Latin Percussionistlssue 11 Fal! 2000

by Victor Rend6n

Drummer/timbalero, Ramon Muioz Rodriguezbetter known as Monchito goes back to the earlv1940's coming to Ne** York to work with his .father'sorchestra, the Rafael Muioz orchestra. From therehe went on to work with Noro Morales, Jo.gd

Curbelo, Tito Rodr[guez, Eddie Palmierl and TitoPuente to name afew'. Heavilv influenced h'thelikes of timbaleros; Humberto Morales and UbaldoNieto as well as jazz drummers; Gene Krupa andBuddv Rich, he studied wilh renown teacher, Heru1tAdler, becoming a very much in demand sessionplalter throughout the 1950's. He moved to PuertoRico (where he now resides) in 1959 to work in thehotel show bands of San Juan backing up top acts.

LP: Please give us your full name.MM: Ramon Mufroz Rodriguez known as Monchito.LP: How was it that you came to play drums and percussion?

MM: I started in my father's orchestra (Rafael Mufroz). The singer was Jos6 Luis Moner6. They made famous boleros llke,"Olvidame" and "Coraz6n". It was an orchestra for older people. Acnraily, they are older people now (laughs). The drummer was

one of the best during that era. I always liked percussion. My parents wanted me to study piano but I was always drawn towards

the percussion. I was already playing on stage with the band by the time I was five years old.LP: What decade are we talking about here?MM: We are actually talking about the late 1930's going into the40's. I was born in 1932. I have some material of the orchestra in1936. It was at a place called El Escambron Beach Club. Affluentpeople patronized it. When some of those people see me theyknow me as the drummer who played with Jos6 Luis Moner6 whowas the singer with the band. He continued in that tradition withhis own orchestra. I played with him and he would present me topcople as his son. He knew the alcaldes in many towns and otherpeople. Sometimes people would ask him, "Why don't you startthat orchestra again?" Moner6 was good but it wasn't the same.

My father's music was a tradition that had been established.Moner6 played the same numbers but changed the arrangements. Ihave a project now. I did it several times with my brother who

Feature: Monchito Mufioz

Conga Solo: Mongo Santamaria

CD & Book Reviews

Monchito Mufloz: Puerto Rico?s Little Secret

Inside This Issue

Ad, Joel Litwin comic strip

Gaga by Trevor Sal

Tito Puente Tribute

I have had many musical influences starting withrudimental drumming, classical music, jazz, Tex-Mex,country, rock, funk, etc. Many drummers, percussionists,and teachers have been an influence too numerous toname. However, there are two persons who have greatlyinfluenced my desire to play drums and in many wayschanged the course of my life as well as others. The firstone was Buddy Rich who inspired me tobe a jazzdrummer and the second one was Tito Puente whobrought me back to my Hispanic roots and instilled a lovefor Latino music and the art of playing timbales andpercussion. It is with these thoughts in mind that I amdedicating this issue of Latin Percussionist to the late TitoPuente, El Rey del Timbsl.

LATIN PERCUSSIONISTIssue 11, Fall 2{XX)

Published by Tortilta Flat Music: Victor Rend6n

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(cont. p.l).passed away. He was a singer. Now, in September (2000), I will start the orchestra again. That's why I have to leave because we have

to start rehearsing on the l8s. Otherwise I would have stayed longer.LP: How was it that you came to New York City?MM: Well, like I said, I started off very young and I learned from one of the best (drummers) in Puerto Rico of that era. Hisname was Tony Sanchez. I used to sit on his lap at the age of five while he played. I used to hold a pair of drumsticks but he woulddo all the playing. Later, he went into the army and my father was left without a drummer. I told him, "Let me play". He said that Iwas too young because I was eleven years old. He didn't get a drummer so I ended up doing it. That was my first professional job"

LP: Were you playing timbales or drumset in this band?MM: In those days timbales were not used in Puerto Rico. I started off playing the drumset. It was not until I came to New York toplay with my father that I started to learn timbales.LP: Were all the Latin rhythms played on the drumset?MM: Yes, they were played with a bell mounted on the bassdrum.LP: Was there a reason why the timbales were not used?MM: The timbales were played in Cuba for danzdnes. The orchestras did not use timbales in Cuba either. Of the few Cuban

orchestras that I saw there was one called Orquesta Riverside,which was very good. They used a drummer. He would just do the band

hits. He would not evenplay paila. Tlte conguero and bongocero would carry the rhythm. It was later that the drummer started to

play time. Now it's different. There are many Cuban drummers that are monsters. It was the same thing with the Latin music here inNew York with the orchestras of Tito Rodriguez and Tito Puente. You heard more of the punch figures with not much fill-ins. Nowdrummers do a lot of fill-ins. But before, music was stricter. lf the paila was played, it was all that you did. If you did anything else

