Tony's Conga Adventures

Creating the Ashland World Music Festival

noreply@blogger.com (CongaDr) — Mon, 21 May 2018 05:47:00 +0000

I relocated from the bay area to the Pacific NW, in part, to bring the cultures of the world to what has historically been an area dominated by European culture.

When I arrived in this little town, I was told I should not try to change Ashland, but to respect what has been here.. the things I was attracted to when I moved here.. the peace and quiet, the natural beauty, the silence of the open space.

After a couple of years of watching the music scene die in front of my face.. I was like.. hell no.

Ashland World Music Festival founder Tony "Popeye" Stern

Thus, as in the bay, I put together something to solve the problem. I pitched an annual music festival on the city of Ashland, the Ashland World Music Festival. They liked the idea, so I booked a series of world music acts the first year and helped them get rolling with how to produce a music festival.

Here are some clips of the first year I produced and booked in 2016.. some serious dancing going on in Ashland!

So fun to see, its now being run by the city, and I can just show up and enjoy the show.

Im so proud to have contributed 7 gigs a year for local world music acts, and I hope eventually they will have big acts in from out of town, serve beer in the park and blow this thing out!

This year I counted some 350 people enjoying the show.. although the line-up lacked dancable acts for the most part?? ug.. perhaps they will clue into the dance factor next year.

Im so proud to have contributed 7 gigs every year for local world music acts, and I hope eventually they will have big acts in from out of town, serve beer in the park and blow this thing out! After all, my vision is to educate the town about cultures outside of their direct experience through the art of these countries.. so with the new sponsors.. we have money to bring in some serious acts! Get on it RWM.

Conga and Bongo Restoration by The CongaDr

noreply@blogger.com (CongaDr) — Sat, 24 Jan 2015 18:47:00 +0000

Here is my facebook page about the restoration of Conga and Bongo : The Conga Doctor's Drum Restoration and Repair - Conga, Bongo, Bata.

https://www.facebook.com/Congadr

Drop by and sport me a 'like' if you dig the work.

Over the years, Ive had the great pleasure of restoring a few hundred vintage instruments, which, to say the least, has been highly rewarding.

It is so fun to bring life back into these vintage drums. The older congas and bongo have a sound that modern craftsmen, no matter how talented, struggle to duplicate.

Often, these older drums are made of Mahogany, a very unsustainable wood to harvest, so it is great fun to save a tree in the process.

And then to see these instruments played and loved by the top players in the country.. too cool.

Saudi Arabia Floggs Blogger Raif Badawi

noreply@blogger.com (CongaDr) — Mon, 12 Jan 2015 16:30:00 +0000

Time for us all to stand together, this could be any one of us, no matter where you are blogging.

Long Live Raif Badawi.

Freedom of information is unstoppable, no matter what you do, Saudi Arabia.

Free Raif Facebook Page

http://www.theguardian.com/world/2015/jan/11/flogging-global-outrage-saudi-arabia-silent

These are the words that warrent a public flogging, jail time, and a quarter of a mission dollar fine:

Blog post by Raif Badawi:

Coinciding with the painful terrorist September eleventh events, which killed more than three thousand innocent people, the Muslims in that stricken city are demanding to build an Islamic center containing a mosque and community center in the same area where World Trade Center collapsed over the heads of those who died that painful day.

What hurts me most as a citizen of the area which exported those terrorists (without honor them, of course), is the audacity of Muslims in New York that reaches the limits of insolence, not taking any regard of the thousands of victims who perished on that fateful day or their families.
What increases my pain is this (Islamist) chauvinist arrogance which claims that the innocent blood, which was shed by barbarian, brutal minds under the slogan ‘Allah Akbar’, means nothing when compared with the act of building an Islamic mosque whose mission will be to re-spawn new terrorists and demanding even that the mosque be constructed near the same area. This is a blatant affront to the memory of American Society in particular and humanity in general, none of whom accept in any way that scene of mass murder.

The question that I ask myself first as a human being and also as a citizen of that area which exported those terrorists is “what is this haughtiness to humanity?” And “What is this racial discrimination with regards to human blood?” Suppose that we put ourselves a little in the place of American citizens. Would we accept that a Christian or Jew assaults us in our own house and then build a church or synagogue in the same area of the attack???? I doubt it.

We reject the building of churches in Saudi Arabia not having been assaulted by anyone. Then what would you think if those who wanted to build a church are the same people who stormed the sanctity of our land? Was not what happened on Sept. 11 an assault on the sanctity of the land and the homeland? Of what land and what country? It is America.

Furthermore, we have not asked ourselves how it is that America allows Islamic missionaries on its territory, and how it is that we reject under all circumstances the freedom to proselytize within our Kingdom’s land. We can no longer hide our heads like an ostrich and say that no one can see us or that no one cares. Whether we like it or not, we, being a part of humanity, have the same duties that others have as well as the same rights.

As others respect our differences with them, we should respect the differences that others have with us and recall the great humanitarian sense of Saudi King Abdullah bin Abdul Aziz who called in his famous and great initiative for “Interfaith Dialogue”. Let us all live under the roof of the human civilization.

Therefore we are not surprised why the king’s “Interfaith Dialogue” initiative found such acceptance by the whole world, even until King Abdullah became an international model and example. It is only by using our minds that we can keep pace the world that is evolving every day.
It requires courage to respect others’ views, to appreciate others’ beliefs and choices along with their right to believe them. Thus, we feel that we fail with regards to all Islamic, faithful and humanitarian principles when there is a group of us calling for the construction of a mosque in the same area which, to understate it, has become a heavy burden in the memory of Americans and all honest people around the world.

The the United States respects the beliefs of others, their religious freedoms and the various religions’ places of worship, whether they be Abrahamic and even non-Abrahamic. That fact should inspire us to respect and appreciate the feelings of the victims’ families and to say with courage that a mosque should not be built at that particular site. The territory of the free land of America is wide and accepts everyone, thus they can build that mosque at a different site.

Finally, we should not hide that fact that Muslims in Saudi Arabia not only disrespect the beliefs of others, but they also charge them with infidelity to the extent that they consider anyone who is not Muslim an infidel, and, within their own narrow definitions, they consider the Non-Hanbali Muslims as apostates. So how can we be such people and yet be able to build a human civilization and normal relations with six billion humans, four and a half billion of whom do not believe in Islam.

Written by: Raif Badawi

Cuban Bongo Restoration - 50's Benny More' tour drums

noreply@blogger.com (CongaDr) — Tue, 14 Oct 2014 18:34:00 +0000

Vintage Latin Mahogany Bongo from Cuba, restored to near new. 6" Macho, 7.5" Hembra

One extremely rare and Vintage set of Mahogany Cuban Sonoc Bongo of the highest order. I believe the set was made in the early 1950's. Perhaps just before the world tour in 1954.

Amazingly, it has an inventory label from a tour with the great Cuban singer Benny More'

Here is a clip of Benny More's with Mongo Santamaria.. no bongo in it, but this is a blog about congas anyhow.. ;)

This set has most likely had an unbelievable life, touring the world with Benny More', with one of the worlds top Latin band of the time, La Banda Gigante, on one or both huge world tours in the mid 50's. .. what this set has seen!

The set was purchased from a one of the top Latin percussion historians Dario Rosendo, from the bongocero named Claro of the World famous Cuban band Ritmo Oriental.

