Latin Percussionist

Issue 9 Fall 1999

The Quinto “Lock” for Rumba from Matanzas

by David Peñalosa

Rumba is an Afro-Cuban folkloric hybrid, originating from Havana and Matanzas. There are three main styles of rumba: yambú, guaguancó, and columbia. The lead drum of rumba is the high pitched conga drum called quinto. Rumba quinto from Matanzas has a beautiful configuration and a more formal structure than its counterpart from Havana, especially as it was played in the past. The first two recordings made by Los Muñequitos de Matanzas1 offer the clearest example of this; they are a “quinto bible” for every student. The quinto player you hear on those records is Esteban Domingo Vega Bacallao, better known as “Chachá”. Now in his seventies, he carves drums in his modest home and is also recognized by many as the greatest living batá drummer of Cuba. The Quinto Spot The most fundamental stroke of quinto is the subdivision immediately following the first downbeat (3-2 clave). I call this place in time the quinto spot.

The Quinto Root Quinto root is the name I give to the three most important strokes played by the lead drum in rumba. The quinto root is the basis for quinto in all forms of rumba, be they from Matanzas or Havana. This figure is rhythmically the same as the “3 side” of son clave (tresillo), but it begins on the quinto spot. The quinto root can also be interpreted in a triple feel, in which case it’s based on the off-beat six cycle. Example 02. The Quinto Root on next page 1

Inside This Issue 1 Feature: The Quinto “Lock” for

Rumba from Matanzas 2 Conga De Comparsa For Two Congas 3 Manny Oquendo Timbale Solo 4 CD, Video & Book Reviews 5 Ads

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Example 02. The Quinto Root

As is revealed in the above example, the quinto root echoes the first three strokes of clave, sounding on the pulses immediately following clave. Son clave is given here because it was the original clave used in yambú, a form of rumba older than guaguancó. Also, the dramatic contrast between son clave and the quinto root may offer some insight into the origins of quinto. Although all forms of rumba quinto employ both triple and quadruple divisions of the beat, yambú and guaguancó tend to be more in a 4/4 feel while rumba columbia, has a strong 6/8 feel. Often rumba’s various parts, even the rumba clave

LATIN PERCUSSIONIST Issue 9, Fall 1999 Published by Tortilla Flat Music: Victor Rendón, editor CONTRIBUTING WRITERS John Almendra Bobby Reverón Greg Askew Ken Ross Milton Cardona John Santos Stan Ginn Pazcual Villaronga Joel Litwin David Meade David Peñalosa Latin Percussionist welcomes manuscript material, however, cannot assume responsibility for them. Items must be accompanied by a self-addressed, stamped envelope. SUBSCRIPTIONS are $6.00 per year ( U.S. and Puerto Rico). Outside U.S. and P.R., rate is $10.00. Individual copies are $3.00 each Send all correspondence to: TORTILLA FLAT MUSIC P.O. Box 556 NY, NY 10116-0556 Website: www.latinpercussion.com Note: Please do not copy this newsletter and give to your friends. Publications like this will only survive through the support of its readers. ¡No Cuesta Mucho!

In this issue we have some insight into the art of quinto playing by David Peñalosa. John Santos has also contributed an article on applications of “Conga de Comparsa." Manny Oquendo is one of the greatest timbaleros and a pioneer on the instrument. Here we have a transcription of his solo on “Mi Soncito."

Tortilla Flat Music

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itself, have a feeling of both 4/4 and 6/8, or being somewhere in between the two. This rather esoteric aspect of the music is best understood over time, through constant listening. The Quinto Lock The recordings made by Los Muñequitos during the 1950’s present the clearest example of classic quinto; these renditions became archetypes for the stylistic developments of the following decades. This classic quinto has three main modes. For this article we shall deal with the first mode: the lock. The quinto lock is an alternating tone-slap phrase based on the quinto root; it typically spans two cycles of clave. The alternating tone-slap aspect of the lock does not mean that the tone-slap sequence is reversed exactly. As a general rule, we play more tones than slaps as you can see from the following example of the basic lock mode. There are two open tones in both claves of the lock. Although the distance between the tones is the same in both claves, their relationship to clave is different. Example 03-KEY to symbol

Example 04-Basic Lock A helpful rule of thumb is that tones are followed by slaps and vice versa. In other words, if you end a phrase with a tone, you begin your next phrase with a slap; conversely, a phrase ending with a slap is followed by a phrase beginning with an open tone. This dynamic is present in all the quinto modes.

