'''Tony's Conga Adventures

HELP FIND YASMEEN VAUGHAN !!

noreply@blogger.com (CongaDR) — Tue, 10 Jan 2012 16:29:00 +0000

Vintage Conga and Bongo Restoration - Gon Bops and Valje

noreply@blogger.com (CongaDR) — Tue, 29 Nov 2011 04:46:00 +0000

Skinned and repaired these drums for the Maestro Sandy Perez, and repair, restore and reskin for several other local Masters of the AfroCuban and African traditions. I am blessed to contribute in this way, to such an amazing tradition.

Here are some recent restorations, repairs and reskinning projects I thought you might enjoy. Some of these projects were complete restorations, others just repairs and reskinning.

The ugly truth.. lol

Superfly.. super fat 14" Gon bops in Oak!

Rumberos de la Bahia - Opening for Kia Ekart at Ashkenaz - encore

noreply@blogger.com (CongaDR) — Tue, 30 Aug 2011 04:27:00 +0000

Big Thanks to Jason Correia of JBC Portraits for the wonderful shots!

Rumberos de la Bahia - Opening for Kia Ekart at Ashkenaz - Yambu, Trevino Leon on Quinto Cajon from Tony Stearn on Vimeo.

Rumberos de la Bahia - Opening for Kia Ekart at Ashkenaz - Pili Martinez on quinto from Tony Stearn on Vimeo.

Im one proud pop... This is just the beguinning of the project. and we were missing two of our best performers.

Its going to be all that.

Rumberos de la Bahia - Opening for Kia Ekart at Ashkenaz, Berkeley 8/20

noreply@blogger.com (CongaDR) — Fri, 12 Aug 2011 21:07:00 +0000

Gon Bops Conga Restoration in Oak, gems from the 70's

noreply@blogger.com (CongaDR) — Wed, 03 Aug 2011 04:16:00 +0000

This was a fun project simply because it was all in the family.

Irish Rick had this fat set of Oak Gon Bops from 1976. They were in need of some serious repair after working faithfully, like a good steed for ten years as his main gigging set.

They were retired, as they started to develop serious cracks, and sat in a back room in conga purgatory for several years.

The finish was also toast, so they set needed a full and complete overhaul.

Just the right time, and just the right situation came about for this set to change hands, to be reborn within the family.

Along comes Bob Ladu, with his masters in percussion and the youthful exuberance of a man in his 20's. The Orishas grabbed this blond haired European by the scruff of the neck and tossed him at the feet of the grand masters of Cuba, here in the bay.

Next thing you know, he is Sandy Perez's best student, surely to follow the footsteps of the talented folklorist Toby Gaster.

He is also following a European cat we all respect for his chops, and how quickly he devoured the music of this tradition; Mike Spiro's star student Colin Douglass.

Colin is said to have learned all three bata, all the way though, songs and everything in three years. Quite an accomplishment.

Bob is looking like he is on a similar trajectory. I have to be nice to him, he might very well be my boss one day.. ;)

Bob and Colin are also both trap drummers with formal training. Guess we all have to admit that music school helps.. lol..

Anyway, this set is now in Bob's hands, and having been restored, we are looking forward to what he will do with them to say the least.

The restoration was too fun, the repairs came out really nice and the set is solid and beautiful. This pic of the binding process, looks like hell, and is rather traumatic to witness.. but its the only way I know how to make sure the drum has enough pressure at the right angle from the top, to the bottom of the shell. Just to make sure the cracks close on these thick oak drums.

Especially if the cracks have sat for a while, retraining the wood to its cracked state.

These Oak Gon Bops with the inlayed wooden band is are particularly hard to get to come together. These drums specifically need more force than several truck ratchet straps can lend.

The inch thick nylon rope, twisted tight with foot long iron pipes... I would guess bare three to five times the force of the strongest ratchet straps Ive seen. It will close the most stubborn cracks.

It is always nice to hear how the set responds to being rebuilt.

They came alive, sounding so dang sweet. So nice to know I will be playing them on a regular basis, most likely.

Dance class with the Maestra Ana Perez at Dance Mission Theater

noreply@blogger.com (CongaDR) — Sun, 24 Jul 2011 12:01:00 +0000

It's not often I post about dance classes.. just doesnt make for very good reading..

But it this case, it was a great honor to be asked to play for the Grand Maestra Ana Perez, the great singer and dancer from the legendary group Munequitos de Matanzas.

For Sandy to ask us to play the class, and just Irish Rick and myself, it was a really nice recognition that we can make it happen for him whenever he needs us. A couple of his beginning students were there as well to lend a hand.

We pulled it off... not very high quality stuff, but it was functional. Ana and Sandy were happy, and the students were totally stoked.

We played Bata for Ochun and Yemeya, which is not easy.. and made it work..

It would have been nice to have another talented set of hands, but it was great fun in the end.

So, after the class the two masters are headed up north to Humboldt for the world famous Afro-Cuban workshops, joining the large list of master performers at this years event.

Once again, I'm going to try to make it up to the workshops this year.. Mijail La Brada and I are organizing a caravan heading up Thursday for the end of session parties and wild-ass Rumbas of legend.

Ive often seen pictures of these master packed Rumbas on the beach up north, and always wanted to join them. But we study and play with many of the heavies that teach at the workshops, so its more about hitting the parties for us. That's probably why I haven't made my way up for the workshops in the past.

But this year is a particularly fat year up there, with Miguel Bernal and Roman Diaz joining Sandy, Ana, Lazaro, Spiro, Santos, Jesus Diaz, Suzana Arenas.. a long list of heavies..

Anyway, after Ana's dance class, we headed across the bay to Lake Merrit of Oakland to find Mijail.

We found him singing and playing with Son Cubano at a small but comfortable club in this uncommonly vibrant section of Oaktown.

We were welcomed up to join them, and I played Cata, Guataca.. generally had a great time singing and hanging with the cats... playing a nice mix of a Jazzy Rumba Timba thing with Gerardo Borras and his funky montunos.

That cat can churn butter with the way he rolls those montunos.. Very street sounding..

Gerardo has been here for years, but is still very Havana. He has a really good ear and musical instinct only seasoned performers have. He plays a mean bass, super fat piano and some serious quinto... his specific style, I particularly dig...

We had a talented cat on sax, who was well versed in both Jazz and Cuban popular music, which is not very common to hear. Ask a Cubano if they can play Jazz and they all say, oh, yea, sure..

I was reared on the teet of Jazz, I know it well. Most of the Cuban cats cant play a lick with the 'real' Jazz cats.. but once in a while you find someone who has both forms in hand. .. always a true pleasure to play with such a cat, no doubt.

We had the place rocking and up dancing their tails off... that was fun to see.

I really like this rumba replacing the trap drummer in a traditional combo.. it really works well for these smaller venues.

So at the end of a really fun day, heading home exhausted, Mijail calls to say.. we are heading to Maria de Colombia's to play!

I was like.. Im going home to sleep! lol

Its not often I miss a chance to play with Mijail (red plaid shirt in pic)

For me, he is one of very few Rumberos with whom I want to work. He is an incredible talent, no doubt.