then you were wrong. Now you can change and invent.LP: How did you start to learn timbales here in New York?MM: My father, who was acquainted with everybody, knew Noro Morales and his brother, Humberto who played timbales in Noro'sband. So, my father asked Humberto to sell him a pair of timbales for me. I went to Humberto's house and the timbales turn out to be

a wooden set of Gretsch timbales. From there I started playing timbales. Charlie Palmieri was the pianist in my father's band. He was

the one who helped me learn to play timbales. He showed me the basics and would tell me what to play.LP: Who were the ftst timbaleros that you heard?MM: I started listening to Humberto Morales because he was the first timbalero that I met. Then I started to listen to Tito Puente. Iwas like a mixture of both. Charlie would tell me, "You have to listen to Machito's orchestra. That is the school". They used to call it"la escuelita" (the school). We were very young. I was about fourteen years old and Charlie was about eighteen. I was crazy to hear

Machito but they always played on weekends and so did we. There was no way of catching them until one day, Charlie comes and tells

2

Greg Askew I Ken Ross

Milton Cardona I John Santos

Stann Ginn I Pazcual VillamngaJoel LitwinDavid MeadeDavid Pefralosa

Latin Percussionist

me, "Listen, Machito is going to play this Wednesday at aplace called the Palladium". That's where I frst saw Machito and it was

true what Charlie used to say about that baad.LP: Was Ubaldo Nieto playing?MM: Yes, IJba was playing. I really liked Uba's style of playing and it made me change my way of playing completely. He nevershowed me anything directly but I used to spend hours in front of him. I used to copy his hits aad style. He was not flashy nor did he

do a lot of things but he was a tremendous timekeeper. I feel lucky to have passed through that era. Those people started to play here

like in the 1930's. I came here in 1944. Since I was into music as a little boy my father used to take me to a place downtown. Theycalledit La Chismosa (La Salle Cafeteria). Many musicians like Machito, Miguelito Vald6s, and many others used to go there to drinkcoffee, etc. during a break. It was there that I met all these people.

LP: Whom did you study with?MM: Well in Puerto Rico I learned by just watching Tony Sanchez and another drummer named Candito Segarra. They were topdrummers. In New York, my father asked Uba and Humberto who would be a good teacher for me. They referred me to Henry Adler. Istarted to study with him around 1947 or 1948.LP: What kinds of things did you work on with Mr. Adler?MM: He was the teacher to many heavies. He taught drummers like Louis Bellson, Buddy Rich and Ed Shaughnessey. In those years,

there were no instructional independence books like the Jim Chapin book, etc. Now we have all these independence books but at that

time they did not exist. He would have me play the jazz ride pattern with my right hand while playing quarter notes, triplets, etc. withmy left hand. He would take horn stock axrangements such as a trumpet or saxophone part and tell me to read and play the horn part

with my left hand on the snaredrum. Now, we have books that deal with that.LP: What would you do with your feet?MM: He would have me keep time with the bassdrum and hi-hat. But later, he would also have me play the figures with the bassdrum

or hlhat. He was a very good teacher. He also had a store on 46ft street. He had his studio there and sold Leedy drums exclusively.His technician did repairs. So all the drummers from bands such as Les Brown, Charlie Barnett, and Harry James would go there tohang out and study with Henry. They would also take their instruments there because the technician was very good.

LP: Many of the Leedy timbales have different badges that say Leedy-Ludwig or simply Leedy? What is the difference between thetwo?MM: The ones that say only Leedy are older. The Leedy products were merged with Ludwig which became Leedy-Ludwig. Thishappened in the late 1940's. I have one of the first ten pairs of Leedy timbales. The one who came up with those timbales was the

technician who worked for Henry Adler. Lha and Humberto were using timbales that I believe were made by "El Indio" in the bario.They were made of metal like in Cuba. Howevero the metal was very weak and so was the stand. They were made by hand withcalfskin wrapped around the rim. Whenever Uba or Humberto would break a skin, they would take it to Henry's technician to have a

new skin tucked. The technician would always jokingly say, "Ah, esto es una mierda, una puerqueria" (That is a piece of garbage).

One day I will build a good set of timbales".LP: How did these timbales become known as the Humberto Morales Model?MM: Well the technician whose first name was Charlie built those drums. I don't remember his last name (Tappan). He was adrummer also. He presented these timbales to the Leedy Company. lfba and Humberto tried them out and everybody just went crazyover them. They were very professional. So, Henry Adler sold the patent to Leedy. The first ten sets that were built before they wentout into the market came to Henry Adler. He gave one set to LIba, Humberto, various others, and me since I was his disciple. I believethe cost was about $75.00 with case and everything.