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Example 05-Three Primary Variations of the Lock The primary variations of the lock are created by doubling any or all of the three strokes of the root. Quinto variation 1 doubles the first stroke of the root; quinto variation 2 doubles the second stroke of the root; quinto variation 3 double the third stroke of the root. Variation 3 is the least used variation, presumably because it falls on the fundamental open tone of the segundo. These example are presented as a structured, methodical prototype for a fluid music. They ordinarily are not played verbatim as shown here. Typically, the pattern you play is not an exact rhythmic mirror image of the previous clave. Consider these exercises a good start on your path to quinto playing. There is no substitute for the total immersion in the music and the skills gained from consistent practice over a long period of time.

The Missing Piece of the Puzzle The more flamboyant nature of the quinto’s cross-rhythmic patterns are what most student drummers seem to be attracted to. It’s common for us to pick off riffs from recordings, gradually adding more and more riffs to our vocabulary. The lock is an elusive and less well known quinto ingredient in the United State. It is the quinto part that when combined with the tumbao and segundo, creates the standard three drum melody. Example 06 KEY

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One advantage to learning the lock is that it forces one to play in a state of hyper clave awareness. Manipulation, or what I call the “torquing” of clave, is the key to mastering the art of improvising in this music. Applications for Modern Band Drumming The quinto root was also integrated into the popular band conga drum tumbao in the style know as songo. The doubling of the strokes of the quinto root are common variations in songo as well. Example 08 KEY

About the Author: David Peñalosa is on the faculty of the annual two-week long course Explorations in Afro-Cuban Dance and Drums held on the University of California, Arcata campus. He also answers musical questions at the “Ask Dr. Clave” webpage at www.bembe.com. David’s full quinto lesson plan will be included in his upcoming book: Clave: The Key / Rhythmic Principles for Playing, Improvising, and Composing Clave Music.

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Tumbao Diferente # 5 By John Santos

Conga De Comparsa for Two Congas Music Notation Key: H - heel (palm), T - toe, touch or tap (fingers), S - slap, O - open tone, M - muffle tone, B - bass tone Conga = single headed hand drum of Congolese origin. The main instrument in the music which accompanies the dance of the same name in the Cuban carnaval. Comparsa = carnaval contingent comprised of dancers, musicians and singers in full costume often accompanied by one or more elaborately decorated floats. Conga de Comparsa = fundamental rhythm of the Cuban carnaval, the most famous being from Havana and Santiago de Cuba. The exciting Conga de Comparsa and its variations are some of the most important roots of contemporary Cuban rhythm and dance. These forms began to take shape during the mid-19th century and have greatly affected the styles known as son, rumba, mambo, salsa, timba, and songo. The following examples are derived from various conga patterns used in the Havana-style Conga de Comparsa. They make very interesting points of departure for personal expression and experimentation. Practice them in a wide range of tempos starting extremely slow. All the examples are written in 3-2 clave. You must, of course, also learn them in 2-3 (by reversing the order of the bars). Example # 1 is a basic pattern which, because of its simplicity, is conducive to fast tempos. It also resembles the foundation of modern Salsa drumming.

(continued on next page)

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Example # 2 uses a bombo (bass drum) pattern in the right hand on the tumba (large, lower pitched conga), while the left hand marks the pulse on the conga. Learn the rhythm first without the three optional notes in parenthesis. Then add them one by one.

Example # 3 is a challenging combination of traditional salidor and low conga patterns.

Example # 4 is a combination of traditional rebajador, low conga, and tres-dos patterns.

Example # 5 combines the traditional tres-dos and salidor patterns.

John Santos is a renowned percussionist and producer from San Francisco. He can be heard on numerous recordings including his Machete Ensemble and Batachanga (Earthbeat 1-800-346-4445, California). Recordings with Machete and Kindembo are available from Xenophile (203-730-0333, Connecticut). His latest release, Machetazo! is available through Bembe Records (707-923-7262). For booking, concerts, lectures, or clinics: 510-530-1903. John Santos endorses LP Percussion instruments.