But Ana's class totally toasted me.. I needed rest.

So, now that Ive slept a few hours.. let's see what trouble we can get into today.. looks like Kittys is hitting at 4, and we may be playing at Disco Volante in Oakland around 8.

little by little

Sandy Perez Y Su Lade with Lazaro Galarraga and Ana Perez

noreply@blogger.com (CongaDR) — Mon, 18 Jul 2011 17:00:00 +0000

What a beautiful day in the grand, green plaza of Yerba Buena Gardens in San Francisco.

It was one of those super clean and bright days in the city. The clouds parted and gave us a pristine, Spring-like day for one super show.

The 'gardens' are a treasure.. an open field of grass in the midst of the highrises of downtown... a sanctuary of tranquility surrounded by monolithic monuments of industry.. skyscrapers standing guard... tall, sharp and statuesque.

One gorgeous city, our beloved San Francisco.

We knew we were in for a treat this day, as Sandy Perez was performing with an incredible line-up.

Ana Perez, Sandy's mother and one of the best voices in the history of Rumba, blessed us with her immense talent and truly wonderful spirit. It is so fun to see Sandy perform with his mother. It's part showing off, part harmonious collaboration forged by hundreds of performances together.. it is really fun to see them share the stage once again.

They were joined by the grand maestro Lazaro Galarraga, another legendary Rumba voice; the talent pool running deep (pictured here, upper left, singing with Giovanni Hidalgo and Francisco Aguabella).

The coro was totally incredible, with local masters Rosita Perez, Mijail La Brada and one serious heavy singer from out of town, Jadele McPherson.
The texture of these peoples voices is beyond tasty... so earthy, so raw, powerful and beautiful. And so specifically the timbre of Cuban folklorico from the barrios.

It was amazing to see several of my favorite singers in this tradition on the same stage together. It was almost too much talent, as one can only display a hint of what is possible in a one set show.

Sandy brought percussionists Toby Gaster, Jesus Diaz, and John Santos to lay it down for the comfortable and appreciative crowd... all stretched out in the sun.

Suzana Arenas was back in town for the show, and danced beautifully as always.

She was joined by the oft sword wielding dancer Alain Soto, who was totally on fire.

...and if that wasnt scary enough.. another female dancer with two swords joined the fray...

Sometimes the sword play, bottle tricks, conga jumping, etc is a bit hokey for me.

Sometimes I have to giggle at how silly some of it is to me. For some reason it's hard not to laugh when Alain is pretending to cut his tongue off with a machete... but perhaps that's just me.. in need of counseling..

.. anyway.. it was a wonderful afternoon. Gotta love the bay area.. free summertime shows in one seriously world class setting.

After the show, we all headed back to Sandy's house to celebrate his birthday. We feasted large and hung out enjoying the great energy. We played rumba with the maestros into the warm and sunny afternoon.

At one point, Irish Rick and I were playing. Sandy and Ana poke their heads out with big smiles on their faces, obviously enjoying what they were hearing.

Ana came over, busted out her camera and started filming us! Now that was cool!

It's so wonderful to be with my extended family. Maestros or not, they are brother and sisters to me. I feel lucky to know them, and blessed to be around such amazing people.

Tony

Afro Cuban Clave - technique and recommendations

noreply@blogger.com (CongaDR) — Mon, 11 Jul 2011 17:41:00 +0000

..Congarranza checks in to ask what I look for in a set of Rumba Clave.

If one knows the sound you are looking for, you can find many clave that will work, but most of the mass market hardwood clave are usually way too bright and high pitched for my taste.

The well worked odd ball set above is a Maple receiver and a Black Walnut striker, sounds fine, but using a Maple striker with it, for example, would make it too bright for my ear.

You never know what you might find, some really cheap ones sound great.. just have to try them out, and know what sound you are looking for (old rumba tracks, for me)

I look for a set in Black Walnut, a medium hard wood, with the side cut in the 'receiver'. I like the relative size of the two, the striker nice and light to play, but has enough weight to make a really nice and fat tone with projection.

There are ones with side cuts on the market that I don't particularly favor; made of softer wood, and the 'receiver' is more lengthy, pictured here with red background. The Black Walnut set on the red satin background are more favorable, for me.

The one on the African Elephant print is a set in Walnut I purchased from Rienhardt - long extinct and legendary Mombiza Percussion in San Francisco. He snuck them in from Cuba himself, so I know they use Walnut of some kind down there.

Rienhardt had such wild stories about importing these Clave, and what he went through to get this set up here to my waiting hands... adds to the enjoyment of how nice they sound..

A friend of mine, just for fun, made Clave from a bunch of different kinds of wood.. I mean a bunch.. some 15 types or so..

After playing them all, the Purplehart sounded the best to my ear, also a medium dense wood. (picture is not a set of clave, just an example of the wood)

In general, I do like like the side cut and the hole drilled through the middle - adds to the projection and full sound one needs to cut through a whole rumba in full motion.. with some 10-30 peeps singing and playing. You want projection so everyone can hear you, but you want an earthy, midrange tone, as opposed to a ear piercing high pitch.

But one also has to have the right technique, and having good technique for this instrument is crucial to the whole rumba:

When first picking up a set of Clave, make sure you use the striker to strike, and the receiver to hit, if you follow. If they both are the same size, switch sticks till you find the one that makes the lowest sound when struck, and you are playing the right one.

To play the Clave with the sidecut, hold the 'receiver' in your weak hand with your finger tips along the back of the sidecut of the Clave. It should feel very comfortable and balanced.

Then put your thumb on the high side of the other side of the sidecut, if you follow.. leaving space above and below your thumb for the sound to escape. Your fingers and thumb should be on the bottom half of the clave's circumference (looking at it from the end), so as not to hammer your fingers when you strike. (only have to do that a few times to self correct your technique!)

Again, it should feel really secure and comfortable.

Strike the clave exactly in the middle, and opposite the sidecut.

With the right technique, the sound will be dramatically better, more resonate, full, earthy, woody, with projection and sustain.

As always, adjust your technique to get the sweetest sound with the least effort.

Hope that helps,

Tony

If your Clave doesn't look like this, you arn't playing enough Rumba!

noreply@blogger.com (CongaDR) — Fri, 01 Jul 2011 07:41:00 +0000

..lost track of how many pairs we have gone through in 10 years of playing in this tradition.. so lucky to have so many opportunities to play for so long. We are very blessed here in the bay.

On to a new pair.. they have no idea what we have in store for them..

Afro-Cuban Rumba Cajon - an amazing Ax

noreply@blogger.com (CongaDR) — Fri, 24 Jun 2011 00:48:00 +0000

The Cuban Cajon, a simply incredible instrument, has captured my artistic mind. I love the ax, and speak best through it.

It has a fascinating history, and is so representative of many things I love so much about Cuban music and culture. Prevailing winds of tradition carrying the community onward, despite the swift under-current of stiff oppression.