Gene Krupa was endorsing the Radio Kings made by Slingedand. Therefore, Leedy needed a model name for these timbales.These people didn't know anything about Latin music. They were Americans from Chicago so they asked Henry Adler for advice. The

head of Leedy wanted to come to New York and go to a club and see a healy timbalero play on these drums. Henry was going to takehim to see Uba with the Machito orchestra. The timbales were going to be named after Ubaldo Nieto. When the head of Leedy came,Machito was on the road. Therefore, Henry took him to see the Noro Morales orchestra at the China Doll with Humberto on timbales.That is how the timbales became known as the Humberto Morales Model. This was around 1948 or 1949.LP: Were there many Latino drumset players in the 50's that could play Latin and read shows?MM: During the 50's, there were very few Latin drumset players. Everybody was a timbalero. I was a &ummer since my days inPuerto Rico. There were three dnunmers that were doing most of the work. They were Pete Gutierrez (Pete Terrace). There wasanother guy with a Spanish background. His name was Jimmy Naveira. They could play Latino and read shows. There were manycabarets that had small groups like the Havana Madrid. So the three that were doing most of that work during those years were Pete

Terrace, Jimmy Navier4 and myself. We would also play a lot of clubdates. On Mondays, Wednesday, and Friday, musicians wouldgo to the union floor to talk, hang out, and look for clubdates, and any other work. Whenever I did a gig, I would always ask to sit nextto the trumpet so that I could read from his part. It would seem like I had rehearsed because I would hit everything.LP: What can you tell me about another drummer from that era by the name of Willie Rodriguez?MM: He was my uncle. He is another drummer who was one of my teachers. He was one of the first drummers to come to the UnitedStates. He was the timbalero for Paul Whiteman. One day, the drummer didn't show up. Willie played the show in his place. Fromthere, he stayed as the drummer. He died very young in his 40's. They used to call him Wee Willie. He did a lot of recordings withPerez Prado, Aldemaro Romero, Perry Como, TV shows, andmany others. They would hire the best musicians like Doc Severinsonand Clark Terry. I was like his second general. They would hire three percussionists, so I would play in addition to another. If he got

3Latin Percussionist

called to two recordings on the same day, he would send me to the other.

LP: How did you learn to read music?MM: I started to read on piano because that's what my father wanted. I never pursued the piano but it did give me a better

background.Lp: So now we are into the 1950's and you are doing the bulk of drumset and Latin percussion work in New York' What would you

consider your first major gig in the business?MM: I was playing with various groups in dances, recordings, Latino cabarets, and the hotel jobs which we called clubdates.

Sometimes I had to play bongos oi rorn. other percussion instrument. It was around this time that I did my frst recording with my

father. My father's recording was the first recording session for both Charlie Palmieri and me'

The first top gig that I had was with Noro MoraGs. Noro and his brother Humberto were always fighting/arguing until finally they

sepaxated. f was o" the union floor one day and Noro came in looking for me. He said, "I want you to come and play with me"' I said,

"Me? I won't dare". I wouldn't attempt to iitt i, Humberto's shoes. He was a tremendous drummer. The musicians in the room made a

circle in the room with Noro and myself in ttre middle. Noro says, "Chico, I came here looking for you because you play well". The

musicians were saying, " No seas pendejo, no seas pendejo (don't be a fool)". So, with the support of Noro and the musicians, I took

the job.LP: Did you record with Noro and do you remember what albums?

MM: yes, I did record with Noro. In those days they weren't albums. They were put out as 78's. Musicians were hired through the

union for a three-hour session that consisted of four numbers. I recorded with Noro and only heard it once until just recently. Max

Salazar sent to a friend of mine a cassette of Noro. He said it was recorded in 1950 with Humberto Morales, his brother, playing

timbales. I krrow he is mistaken because I was playing with Noro from 1950 through 1952.

It's diffrcult to tell you what records I recordedie*r" .ro* a lot of CD's are being reissued and the numbers are all mixed. If I'min a store I can tell you from the titles. lnthe cha cha cha era, I'm in there with Tito Rodriguez. (See discography).

LP: Who is playing timbales on the albums such as Live at the Palladium and Return to the Palladignl?

MM: On those albums we have Papi Pagani, fat Rochiguer, and tutike Collazo. Those were the timbale players after I left.

LP: Can you tell us something about the bell playing technique of llba and Tito?

MM: Uba Nieto didn't play tIe bell like fito puinte. He had a different bouncing style on the bell. Tito Rodriguez liked that style.