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REVIEWS Books: 101 Montunos by Rebeca Mauleón Santana Sher Music Co., P.O. Box 445, Petaluma, CA 94953 Price: includes 2 CD’s This book is geared towards pianists. However, there is much to learn here for the percussionist as well as any Latin music enthusiast. The book is divided into five parts, which includes history on Cuban, Puerto Rican, Dominican and South American music. This in itself is worth the price of the book/CD package. Perhaps the greatest benefit to be gained is the study of the piano montunos. The author has done an excellent job tracing the development of Latin piano from the mid 1800’s danzón era, son style traditional piano patterns, to the present day jazz influenced harmonic structured montunos of pianists such as Eddie Palmieri, and Oscar Hernandez. Included are transcriptions of pianists such as Ignacio Cervantes, Perez Prado, Chucho Valdés, Frank Emilio Flynn, Pedro Justiz “Peruchin”, Emiliano Salvador, and Cesar “Pupi” Pedroso. This is a much appreciated documentation on the art of Latin piano. David Garibaldi & Talking Drums: Timbafunk (Manhattan Music Pub. / Warner Bros.) This book is an extension of the Talking Drums video with David Garibaldi, Michael Spiro, and Jesus Díaz. For this project, they rerecorded three performances titled “Ochosi", “Guaramina”, and “Osain”. They start by providing transcriptions in score form for their performances. It is then followed by the traditional Folkloric parts from which they developed their ideas. In addition they include historical notes and other background information. Included with the package are two CDs with and without drumset for play-along and separate rhythm tracks for jamming. Many Folkloric styles are covered which include bembé, rumba colúmbia, guaguancó, iyesá, arará, and batá. Other more secular styles are pilón, mozambique, conga/comparsa, and merengue. A section is included with ideas for drumset that includes clave funk beats, 4/4 and 6/8 drumset grooves and a permutation study that will help you in developing other ideas. It is essential that one listen to the two CDs provided to fully grasp the ideas and transcriptions on paper. Overall, this book is packed with information for the drumset player as well as percussionist. Sight Reading: The Rhythm Book by Alex Pertout Price: $19.95 This is a graded workbook for instrumentalists and vocalists designed to develop sight reading and rhythmical skills. It was developed by Alex Pertout, performer, composer, and educator in Australia. The book is laid out in twenty-two lessons starting with quarter notes. Each lesson progressively adds another note value until all values are covered including their equivalent rest value. One of the problems facing the beginner reader is the ability to count at a steady tempo. Alex aids with this problem by providing the counting numbers at the beginning of each exercise. It is an excellent teaching tool for the novice. It can also serve as supplementary sight reading material for the more experienced student. The biggest advantage to this book is its lay out, ease in reading, and logical sequence. Perhaps the only drawback is that the price is a little stiff (probably due to the fact that it is imported) relative to other books in the market. My advice, if you are

serious about reading, buy it. It is worth every cent. Available in the U.S. through Descarga at descarga.com, phone: 1-800-377-2647. La Marcha De Los Jíbaros 1898-1997: Cien Años De Música Puertorriquena Por El Mundo Coordinador: Cristóbal Díaz Ayala Fundación Musicalia P.O. Box 190613, San Juan, PR 00919-0613 278 pages in Spanish including a CD Covering 100 years, this book traces many artists and musical groups that form the rich musical heritage of Puerto Rico since 1898. Coordinated by Cristóbal Díaz Ayala, it contains eight narratives by several writers of Puerto Rican, Cuban, and Mexican heritage. The beginning starts with the mention of several influential classical performers. It quickly moves to 1917 with the development of popular music in Puerto Rico and influences from the United States, Mexico, Cuba, and Santo Domingo. Much of the history presented is through a “who’s who” format with short biographies and information of the many artists. Included are illustrations, photos, a bibliography and discography. Also included is a CD with twenty selections by artists such as Daniel Santos, Bobby Capó, and Tito Puente. Excellent reference source.