There is something so Cuban about making something absolutely beautiful out of an ordinary object. Something other cultures would discard as useless, to be tossed on the fire..

Often short on resources, Cubanos have learned how to get the most out of everything. And the Cajon speaks to the history and culture of the people, though us.

In the right hands, these ordinary boxs are fine instruments.

Once upon a time, I saw a short clip of Jesus Alfonso playing quinto cajon. ..clean, tight, in the pocket.. and so folkloric sounding... That's all it took for me, I was hooked!

Jesus, for me, played this instrument with such grace and purpose, the Cajon would lay down like a big lazy dog ready to have his belly scratched.

Another of my favorites, Maestro Pancho Quinto of Yoruba Andabo was one of the top Cajon player in Cuban Rumba history. He was a mentor to, and good friend of two of my teachers: Chirs Flaco Walker and Jose Barroso. He also taught some of the heaviest local traditionalists.. such as Michael Spiro, and has profoundly impacted Rumba here in California.

So, I feel close to the man, although we never met.

He had such a swinging style, love his recorded work as well, of course. he could make wood sound like butter.

Something very basic and elemental about a Cajon - simply a five sided box, often crudely built, and rightly so. Growing better sounding as it's beaten into submission, the cracked ones often have that special something we are listening for.

Such simplicity of design, so powerful to play, so heavy with significance.

The dry earthy thuds, dropping your belly from under your chest..

Bright, thick handed slaps echoing through the alleys of Havana like cracks of a baseball bat stroking a ball into left field.

The power and strength this instruments often demands, lends a heavy and serious tone to a playful Rumba.

Nothing can stand your hair on end like these instruments. Occasionally played with such force as to destroy the ax, cracking the wooden box with our hands.

Yea, you feel it, and the rhythms flow in a forceful and inevitable kind of way.

Although this post is about Rumba, Palo is also played with Cajons like these.

The serious heaviness of Palo ceremony somehow seeps into the plaing of the Cajon in Rumba, for me.. lending a fierce and powerful element that cuts through the often playful songs.

These axs were in on the development of Rumba, played on the docks where young AfroCubanos forged the Columbia..

..and this ax is well used on the cutting edge of Rumba today, by the new generation of young cats from the houses of Los Chinitos and Rumberos de Cuba, for example, in their Guarapachangueos. The instrument is here to stay.

You see, the Cajon was the instrument that helped keep Rumba alive, when it was forbidden, by government, or by economics. Rumba will survive, and the Cajon is living testament.

The fishermen down on the docks, picked up the empty Cod box's and went to town.. developing some of the fattest Columbias.. check out this clip

Ive been very fortunate to be around some great Cajon makers in the area.

The great Enrique Carreras made the best sounding Cajons Ive ever heard, and he taught both Pili Martinez, and Irish Rick McKinney how to make them.. many of the Cajons pictured were built by these three cats, including one pictured here on top of the Isla quinto that is played by the great Roman Diaz (pictured with sunglasses below w/brown hat), Bonkocero for Yoruba Andabo and high ranking Abakua. Note the slightly larger Matanzas style.. Havana style being played by Jesus at the top of this post, for example..

Chris Walker, pictured here with Mijail La Brada and Maestro Carlos Aldama checks in to say "The smaller box i am playing in the photo of me Mijail and Carlos was given to me by Pancho Quinto as a gift when he was here in 1997.
The big one that Mijail is playing in that photo was built by me. I believe Spiro owns it.
Best,
CW"

a gift from Pancho.. what an honor!

And the tradition continues here in the bay.

Here is a clip of cats here locally, Irish Rick and Mejail la Brada, laying it down on a sunny spring day last month..
The last clip here is of local Cajon masters Pili Martinez and Sandy Perez at La Pena in Berkeley. Both these cats make these instruments scream like no other Ive seen. What I would give to have the technique of these cats! Their slaps are like gunshots.. so fat!

Conga restoration, Bongo restoration - repair, reskin, restore, relove

noreply@blogger.com (CongaDR) — Thu, 23 Jun 2011 23:46:00 +0000

Just a sample of my work, I will add others here, as I find the pictures....

I will spare you most of the before pictures, but will add a few to give you an idea of what they look like coming into the shop.

Rare 10 lug Gon Bops set of Bongo - a restoration project

noreply@blogger.com (CongaDR) — Thu, 23 Jun 2011 23:03:00 +0000

Once in a while you hear a story of some cat stumbling upon a Junior Tirado conga at a garage sale, unloved and converted into a plant stand.. purchased for a smile, taken home, restored and enjoyed for a lifetime as a family treasure.

I have heard of such stories.. but this is the first time Ive worked on one of these drums..

A friend of mine, and fellow conga geek and professional Tahitian drummer, was driving by a garage sale in Berkeley... stopped to see a Ukulala.. and out of the corner of his eye, spots this gem tucked away in the corner of the garage... hey is that bongo for sale?? sure.. how much.. not much.. done deal..

My friend walked away from that street sale with a complete gem. The most rare of Gon Bops... a ten lug set of high end bongo in Walnut.. the best instrument Gon bops ever made, in my opinion.

They were in relatively good shape, but the finish was wasted. For some reason, it had really nice skins.. looked like horse possibly..

Anyway, after being restored, this set is about as nice a set of bongo can get.

In the end.. one of the best 'finds' Ive know of... guess I should hit a few more garage sales this year!

Rumba Gig at La Pena with the Heavies! this Saturday 6/18/11

noreply@blogger.com (CongaDR) — Tue, 14 Jun 2011 16:01:00 +0000

Nice to finally be called in on the upper tier of Rumba performance in the Bay Area.

This gig will be too fun, as Bass player Raul Perales has brought together some serious Rumberos and Latin jazz artists for what will be a very entertaining show.

On the bill joining Raul and his Latin Jazz combo:Keyman Colin Hogan, Flautist Even Francis; Singers Felix Samuel and Erick Barbaria; Percussionists Michael Spiro, Javier Navarette, Colin Douglas, and myself.

All these cats are wonderfully musical... they catch such thick groove with very tasty tonality, fat and timely licks... They are the hardest working cats in the local tradition, with more gigs in an average month than most have in a year.

Add the vocal talents of Felix Samuel and Erick Barbaria... please, child... You cant find better singers, for both Rumba and Popular Cuban styles. Its a complete honor to perform with them.

We will be playing a mixture of Rumba, Latin Jazz, and Popular Cuban music with a Rumba twist.

The rehearsal was fat, and these cats are serious pros.

The material reminds me of Pancho Quinto's Latin jazz work.. heavy on Rumba with a romantic and sexy combination of Latin Jazz lines blended with Popular and folkloric styles of Cuban music, accented by tasty solos... it's a very nice sound.

The instrumentation for this show: Piano, Bass, Flute, Traps, three Congeros, Cata and two singers.

Bring your brothers and sisters.. this one will be fun!