The set is quite amazing. It is made of the extinct Tree, and famed Cuban drum wood, Caoba that is still prized today for its legendary sound.

It sounds as beautiful as it looks. And it plays so nice seated. A medium weight Mahogany, not like the lighter Mahogany from Asia, more like walnut density. The hardware is strong, solid, and is efficient, in that its not over built. really the best design for a seated player.

It needed restoration, but was in really good shape for how much it was played. And it had this funky 50's circus influenced paint job.. quite a piece.

I can see it up on stage under the big lights.

I restored the set to nearly new condition, with new high end kip skins. The set looks and plays amazingly, tunes nicely and is very well built.

The sound is so sweet, in the pocket, crisp and throaty with a woody love handle. The set has a lot of projection, and a crisp high end that makes your Martillo sharp, with fat, woody projection from the Hembra.

Here is a clip from the man himself, back in the day.. and I can report, this set sounds nearly the same as the set played here.

I can see why it was played by the best of the best players of the 50's-70's.

http://youtu.be/0FRNUA0uFRQ

The set has a tour inventory tag on the inside, the kind I have seen before, common on tours with huge bands, flying to different countries and having instruments professionally moved from one tour location to another.

So, this set, after going literally around the world playing huge gigs with Benny More', the biggest Latin act in the world at the time, it gets passed on to this amazingly fat Ritmo Oriental, one of the top Cuban bands of the time. What a life.

Here is some shots of the restoration process...

And a nice 'job well done' comment on FB by the patriarch of Latin Percussion, Martin Cohen, thanks Martin!

Brazilian Carnaval in Sacramento 3/15 2014 at the Old Sugar Mill ! - A Carnival of Dance

noreply@blogger.com (CongaDr) — Wed, 05 Mar 2014 22:47:00 +0000

Well, isn't Sacramento lucky to have such amazing Brazilian culture!

Brazilian Dancer and Musical Director Marta Santos brings a Rio De Janeiro style Carnaval near your home town!

Please pass on the Details to your friends:

Brazilian Carnaval at The Old Sugar Mill !
Saturday, March 15th 6pm to 12 midnight
35265 Willow Ave.
Clarksburg Ca 95612
$15 at the door, $12 in advance
Free dance class included (at 6:30pm)

Marta is a treasure of the valley, bringing the amazing rhythms, dance and costumes of Carnaval in Brazil, to the Old Sugar Mill in Carksburg, Ca March 15th from 6pm to Midnight... can I do another (!!) ?

This fantastic event will feature LIVE performance of Brazilian Drummers from the legendary musical cities of Salvador Bahia and Rio De Janeiro playing the most energetic and entertaining music, famous around the world for bringing huge smiles to everyone in attendance.

Brazilian Carnaval is well known for its world class beautiful, smiling dancers in stunning brightly feathered costumes parading to the seductive Rhythms of Samba.

If you love Zumba, you are going to love this! Samba is the real deal, and the live drummers are sure to inspire, and fill your heart with the contagious joy expressed by this culture.Dont miss this opportunity to come watch this Culturally rich event just outside of Sacramento, brought to you by your talented local Brazilian community.

Musical Director Marta Santos has really out done herself this year, as they are proud to welcome a world class lineup of performers - including Singers, Dancers and Percussionists directly from Brazil. Well done Marta!

The lineup is extraordinary, to say the least... hold on to your hats for this list!

Direct from Salvador de Bahia, Brazil, The Samba Dance and Performance Troupe -

Namorados Da Lua!

Sacramento's own Samba Da Terra, led by the stunning local dancer Marta Santos!

The Super Sonic Dance School!

AND the Super charged Brazilian group Fogo Na Roupa!

Get ready for a fantastic evening of great Food, Wine and DANCE!!

Free Samba Dance Class at 6:30pm!

For more information, contact Raul Macias at 916-261-0412, or email him at RaulZinho_2000@yahoo.com,

or visit Marta's facebook page facebook.com/sambadaterra

Please pass on the Details to your friends:

Brazilian Carnaval at The Old Sugar Mill !
Saturday, March 15th 6pm to 12 midnight
35265 Willow Ave.
Clarksburg, Ca 95612
$15 at the door, $12 in advance
Free dance class included (at 6:30pm)

Feel Free to click on, copy and paste the flier below and post to your Social Media!

7 Potencias, Direct from Cuba, Tonight in SF @ Mission Cultural Ctr. in San Francisco 8pm

noreply@blogger.com (CongaDr) — Fri, 15 Nov 2013 21:47:00 +0000

This is a clip of the performance, which was a warm and accurate expression of Cuban Folklorico from Santiago de Cuba.

This is a must see troupe here for a short time.. Direct from Cuba!

See you tonight!

7 Potencias presents a rich and vibrant culture from the lesser known part of eastern Cuba, known in Cuba as the Oriente.
This will be our first ever U.S. appearance! for a series of workshops and performances in preparation for the 15th anniversary of the company.

Performances:

Mission Cultural Center
2868 Mission Street, San Francisco 94110

November 15, 2013 8:00pm
November 16, 2013 8:00pm
November 17, 2013 3pm
Price:$22 advanced
$27 at the door
http://www.brownpapertickets.com/event/507201

Workshops:

Oakland Emiliano Zapata Street Academy High School.
Idigenous peoples's Celebration.
12:35 pm- 1:45 pm

Malonga Casquelourd Center for the Arts
1428 Alice Street, Oakland, CA

November 18, 2013 7:30pm- 9:00pm Studio E
November 20, 2013 6:00pm- 7:30pm Studio E
Price $18 advanced
$ 22 at the door
http://es.brownpapertickets.com/event/507551

The Works Exercise
2566 Telegraph Ave Berkeley, CA 94704

November 19, 2013 6:30pm- 8:00pm

Mission Cultural Center
2868 Mission Street, San Francisco 94110

November 21, 2013 7:30pm- 9:00pm

ODC Dance Commons
Collaboration with Latin Dance Grooves
351 Shotwell St, San Francisco, CA 94110

November 23, 2013 1:30pm- 3:00pm
November 27, 2013 6:45pm- 8:15pm
November 30, 3013 1:00pm- 3:00pm

Urban Motion& Arts Studio
366 Grand Avenue, Oakland, CA 94610

November 26, 2013 8:00pm- 9:30pm
December 1, 2013 1:00pm- 2:30pm

Conga and bongo restoration and repair - Spring 2013 Restorations

noreply@blogger.com (CongaDr) — Thu, 06 Jun 2013 18:12:00 +0000

Here are some before and after shots of some recent projects.

These were all completed in the month of April, and just in time to clear the shop for the work that usually comes in after Carnaval.

I will do a post about Carnaval here in a minute.. lots of content to sort through...

Anyway,

These project were very involved and challenging.

The Sol, with such a violent trauma, had to be done just right, and invisible without refinishing the drum.. very fun..

This Oak Gon Bops Tumba was painted with no less than four different colors of oil base paint.. so much that it seemingly added a few pounds of weight to the drum..

..and who knew such a gem was underneath?

This happens to be my favorite shell ever made in California.. it is the thinner of the two Oak shells that Gon Bops made. The ones with the bands were often thicker shelled and dont sound as nice to my ear, are a bit more heavy, of course, so they dont play as comfortably.. although those drums are also some of the best sounding congas ever made.

