee Schloss on alto sax. Daniel Cisneros plays timbales/drumset on
this one easily going between a straight-ahead bolero and a funk feel
right before the alto solo. "Baila Mi Hermana" is a favorite. It sort of
reminds me of the 1970's Latin-rock groups of Malo and El Chicano. It
has bilingual lyrics with an edgy rhythmic feel throughout the tune and
well-paced solos by Larry Spencer on trumpet and Lee Schloss on alto.
Not to be out done by a lack of versatility, Oliver Nelson's "Stolen
Moments" skillfully arranged by Dennis gets anew Latin-jazz
treatment. "Street Smart" is a funk number originally played by Steve
Cadd, Eddie Gomez, and Richard Tee. It features solos on trumpet,
tenor, and bass. Daniel Cisneros on drumset really shines on this one
showing his versatility between timbales and drunset. ln fact, the whole
percussion section consisting of Daniel Cisneros, Bryan Brock, and
Jorge Ginorio, does an excellentjob of holding it together throughout
the CD. The combination of excellent musicianship, good
arrangements, and a rock-solid rhyhm section is what makes this CD
sparkle. A splendid petformance
Latin Percussionist
Grupo Exploraci6n: Drum Jam
Bemb6 Records, PO Box 1730, Redway, CA 95560-1730
Phone & Fax: (707)923-7262 website: www.bembe.com
Personnel: Miguel Bernal Nodal, Juan Gan6n, Luis Doniel "Chichito"
Cepeda, Harold Mufiiz, Michael Spiro, Mike Cox, Howard Kaufman,
Eugene Novotney, Scott llardinslE, Bobblt Totten, David Pefialosa,
Rama Boltd, Jimmy Durchslag
This is a percussion recording with the purpose to bring out the
melody in the percussion instruments. The concept of exploring the
melodic qualities of the drum has been documented in many recordings
starting around the 1950's such as Tito Puente's Puente in Percussion,
Top Percussion; Sabu's Sorcery, Art Blakey's Orgy in Rhythm, and
hundreds of others. This recording stands on its own merit with its
unique treatment of Caribbean rhythms from Cuba, Puerto Rico, and
Haiti using excellent players llom each ofthose fields.
From Puerto Rico/Cuba we have "Bomba Makuta" (a hybrid of the
Puerto Rican bomba and makuta from Cuba). Starting offwith a
traditional bomba percussion call, it makes use of the marimbula (a kind
of giant bass mbira that is the original bass used in the son music of the
early 1900's). The malletkat plays a guajeo and a traditional makuta call
and response chant. Two lead drums Miguel Bemal on the low-pitched
makuta caja and Luis Cepeda on the high-pitched bornba primo give the
piece an energetic edge. "Me Voy a Puerto Rico" is a traditioual bomba
with Luis improvising on the lead drum. "Plena de Arcata" is a plena
played on congas giving it a Cuban influence with the use of added pans
(steel drums) playing a guajeo and bassline.
From Cuba we have "Descarga al Tambor". Based on a modem
rumba-based invento with batri, congas, and caj6nes, it weaves in and
out of some intricate rhythmic improvisations. "Rumba Columbia" and
"Guarapachangeo" are played at a medium pace with some well-paced
quinto by Miguel Bernal. "lyesrf'is an excellent example of traditional
iyes6 with Michael Spiro on the lead drum. "Agbe" is in the drum and
giiiro style with the use of bell, three chekeres, and one drum. The
melody of the bass tones between the three chekeres really comes out in
conjunction with the drum improvisation. "El Monte" brings us back to
nature with the sound of raindrops and birdcalls done with bird whistles
and rain sticks. A beautiful piece.
ln the more popular vein we have "Ritmo Changiii" played with
authentic changiii bongos and marimbula. "Congo Timba" really stands
out. This piece is in the timba style (the newest style from Cuba)
making use of a guajeo on the rnalletkat and trombones on the mofra. It
starts with a bongo solo followed by congas behind a driving backbeat
on drumset culminating with a mofia and an exciting timbal solo by
Michael Spiro. The only complaint here is that it's too short. After
listening to all the intricate folkloric drumming, this one makes you
jump out ofyour seat. Other pieces are "Congo Oriental"; "Chenche
Gudugudu", and two pieces in the Haitian tradition; "Vodri" and
"Kanekela" (a mixing of Cuban and Haitian influences). Beautifully
recorded, mixed, and mastered, this recording isfresh, melodic,
energetic, and stimulating.
Orquesta Sublime: Sublime Havana
Bemb6 Records
Founded in 1956 by Melquiades Fundora, Orquesta Sublime is one
ofthe top charanga bands from that era. More than forty years later the
band mernbers still have their home base in the barrios of La Habana
Vieja (the heart of Havana's old town) under the direction of Gerardo
Chapelli. Some of the "old men" are still in the band such as Martin
Collado on timbales, Santiago Barb6n on piano, and Eugenio Sierra
"Papito" on giiiro. As stated in the liner notes; "Zos viejos saben", they
11
are the ones that watch over the integrity of the Sublime sound because
they are the ones that know. In this recording retired Melquiades
Fundora reunites with the band along with special guest, saxophonist
and flautist Klaus Roehm. Together they play a variety of classic c}a
cha chds, pachanga, danzhnes,andboleros in thetrue style. Klaus adds
a different color to the usual flute/violin charanga sound with his
background voicings and occasional solos without destroying the
Sublime sound. real down to earth treat-
I
Abbilona: Tambor Yoruba
Set of 8 CDs
Caribe Productions Inc., Cuidad de Panam6, C50 Edificio
Global Banck PO Box 6-8998, Panama, Rep. De Panama
This is a set of eight CD's dedicated to the music of Santeria. Each
CD starts out with ten minutes of the orun seco (section where the bat6
drums pay homage to the orishas). Songs of the orisha(s) then follow it
for that particular CD. Each CD also includes a booklet with the text for
each song presented as well as descriptive text forthe orishapresented.