Tony

RIP Felix 'Pupy' Insua! Maestro! Thank you for everything!

noreply@blogger.com (CongaDR) — Fri, 03 Jun 2011 00:54:00 +0000

i really dont feel like writing, he was a wonderful person and an incredible talent, generous with his time and love, without agenda, totally color blind, without judgment.. and one of the best dancers this tradition has ever seen... I'm so sorry brother, safe travels, we will miss you :(

This video is a passing of the torch to his son Steve Insua, Pupy playing quinto for his son..

The video below I recorded in '06 i beleive.. Pupy dancing for Sandy Perez, Roman Diaz and Pedrito Martinez at Yerba Buena Gardens in SF.

Jesus Diaz and Michael Spiro's new Rumba project is here! Oba' Nile En Clave

noreply@blogger.com (CongaDR) — Thu, 02 Jun 2011 13:29:00 +0000

Master percussionist Jesus Diaz and fellow folklorist Michael Spiro have a new Rumba project now available for download! HERE!!

How fortunate the tradition is, to have such amazing stewards in Jesus and Mike!

Band leader, percussionist, singer and Pearl artist Jesus Diaz (Jesus Diaz y su QBA) is said to be the driving force behind this project.

Jesus is a relentless force in the bay area latin scene, performing with the top tier on a regular basis, not to mention fronting one of the fattest salsa bands around, Jesus Diaz Y Su QBA.

Getting a project cut like this, with all the talent from across the country, is akin to herding cats on fire... so mad props to Jesus for making this happen.

Jesus and Mike work closely together producing, Congamasterclass.com : a technical breakthrough in on line music education.

.. and, we can thank Steven Hendee as well, for lending his technical prowess.. too cool to see such ancient, word of mouth traditions digitally propagated through such a professional site.

Their online Percussion school is top notch: sharing their deep knowledge with everyone in the free world.

Mike Spiro, in collaboration with Jesus for many years now, is an absolute treasure to the Afro-Cuban community; his driven quest for mastery of this tradition is inspiring to us all.

Mike and Jesus continue to pay respect by creating new projects as homage to the masters of the past.

This Cultural practice is alive and well in their knowledgeable hands, and we all benefit from the progression.

When I see how hard these cats work to nurture and enact this ancient form of culture, my mind wonders to a timeless and blissful place, where history is action and tradition is creation.

Rumberos of the future will take note, no doubt.

For this project, Jesus assembled the best of the best, from east to west..

Including:

Lazaro Galarraga-Vocals
Jesús Diaz-Tumbadora, Vocals
Sandy Pérez-Tumbadora and Bata, Vocals
Roman Díaz-Tumbadora, Vocals
Miguel Bernal-Tumbadora, Cajon, Bata, Vocals
Michael Spiro-Gua-Gua, Bata, Vocals
Bobby Wilmore-Clave, Vocals
Genesie Reynoso-Vocals

Lazaro Galarraga.. Miguel Bernal, Roman Diaz, Sandy Perez... my lord man.. can we get any better of a lineup. These cats are about as heavy as history can offer, with literally more experience and talent among them than we can conceive.

I could spend this entire post listing their credits, but want to focus on Mike's project, so feel free to google their names after you download Jesus and Mike's CD!

So, I had a listen to a track from this project, and I can tell you, the rumba is tight and clean.

This particular rumba is retro by design, paying respect to the time of Rumba's raising popularity among the working class of Cuba.

I just love how parsimonious Jesus and Roman are (segund and tumbao respectively) Kicking it up with the sweetest and fattest drops, lending power with silence. Only the top cats do this well.. and Roman can play a fatter rumba with less playing than anyone ive ever heard.

These players have mad chops, and cats like Sandy can rip it as hard as anyone on the planet.. but profound power and strength can come from unlikely sources.. often from knowledge of what not to play, the use of silence, knowing how to set expectations of the listener, toying, playing, and giving it up when they need it most... just when a beg is about to escape their lips..

The space is so dang beautiful - space to feel the rhythm, to hear the song, to create power.

For a Rumbero, silence is golden, and can make your hair stand on end when used correctly... Follow it up with a gargantuan Sandy Perez Quinto declaration, and you have yourself a serious Rumba on your hands..

It's about tension and release, expectation and realization... inspired to need, surprised with familiarity, assured by fruition.. hard to explain and way harder to play effectively. This Rumba is a perfect example of the mastery of tension release.

When you get a listen to this fine project, hear to how the Rumba breaths... lending power to each tone, each phrase..

The combination of Jesus Diaz, Roman Diaz and Sandy Perez is pure genius. Sandy, forceful and profound, playing on a backdrop of elegantly smooth and graceful conversation between Roman and Jesus.. pure heaven..

This 'less is more' style is not an easy thing to pull off with Mr. Inveto, Sandy 'el misterioso' Perez on the project. Sandy is one of the few people in the world who has the absolute right to evolve the tradition as he pleases, as he IS Rumba in action.. and the tradition has always been an evolution. Raining him in is not an easy thing to do, speaking from experience..

Serious homage is payed to traditional Rumba, here in this new project, and it must have been a specific vision Jesus had for this release. Well done man!

The survival of this amazing cultural artform depends on the work of masters like Jesus Diaz and Michael Spiro... as well as our support, financially and spiritually.

Future recording will come from the purchase of this download, so click and enjoy, knowing you're contributing in a very real and important way.

Nice to go direct to the source for your Rumba fix, no doubt!

Tony

Happy Brithday Cecil Carter! - A pioneer of Cuban Rumba in the SF Bay Area

noreply@blogger.com (CongaDR) — Mon, 23 May 2011 23:05:00 +0000

One of the nicest cats in the local AfroCuban tradition, Cecil Carter, was honered with a birthday Rumba at Kittys this weekend.

It was no less than 35 years ago, that a very young Tony would go to Sproul Plaza and watch the drummers play. Back then, a blond headed, nine year old kid was of little notice to Cicil, Butch and a few other cats I now know as family.

Here is a clip of the Sproul Plaza days, 8mm no sound!! You can see Butch Haynes (1:20) in this clip from 1967 , the year of my birth.

These cats were playing Rumba in Berkeley back in the 60's, and they were instrumental to how developed the scene is today.

The Cuban masters would never have moved here without these pioneers setting the scene for them to feel so at home here.

Pioneers like Cecil Carter, Gene Golden, Yagbe Oline, Marcus Gordon, John Santos, Raul Rivera, Yaya Maldonado, Trevino Leon, Buddah, Butch Haynes, Chris Flaco Walker, Jerry Shilgi (spelling?), Hadley Louden, Bill Summers, Daniel, Bruce.. among others.

So, this weekend I got a call from Maria de Colombia, another elder/pioneer and matron of Rumba in the bay, and she told me about Cecil's Birthday... she was wanting to bring a cake for us to munch in celebration.

I went to Cecil's Facebook page to see if he wanted to put a Rumba together... and was blown away to see no less than 40-50 people wishing him a happy birthday. Cecil, a very spiritual man with a wonderful spirit, has touched many people in this community with his genuine love, and he has this wonderful Karma/Love flowing his direction these days, for sure.

He is a great example of how to build respect with respect itself.