This Oak Tumba sounds incredible... one of the nicest sounding tubs Ive played.. super smooth, with fat projection... nearly plays itself.

And this set of Mahogany Gon Bops from the 70's were nearly falling apart.

Its is a set of three that were finished in the stock Foxtail look, and had to be refinished with tenderness as the shells were quite thin for some reason.

The 10.5 was nearly kindling, and took every bit of skill I have to get together. It nearly died twice in the middle of surgery... had me sweating, stressing and cussing at the gods that are in charge of curing time...

I am so happy to report that the drums, as they are today, look as though they have not been restored, but original out of the factory... I was amazed that they came together so nicely.. and sometimes you have to wait and see what you have when you unwrap all the binding..

Anyway, on to the next round of projects.. a Valje ashiko from the SF factory needs a new head, a Mahogany Gon Bops quinto in bad shape, a Master's huge Ghanaian Drum that needs a lot of work, and a hard working Oncolcolo/Omele that has splitting issues..

Here are some other restorations of the past, Im not sure if they were posted before, but thought you might like to see them here..

CongaDr Cuban Cajons in development

noreply@blogger.com (CongaDr) — Fri, 24 May 2013 18:07:00 +0000


Master Cajon maker Enrique Carreras and Maestro Sandy Perez

Well, I'm just about to do a post about my new shop in Berkeley, in the process of converting a garage into a wood shop with a clean room.

You really wont believe how good a setup this is... comes nearly stocked with every tool one needs.. I mean nearly every tool one can possibly need. The onsite toolset looks to be a lifetime collection of a very handy and talented craftsman.. and the shop is only a few pieces of machinery short of a full production ready setup. This may happen rather quickly.

Immediately, with all the equipment at hand, I am starting a CongaDr line of instruments.

Ive asked Irish Rick to come consult, as he worked with Enrique Carreras on several Cajon projects... and has done a good amount of trial and error discovery himself. We are going to hit a lumber store and run some stock through a table saw, talk about jigs and fences.. dimensions, materials.. working it all out.

I'll have some prototypes built in a minute, and plan on passing them through some world class hand for some feedback. I have several people in mind for the R and D prototype tryouts, to definitely include Carlos Aldama, Sandy Perez and Pili Martinez to start..

There are no good sounding Cuban Cajons on the market.. and lots of Cajons that that are sold just dont sound right at all for Rumba.

In other words, there is a very specific sound the Cuban Cajons in Cuba make, and its not the sound that is made by the Cajons on the market.. even the ones sold as Cuban Cajons.

I dont think many people who are making these Cajons actually play Rumba with Cuban Rumberos.. lol.. you would think that would be somewhat necessary.. but Im happy to start filling this need.

The Cajons from Cuba, and the ones Enrique Carreras made, have a very specific sound, shape, construction, kind of materials.. its not easy to produce if you dont know whats up.

I will be running a series of posts about going into production.. should be fun to read.. its all very exciting..

Wagner Profeta Santos and Banda Cafofo at Capueira Arts in Berekeley 4/27 9pm-2am

noreply@blogger.com (CongaDr) — Sat, 27 Apr 2013 09:13:00 +0000

New on the scene, a really fun and professional Brazilian project hitting gigs around the bay these days, playing Pagode and Samba to writhing throngs of beautiful dancers.. The project, Banda Cafofo, has a very relaxed and playful repertoire of Pagode, developing into hard hitting and fierce Sambas late in the night.

The band includes one very talented percussionist in the Brazilian scene here in the bay, Wagner Profeta Santos. 'Wag DoGroove' on the web, he is one bad ass Conguero, and shreds the nearest Timbal with blazingly fast licks. I had the pleasure of seeing him perform with his other project, Sambada the other night.. an awesome show.. really fun..

Wag totally shreds when a lead player.. and slips cleanly into the pocket when the sound demands a team play.. He has a very graceful and comfortably musical style, often singing, playing several peoples parts.. and smiling big enough for the entire band... When spotlighted, he quickly steps up with powerful and emphatic solos.. a clean blend of technique, solid musicianship and raw emotion.

but you can see.. the Brazilians are not short on smiles.. lol. Here he is pictured on the right here, with band members Pablo Mello, project founders Tony Santos and Claudinho Smile.

Claudinho, leading the project, sings and plays Cavaquinho, which is one of my favorite instruments to hear.. it just makes you smile, for some reason.. I bet you cant play the blues on that instrument.. it just wont cry with you.. ;) ... well.. Im sure Muddy could have used it.. but anyway..

Wag has found a fun group of cats, and a steady gigging project to showcase his talents...

The cat is so humble, and rather young, so we may have the great fortune to see him play.. for years here...

Its so fun to have such talented players who call the bay home.

Here is short clip of his class at Brazil Camp, somewhere in northern California, you can see the kind of positive vibes he brings to his work...

and a clip of a performance they had after the workshops..

One night its Havana, the next Saville.. and tonight... SAMBA!

See you in Berkeley at Capueira Arts,

1901 San Pablo Street, Berkeley, California 94702

9pm - 2am.. bring your dancing shoes.. and all your friends who own shoes..

Wagner Profeta Santos and Banda Cafofo at Capueira Arts in Berekeley 4/27 9pm-2am

noreply@blogger.com (CongaDr) — Sat, 27 Apr 2013 09:13:00 +0000

Sorry, here is the updated post - Wagner and Banda Cafofo

One night its Havana, the next Saville.. and tonight... SAMBA!

See you in Berkeley at Capueira Arts,

1901 San Pablo Street, Berkeley, California 94702

9pm - 2am.. bring your dancing shoes.. and all your friends who own shoes..

Vintage Bongo restoration, Candido Requena in Cedar

noreply@blogger.com (CongaDr) — Thu, 04 Apr 2013 20:54:00 +0000

This was a fun project, although the money got kind of funny at the end...

There is this family in what we call 'south city', or Daily City/Colma area, who has a Patriarch bongocero who brought this set direct from Cuba back in the day. It was made by the legendary drum maker Candido Requena.

It was purchased at the legendary music shop Solis, in Havana Cuba back in the late 50's. Ive seen this label on several different instruments...

The set originally cost $11 US, no doubt, so this must have been before the embargo, I think.

Working on a set made by Candid Requena is an honor, even if it is a set that was meant for the tourist trade and not really built for the professional player.

Cedro, great sound, soft wood

The goat skin wasnt functional, even back then, the hardware and shell are not built to last, or to be heavily used by a gigging professional. You actually see a few of these a year, for sale on the internet.Candido made other, very fine and high end instruments for the top professionals of the day, as seen below. Here is other examples of his work: Candido Requena congas on Tony's conga adventures


Perez Prado on a Candid Requena Conga back in the day

But with the Cedar shell and the masterful maker.. we try to get this set to perform, and not just be a good looking trinket of days gone by. And in this case, it was an 80th birthday gift for a well bongocero from south city.

Vintage Banded Valje Congas, very old set

noreply@blogger.com (CongaDr) — Wed, 03 Apr 2013 16:57:00 +0000

Now here is one vintage set of Valje Congas, to say the least. This is one of the first sets made by the legendary drum maker Tom Flores.

In all the years Ive been working with these instruments, touching over 50 set of Valje Congas...

I have only personally seen one other Valje Conga that was older than this beautiful set, which must have been one of Tom's first oak creations.

