In this clip from www.artistshousemusic.org – Drummer and professor of Percussion Dafnis Prieto continues his master class in Latin rhythms and percussion with a response to an audience question about the role of the piano in Afro-Cuban music, and how the tumbao pattern, played on a piano or a tres fits into the framework of the clave.
Rehearsal. Moscow, 10.06.2015.
The Tiempo de Rumba project is devoted to promoting of the Afro-Cuban dances.
Musicians and singers:
Jose Sousa Gonzalez (El Che);
Adonis Panter Calderón;
Giraldo Yunincleyvis Ramos Arias;
Luis Yoel Awo Orumila (Choco);
Maykel Melo Martinez;
The videos have been used fragments of performances of dancers:
Jennyselt Galata Calvo (Ochun, Yemaya);
Luis Yoel Awo Orumila (Abacua, Chango);
Yosdel Sarria Abreu (Oggun);
Maykel Melo Martinez (Babalu-Aye);
Luis Felipe (Obatala);
Salsa Tropicana (dance studio) (Eleggua).
This demonstrative video shows the application of essential and fundamental rhythms of Afro-Cuban music to the contemporary drum set. Mambo, rumba, salsa, cha-cha-chá, bembe, and son are styles that were created in the Caribbean. The percussion section in Cuban music consists of conga drums, bongo drums, timbales, shakers, claves, and guiro. Usually one person plays each of these instruments, though some may switch off and play two.
During the 1980s, when Cuba had an explosive musical scene, the drum set was more frequently used in bands. Drum set players would take the role of some or all of the percussion section with his or her four limbs and play traditional rhythms on the kit. There are many drummers that aren’t very well known who are among those that started this tradition. However, one drummer by the name of Horacio “El Negro” Hernandez revolutionized Afro-Cuban on drum set. His biggest contribution to the modern drummer is his left-foot clave technique. He plays the clave (when appropriate) on the left foot while the other three limbs move freely. This is considered to be one of the most challenging independence techniques in drum set playing. Other drummers that employ this technique are Alex Acuna, Ignacio Borroa, Jimmy Branley, and Antonio Sanchez.
In this video, I play the clave on the left foot to demonstrate how the rhythms and my phrases fit “within” the clave. I get my musical phrases and licks from watching endless videos of rumba jams, timbale solos, conga solos, my instructors, and books. I have yet to go to Cuba! Video Rating: / 5
“From its birth in New Orleans to its heyday in New York, Jazz has been deeply influenced by Latino musicians, especially those playing Afro-Cuban rhythms. It’s impossible to imagine Jazz without this Latin influence, or as Jazz great Jelly Roll Morton called it, the “Spanish tinge”. Latin Jazz emerged as a separate genre in the New York clubs of the 1940s, where orchestras like Machito & His Afro-Cubans held court. This new sound was built on an Afro-Cuban rhythmic core, but added Jazz arrangements and improvisation on top. It wasn’t long before non-Latino Jazz musicians began paying attention, most notably Dizzy Gillespie. He liked the sound so much that he added Cuban conga player Chano Pozo to his band. Congas soon appeared in other Jazz bands, infusing their songs with the clave rhythms at the heart of Afro-Cuban music.”
This is an excerpt from the PBS Latin Music USA documentary. Video Rating: / 5