If there is any doubt about how long this cat has been hitting hard..

here is a shot from 1976 - Grupo 'Erekusu'

A rumba group in New Orleans.

Rubén González, Humberto "Pupy" Menez, Cecil Carte, and the owner of the fantastic blog below:

Read more: http://fidelseyeglasses.blogspot.com/2008/05/ruben-gonzalez-cuban-singer-photo.html#ixzz1NDuSjIxD

Cecil and I, over the years, have developed really nice conversations musically, and we really enjoy playing side by side. It's always a highlight for me, no doubt.

So, we put together a rumba at Kittys on short notice... and a bunch of people came out to celebrate with us. It was too fun, and it was great to see Cecil so happy with his recognition.

(i didn't film it, but here is a clip from '09 at La Pena Cultural Center starting with Butch on quinto, Flaco on Secund, Trevino on Tumba, Bruce on Coro, then Cecil comes in to play Quinto.. Daniel is on Chekere, Yaya on Akpwon.. many a pioneer in this clip... and one very cool addition, Bob Ladu, who is the light-skinned brother on Coro, he is the youngest addition to the scene, and brings his fresh masters in percussion to complement our community... nice passing of the tourch in this clip, looking back...)

Happy Birthday Cec! you da man!

Thanks for all the inspiration over the last 35 years my friend, it's all your fault!! lol

Tony

The rich culture of Afro-Cuban Rumba in the SF bay area

noreply@blogger.com (CongaDR) — Mon, 23 May 2011 20:28:00 +0000

It's so very entertaining that every weekend in the summertime, there is a decent Rumba happening somewhere around the bay. Its just a matter of knowing where all the hits are.

We often just make it happen, thanks to Kitty and a few other generous music loving club owners, but rarely do we find ourselves Rumbaless.

It helps to have some of the best Rumberos in the country as dear friends, no doubt.

So, this particular Sunday, Mijail La Brada and Pedro called to see if we could play for a visiting AfroCuban dance teacher who was up from LA. It was a group of people related to Maestro Lazaro Galaraga's following down south.

But we all got stuck on the freeway in unusually bad traffic and missed the hour long class.. We got there just in time to catch the post class reception, wine and snacks, saying hey to some of the dancers. I did get a chance to shake hands with a European cat who is one of Lazaros students up to accompany the class... Ken i believe? He got really nice props from Mijail, and Ruskin called him 'a really knowledgable drummer'.. to bad we didnt get there in time, it would have been nice to play together.

There are so few Rumberos of European decent, I hope we have a chance to play together, exchange war stories at some point.. its not easy to learn and perform another's tradition and it's kind of a brotherhood of people who know just how hard it is to pull off effectively.

..but another Rumba called and we headed out after a glass of wine.

We picked up a player from the class, Lassel Silva, a recent Rumbero transplant from out east.

Lassel, a Cubano who honed his Rumba chops on the streets of NYC, has a good handle of the songs and plays a mean Cata. It's always good to have him around. (pictured below, second from left in group shot)

He is a classic east coast personality, with an in your face, says what he means, grumpy pain in the ass.. but he is instantly family here; a welcome brother and addition to the scene.

So, no class to play for.. no worries, off to Richmond to brother Tito's house where a Rumba was about to happen, just add us.

Mijail La Brada, Lassel Silva, Irish Rick and myself headed over with a car packed with gear.

Upon arrival, I was stoked to see Fito Rienoso, a serious bad ass Rumbero, Salsero and Sonero of the highest order. He is a good friend, and one of my favorite people in the tradition locally. He is always dressed as the actual royalty he is, always has a positive and warm presence, often thanking those around him for 'loving cuban music'.. He is a treasure, for sure. And this man is beyond talented.

Fito is one of the most knowledgeable Rumba singer in the bay, has one of the most gigging projects around, Fito Reinoso y su Ritmo y Armonia, plays a mean tres and is the definition of a true professional. This cat has so much to offer, one could spend a lifetime just studying with him.

Anyway, we show up and the party is slamming, with a huge roast pig and a massive spread of Caribbean fair. Tito is an amazing host, such a kind person, always greeting you with a huge smile (second from right in group shot below.)

Gotta love the Cuban method of communion... forget the cheap wine and bland crackers.. give me Roast pig, christians and moors (Cuban black beans and (dirty) white rice), yuka and a Mojito!!

The DJ was pumping and the tunes were slamming.. kids running around, every one enjoying one of the first nice weekend days of the year.

So, after a bit of relaxation, we busted out the Cajones and tried to figure out how to get a decent rumba going, with all the wannabes around.

Funny thing is, the more Cubans at your party, the bigger the chance some rookie wants to jump in a Rumba with sense of entitlement, and play all over the place like animal on the muppets.

Thankfully, we had the two masters Mijail and Fito, to get it rolling.

We did well, limiting the first couple songs to Fito, Mijail, Rick, Lassel and myself.. laying out some nice Rumba. To be frank, I wasnt on my game for some reason, and Mijail keept on me to keep things ripping. But I had a nice stint playing quinto cajon with Fito singing a Yambu.. always the highest of pleasurable honors....

When you play quinto with a cat like Fito, he starts and ends all his phrases in exactly the right spot, making it so easy to play in and around his singing... an experience i am often in search of, to say the least.

When we started playing, a tall and beautiful Cubana came out of the party to dance really well.. enjoy this clip. try to ignore the rookie quintero...

All in all, yet another great weekend of Rumba. Poco a poco.. or little by little, as they say.

Tony

New York Times article about Los Muñequitos de Matanzas and Rumba

noreply@blogger.com (CongaDR) — Tue, 10 May 2011 03:45:00 +0000

Well I guess Rumba is main stream!! lol

It must be if the New York Times is writing about it.. love to see Rumba live and well in 2011.

The article was written before the show in NYC, so there was not much to say.. but here is a bit of the article by Larry Blumenfeld:

'To see the powerfully symbolic and sexually suggestive movements of the group's dancers, and to feel beats pinging and pounding in patterns beyond comprehension ... is to get the visceral sensation of becoming part of something big, precise and mysterious.'

'Ned Sublette, author of the book "Cuba and Its Music: From the First Drums to the Mambo" (Chicago Review Press) and founder of the Qbadisc label, recalled his first exposure to the group during a 1990 trip to Matanzas, Cuba. "I was involved in Latin music in New York, but I had not experienced anything remotely like Los Muñequitos," he said. Mr. Sublette's book traced the appearance of the guaguancó, the rhythmic form by which rumba is best known, to Matanzas in about 1880. "It was a place and a period of great cultural compression," he said, "and Los Muñequitos captures that most clearly. But they also represent the fact that rumba is alive today. It's not museum music—it's a living thing that answers the needs of contemporary people."'

Ache!

Rumba at Cafe Valpariso with Jose Camara and Denmis Bain Savigne from Las Vegas

noreply@blogger.com (CongaDR) — Sat, 07 May 2011 22:05:00 +0000

We are so blessed, here in the bay. Not only who lives here, but all the incredible talent that rolls through from time to time.