Here is a very old set made of Mahogany.. and with the walnut one-off I saw.. it looks like he was experimenting with woods, finally choosing the quarter sawn Oak we know and love.

Who knows, the sound of this set may have influenced him to choose oak.. or perhaps the ease of working with the material, or its durability..

Its amazing to see his thought process through his art that remains with us today.

This reminds me of the memory his daughter told me, about the smell of saw dust in her fathers shop being one of the profound and durable memories she has of her famous father. That memory may have been entirely different, had he chose to work with walnut, or cherry..

Back in 2000, I took a quick snapshot of what I believe to be one of Tom's first drums, a walnut banded quinto with very distinct, but crudely welded Valje hardware not nearly as refigned as this set.

The hardware may have been crude, but it was all Tom Flores. It also had near diamond sideplates, if you can imagine the sideplate looking symmetrical, with the same pattern as seen on the lower half of the sideplates he eventually used, repeated on the top half, if you follow me.. Not an exact diamond, but distinctly similar to what Maestro Flores ended up using, as seen here.

I can see the design improvement in going from his original semi-diamond design, to this sideplate.

It was clearly Tom's first, if not nearly a first go at making a drum with hardware. I could easily see Tom's hand in that work, even back then. It had bands exactly like this drum.. this aluminum stock, as bit more wide in dimension than, say, gon bops bands.. It was all Valje, probably born before the name.

The old cat who had this, what may have been the original Valje quinto in Walnut, was out at Mosswood Park in Oakland. And by only asking "where did you get this?", he said he bought it from a guy named Tom in LA who made it in his garage...

That snapshot, I simply have to find.. it was taken on one of the first cellphone cameras, all jpged.. its on a crashed computer that needs to have its data extracted.. But I will try to eventually post that pic, as this is certainly Latin drum history going on here...

You can see in this set, that the crowns are not the same gauge, with the conga being a big thinner.. I bet all of his drums after this set had the thicker crowns, all following this old quinto on the left.

Amazingly, this old Oak set even had the original hand made stands... Quite a find.

Tony D the Drumologist - Folklorist from Trinidad

noreply@blogger.com (CongaDr) — Wed, 27 Mar 2013 08:04:00 +0000

The depth of talent and experience here in the bay is continually astounding..

You never know who has deep roots, as there are so many talented percussionists here.

We know this cat as Tony D, aka the drumologist. I know him as a very talented trap player.. mostly hitting ska and the like..

He would come to the Rumbas from time to time, sitting in.. was always respectful of everyone and overly humble.. even though he is probably over six four or something.

Once, after a Rumba hit, we were outside.. cooling off... Trevino and Tony D busted out some Sabar drums.

And that is when I realized that Tony D. was deep water. Since then, Ive only seen him lay down his Sabar chops a few times.. entirely enough to know just how top-notch a percussionist this cat is.

Then I come to find out the cat grew up among very thick African culture in Trinidad, nearly similar to the Yoruban traditions from Cuba, Brazil, etc.

I just love how the traditions from the old country are so accurately expressed by so many distinct cultures in the new world. I guess you can add the bay to that list.

The bay is host to much talent, but knowing more about this artist, opened my eyes to just how much I dont know about the cats in the scene.

Tony D. is beyond talented... but so unassuming and kind, it took me a while to figure out that he has many years of deep experience, reared in a powerful and prominent folkloric family in Trinidad. In fact, his relatives are of great religious importance on the island.

You can see Tony as a younger man, playing in Ceremony in the clip below.

This documentary is about his Aunte Iya Rodney, or Iyalorisha Melvina Rodney, who, amazingly, was the High Priestess of the Orisa Religion in Trinidad and Tobago.

There are many academic sources confirming her status, but the most prominent source was Cultural Anthropologist Frances Henry, who wrote about her in his work Reclaiming African Religions in Trinidad. And in this third source, she is actually used to define the highest rank of Iyalorisha.

If even the 'square academics' knew her as the religious leader, she must have been nearly Pope-like to her people.

John Santos Recording Project Fund Raiser

noreply@blogger.com (CongaDr) — Sat, 23 Feb 2013 05:33:00 +0000

Our fearless leader is again, pushing the development of art and culture in the bay area.. this cat will be legendary, when all is said and done.

Well, I can tell you, that this gentleman is among the most honorable men in the bay area. A dedicated artist and family man, highly talented and extremely experienced.

To be serious about it.. if there were more people like John Santos, the world would be a more peaceful and prosperous place.

If the values of this culture were alined with art and music, John would be a national hero. And that is why I half jokingly call him 'our fearless leader'.. the cat is a great example of how to be an artist in the bay area, and its a bit amazing how he pulls it off with such grace.

So, Maestro Santos has a new project in the works, and he is actively fundraising for "Filosofía Caribeña 2".

John has a matching grant and has collected half of the needed funds.. so far, he has collected around 7000 and needs another 7000 or so to make it happen.

..and I know I have wealthy fans, who with the flick of the wrist, can enrich the community with such an amazing project, and have a significant role in the history of the legendary John Santos.

You see, John has a great chance to win a Grammy, and this may be the very project that gets him over the top.

Some people dont know the story, but John was nominated several times for the Latin Jazz category, only to have this category axed from the awards program lineup.

Just recently, the ultimately wise and beautiful people at the Grammy awards decided to reinstate the category.. and it was ON!

John is a front running candidate for the award, and you may have the opportunity to fund the exact project that gets up on the podium on Grammy night.

http://www.usaprojects.org/project/filosof_a_caribe_a_2

Anyone can donate, even small amounts, to have a piece of John's recording project directly HERE

Update: 3/13: The project funded! just under the wire, with a few hours to go before losing all the funds, a few gracious people came in and brought us over the top, with $15,400 donated. Well done all!

Cecil's Rumba at Casa Latina in Berkeley

noreply@blogger.com (CongaDr) — Thu, 21 Feb 2013 15:32:00 +0000

Im putting together a new Rumba, as it was my dear friend Cecil Carter's last wish.

In memory of Cecil Carter and my dear friend and mentor Enrique Carreras, our loved Ancestral Rumberos, we will do our best to nurture, promote and practice our dear traditions.

Starting Sunday March 10th 12-3pm at Casa Latina, 1805 San Pablo Ave. free, all ages. EVERY 2nd and 4th SUNDAY 12-3pm!

"Viva la Tradicion!" C. Carter 3/12.

Gon Bops Bata skins, Carolyn Brandy

noreply@blogger.com (CongaDr) — Sun, 10 Feb 2013 05:01:00 +0000

This set of mahogany Gon Bops bata from the 70's came in for a new set of skins. The owner is one of Carolyn Bandy's students, and so I knew it would be a working set of drums that may very well be important in the folkloric education of women in the bay area.

I wanted to make sure it was comfortable and great sounding, as to inspire people who played the set to fight through the challenging material... so they continue to study, play and teach our traditions.

I set them up as comfortably as possible, as I know how demanding these drums can be to learn. I layed bleached cow on them, setting 'em up like the Cuban masters would prefer for a set of Aberincula.

This set of Gon Bops is over the top - over sized and coated in figerglass. The Cha' side of all three is also glassed inside, giving this set rocket slaps and an absolutely huge sound.

The drums would be within the traditional folkloric range of size, if one took the Itotele out of this set, used this omele as an Itotele, and adding another Onconcolo, if you follow me..