Tito puente had a pressing ityle on the bell. Uba had a very loose technique as if playing jazz. When I left, Tito Rodriguez was

looking for someone who played in that style. The one who could do that was Mike Collazo. Mike was with Vicentico Vald6s in

which Manny Oquendo aho flayed. Manny was a disciple of llba. Many times when Machito played, Manny would go with Uba' He

would carry his timbales and Manny's girlfriend would carry the stand'

LP: Did you have to play solos on any records?

MM: I niver played u rolo on a commercial record. The only solo that I did was on "Sun Sun Babae" with Jos6 Curbelo. Santitos

Col6n was on vocals. The solo was 32 bars. In those days a record could only be a little over three minutes in order to be put in a

jukebox. There wasn't much of a chance for improvisation.LP: I noticed the other day that you play very relaxed.

MM: yes, the only thing that I am lacking right now is chops because I'm not playing that much these days. One has to always be

playing. When you are constantly playing you get very loose.

Lpt g*t then, you couldn't just go out to a music store and buy an LP or Toca bell because those companies did not exist. Where and

how did you get your bells back then and how were they different from the bells used today?

MM: Those bells were not manufactured bells. They were bells that were actually used on cows (cowbells). When we got them, they

even had the beater inside that makes that "ting, ting, ting" sound. They were very hard to get. Manny Oquendo and I used to follow

these horse carts in el barrio that used to pick up trash and newspapers. They would always have two or three bells. If it was a big

bell, we would try and buy it. If the p"rson *orrldr't sell it then we would grab it and start rururing (laughs). I still have a large long

bell like the ones that Uba and Tito used. Today that bell cannot be used because it won't be heard. In those days, not everybody

played with a microphone. Before, they used to tell the bongo and conga player to quiet down because they were playing too loud'

irlow, it is the reverse. Now, everybody uses a microphone and the percussion has to play hard.

Lp: I have seen photos of Uba wrth the timbales in iront of him with a bassdrum and cymbal. I have also seen photos of other

drummers where the timbales are setup to the left or right of the drumset. How was it that most drummers set up? Also, did they use a

snaredrum?MM: If we didn't have to play American music we would set up the timbales directly in front of us like Uba. He would set the

timbales in a sitting position with the bass drum in front and a cymbal to the right. They were not played sideways by turning the body

like the way manytuban drummers do today. That is a little uncomfortable. The timbales were placed next to the bassdrum instead of

the snaredrum. If we had to play American music, then we would move the timbales out of the way and place the snaredrum just like

in a regular setup. The bass drum was mainly used only for band hits or played very lightly. Sometimes I would set up the timbales to

the rigf,t where the floor tom is normally plaied. If I had to play something llke abolero I would completely turn around to play the

timbales and maybe play the bassdrum with my left foot.

LP: When did you start playing with Tito Puente and what instruments did you play?

MM: I started with puente iuring the Dancemania period around 1956. I took Willie Bobo's place on bongos. I also played giliro on

the cha cha chds ard the pachan[a. ,Nhenever Tito wasn't playing timbales I would play in his place. We used to go to Miami to do a

4Latin Percussionist

show in which he needed a drumset player. He would eliminate Ray Barreto on congas and add an extra hom to augment the sound of the band. Itwas just a show so we would do well without the congas. If we needed to play some dance music, then I would play congas and Santitos Col6n would

grab the handbell. Ray would resume his position upon the retum to New York.LP: What other drumset players were in Puente's band?

MM: The first drummer thai Puente used was Julito Collazo. He was told by Tito to play the hi-hat pattem (sings) and to play the hits with the

band*. After Julito left, Mike Collazo came into the band who was a better drumset player. Mike was much more flexible just like Willie Bobo who

codd play jazz well. Puente recorded a jazz album called Puente Goes Jazz. The drummer was Ted Sommer. When Willie Bobo was in the band,

puenti wiuld sometimes play those tunes towards the end of a night in which Willie would play drumset. He couldn't read music but he was a

natural.I eventually left to Puerto Rico in 1959 until n6w. I did come back in 1991 for three years when Charlie Palmieri passed away. In Puerto Rico I

always worked in the hotels, showbands, or my own group. There were basically five hotels. Each hotel had at least twenty musicians working' They

*ouid huu" a showband in the cabaret that would ernploy ten to twelve musicians. I would always do the show unless they brought their own

drummer. They would then have a group that would altemate with the showband. That would be a quartet or quintet.

LP: I understand that some of the other drummers were Walfredo de los Reyes and Alex Acufra.

MM: yes, Walfredo de los Reyes and Alex Acufra were there. Alex was in Puerto Rico for about ten years. We studied and hung out together.

