Example Of Guaguanco - Guaguanco Songs

[SkinDeep]

GREETINGS TO MY BROTHER ONILE AND THE REST OF THE FAMILY.
I JUST WANTED TO SAY LET'S NOT FORGET MY MAN JOHNNY GRIGGS FROM THE J.B.'S WHO IS NOW WITH PUCHO AND THE LATIN SOUL BROTHERS..



Edited By SkinDeep on 1140576454

[onile]

Vaya Papa Skindeep!
Que pasa mi pana! Yo! El DVD que me mandaste llego a tiempo, Barretto esta tremendo en Salinas, PR!


You are right on point!

Abure CQ! I'll keep 'em warm and ready my brother!

Peace!
Onile!

[SkinDeep]

ALWAYS MY BROTHER, KEEP AN EYE ON THAT MAILBOX. LOUIE RAMIREZ COMING SOON!!!

[zaragemca]

Saludos, to DavidPenalosa,...it is well known that all these jazz players,Miles Davis, Bill Summer,'Bird',Dizzy,etc.etc.etc.,(All of them have been following the Afrocuban music and jamming in the after/hours gigs, with cubans....Mongo Santamaria have been recording even with bands which he didn't play in the roster,and both 'Corea',and 'Hancock', did play with Mongo Santamaria when they were 22 and 23 years old, just fresh faces in the music world.Dr. Zaragemca



Edited By zaragemca on 1140633563

[windhorse]

Rumba Songs

You'll need Adobe Acrobat Reader,, but this is a fairly comprehensive library of songs.

Enjoy!

Dave

[JohnnyConga]

Yo Skin Deep ..u have Louie Ramirez on DVD/video????...I would love a copy if its him playing the Vibraphone....is it possible??...."JC" Johnny Conga...

[SkinDeep]

IT AIN'T NO PROBLEM, PAPA. THE ONLY THING IS THAT HE'S NOT ON VIBES, HE'S ON TIMBALES ON ONE AND THE OTHER HE'S BACK AND FORTH FROM TIMBALES TO PIANO WITH ISIDRIO INFANTE ON PIANO AND ORGAN AND PAPO PEPIN ON CONGAS. EITHER WAY YOU CAN HAVE A COPY, NO PROBLEMA!!!

[mangorockfish]

So what I 'm gathering from all of this, is that most of what was and is being played in "POP" music is not the strictest form of the various beats, guaguanco, tumbao, etc, but some variation of them. That sheds a whole different light on things for me. I've always been a black & white kind of guy and all of this seems pretty much in a grey area.

Thanks for the clarification of something that has been bothering me to the point of really not caring whether I continued playing congas or not.

Thanks again,
Mangorockfish

[captainquinto]

Hey mangorockfish!

Don't give up!! It IS all about variation. For every pattern learned ... learn it with the
opposite hands, learn it backwards, inverted, etc... :p

Afro-cuban / Latin rhythms are only one set of patterns for the complete arsenal.

BTW: Nothing is black or white ... it's all grey!

Keep on drummin' brotha'

CQ

[mangorockfish]

Captain' thanks for the encouragement. Like I said, I'm making this journey in a whole different light now.

[davidpenalosa]

So what I 'm gathering from all of this, is that most of what was and is being played in "POP" music is not the strictest form of the various beats, guaguanco, tumbao, etc, but some variation of them. That sheds a whole different light on things for me. I've always been a black & white kind of guy and all of this seems pretty much in a grey area.

Mangorockfish,
I'd like to add that the conga drum tumbao or marcha part is very adaptable to North American pop music and there have been lots of recordings since the 50's confirming this. It seems like a lot of the bands I see on TV have a set of congas on stands up on the stage. I even see this in country bands, although I can't remember seeing one of those C & W dudes actually playing the congas.

If you play the part clave-neutral (with no bombo on the low drum) it fits into even more pop songs. You are just reinforcing what's commonly called an "even-eighth feel". The traditional maraca and guiro parts tend to be clave-neutral and so they are also easily adaptable to pop.

If you add claves or bell parts though, you create a more specific rhythmic effect which requires more consideration as to what musical elements you are mixing.

Using guaguanco and other folkloric rhythms creates an even more specific rhythmic effect and so, those considerations are even more important. Usually a pop composer is not basing their song around clave or even tresillo. Mostly you are providing timbral texture, rather than polyrhythm. Pop music doesn't typically have a great deal of rhythmic tension going on like in a guaguanco. Of course, if it's some funk song with a clave-like rhythmic motif, you could have a great time applying some of your rhythmic tricks.

I agree with Captain Quinto: "It IS all about variation. For every pattern learned ... learn it with the opposite hands, learn it backwards, inverted, etc..."
I have long admired how professional pop percussionists can invert, or other wise modify patterns in order to fit them properly into a pop song.
-David

[SkinDeep]

WHAT'S UP MANGOROCKFISH? MAYBE THIS WILL HELP

CHECK IT OUT!

[mangorockfish]

WHAT'S UP MANGOROCKFISH? MAYBE THIS WILL HELP

CHECK IT OUT!
I'll try to find a source for this dvd today. Thanks again for all the insight & encouragement. It really means a lot to this "funky white boy".

:laugh:

[mangorockfish]

Hey Skindeep, If I can't find this dvd, where should I look?
Mango'

[onile]

Alafia Abures!
I hope that you are all well and in an abundance of wonderfull blessings!

Here is the LP site where you may purchase it if you wish....
http://www.lpmusic.com/Product_Showcase/Whats_New/bashiri_dvd.html

Many blessings!
Onile!

"The Rhythmic Construction of Dance, Pop, R&B, & Hip-Hop"
Bashiri Johnson is a master at interpreting a wide range of popular music genres using Latin Percussion instruments. It also turns out that Bashiri Johnson, a long time LP artist, is a master at educating others in his calling. This becomes obvious early in the latest LP production "The Rhythmic Construction of Dance, Pop, R&:B, and Hip-Hop."

In the video, the listener will examine the role of congas, bongos, shakers, tambourines, repiques, chimes, bells, blocks, and even found objects in popular music styles. They will learn the basic architecture of pop music and valuable pointers to become comfortable playing Latin instruments in non-traditional environments. To this end, they will witness the sort of rhythms Bashiri Johnson injects into pop genres-the rhythms that commended him for recordings with Whitney Houston, Madonna, The Spice Girls, Celine Dion, Michael Bolton, Aretha Franklin, Boyz II Men, and Grover Washington. Bashiri also demonstrates how percussion is not merely rhythm; it is color. He then puts it all together in a live situation. Special features include an in-depth look at Bashiri's approach to music, an interview with LP Founder Martin Cohen, Bashiri's bio, and a valuable play along section in which the listener can join with the band, replacing Bashiri as the percussionist.

LP is proud to release such a timely video production on DVD. The Rhythmic Construction of Dance, Pop,R&B, and Hip-Hop is destined to become an immediate hit, because, to put it mildly, percussion is everywhere!

Available February 2005

Item # Description US List
LPV137D LP The Rhytmic Construction of Dance, Pop, R&B, & Hip-Hop $19.95