In other words, the Onconcolo (also called an Omele) is the size of a traditional Itotele, and the Itotele for this set is as large as some of the smaller folkloric Iya's Ive seen from Matanzas.

It reminds me of what Irakere must have used in their blasting Latin fusion act - high flying funky Cuban fusion that demanded a set of showman's bata.. fat, huge, bright and thick. (RIP Anga)

And did I ever find the right skins for this set.. just perfect sounding.. slightly thicker and bleached to cut the ring and stand up to the force of the metal hardware, but thin enough not to bust our students chops.

Anyone who has played an hour and a half dance class, let alone a three hour ceremony, would appreciate the quality of these skins when they need them the most. Most of us who have worked on this tradition have been stuck on a meat grinder of a drum, busting your chops to the point of bleeding and you cant stop.. that really sucks... looking down at your hands after hoping there is some flesh left...

As I mentioned, this set is owned by one of Carolyn's students who is among a group of 10 or so women studying bata and Latin percussion in the bay area. We are so fortunate to have a few great female players here in the bay and Carolyn is a big reason why. I know of several women percussionist here who are legitimately professionals (shout out to my girl Zori! (Zornitsa Marinova) the Bulgarian badass!!)

However, Carolyn is the 'Queen Bee' here in the bay.. a true folklorist, with deep knowledge of the culture and traditions in and around the music.

She is a pioneer player and activist, one of the first, if not the first woman to play Bata in the USA. Its fitting she studied with one of the first cats to play bata on the west coast, Marcus Gordon.

Upon a request for some info about with whom she studied in Cuba, I was a bit blown away by the response.. quite a powerful story..

From Carolyn herself:

"Hi Tony: yes. I traveled to Cuba many times. My first trip was in 1988 to study with the CFNC and to study Bata. I made Santo in Havana in 2000. And, yes, I did study with Marcus on congas in SF starting in 1975!"

"My first Cuban instructor was the great Mario Jauregui, aka Aspirina from the Conjunto Folklorico National de Cuba . He helped break the Bata/women taboo and I started studying with him in 88."

"Also studied a lot with Regino Jimenez. Also a lot with my incredible Madrina Olomide - Amelita Pedroso (iba-e). Others include Lazaro Pedroso (Amelia's uncle), Freddie Martinez, Daniel Alphonso in Matanzas (iba-e), Ramon Marquez in Santiago... And many others"

"I organized six drumming tours over the years that went the whole length of the island from Havana to Baracoa stopping in major cities along the way studying with many many great players like one of my favorites Miguel Baro in Jovellanos (the son of Miguelina Baro Iba-e) keeping the Arara traditions alive....., Kiko in Ceinfuegos, Orlando (cant remember his last name at the moment) in Guantanamo, great players in Camaguey like Julio Molina Perez who is now in Italy, the Kutumba folks in Santiago ... Lots of folks over time - Roberto Borrell, who I just saw today! Louie Bauzo over at Boys Harbor in NYC..... so many Im drawing a blank - my friend Carbohol in Havana (he introduced me to Latchi the drum maker), Irian Lopez from Los Chinitos (Piri's uncle), wow! It has been a wonderful journey! "

Yes, Carolyn, I'd say its a legendary manifestation of artistic vision, and meaningful quest to right an obvious wrong in our ancient traditions... quite inspiring.

From womendrummer.org:

Carolyn Brandy has been drumming for over 40 years. She has been instrumental in bringing women to the spirit and healing of the Drum. Carolyn is the Artistic Director of Women Drummers International and co-creator of the Born to Drum Women’s Drum Camp. She was also the founder of the Bay Area’s favorite marching band, Sistah Boom in 1981.

In 1976, Carolyn co-founded the popular band, Alive! that toured the nation for almost 10 years and has 4 recordings to its credit. She has worked in the SF Bay area for many years as a composer, performer, teacher and cultural worker.

Carolyn is an expert in the folkloric drumming styles found throughout the island of Cuba. She has been a practitioner of the Yoruba-based Cuban religion, Regla de Ocha, also known as Santeria, since 1977. She was initiated as a priest of the religion in Havana, Cuba by Amelia Pedroso in 2000.

Carolyn has led five successful cultural tours to the Island of Cuba to study Folkloric music. She has organized workshops in Havana, Matanzas, Cienfuegos, Camaguey, Santiago De Cuba, and Guantanamo, where the groups studied with masters of Afro-Cuban drumming and dance.

Carolyn has recently produced an instructional DVD series called: Step by Step Conga Instruction.

Here is Carolyn telling her story herself:

Here is a clip of her explaining her work in the Woman percussionist movement -

African Drum Repair for CK Ladzekpo, a resurrection

noreply@blogger.com (CongaDr) — Thu, 17 Jan 2013 04:36:00 +0000

There are some projects that are like honors.

And this last month, two such projects rolled in... from two very different, and very talented Maestros.

The first daunting challenge was this Ghanian Atsimevu beauty in need of major surgery.

C.K. Ladzekpo is a Ghanian and Nigerian Master who is known for his deep knowledge of several incredible folkloric traditions from Central Africa.

CK had this drum he hauled direct from Africa, a large banded drum nearly as tall as the Maestro himself.

The drum is thin, made of a soft wood, and the bands were not hammered tight as right. The drum was yet to actually be born, never actually playing a tone as one instrument, up to this point.

Last go, I was asked to do specific work on the drum, was told about a soaking in water process before playing, so I wasn't sure how live it should actually sound... but it was flat cake dead, sounding more like a bundle of collected sticks than an actual drum.

Last time I saw the drum, I repaired a few cracks and had my brother Irish Rick skin it for him.

Rick skins Haitian drums for the Haitianos and sèvitè's of the area.. its a similar process to skin both the Haitian folkloric peg drums, and these African Atsimevu drums.. so he did a nice job skinning the drum with a thin skin.. just as CK had instructed.

So, job well done the first time, but wasnt happy with having a drum so dead leave the shop... but I figured, if the Maestro was happy, it must be all good.

A few months pass, and CK calls with a semi-shocking request..

'So Tony, will you take 10" off the top?' he asks.. he is so to the point.. gotta love it..

I was like.. 'sure CK.... why would we do that?'

As it turned out, the drum has not spoken a word since its arrival here in the states, and something had to be done about it.

"It needs a bigger mouth" he states.

...this could have been a frightening thing.. lopping a foot off the top of such a beautiful instrument..

But it was rather shocking how quickly I went at it with the saw.. like Ive always wanted to do that for some reason.. it was all rather traumatic.

..in years past, I would have walked around the drum 20 times and thought about it for an hour....

Today, I laid it on its side and eyed the line I scribed... used a straight carpenters saw, which turned out to be a great choice.

A jig, or a pull saw would be too wavy.. a miter would have worked, might have been better with the fine teeth, but didnt go deep enough to to guide the cut, or so it seemed.. so the saw we all used as a kid to cut 2x4s was the tool for the job.

It is always fun to do work when you cant make any mistakes..

It reminds me of performing.. up on stage.. no messing up there and then.

.. or extreme skiing.. on an icy cliff on some face.. no mistakes there....

So, off with her head! As the British were fond of saying..

.. and so it was.. lopped off unceremoniously...

.. rolling away on the floor.. unattached, unwanted.. summarily discarded.