Lp: Do you feel that you were-able to apply the knowledge on drumset that you gained from studying with Henry Adler, Willie Rodriguez, and

others?MM: I studied drums here in New York but I always had to play timbales unless I went with Puente to do a show in Florida. But, when I went topuerto Rico and started playing shows my playing on drumset developed in such a way that I had never been able to do in New York. I got good

playing in all the styles. \Vhen I was in New York I would sometimes record on bongos for Steve Allen or Perry Como. It would be only like two

numbers or so. Afterwards I would sit or stand next to the drummer during the rehearsal or recording looking at the music and checking out what he

was doing. That helped me out tremendously in all the different genres of American music which includes playing with brushes. When I went to

Puerto Rico to play shows I was prepared because I was educated in that sense. lf

Selected Discography:Rhumbas and Mambo with Noro Morates and his Orchestra: Tumbao TCD'027recordedin 1950: # l6Guarare,# 17 QueProblana,# l8 MamboMono,# l9 MamboCoco,#20 Sha-Wan-GaMambo, #21 Jungle Bitd,#22Upand Down Mambo, #23 Atban MamboJos6 Curbelo and his Orchestra: Live at the China Doll in New York Tumbao TCD-074Recorded 1952-1953: #l1La-La-La,# ll Poco Pelo,#l2GuaguancoenNewYork,# 13 Rendezvous,# 14Telarafra,# 15 Sun Sun Babae'# 16

Guayaba, # 17 Que Se Funan, # I 8 Eque TumbaoTito Puente: Dancernania (Monchito plays timbales on Hong Kong Mambo)

*Refer to Latin Percussionist, issue 7: Mike Collazo articlefor hi-hat Pattern information.

I would like to extend my thanks to David Carp who also interviewed Monchito. He was very generous letting me read his manuscript allowing me to

double check on much of the historical information provided by Monchito.

5Latin Percussionist

Th e Latin- J azz C o alitionled by trombonist Demetrios Kastarisin their debut compact disc recording:"Tromb6n con Sazdn" (Trombone with Spice)releaseil July 15,2000, at Flushing Town Hall

includes guest performers :

Dave Valentin, Claudio Roditi, Edy Martinez

and Paquito Pastor, Steve Gluzband, Victor Rend.6n,

Hiram Remdn, Angel Roilriguez, Oscar Hernandez,

Connie Grossman, Pete McGuinness, Andrew Sussman,

lejf Kruh, Johnny Rodriguez, Ray Vega, Mitch Frohman,Ali Bello, lerome Golilschmiilt, Ray (Rico) Rodriguez,

Kimson Plaut, Mario Rodriguez, Memo Acevedo'

anil Freddy Zanella. Arrangements by Demetrios Kastaris,

Paquito Pastor, and Pete McGuinness

Total Running Time: 65 minutes

Price: $15 plus $3 postage and handling in the United

States, or $15 plus $6 postage and handling outside

of the United States, Funds drawn from United States

banks only !

lor lastur dtliaerg send a yosttl morug

order rutfur thon a cfuck ta:

Demetrios Kastaris80-15 Cross Island ParkwayBellerose, New York 11426 U.S.A.E-mail: kastaris @juno.com

"This recording is definitely Grammy Award material!"Chico Alvarez, WBAI on air host, New York City.

"A unique new and exciting sound in Latin Jazz. The musicallevel is what I would expect from Tito Puente, Oscar D' Leon orWillie Rosario. One of the best new recordings that I've heard so farthis year..." Mux Salqzar, Senior Editor, Latin Beat Magazine.

Flam CountyBy Joel Litwin

I ^ctc( A>rte his bi"a

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Latin Percussionist

Latin Percussionist 7

Bomba Songueá By John Santos  

Music Notation Key: H - heel (palm), T - toe, touch or tap (fingers), S - slap, O - open tone, M - muffle tone, B - bass tone Bomba Songueá is not an official term used very often. Songueá or Songueáo (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 modern 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 of just a few of the endless possibilities in the Bomba Songueá 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 # 1 through 5 are for 2 congas. Exercise # 6 is for timbales or drumset.

John Santos is a renowned percussionist and producer from San Francisco. He can be heard on numerous recordings including his Machete Ensemble, Coro Kindembo Folklórico, and Batachanga. Recordings with Machete and Kindembo are available from Xenophile (203-730-0333, Connecticut). Machetazo! is available through Bembe Records (707-923-7262). His latest release, Tribute to the Masters, is available through Ubiquity/Cubop Records (415-864-8448). For booking, concerts, lectures, or clinics: 510-530-1903. John Santos endorses LP Percussion instruments.