This heavy named Denmis Bain Savigne was in town visiting from Las Vegas.. What an incredible dancer this cat is.. how cool to have him in town for a bit, as this was the second time I had the honor to play when he danced..

Hope he returns with bags packed as this cat is all Rumba!

He's on chekere in this first chip, singing with with Irish Rick on Cajon and segund, Mejail La Brada on quinto and later on Cajon and Segund as well, Lee Harlson on quinto, Trevino Leon on guataca, Lazel on cata, Jose Camara playing clave.

We were also blessed to have Jose Camara on loan from Puerto Rico for a few months. This cat is a wonderful quintero, dancer and singer.. and truly is one of the nicest people I've ever met. Such a great spirit and huge smile that totally encompasses his entire head. Until next time Rumbero, thanks for your time, and see you soon!

So, we were playing at the Cafe balcony due to La Pena double booking the time.. funny, its been on the schedule for about 10 years now... but it was a beautiful day, and the Rumba smoked, thanks Lee for the initiative to get it rolling..
Later Mejail on quinto, Trevino Leon and Lazel playing Columbia inside to Camara and Denmi dancing.. nice flip Denmi!! lol

My new project: RUMBEROS DE LA BAHIA !! SF Bay area Rumba!

noreply@blogger.com (CongaDR) — Wed, 04 May 2011 18:13:00 +0000

Well well well.. Rumba is alive and well in the bay area!

My first project in this tradition has materialized... Rumberos de la Bahia, one of the first Rumba troupes in the bay area's rich history, had its inaugural gig.

With all the Cuban talent here in the bay, its a wonder more groups have yet to develop.

There are a couple groups that gig once in a great while, but don't regularly perform, and often play a mix of Cuban folklorico.

Sandy Perez and Jesus Diaz put together an incredibly talented Rumba troupe with Erick Barbaria, Mejail La Brada and Rosita Perez, but it's not a working troupe, per say, as they play very few gigs together.

With that said, we couldn't touch these masters with a ten foot gig and an eternity to rehearse, but we are paying respect with some quality Rumba. Who knows how good it can get. As for now, we are just getting our feet wet.

So, we played the Cinco de Mayo celebration in Windsor Ca, sharing our tradition to the folks up north of the bay area. This is farm country, so many have little experience with this amazing tradition. I feel so proud to have this project up and running, and am honored to carry the flame of Rumba into the future, here in my beloved California.

The gig went well, with the crowd of around 600 applauding and cheering... with a few actually dancing.. not the most typical reaction in farm country, so that was very nice to see.

The lineup: Juan 'Pescao' Stable, Mejail La Brada, 'Pili' Martinez, Jose Camara, Sukare, Papito, 'Irish' Rick and myself.

It was great fun and better experience, as we figured out a few ways to streamline the project, producing a more refigned project by the minute.

I'm putting together a press kit as we speak, and will be booking the act on a regular basis here shortly. Stay tuned for details!!

Tony

Fat set of Oak Gon Bops Congas back among the living

noreply@blogger.com (CongaDR) — Wed, 20 Apr 2011 23:33:00 +0000

Here is a restoration of a sweet set of Gon Bops, in Oak.

I just love the sound and construction of these old tubs.

It's a set of Gon Bops from the mid 70's, making it almost as experienced as I.

The owner wanted to keep the original patina, and with all the needed repairs, that was asking for a minor miracle. Every drum had multiple cracks to battle.

So, i masked everything off and went at it with fistfulls of glue and a look of determination, with a glint of ominous embarkation.

The Tumba had no less than 17 hairline cracks.. some not so hairline, but more like an airline... but somehow it came together... see the monstrosity of a fix above..

When you have so many cracks to deal with, the curing time is a big issue. With a rapid fury of binding, relentless attacks on the cracks, strangling the drum into submission with ropes and ratchets. In the end, the drum came back together, and I was drenched in sweat..

...sometimes a drum begs to die, and in my time, ive only seen one who insisted on it.

So, this fat 13+ Super Tumba came back to life joining his other four brothers in musical harmony. (one of the set of five was in perfect shape and was not brought to me)

Eventually, the set came out spectacularly well.

The owner of this set is a casual player who was having fun buying and selling Gon Bops locally for a couple of years...

...well, guess he learned a thing or two about buying drums, as this set was the best buy I have ever heard of.. he got an unbelievable deal for this set, and asked me to turn them into treasures once again. I have to say, in all the buying and selling of drums, I have yet to make such a good buy.

He wanted to skin them up, so he still owes me some final after pics when they are done.... hopefully soon ...

Tony

Los Munequitos de Matanzas at home in San Francisco

noreply@blogger.com (CongaDR) — Wed, 06 Apr 2011 17:18:00 +0000

(thanks to Casey Holtz for the photos)

Oh my word, as my grandmother would say..

.. the bay was a buzz with talk of the great Rumba troupe Munequitos de Matanzas and their pending trip to San Francisco.

All the brothers and sisters were chatting like chickens.. whispers with giddy connotations...

The great troupe, leaders of the free Rumba world, coming to our town to grace us with their fabled and legendary talents.

The fervor was almost religious, as the clouds parted and they miraculously and unbelievably dropped from the sky into our backyard after so many years.

Munequitos is staffed by the family of people here I know as family, namely Sandy and Rosita Perez, making this tour stop like a family reunion. I was unbelievably blessed to meet, play, sing and dance with new members of my extended family, including Sandy's Mother Anna and Sandy's oldest son.

The whole Latin music community was similarly stoked, and came out in force to see the grand band.

The first show on the mission, a Monday night, was totally packed at over 1500.

Seemingly every person who Ive ever met in this community was there. I think I saw just about every one ive ever played with, danced with, helped restore or re-skin a conga in this area.. I should have passed out biz cards, a mailing list or something.. missed that opportunity...

They were all lined up waiting for the door to open, and it was unbelievable how many of those 1500 Ive met. I walked down the line, feeling like a politician, kissing babies and shaking hands.

Nothing makes me feel more at home here in the bay, than to see literally hundreds of people you know sharing an amazing experience together. Our community is so thick.

Irish Rick and I showed up without tickets, as we usually figure out a way into shows, no matter how big, but this venue was like a military compound, and we couldn't find the band before the show.. so that gave me a chance to go up and down the line a couple of times looking for tickets, saying hey to everybody.

Even though this was way sold out long ago, we had no problem scoring a couple seats in the balcony, and we were too stoked about it..

The show was in this grand theater at mission high school, with very steep old school seating. The acoustics were not great in the balcony as it was so close to the stage, almost overlooking the performers.

But it was so fat to see the troupe we all dream about, there doing their thing in real time. It felt surreal, as we have all repeatedly watched videos of them, literally 100"s of times over, watching intently to learn what we can from these masters. So, when they were right in front of me, it still didn't seem real.

..and to then meet, and play Rumba with them was beyond my best dreams.

Anyway, the first show focused on the folkloric side, Dancers in costume paying homage to the Orishas. I think they played three Rumbas, short of what we were all hoping for, and it seemed like they couldn't get on a fat roll, really laying it out for us.