.. kind of sad, and had to remind myself I was saving the drum rather than sacrificing the virgin Atsimevu.

All was well.. it came out relatively clean and level, cut it a half an inch long to hand finish the bearing edge.

Perhaps we can make use out of her head as a flower pot ?? Cant see throwing it away.. We'll see.

Back the the drum...

So, I drilled holes for the pegs at just the right angle.. yet another job that required serious commitment more than effort.

I was much more gentile than it seems in the pics.. I was just being dramatic.. the bearing edge came out perfect. I then refitted a band so it would be in just the right spot to protect the shell from the peg forces.

Hammered all the bands tight

.. fiber-glassed the inside around the pegs

..to make sure the thin shell would hold up to the Maestros Horse-kick-like bass strokes.

Enjoying it's new, short cut, like a long hair joining the Navy.. this drum was ready to go to work.

Its going to be great to hear CK play this drum, to say the least. CK said he will skin it soon.

I can just hear the drum in his hands..

CK has some of the fattest 'drops', or bass hits, you have ever heard.. so freaking funky.. like slapping you in the back of the head with a pillow while kicking you in the butt with a hiking boot.

Its a matter of where he drops his bombs.. its so unexpected to the conscious mind, but so perfectly right to the subconscious.. somehow ancestrally familiar, but so unexpected to hear in this day and time..

Some hiphop dj is going to discover and sample these cats one of these days..

Carlos Aldama, Sandy Perez, CK Ladzekpo, Yagbe Oline.. these cats drop kicks that break your belt buckle.. leaving you holding your saggy drawrs up while trying to keep your mouth from hanging open, not to look completely dumbfounded... if you know what I mean..

Sometimes it will knock you clean off of a groove, when you are playing next to them... kicks so upside down and backwards, you think your clave must be wrong.. (ok, never happened.. ;)

You can hear some of CK's African Percussion and Song here. As well as recordings of Ewe drumming and ritual music for Central Africa

I had the grand fortune of playing next to CK last weekend, comping some African rhythms on the congas (gotta do what you gotta). What an amazing time that was. He is beyond incredible.

I have to say.. after 30 years as a percussionist... there are few cats with a more acute ear for rhythm, and CK is definitely a step or seven above this brother.

I was playing right next to him, thinking I was playing a simple part just as he had shown a minute before.. and he would insist on a very very very exact feel. much more accurate than anyone other than Sandy Perez.. around here.. just so acutely aware of nearly imperceptible variances in time... amazing experience to play at that level. Or at least attempt to, anyway.

When CK arrived here back in the 80's, if I'm correct, UC Berkeley helped facilitate the transportation and legal extraction of the Maestro to the United States, in order to snatch him up as a UC professor...

and many years later, he continues his tenure successfully teaching his amazing traditions to lucky rich kids at the university. African Music Ensemble

Well, CK's drum finally is sounding like an instrument, after all the work, and it has yet to be skinned, soaked in water and played. Thats a good sign.

CK will skin it himself and has promised to invite me to see him play it. I am very much looking forward to that.

Read an article about C.K. Ladzekpo here

Here is a short clip of the Maestro at work at the UC

.. and from CK's website,

C.K Ladzekpo (Home Page) is the director of the African music program at the University of California at Berkeley. He has combined a brilliant career as a performer, choreographer and composer with teaching and extensive scholarly research into African performing arts. He is a member of a famous family of African musicians and dancers who traditionally serve as lead drummers and composers among the Anlo-Ewe people of southeastern Ghana in West Africa. C.K. Ladzekpo has been a lead drummer and instructor with the Ghana National Dance Ensemble, the University of Ghana's Institute of African Studies, and the Arts Council of Ghana. He joined the music faculty of the University of California at Berkeley in 1973 and remains an influential catalyst of the African perspective in the performing arts. In 1973 he founded the critically acclaimed African Music and Dance Ensemble. As the company's artistic director, choreographer, and master drummer, he has led in many pioneering African dance and polyrhythmic percussion ensemble music presentations at major venues in the United States, Canada, and Europe. He has been artistic director of the Mandeleo Institute in Oakland since 1986. C.K. Ladzekpo's modern concert stage rendition of Atsiagbeko, a traditional war dance drumming suite of the Anlo-Ewe is one of the features in the television documentary "African Dance at Jacob's Pillow Dance Festival" which continues to be a popular broadcast since its national premiere in 1988 on PBS. CK has received a number of awards for his work including: National Endowment for the Arts Choreographer's Fellowship (1988-1989); Irvine Choreographer's Fellowship (1999); and Ruth Beckford Extraordinary People In Dance Award (1999). CK has been a member of the faculty council of the East Bay Center for Performing Arts (Richmond CA) since 1974.

Conga skins for Edgardo Cambon of Candela

noreply@blogger.com (CongaDr) — Thu, 15 Nov 2012 02:20:00 +0000

Friend and fellow Congero Edgardo Cambon, singer and band leader of Candella, dropped by to have me mount a horse skin he brought from Uruguay on his tumba to see how it might sound.

After all was said and done, we both recognized the near trash can sound as perfect for some Comparsa drums from his country. Just so happens, he has just such a drum we are going to skin with this hide, as it's just too ringy for a salsa tumba.

Thin horse is the sweet for the Macho of a bongo, and was the skin of choice back in the day. Akbar, formerly head of Sol Percussion, would skin his bongo with Horse, I believe, which gave them a signature sound. It is really durable, like mule, for the macho, sounds great, and lasts a long time.

In the end, Cow will be a better choice for this drum, and we should have the set of three in good shape here shortly.

Great to have the trust of such great players. I feel proud to be the cat they bring their favorite instruments to.

Check out Edgardo's latest recording.. a truly professional project:

Edardo Cambon and Candela

Flamenco artist Clara Rodriguez Stanley's 'Somos Tierra' at Fort Mason Theater 11/24

noreply@blogger.com (CongaDr) — Thu, 01 Nov 2012 19:05:00 +0000

People, if you are anywhere near California, you have to check this performance! This is one extremely talented group of performers, led by a truly spectacular dancer, singer and talented folklorist Clara Rodriguez. AguaClara Flamenco premieres a must see show for all fans of world music: Somos TIERRA: A Flamenco Landscape presented by the Azahar Dance Foundation November 24th, 2012 at 8:00 pm Fort Mason Cowell Theater Tickets: www.fortmason.org 415-345-7575

From Clara's website aguaclaraflamenco.com: Clara Rodriguez has dedicated the last 20 years to the study of flamenco dance and music. She began her dance training in her native Santa Barbara, and continued her studies in Los Angeles and most recently in the Andalucia region of Spain, where she resided for 3 years. While living in Granada she performed regularly at such venues as Tablao Albayzin, Venta el Gallo, Eshavira, and Zoraya de los Jardines alongside such noted artists as Rafalín Habichuela, Emilio Maya, Ana Calí and Juan Angel Tirado amongst others. She has been a featured flamenco soloist in productions throughout the U.S., Spain, Portugal and India.

She has studied flamenco dance with Concha Vargas, Juana Amaya, Andrés Marín, Isabel Bayón, Andres Peña, Úrsula Lopez, Alicia Márquez, Ana Calí, Patricia Guerrero and a host of others. In California her first teachers were Roberto Amaral, Linda Vega, Rita Alaya and Kathy Cota. She has studied cante with legendary singer Inés Bacán of Lebrija.