LATIN PERCUSSIONIST 8

GAGÁ By Tevor Salloum

In 1997, I had the opportunity to spend some time in Oriente (eastern region of Cuba) doing research on the bongó and the early musical styles of son and changüi. I also had a chance to study folkloric rhythms with the international folkloric group Cutumba. Although I have made several trips to Cuba, the music of Santiago and Guantanamo were especially captivating with their rich Haitian influence. Cutumba performs many styles of music and dance influenced by Haiti. One of these styles, known as gagá, utilizes a wide array of instruments not commonly used in other Cuban music. The gagá instrumentation includes seashells (guamo), bamboo flutes about 3 feet long (bassine), a bamboo flute about 2 feet long (coni) and panderetas. The small pandereta is much like the Puerto Rican pandereta without jingles, while the larger pandereta has jingles. Cutumba can be heard on the compilation CD Real Rumba (1994 Corason COC110) performing"A Una Mamita" with the late Carlos Embale and "Columbia/batarrumba". They also have a recording called Cutumba Ballet Folklórico (1997 EGREM CD 0256) where they perform a gagá entitled "Band Gaga". Gagá has two basic styles: one called Chai (slow) and the other called Pigué (fast). It is my understanding, that the basic rhythm remains the same in both styles, but the dance steps are different. In the recording of “Banda Gaga” the song starts at the slower tempo (quarter note=190) and gradually increases tempo until the end of the tune (quarter note =340). A quinto is also used in this example in an improvisational role much like rumba. The role of the quinto is an adaptation to the traditional use of the panderetas in gagá. The language of the songs is Patois (Creole). Gagá is traditionally performed during the week of "semana santa" with bright colored (red, yellow, white and blue) costumes, flags, bandanas and full regalia of the carnival. Below is a transcription of the percussion parts for gagá as played by Cutumba. The following substitutions of the traditional instruments made by Cutumba are: trian (hoe blade/bell), small pandereta (conga), and large pandereta (tumbadora).

References: Lecture notes: Cutumba members Bertha Arminan Linares and Ernesto Arminan Linares 1997,Santiago de Cuba Liner notes, Cutumba Ballet Folklórico (1997 EGREM CD 0256) Trevor Salloum is a percussionist and clinician. He is the author of Fun with Bongos, The Bongo Book, Bongo Drumming: Beyond the Basics, and Afro-Latin Polyrhythms (Mel Bay Publications).

LATIN PERCUSSIONIST 9

Mongo Santamaria Conga Solo Transcribed by Nolan Warden

Tune: "Sabroso" Album: Mongo Santamaria:

Mongo's Greatest Hits (Fantasy FCD-24735-2 & 4529)

REVIEWSCD'S:Papo Vizquez: At the Point Vol. Two

Ubiquity Records / CubopPO Box 192104, San Francisco, CA 94119Phone: 415-864-8448 website: www.ubiquityrecords.com

This CD is Volume II of Papo's live recording at Hunt'sPoint Arts Center in the Bronx. He is joined by drummers

Phoenix Rivera, Horacio "El Negro" Hernandez and RichieFlores on percussion. The band is rounded out by bassists TonyBatista, and Andy Gonzalez,pianist; Arturo O'Farrill, tenorplayer; Willie Williams, invited guests; Michael Brecker on

tenor and Dave Valentin on flute. "The Reverend" is an uptempo

original composition inspired by the jazz icon Thelonious Monk.

Phoenix Rivera on drums really bums here. It also features

some trading of eights by Phoenix on drums and Richie on

congas. "It's Only a Paper Moon" goes in and out between a

hip-hop feel and a straight-ahead jazz feel. "In This LonelyPlace" is a ballad featuring Papo on trombone and Arturo on

piano. Horacio does nice work on brushes that later goes to

sticks. "Dominicana" is a very danceable tune featuring the

pambiche rhythm from Santo Domingo. Raymond Diazplaysthe tambora on this number with Horacio on drums and Richie

on congas/percussion. "Juan Jose" is a classic previously

recorded by Mongo Santamaria as well as Machito. This,

however, is a refreshing version with a slightly more moving

tempo and added mambo section and solos. It features invitedguest, Dave Valentin on flute. "Capullito de Aleli" is another

standard classic with some hip alternate chords giving it amodemized sound.