But we were all thrilled to see Sandy Dance a Rumba and play Quinto for a bit, his son Melik on Chekere and later dancing as well.

All in all, it left us wanting more.. and as life would have it.. we got all we had ever hoped for.

But in the mean time, we had to set up the ecstasy with some serious agony..

We had a reception for Munequitos Monday night after the first show at a local Cultural center on the Mission. A few of us were asked to perform, as tickets were $10. But the heavies were not lined up, and no-one was designated artistic director.

What was supposed to be a Rumba that inspired Munequitos to join in, ended up to be a local display of how dysfunctional and poorly practiced the scene as a whole actually is.

We put on an truly embarrassing display of Rumba, about as weak as it gets. I hope anyone reading this who was up on stage realizes just how bad it was.

For some reason, a bunch of rookies, or wannabes ran up on stage,and what ensued was no less than a disgrace. People up there crossing clave, playing the wrong parts, racing, not listening, dropping out of rhythm, just making up things as if this was a hippy drum circle.... with the audience of 50 people walking out, Munequitos sitting politely through it, starring blankly.

Eddie Espinosa Alfonso, the master Quintero that occupies the seat of the legendary Jesus Alfonso since his passing, joined in to try to lend support. I played cata for him, but the tumbao faltered, with cats playing who had absolutely no idea what they were doing.

What on earth people... it takes only one to mess up a Rumba. We had several.

Security!! lol...

I spent hours fielding calls the next day: serious local Rumberos complaining vigorously about how bad it was. One serious master of our tradition said he would no longer participate in public rumbas because of what happened at the reception.

These cats think that playing Rumba is about hearing and enjoying your own groove, fat licks and variations, like this is a rock and roll gig.

Instead, brothers, it is actually about what you can contribute to the Rumba, how well you listen to the other musicians, where you are in relation the the progression of the song, the phrasing of the singers, conversations with the other players, what the dancers are doing.

And how your playing makes the whole sound of the rumba more complete, inspiring people to dance and sing Coro.

When you are not contributing to the Rumba in this way, its best, being humble, to not play, sit, watch, listen and learn, get lessons from one of the many masters in the area, and practice at home by yourself. If not, its easy to mess up a Rumba for everyone, and the actual Rumberos are not interested in playing, or even showing up.

When I started, ten years ago or so, for two years straight, I sat on my hands, listened and watched. I was a professional for 15yrs at that point.

I watched and listened for over 50 rumbas!! not laying hands on a stick or drum out of respect for this incredible art form, and awareness of my lack of ability to contribute to it.

However... as luck would have it.. after the reception, we were outside hanging. I had the most amazing experience...

... and all of a sudden, I found myself clapping clave, vocalizing and singing with no less than Isrial Berriel and Eddie Espinosa Alfonso.. 2 minutes of complete and unexpected bliss.

I always enjoy this kind of Rumba best.. no instruments, just cats clapping and singing, vocalizing the drum parts.. that is what Rumba is all about for me.. the inextinguishable nature of the tradition, persisting regardless of stick, drum or government oppression for that matter.

I also had the chance to meet Sandy's Mother Anna Perez, as she was leaving. So great to meet the extended family.. looking forward to visiting them in Cuba one day.

So, the second show was more intimate, with about 500 in a basketball gym... usually gyms have the worst sound, but with all the people, it was ok. This show was billed as a Rumba, and we got it, in full.

Munequitos was on fire, all comfortable and loose. They were smiling and laughing, having as much fun as Ive seen any performers enjoy. It was contagious, and they played beautifully, with fat Guadapachangueos to fill our hearts. I cant believe I forgot my camera, but thanks to youtube and GuichoCubano:

The singing was simply incredible. They had 6 or seven singers, so the harmonies were fat and full, classic songs we all love. We were in heaven.

The bill also mentioned local talent would join in, and the last song of the first set, John Santos, our fearless leader, took the stage with a couple other local cats, and they played well. Nice to have a multi-ghrammy nominee up there representing the bay with force and grace. Sandy was to join them on this gig, but as it worked out, a Bembe was being held in honor of Muniquitos, only to have this second show added the day of the Bembe. The Bembe must go on for the Orishas, so Sandy started the Bembe in Oakland, as the second show raged on without him in SF.

So, back to the show... between the first and second set, I see the Quintero Eddie Espinosa Alfonso, who asks me if I would like to join them in the second set.. OMG... Yea, I say cooly.. I guess Im getting too old to be nervous, but my heart started racing.

But as it played out, two minutes was thrown to one local quintero at the end of the second set, and a local Cubano Gerardo jumped up, nabbing the spot. My timing and positioning was off..

..its too funny, sometimes its just like grabbing a rebound in basketball.. you have to be waiting in the right position, and spring to action without hesitation when the opportunity arises. I was distracted by the incredible singers, should have been staring at Eddie during the last song, and in a better position to jump up.

As it turned out, it was a good thing, in hind sight. A few of the more experienced players around here wouldn't have been too stoked to see me up playing quinto with the masters.. as Im still a student of this tradition. Fortunately, I had plenty of opportunity to play with the Grand Troupe later that night.

After the second show, my lovely woman Unity, Irish Rick and I headed over to Sandy's cousin Rosita's house for the end of the Bembe. When we got there Munequitos had already taken over the drums, playing and singing the daylights out of it with a couple of the local masters.

My dear friend and high master Carlos Aldama was there, having a great time seeing old friends and family from the island. It was so fun to hear him telling grand and amazing stories heavily fortified by exaggerated gestures and facial expressions..

Its so hard for me still to understand these Cubanos.. I get about half of it.. But being part Italian, the body language is universal.

After the Bembe, the cats are hanging out telling stories and I lean over to Sandy and say.. "Poco Rumbita?", Sandy says, "tiene tumbas", "no, pero tengo cajones".. "'ta bien." .. it was on...

Irish Rick, the smart cat he is, brought gear to the show, knowing that we would probably get ourselves involved in a Rumba.

Rarely does he need to bring gear back without being used, so now a full set of Rumba gear is always with us... too funny.

Rick and I have been good friends and fellow Rumba wannabes for 10 years now, hitting just about every Rumba possible together. We have a good partnership; he brings gear and drives, I know where everything is happening and give directions.... and we've played next to eachother in dance classes and performance for years, cutting our chops together. We always discuss how things went, and it's been nice to have a good friend to whine to when you have a setback.. and to share those 'can you believe that' moments.. someone who's been in the trenches and understands what its like. And thanks to Yagbe and Sandy, he plays well and has a solid Cata that is super handy to have around.

Anyway, we get the gear up to Rositas living room, where the Bembe had just been... and I start playing on a Cajon... Lazel picks up Cata, another cat on Quinto, and its rolling... the place erupted in song and dance and I found myself and two others playing functional Rumba for the best troupe in the world! They were digging it, and didnt look my way for a good while, watching the singers and dancers.. always a great sign things are well... then Sandy's son asked for the Cajon, I jumped on Quinto for a good while and then Cata as others joined in... I was totally in heaven, and I cant believe how well it went. Here is a short clip, yo on quinto.