CD’s: La Caro Band: Vale la Pena / It’s Worth It Bembé Records, P.O. Box 1730, Redway, CA 95560-1730 Phone & Fax: (707) 923-7262 http://w w w. bembe. com As part of their Salsa Cubana Series, Bembe Records releases “Vale la Pena” by La Caro Band. This is their 2nd release led by musical director, composer, and producer, Blas Muñoz, and fronted by four sisters. La Caro Band performs in the latest timba style (the latest music and dance craze in Havana). It is high energy music with elements of rap, funk, attractive vocal harmonies, and timba breakdown. Grupo Vocal Desandann: Descendants Bembé Records In 1791 Haitians began emigrating to Cuba. As a result, about 30,000 Haitians settled in the eastern part of Cuba called “Oriente." Then, between 1920-1940 and the 1980’s, several thousand other Haitians also arrived. Today, it is estimated that between 300,000 and 1 million people of Haitian descent live in Cuba. Grupo Desandann (a phonetic transliteration of the word descendant in French) is Cuba’s premier traditional Haitian vocal ensemble. The group consists of ten vocalists and percussionists. Their repertoire consists primarily of Haitian works in Creole, such as “Choucoune” and “Automobile." They make it a point to honor and preserve their Haitian culture through elements of dance, music, and the voodoo religion. You will also hear some Afro-Cuban influence such as “Cachita” and “Se Lavi”. Thus, there are elements of rumba, son, canción religiosa, meringue, and rabodéy (last two are Haitian rhythms similar to the Dominican merengue). Sung in a cappella style with percussion accompaniment, this is an enchanting recording.

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Francisco Aguabella, Agua De Cuba Ubiquity Records / Cubop P.O. Box 192104, San Francisco, CA 94119 Immigrating to the United States in 1957, Francisco Aguabella has made outstanding contributions to Latin popular music while maintaining his roots in traditional Afro-Cuban religious drumming. Says John Santos, “Chano Pozo is widely acknowledged as the first Cuban drummer to make a mark in the American music scene. Directly following him were Patato Valdés, Candido, Mongo Santamaria, and Francisco Aguabella. This is the first Aguabella release on Cubop records. It starts off with a 6/8 Arará influenced tune titled “Dajomy Blue” featuring Aguabella’s Folkloric skills. Another favorite is “Sentimiento De Un Latino," a straight ahead, catchy bass/piano ostinato with solos behind it. Ricardo “Tiki” Pasillas on timbales takes an impressive solo. “Long, Long Summer,” a guajira also has a catchy melody reminiscent of Mongo Santamaria’s band. Other tunes include new renditions of “Watermelon Man,"Manteca”, “Milestones”, and the Lennon / McCartney tune “Here, There, and Everywhere”. Overall, this is a impressive Latin jazz effort showcasing one of the pioneers at his best. Papo Vásquez: Pirates & Troubadours at the Point Volume One Ubiquity Records / Cubop An alumnus of Barretto, Palmieri, Batacumbele, Willie Colón, Dizzy Gillespie, Ray Charles, Mel Lewis, to name a few, Papo Vásquez blends his jazz trombone style with afro-Caribbean rhythms. Recorded live at the Hunts Point Arts Center in the Bronx, the recording starts off with a mixture of plena and funk titled “Baila Plena." “Amor Gitano” further incorporates Puerto Rican rhythms with the influence of jazz and mapaye. “La Puerta” showcases Papo’s jazz chops and ideas with controlled and emotional spirit. Overall, this is a fine recording with strong and original compositions by the leader. He is joined by drummers Horacio “El Negro” Hernandez, Phoenix Rivera; percussionists, Richie Flores, Mickey Sierra, Tito Cepeda, and Milton Cardona. The band is rounded out by bassists Tony Batista, Andy Gonzales, pianist; Arturo O’Farrill, and tenor players; Willie Williams, and Michael Brecker. Cuban Roots Revisited Ubiquity Records / Cubop This recording is a recreation and extension of the original “Cuban Roots: Mark Weinstein and his Cosa Nueva Orchestra” recorded in late 1967 and released in 1968. It was produced by Al Santiago on the Musicor label. It was a fusion of rhythm patterns and modal melodies of Cuban Santeria music with the “The New Thing” (Cosa Nueva) school of jazz. Unable to secure the rights to the original recording and wishing to improve on the recording quality of the first, Ubiquity undertook the task of commissioning a new version. Mark originally scored the religious songs for trombone, alto sax and baritone sax giving it a jazz interpretation with modern harmonies. The original rhythm section consisted of Bobby Valentin on bass, Chick Corea on piano, and percussionists: Kako, Julito Collazo, Tommy López, Papiro, and Papaito. Both the original and current recordings include songs/ chants from the Santeria religion such as Ochosi, Ochún, and Chango. The new recording has the addition of Eléggua (very appropriate for this Orisha is always the first and last to be saluted). It also includes a conga de comparsa, guaguancó, and a guajira/ boogaloo original titled “Just Another Guajira." For the new version, Mark reharmonized the