The Conga KingsChesky Records, P.O. Box 1268, Radio City Station,Nl"Y,l[Y 10101 website: www. chesky. com

This CD features three legendary congueros: Candido

Camero, Carlos "Patato" Va1d6s, and Giovanni Hidalgo. Other

musicians on the session are Joe Gonzalez: bongos, GuillermoEdgehill: bass, Nelson Gonzalez'. tres, John Benthal: second tres,

Mauricio Smith: flute, and Jos6 Francisco Vald6s: clave. The

recording combines two generations of drummers, two of whichare pioneers of modern conga drumming' Candido came to the

U.S. in the early 1950's and quickly established himself in the

circles of Billy Taylor, Stan Kenton, Duke Ellington, TitoPuente, andDizzy Gillespie, to name a few. Carlos "Patato"Vald6s came to the U.S. in 1954, joined Machito in 1955 and

went on to perform and record with artists such as Herbie Mann,

Quincy Jones, Art Blakey, andDizry Gillespie. Giovanni

Hidalgo is the link to the next generation who has taken the art

of playing congas yet to another level. Most of the tunes are

traditional tunes played in the son or rumbq style. There is

constant rhythmic and melodic dialogue between the three

drummers making it a "must listen to" for all percussionists. Joe

Gorzalez merits special mention for his supportive role as wellas some tasty bongo work. ,4 Conga King Classic.

Latin Percussionist

The Latin Jazz Coalition: Tromb6n Con Saz6nled by Demetrios KastarisLJC Records,80-15 Cross Island PkwyBellerose, NY f 1426Phone: 718-343-3113Email: kastaris@juno.com

When you ask Demetrios Kastaris what he wants out of lifehe answers with "I want to see our music unite all the people ofthe world!" Referred to as El Griego Rumbero, Demetrios is well

on his way to fulfilling his wish. With his debut CD Tromb6n

con Saz6n (Trombone with Spice) Demetrios and his Latin Jazz

Coalition 'are on their way to continuing a job that they firststarted in 1986, when the LatinJazz Coalition was fust founded.

Demetrios is a great ambassador for music and has

surrounded himself with a cast of supporting ambassadors that

can show the United Nations a thing or two. Along with his

veteran members of Angel Rodriguez, Victor Rend6n, Steve

Gluzband, and Hiram Rem6n, Demetrios enlists the likes of Ray

Vega, Oscar Hernandez, Kimson Plaut, Paquito Pastor, Johnny

Rodriguez, Memo Acevedo, Mitch Frohman, Connie Grossman,

Pete McGuinness, Ali Bello, and many others too numerous to

mention here. Then as if the who's who is not enough, he invites

flautist Dave Valentin, Claudio Roditi on trumpet and Edy

Martinez Sr. on piano as invited guests. This international group

of musicians makes some incredible music.

Along with some Kastaris swinging originals such as:

"Tromb6n con Saz6n", "Midnight in Cartagena", "Son Con MiTromb6n (Trombo-Charanga-Son)", "Tu Sonrisa Cariflosa", and

"Inner Tranquility Suite", Demetrios and the Coalition really jam

on W.C. Haady's "St. Louis Blues", Ned Washington and Haogy

Carmichael's, "The Nearness of You" and one of my favorites,

the Paquito Pastor arrangement of Cesar Miro's "TodosVuelven". Listening to Demetrios play the conch shells on

"Tromb6n con Saz6n" is a treat within itself. Then, you reallygroove with Dave Valentin's flute. It makes for some great

listening as well as dancing music. Great music, super talented

musicians and some creative arrangements are what you get

from Tromb6n con Saz6n. This one will definitely become one

of you. t**it"" fnloytPazcual Villaronga

Grupo Caribe: Son de Melazaled by Sergio RiveraNew York, New YorkPhone: 718-499-3029

Son de Melaza is a perfect example of great music. It has just

tire right in$edients to make you want to not only listen to itover and over again, but to want to get up and dance to it whileyou do so. It has that flavor thatjust doesn't allow you to sit

there and not react.Sergio Rivera has taken his creation and made it into a hit.

He not only used the right ingredients but used them well. Noteveryone can cook the music to come out in the right way. He

started with heary duty musicians taking the likes of Louis

Bauzo, Luisitio Ayala,Nicky Manero, Tony Borrero, Bernie

Minoso, Ruben Rodriguez, Papo Pepin, Al Acosta, Robert

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Suttnan, Victor Barro, musicians who know what to do withgreat music when they see it in front of them, which is to play itand play it con sentido. Next, using the strong voice of LuisitoAyala,he added some exciting arrangements by Jos6 Madera,Oscar Hemandez, and Pepe Castilio, seasoned it with a littleoriginal title calleC "Mambo Celeste" plus folkloric spices and

wham!!, Son de Melaza comes at you and doesn't stop till the

very last note of Sergio's MAMBO CELESTE, which is just the

tlpe of music real dancers want to move to.