Upon returning from Spain, Clara relocated to Northern California in 2010 and can be found performing and teaching as both dancer and singer throughout the Bay Area. She has performed with the leading flamenco companies of the Bay Area, including Yaelisa’s Caminos Flamencos 2011 season, with La Tania Baile Flamenco, and with Theatre Flamenco at the Exploratorium. She performs regularly at popular local venues such as Thirsty Bear, Peña Pachamama, Disco Volante, Picaro, Cafe Bollyhood, and La Lola Tapas. In the larger Bay Area she produced her own show “Dualidad” performed in Willits, along with performances in Fresno, San Jose, Santa Clara, Gilroy, and Sacramento. While residing in Los Angeles, she performed with classical Spanish company “España Clasica” directed by Roberto Amaral, and with “Soniquete Flamenco” headed by guitarist Jose Tanaka, and was a featured soloist in productions at the Kodak Theater, Greek Theater, and Alex Theater. She was a soloist in the Benise "Nights of Fire" PBS Special and 20-city US tour, and in 2011 was invited to perform in India along with the company at the Jaipur Palace. Film work include Iron and Wine "Boy with a Coin" music video, a feature on Dance Channel TV, and trailer for "The Spiritual Tourist". As an instructor she has taught at Zambaleta World Music and Dance School and Mission Cultural Center for Latino Arts, and has taught workshops in Fresno, Nevada City and Oakland. A classically-trained pianist and instructor, she holds a B.A. from UCLA in Ethnomusicology. Clara also teaches dance @ STUDIO AZUL in Oakland (near Mills College), and here is her schedule as of 11/12 MONDAYS -7:45-9:00 pm-Intermediate technique & choreography TUESDAYS - 7:45-9:00 pm-Intermed/Adv choreography SATURDAYS - 11:00 am-12:15pm-Bulerias por Fiesta

And a video of the show, post script,

Conga Skins, Conga Repair, Drum Restoration projects..

noreply@blogger.com (CongaDr) — Sun, 29 Jul 2012 13:58:00 +0000

Here are some of recent projects... I will add more here shortly, so if you enjoy these, check back soon for more pics of Conga restorations, drum reskinning and repair.

CongaDr+

Sweet set of Sonoc Bongo from Cuba for sale

noreply@blogger.com (CongaDr) — Fri, 22 Jun 2012 22:38:00 +0000

City Lights Bookstore hosts Carlos Aldama book reading by Dr. Umi Vaughn

noreply@blogger.com (CongaDr) — Tue, 05 Jun 2012 14:41:00 +0000

One of the local AfroCuban communities brightest young starts, Dr. Umi Vaughn, will share his academic literary work, reading from his book about the life of Maestro Carlos Aldama: Carlos Aldama's life in Bata: Cuba, Diaspora, and the Drum.

Umi is the definition of an over achiever.. the cat is a legitimate scholar of Ethno-Musicology and Cultural Anthropology, getting his doctorate at the University of Michigan in 2008. He must have been no more than 25 at the time.

I know Umi as a world class father, taking his young son out and into the community.. to dance classes, Bembe's and the like. to make sure he knows the tradition from deep within his soul.

If fortune smiles on us, Umi will be one of the best religious singers of our time, here in the bay. I am so thankful to witness.

On June 20th, Dr. Vaughn's will be at City Lights Bookstore in San Francisco to read from his latest work - a book filled with Academic insight, and loving respect for the Grand Afrocuban Religious Master, Carlos Aldama Perez.

Those in attendance will be trilled to see Carlos perform at various moments in the book reading presentation. I believe the event is free.

Carlos is a living treasure, as many of you know. He is one of the most, if not the most senior Cuban Folklorist alive today.

It is not often that a leader embodies all the attributes one looks to follow. After knowing Carlos for many years now, and literally watching every move he makes when we are together.. I can tell you: There are few people you will ever meet that are so worthy of respect.

I am happy to write on and on about the Grand Maestro, but I'll leave that to the more qualified:

Who: Carlos Aldama with Umi Vaughan

What: An evening of Music, Storytelling, and Discussion

Where: City Lights Bookstore, 261 Columbus Avenue, San Francisco, California

When: Wednesday, June 20, 2012, 7:00 P.M.

"Afro-Cuban master drummer Carlos Aldama will appear at City Lights with his student and co-author, Umi Vaughan, to celebrate the release of their collaborative book Carlos Aldama's Life in Bata: Cuba, Diaspora, and the Drum.

Dr. Vaughan will present the book, which follows Carlos' life from Havana to the East Bay and documents his experiences becoming and living as omo Añá : one sworn to drum. Readings and anecdotes will alternate with performances from the sacred repertoire of the bata drums by Carlos with accompanists."

http://hcom.csumb.edu/people/umi-vaughan
http://umiart.com

Carnaval SF, Mosswood Park 2012

noreply@blogger.com (CongaDr) — Wed, 30 May 2012 01:17:00 +0000

It was a really fun Carnaval in San Francisco this year, with nearly every troupe including someone I know.. every year it gets more of a personal experience.

When I first went to the Mission for this spectacular show of folkloric colors on parade, I was so overwhelmed.. I actually felt like I was in some fantasy, or a place and time that actually didn't exist.

And now, I find myself so comfortable, among my community... so familiar with my surroundings.

Carnaval is one of the great traditions in the great international city of San Francisco.

The annual procession through the Mission is like a long and colorful necklace of national pride - each group beautifully expressing their ancestral homeland, united in our multi-cultural experience here.

the day was filled with the sound of Samba, the smell of fresh Carnitas, and the sights of dear friends having the time of their lives..

(Fellow Rumbero Mike Scartezina playing with Sambada, here)

It was a big surprise, and such a wonderful sight to see my dear friend, the Grand Maestro himself, Carlos Aldama Perez, being acknowledged by the greater Folkloric community with a seat of honor on a huge white float! How cool is that! We should all carry the Maestro around fanning him with feathers, every day.. but it was very nice to see him recognized on this day, certainly.

As the procession rolled on.. One float after the next rolling by.. busting fat tunes, amazing costumes and great dancing from Bolivia to Botswana... The Sambaistas, in particular were in fine form!

Great to see Mike Spiro on route, who mentioned this is something like his 30th Carnaval in SF, if I'm not mistaken.. Amazing Mike! not just in attendance, but a driving force!

.. And as proof.. exhibit A..

By the way.. you have to hear his AfroCuban / Brazilian work Bata Ketu !!

Anyway.. the day was special for me, as there were several loved ones performing and hanging out.. it was super fun to see everyone..

And the family vibe on the Mission was truly wonderful, with tens of thousands of people out having a really great time together.

With so many people partying... you dont really see too many people really that intoxicated, or acting the fool.. its very nice to have so many people together just having fun.

I guess in the end, Carnaval is something just about anyone can relate to.. no matter where you are from...and it puts just about everyone in a great mood.

After the parade, there were so many free bands, it was hard to keep track of the lineup, not to mention getting through the crowd to the five official stages. (Five official, I say.. as the Rumbero's had to crash the event and take over a street corner... ;)

On the way to see the Bayonics, I was captured by my love of Rumba..

The SF Rumba scene is usually a zoo, and it's not really my scene.. but as I was walking by.. I hear the unmistakable Tumba of Maestro Yagbe Oline..