tunes for flute and three trombones. The percussionists on this session are Francisco Aguabella, Lázaro Galalarraga, John Santos, Humbertito “Nengue” Hernandez, and José De León Jr. The rest of the rhythm section includes Omar Sosa on piano and bassists: Carlitos Del Puerto and Eddie Resto. Refreshing, inventive, and innovative. Other Releases by Ubiquity Records / Cubop: Bobby Matos Afro-Latin Jazz Ensemble: Live at Moca Pucho and the Latin Soul Brothers: Caliente Con Soul! Victor Mendoza: Black Bean Blues Sizzle Sticks Productions, 58 Meadow Street, Framingham, MA 01701 Boston-based vibraphonist and composer Victor Mendoza celebrates the release of his fourth recording, Black Bean Blues. Featured are performances by acclaimed saxophonist Jim Odgren and rhythm section that includes pianist Alain Mallet, bassist Fernando Huergo, drummer Antonio Sánchez, and percussionists Ernesto Díaz and Renato Thoms. Born in Mexico and raised in New Mexico, Victor has successfully blended his roots with Caribbean, South American, and American jazz influences. “Chapina Chapin” is a favorite cut with timba and jazz-mambo riffs. The percussion work is excellent and drummer Antonio Sánchez shines with his latin-jazz fusion licks. “Cafe Quemado” mixes mambo with funk with an exceptional solo on vibes and trading of eights between the drums and percussion. “Chacalonga” is another exceptional number in 6/8 with elements of chacarera and milonga of Argentine influence. With the exception of one, all tunes are original compositions by Victor Mendoza. Each one has a rhythmic quality which may include timba, mambo, bolero, songo,cha cha cha, chacarera, milonga, etc. In fact, it is the rhythmic variety and pulse (in addition to the fine playing) which makes this a fiery and exciting recording. BWA CAÏMAN Autotomie Label 51.BD De L’Egalite 44 Nantes, France Tel: 02 40 43 39 46 / Fax: 02 40 43 51 This is an interesting release recorded and released in France. The group consists of six French musicians (four men and two women) who pay homage to the Orishas through various traditional songs. However, they do not simply copy Afro-cuban songs and playing. They present their own versions through unique a cappella voicing, application of batá rhythms on different instruments, jazz saxophone and drumset applications. They even do a batá-rap version of “Yokobio”. Yet, they manage to keep the tradition intact.

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Manny Oquendo Timbale SoloTune: Mi SoncitoAlbum: Eddie Palmieri:Azucar Pa' TiTico SLP 1122, 1965

Transcribed by Stan Ginn

2-3 clave

Latin Percussionist p. 10

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open toneon macho(small drum)

rim shoton macho

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open tone on hembra(large drum)

muffled toneon hembra

Latin Percussionist p. 11

ANGAMANIA!A video masterclass featuring a fusion of traditionalconga technique with funk, jungle and traditionalCuban music. Featuring Gabriel Hernandez and DJGilb-R.Known for his remarkable soloing and multiple conga./percussion

inventions.

CUBAN MASTER PERCUSSIONIST

MIGUEL *ANGA" DIAZhas recorded and toured with IRAKERE' STEVECOLEMAN, ROY HARGROVE, THE AFRO-CUBANALL-STARS, RUBEN GONZALES, DANILO PEREZ,DAVID SANCHEZ and many others.

In this video, Anga shows us an insightful look at the future ofconga playing. Through a methology based on tradition, he

demonstrates many of his systems and forms he used todevelop dexterous patterns, riffs. and solos.

Filmed in Paris. FranceProduced by Dan Thress

$39.95 + $5.00 S&II: includes transcription booklet byVictor Rend6n

Send Check or M.O. to:Tortilla X'lat MusicP.O. Box 556NY, NY 10116-0556

Armando Rodriguez I Yictor Rend6nLatin Jazz Ochestra

Havana Blueswith Special Guest: Chico O' Farrill

CD: $14.95 + $2.00 S&HNYS Residents add 8 l/4 %o sales tax

Send Check or M.O. to:Tortilla Flat MusicP.O. Box 556NY, NY 10116-0556

Next Issue: Winter 2000

Latin Percussionist t2