He starts you out with "Chango Ta Beni" (arranged by LouisBauzo), replete with bati drums courtesy of master drummerLouis Bauzo with Papo Pepin and comes at you with "Todo Es

Cha Cha Cha", "Ay Que Bueno", and"Casco E Juey". "No Me

Quieras Tanto" is an additional track featuring Wanda Corianoon lead vocal ,LizaBaazo - background vocal, plus VictorVenegas - bass; Benny Roma - trumpet; Louie Kahn - trombone;John Berdeguer - congat; and Victor Rend6n - timbales. Thenthere is the title tune "son deMelazt" which evokes beautifuland heartfelt images of Puerto fuco. You can't ask for anythingmore, it's the type of music you want to go out to dance and

listen to. But, when you can't, you can take it home and cook itup there with Grupo Caribe's Son De Melaza.Pazcual Villaronga

Annette A. Aguilar & Stringbeans:Special FriendsLatin Brasilian JazzEagle Seeks Salmon ProductionsPhone: 212-304-3640

With her debut CD, Special Friends, Annette ArgentinaAguilar brings together a very special group of friends who are

also some fantastic musicians.Special Friends isjust that special! The classically trained

percussionist and drummer combines skin and strings in awonderful tour de force with friends like Vince Cherico (drums),

Eddie Bob6 (vocals, percussion), Keith Crupl, Michael Hinton,Barbara Mejan (percussion), Lewis Kahn and Rob Thomas(violins), Ellen M. Uryevick (concert harp), Steve Sandberg(piano), and Sean Conly (contra bass).

They move ttvough jazz standards like "Dolphin Dance"(Herbie Hancock), "Well You Needn't" (Thelonious Monk),"Wachi Wara" (Chano Pozo andDizzy Gillespie), and Brazilianstandards like "Berimbau" (B. Powell, V. de Moraes),"Bachianas Brasileiras # 5 (H. Villa-Lobos), "Chegua de

Saudade" (A.C. Jobim, V. de Moraes). There is also a movingand electric folkloric jam on traditional "Plenas" and Annette's

own "Rumba" showcases her passion for music.The fantastic playing of Ellen M. Uryevick (concert harp) is a

perfect complement to Annette's percussion stylings. LewisKahn (as always) and Rob Thomas give very strongperformances on violin. I also enjoyed the solo work of SteveSandberg on piano. Special Friends is a wonderful mix of LatinBrazilian jazz that will definitely please the listener over and

over again.Pazcual Villaronga

Latin Percussionist

Books:Interact and Learn Mel Bay PresentsRumba Guaguanco Conversationsby Arturo RodriguezMel Bay Publications,Inc., # 4 Industrial DrivePacific, MO 63069-0066Price: $19.95 Book/CD

This is a self-study counie that can also be used in the

classroom. It centers on the Cuban rumba style calledguaguanci. It is accomplished through reading, percussioncharts, and interacting with the accompanying CD exercises.

The lessons start with a brief history and evolution of rumba andspecific leaming objectives pertaining to rumba- These are

addressed at the end of the lesson with a short quiz. The nextsection introduces a rhythmic matrix that makes it easier todecipher the rhythms presented in the book for people who don'tread conventional music notation. Next we have the introductionof the clave, palitos and some independence exercises. Drumand shekere technique is also discussed which includes the

various open, closed, and slap sounds as well as body and drumpositioning. Photos are provided to aid with the various hand,

body, and drum positioning as well as CD audio examples foreach sound. The lessons then get to the individual guaguanc6

drum parts which are written out in the rhythmic matrix score

form. Each part is played in isolation on the CD and played

again with the clave. Each drum part is discussed in detail withvariations or conversations as they are called in the textincluding some simple quinto riffs. The final section includes a

study in what perhaps is the most fun That is the application ofsongs it guaguancf. The concept of call and response throughthe lead singer (gallo) arrd coro (chorus) is discussed and

developed throughout the text. All this leads into the interactiveplaying and singing with the CD. In general, the lessons

presented project a relaxed atmosphere and a feeling that it ispossible for one to leam this music. The text also gives good and

sometimes humerous advice throughout such as, "Don't sacrificequality for speed", "You don't have to give your day job", etc.

The only thing missing in these lessons is a thorough discussion

and demonstration between the Matanzas and Havana styles ofguaguanc6. These lessons deal specifically with the Matanzas

style which is fine in itself. However, the beginning student maynot be aware of this unless it addressed. Perhaps this couldspark ideas for another book of lessons. Other than that, this isan excellent teaching and learning tool.

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Timbalero your musical soul

Inspired so many of us

To rise to places we thought we would never be, to

Overcome moments of adversity. Your talent,

Powerful, pushed us to a higher level, spoke

Unadulterated to the world, allowed us to

Envision ourselves as part of it, your

Name connected to so many hearts.

Timbalero your musical soul forEver will be heard in the hearts of the world!

In Loving TributeTito Puente(r923-2000)

Pazcual VillarongaFrom the book

By The Music Inspired

Tito Puente photo courtesy of Demetrios Kastaris

NEXT ISSUE: SPRING 2001

LATIN PERCUSSIONIST t2