..so I follow my ear to find him joined by Pili Martinez and experienced Rumbero Troy, from LA. So I joined in for a street side session..

Out of the free bands performing.. Fito Reinoso Y Su Armonia totally ripped it up as the headlining act of the first day.

King Theo and his Samba Funk troupe just may have been best of show, with a huge contingent of sexy dancers in amazing costumes... feathered headdresses you could see coming for blocks down the parade route.

(One of my favorite dancers in the local Samba scene, Meredeth MacFadyen featured here)

..And to top it off.. we all did it again the next day at Mosswood Park in Oakland!

Mosswood was off the charts as well this year, with C.K Ladzekpo leading us in some heavy Ewe,

joined by other West African groups that came to play and dance..

Maracatu group..

a Funk band..

and our cats.. Trevino Leon, Yagbe Oline, Flaco Walker, Pili Martinez, Troy de LA, Javier Navarrette and myself laying the Rumba down for the relaxed sun soakers.

As if that wasn't fun enough... the butter on the cinnamon toast: Theo brought his whole Samba troupe to the park, float and all, for the day long bbq dancefest for the community..

In fact.. after a very long weekend, King Theo marched his crew out the park, and through the streets of Oakland for at least a couple of hours! I couldn't believe it.. what an animal.. and a truly gifted leader..

..ooo.. those poor dancers feet were hating it!.. lord..

.. somehow they kept smiling and dancing like it was nothing.. too fun..

Carnaval San Francisco 2012 - preview and informaiton

noreply@blogger.com (CongaDr) — Fri, 25 May 2012 10:37:00 +0000

Sometimes, in the winter months.. I wonder if I am living in the right place.. people are so focused on money career around here. I wonder if I should live in a place where Art and Community is more appreciated...

..then Carnaval rolls around. And everything seems to be just right.

The super fat and Free Entertainment lineup for both Saturday 5/26, and Sunday 5/27 can be found HERE
A simply huge lineup of latin acts this year.. well worth seeing both days, although the parade is Sunday morning.

This year in particular, I'm so looking forward to meeting some new people!

I need to expand my network of Folkloric troupes, and this event has nearly half of all the folklorists in the bay performing in various projects.

I have a dream of an international folkloric music festival for the bay area.. may take me years to pull off.. but the talent is here, without question.

I am dreaming of a scenario.. I get some low level funding.. say a few thousand.. to put on a fundraising event for the festival.. we do a private event for a room full of wealthy peeps.. bring in the Brazilians, the AfroCubans in full regalia, West African troupe and Belly Dancers.. wow them with the amazing talent.. give them a taste of what the festival can be all about.. and see if we can fund this big ass project.

It may run in the tens of thousands of dollars to make happen.

So far, I have no less than 10 folkloric troupes that I have worked with in the past, have personal contacts for and can book at the a drop of a hat. We are talking 9 high level Folkloric troupes..

AfroCuban, two Central African, two Brazilian, Puerto Rican, Middle Eastern, Spanish Flamencos, and two Indian troupes. Deep folkloric projects, each and every one, worthy of high respect in their respective countries.

Rumba with Piri Lopez and Juan de Dios Ramon Morejon

noreply@blogger.com (CongaDr) — Sun, 20 May 2012 17:11:00 +0000

I suppose I should expect these kinds of things to go down these days, but it was such a surprise and honor to have Raices Profundas in town, and then to actually play Rumba with them into the night.. all week long.. was a dream come true.

I didn't expect my favorite young Rumbero on the planet would be the principal percussionist for the tour - I was so surprised to see Piri Lopez, superstar in the Los Chinitos clan - an incredible player with the funkiest of rumbas. I should have known he would be here, as he is the Iyacero on the legendary Abbilona series of folkloric recordings as a teenager and has been the troupe's main player for some time now..

Piri, the lead player in Los Chinitos, is the new superstar in the folkloric scene in Cuba, and is know as one of the best of the new generation of folklorists. He is fearless and plays without reservation, to say the least.

After all, Piri grew up among his father, Pedro Lopez and his uncles, Bartolo, Irian and Raynaldo.. the legendary cats who invented Guarapachangueo in his youth.

John Santos was telling me about how this family is all street (a huge compliment). To my ear, they have the fattest Rumba.. I totally love it.

The Lopez family was also closely connected with the great and legendary Juan De Dios Rámos "El Colo", Maximino Duquesne Francis, Mario "Aspirina" Jáuregui, and Pancho Quinto Mora. .. amazing family friends to have, no??

His family and immediate friends, cats that would be hanging out around the house, were founding members of Conjunto Folklorico Nacional de Cuba (like the great Carlos Aldama pictured above), Raices Profundas and Yoruba Andabo. They are also a significant influence of the new generation of Rumba be created today.. most prominently in the style of one of my favorite projects, Clave Y Guaguanco.

Piri ate the other side of clave for breakfast.. washed it down with Coro lines and a Quinto lick.. totally immersed in the fattest of settings.

Piri's dad Pedro worked with wood for a living, and is said to have developed and popularized the pyramid shaped cajons used in the tradition today. (Id site the source for this and other info in this post, but Piri asked me not to)

The Pancho Quinto influence in the sound of Guarapachangueo is strong, if not primary to the form, and you can easily hear Pancho's style in Piri's playing.

So, it was quite a pleasure to have Raices Profundas, to say the least.

Their stage show was an amazing site, with full costumed dancers and wild choreography.

They totally ripped it up.. played and danced beautifully, with Piri playing Iya like a wild man..

I was fortunate enough to get comps for all five shows, so I was there every night except Sunday... missed the last show scouting out rumbas in the east bay... Raices Profundas had to head out of town right after the show Sunday.. not sure what I was thinking, actually.. should have seen them one last time...

But that was one incredible week!

We played Rumba with the troupe every night after the shows, well into the next mornings..

It was an incredible pleasure to play and sing with these cats..

At several points in the week, the Rumbas involved Juan de Dios and his son, Carlos Aldama, Piri Lopez, Jesus Diaz, John Santos, Erick Barbaria, Yagbe Oline, Pili Martinez and myself... with the whole troupe singing and dancing.. it was unbelievable.

http://youtu.be/mXQUsddpsEw

.. several highlights -

- Playing Quinto for Juan de Dios while he danced Rumba for a good long time!

- Playing Cata for Piri Lopez on quinto, and Carlos Aldama singing.

- Playing Segund next to Piri on Quinto

- Playing Tumba while Carlos and Juan de Dios traded songs.

- Covering the whole rumba with just Segund at one point, no clave or cata, with the whole place singing and dancing...

- Playing quinto and having Piri poke his head up over the crowd to see who was playing.. gave me thumbs up! - Jesus Diaz smiling in surprise.. probably harder to make happen than the rumba.. ;)

- Being called for across the room by "" to come play rumba for Juan de Dios at one of his workshops.

- Juan de Dios playing my El Chino congas like a young man.

- Hanging out with Piri Lopez and Mikey Skartezina getting a kick ass private lesson, then chilling in Yerba Buena Gardens, having lunch and watching Omar Sosa. (just about the only chill time Piri had while in the bay area).

The festival also included a Flamenco performance, and at one of the afterpartys across the street where most of the Rumbas that week wend down.. Flamenca Kina Mendez, an amazing singer and folklorist wowed the crowd.. how I love the bay area..

Flamenco after party