It's incredible that the east bay scene is so fat as to prepare us to play functionally next to the best players in the world. We are so lucky to live here.

Times like these cause me to reflect on the journey that has led to such incredible heights.

Its been literally 10 years, almost to the month, when I played clave for the first time. Since then, its been a very long and arduous struggle, mixed with moment of shear blissful validation.. testing the endurance of body and mind to the point of wanting to give up on a regular basis, then dragging yourself back for more punishment, trying to be satisfied with the slow and unsteady progress.

I didnt plan on making this post about my quest, but I realized that, the dream I had ten years ago when I got into this tradition, has come to fruition with this magical visit from Los Munequitos de Matanzas.

All I've ever wanted to do was functionally perform with the best players in the world. I could have never imagined that was actually possible, but here we are.

...and a week later, I'm all ready developing a new dream. A Rumba troupe of our own, here in the bay... .. already booked our first gig: Los Rumberos de la Bahia Oriental! (as of this moment, the worlds newest Rumba troupe! ;)

...for those who dont know Munequitos de Matanzas (the worlds best Rumba troupe), here is a blerb about the event:

San Francisco International Arts Festival is proud to present the legendary Cuban ensemble, Los Muñequitos de Matanzas. The performance will mark the company’s return to San Francisco after an absence of 19 years since their now legendary night back in 1992. This performance is part of a 16-city US Tour and San Francisco will be their second stop and only California performance.

Hailed as the "reigning regents of rumba" by the San Francisco Chronicle, "the essence of Cuba's musical soul" by the San Diego Union Tribune and "truly keepers of a sacred flame" by Latin Beat, Los Muñequitos de Matanzas are amongst the highest regarded percussionists in the world and masters of Afro-Cuban ritual and rumba music and dance. Founded in 1952, the group currently spans three generations of an extended family of musicians, singers and dancers.

The music of Los Muñequitos de Matanzas keeps alive 500 years of drumming, chanting and dance, preserving the vibrant culture of the African Diaspora intrinsic to Cuba's living legacy. While sustaining these cultural traditions, the group's choreography and new musical compositions continue to innovate from the African roots of Cuban culture. In one evening's concert, Los Muñequitos may play the rhythms and drumming of the Santeria religion which originated with the Yoruba tribe; the songs of the Abakuá, a secret fraternal organization originally from Nigeria; and contemporary Cuban rumba in its varied and ever evolving forms.

Los Muñequitos has performed in more than 50 cities across the U.S., from intimate (and packed!) shows in community centers and dance & music clubs to full-scale theatrical productions in grand concert halls. Whatever the setting, their complex drumming, captivating vocals and spectacular dancing transport audiences to the vital streets of Matanzas and the soul of Cuba.

There will be a Post Rumba Party after the show at the Mission Cultural Center, 2868 Mission St, San Francisco. Tix sold separately or included with $50 orchestra seats.

Set of on off Gon Bops Congas with the first international prototype hardware

noreply@blogger.com (CongaDR) — Sat, 19 Mar 2011 17:04:00 +0000

This is an unusual set.

These black Gon Bops were made when Gon Bops was transitioning from the Voodoo hardware to the stronger international hardware. This is the only drum Ive seen with this hardware from Gon Bops, and looks like this was a design they ditched in favor of what eventually became the international hardware. In true Gon Bops fashion, every thing that can be put on a functional drum and sold, was.

Check out this hardware, and how the history of these drums is recorded in metal..

Finnish Percussion Conga reskinning

noreply@blogger.com (CongaDR) — Sat, 19 Mar 2011 16:34:00 +0000

It always amazes me how prolific Cuban music has become around the world. It is said, that many, in places like Norway and Finland, are big time Salsa fans.. go figure..

Here is a rare set of Finnish Percussion congas, in fiberglass, made in Kotaja Finland, as far north as Ireland, near the Russian border.

These drums are some of the best sounding fiberglass drums ive played, a bit more lively them Fugi's or King Congas, a bit more like Ecotones.. nice round full tones, bright slaps, not too ringy with good projection.

They were obviously made by a craftsman who was meticulous about his work, with the hardware hand tooled and super beefy.

They appear to be resin and saw dust, making them a bit heavy, but improving the sound over a pure resin drum.

The set was difficult to skin, as there was very little 'wiggle' room to work with and they could only accommodate a medium thick skin.

It was a pleasure to play this set, as they are rare drums, no doubt.

According to their website, they are not currently in production.

From http://www.instasite.fi/fpkotaja/index.php?o=2 :

"FP-congas were developed in the beginning of 1980's with the help of former Upi Sorvali who played with UMO at the time. He tested our prototypes while touring around the world with UMO, and with the encouraging feedback Finnish Percussion Kotaja & Vartama Oy(inc.) was formed. Later the name was changed into Finnish percussion Kotaja Oy(inc.).

In result of active co-operation with leading musicians we were able to produce as the german drumming magazine Stick called it "der rolls royce unter den Congas" (The rolls rouce of Congas). Also the conga skin designed with Yrj” Salminen got high reviews on the same magazine.

The high quality of the instrument was achieved through ring design, sufficient thickness and with careful manufacturing. Also a major element was the high quality skin which was made from finnish ox's white-brown pigmented skin. Another speciality was to make the tuning parts out of brass or bronze. The brass rims are cut and polished by hand.

Finnish Percussion Congas have been sold to west-Europe, Middle America, North America and Japan. Some of the best drummers in the world are still faithfull users of our products, cause the reputation as the rolls royce of congas has remaind even though FP-congas have not been manufactured in 15 years.

We now feel that it's time for Finnish Percussion Kotaja Oy(inc.) to start manufacturing FP-congas once again. The world has changed and networked during the past 15 years, which gives us new possibilities to market our product through the internet. Opening of this marketing channel is handled by Instasite Oy (inc.)

[UPDATE]

We are sad to inform the loyal users of our instruments that the project is currently on hold. We will begin development and manufacturing as soon as possible and will post updates of our progress here on the website."

It never ceases to amaze me how difficult it is to build a functional good sounding conga. There are so many factors and hardly any maker has all of the features one would want in a perfect drum.. the craft is truly art. And working on drums like these, gives one appreciation for exactly how difficult it is. They almost got it right! All in all, once skinned up, these are very nice tubs.

Help Keep Rumba alive in the east bay!! Kitty's Petition!

noreply@blogger.com (CongaDR) — Wed, 09 Mar 2011 21:56:00 +0000

Here we are brothers and sisters... your chance to support the tradition we all love!

Sign this petition, post the link to your facebook page, tweet it, email it, tell all your friends about it. We can get this very important local venue up and running again.

Kitty has done so much to support Latin music in the bay area.. now's the time for us to take a little time out to support her, and this amazing treasure of a venue for Latin music and dance:

http://www.thepetitionsite.com/1/keep-djed-music-at-kittys-in-emeryville/