This is probably the best documentation of Santeria drumming and
songs. I great sludt, resource
cha-ch6, danz6n, bolero, 6/8, soloing concepts, solo transcriptions, and
warm ups. Furthermore, the direction of clave is dernystified with a
thorough explanation of the change from 213 to 312 clave.
Although many of these rhythms are discussed in other books, Tito's
commentary adds a unique perspective to the application of these
rhythms. The 75-minute CD includes an explanation and demonstration
of the many topics presented. Some of the music styles presented are
discussed in relation to Tito's recordings which include twelve classic
original recordings such as "Cuando Te Vea", "Ran Kan Kan", "Oye
Como Va", "Ti Mon Bo", and "Mambo Beat"' The timbale charts
provided by Jose Madera (conguero and arranger with TP for many
years) further enhance this.
The text also includes humorous and lively stories, comments by
notable drummer/percussionists John Riley and Johnny Almendra, ideas
on creating solos, drum breaks, and a discussion on how all the parts of
the rhythm section fit together.
Congratulations to Jim Payne, Hudson Music and the numerous
contributors for an incredible accomplishment. This book along with
over 100 recordings by "El Ref'will help preserve his legacy for many
generations. lt is highlv recommended and will surely be a valuable
addition to the library ofany serious percussionisl.
Trevor Salloum
Grupo Los Santos: Noches en el Taller
16 Pomader Walk # 1, New York, NY 10025
Phone: 212-31G3429 Website: GrupolosSantos.com
Bongo Drumming Beyond the Basics
By Trevor Salloum
Mel Bay Publications, Inc., # 4 Industrial Drive, Pacific, MO
This CD is a labor of love by a group of New York City musicians
with the desire to produce some creative music. With compositions
from the four members, the recording starts with William Bausch on a
drumset adaptation of the batd toque to "Alumbanche" (tribute to the
orisha, Eleggua). It then kicks right into "Noches en el Taller", a Latinjazz mambo feel alternating with a 6/8. Compay Segundo's "Chan
63069 website: wrvw.melbay.com
Retail price: $29.95 book/CD 80 pages
Chan" recently made popular by the Buena Vista Social Club has a
nice, blues sounding feeling that builds in intensity. "Canto sem
Palavras" and "Simplicidade" are two Brazilian cornpositions tastefully
played with brushes on the drumset. "Weird Latin" as the title suggests
may be a little weird melodically, but it is actually very "in" rhythmwise. Based on a popular monfuno riff, it weaves in and out of some
very well executed solos. "Piece Now" (For Nancy) is a ballad piece by
the group's guitarist, Pete Smith. "Lagrimas Negras" is another popular
composition by Miguel Matamoros. The CD closes with "La
Topa/Bata-ria" that again features a batd adaptation to the drumset.
These musicians have been playing together for a while and their group
efforts really show in the different styles represented ranging fromjazz,
Cuban, Brazilian, and other styles of music. A commendable
pedormance
Books:
TITO PUENTE: Drumming \ryith the Mambo
King by Tito Puente and Jim Payne
Hudson Music phone: tolls free: l-888-796-2992
www.hudsonmusic.com
retail price: $35.00 book/CD 192 pages
Tito Puente's passing just prior to the release of this book was a great
loss to the world of jazz and Latin music. Emphasizing timbales and
drumset, Tito Puente's Drumming with the Mambo King contains a
wealth of information on Afro-Cuban music and Latin percussion. The
book includes numerous photos, discography, glossary, history, and
bibliography. Chapters ofthe book include clave, cascara, tumbao,
mambo bell, drumset applications, abanico, discussion of mambo, cha-
Latin Percussionist
This is the third book by Trevor dealing with the art of playing
bongos. The second book titled The Bongo Book was reviewed in
Modern Drummer nagazine two years ago by this writer. As with the
second book, a short history is provided tracing the bongos to its roots
in Africa, Asia, the Middle East, earlier versions of the timbales, and
it's emergence in Cuba during the early 1900's in a style of music
called sor. Other lesser known Cuban styles are briefly discussed such
as changili, nengon, and sucu sucu. Tlte author talks about recordings,
background information, playing aspects, size of drums, position, basic
rides, and descriptive text ofhow to play those styles. Mr. Salloum also
cites some early recordings that are essential listening lists such as
Sexteto Habanero, Sexteto Munamar, Sexteto Matancero, Sexteto
Bolona, Trio Matamoros, Septeto Machin, and Arsenio Rodriguez.
Early pioneerbongoceros such as Antolin "Papa Kila" Suarez and
Armando Peraza are also referred to throughout the book'
A large portion ofthe book is spent on what the author calls
Martillo Exercises. They deal mostly with two-bar phrases that involve
the displacernent ofthe hembra (large drum) tones and/or accents ofthe
left hand on different parts of the measure. The purpose is to increase
the player's ability to improvise within the structure of the martillo.
This systern is further developed in other sections such as Hembra
Macho Combinations and Left Hand Slap that are basically martillo
exercises with improvisation on the second bar. A discography of bongo
solos, bibliography, glossary, and resources are also included at the end
of the book. This book has a lot of helpful information and helps tofill a
void in the lack of good instructional material
for
this instrument.
Next Issue: Ritmo Ph ct Feature
Fall 2001
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