shekere, what makes a good one? - traditional, handmade?

Use this forum to discuss about all the other percussions and/or to suggest a new specified forum to add

Postby congabebe » Mon May 27, 2002 4:59 pm

What makes a good Shekere? I see the ones made by Pearl and LP. I got a Gord one off ebay. Bought as big as a basket ball. It had need beads, not meshed like the LP or Pearls, and it is loud and cumbersome. I know the gourds are the more authentic ones. I think an indian made it because they left a bead off in a very noticeable place. Very intentional and I know that that is a tradition, to leave one bead out because making it imperfect is good. Beautifully made, but I can't seem to get the sound I want, can't control it. Sounds like a gravel quarry, I looked at the exercise and sample information and I don't think I can get this instrument to behave enough to have a clean rhythm. When I put on the stereo to play with music to try and work with it, it is so loud I can't hear the stereo even over about 40. If I was playing in a stadium without a mic, it would be perfect, cause it is so loud. The beads only go about half way over the sides of the gourd and there is bare jute to the bottom and it ties in a knot. I have tried slipping my had under the knot and pulling the slack out to try and get a controled rhythm, but still doesn't sound correct. My method is totally in effective. I need some advise on this.

Thanks,
Congabebe ???
User avatar
congabebe
 
Posts: 114
Joined: Fri Apr 26, 2002 2:46 am

Postby timo » Mon May 27, 2002 7:17 pm

A good player ;). Chec out the LP web site it has a short introduction,(film thing), on the technique of shekere.
AXÉ

timo
User avatar
timo
 
Posts: 162
Joined: Sun Oct 28, 2001 2:38 pm
Location: London, UK

Postby JohnnyConga » Mon May 27, 2002 9:21 pm

OK CongaB...I have been making Chekeres for over 20 years. You have a basketball size gourd. I will go out on a limb to say they have barrell beads or pony beads on them? A chekere is meant to be loud. remeber in Africa they play outdoors with no sound equipment just "Raw". I do not endorse the LP version of a chekere. Mine will last a lifetime with proper care and will never come apart. The fact that it is tied in a not instead of putting a round configuration/tie off,means you can hold the "tail" if there is one and play a 6/8 pattern using the "tail" to "rattle" or "shake" the beads. Here is the first pattern for you.. Down-Out- In. 1 2 3 . Just to get you started in learning how to "move" the "skirt" on the gourd. Down -drop the gourd into your hand(about 5 inches above the hand to be dropped into),now in one motion,with left and right hand "pitch" the skirt into your hand holding the neck. that is "out". In - the movement in reverse. 1 2 3 4 5 6. Very simple that will get u going......I prefer natural strung gourds with pony/barrell beads and depending on the amount on the gourd depends on the weight and the "brightness/loudness" of the Chekere! Hope that helps!...At your Service.....JC JOHNNY CONGA...PS I still have my first chekere I made in 1980 and It still has all it's beads and the string is still intact.....I use waxed fishing line 35 pound,the best to use. I was also the first one to put a leather or foam type bottem to the Chekere, to protect it if it was dropped.
User avatar
JohnnyConga
 
Posts: 3825
Joined: Mon Oct 29, 2001 7:58 pm
Location: Ft. Lauderdale,Fl/Miami

Postby congabebe » Wed May 29, 2002 4:15 am

This is great. The beads are long and wooden and then the small plastic beads, The design of the beads is open v's, not the close mesh where the beads are 1/2 inc apart. More like open net. I think it is beautiful and now thanks to your help and advise, maybe I can learn to make it talk/sing like it is supposed to. I have tried thumping it on the bottom and it has a great tone like an udu? and so I know that if I learn to play it correctly, it will be great. Now if I can just get the band I play in to do more salsa/latin style music. I think it is great that you make them. I love making things. When I saw this gourd on ebay, I thought it would be neat to get into that but I make tons of stuff as it is. I am into sewing, needlepoint, painting, got into ceramics (if I had only known about udu's then). I never finished my music degree cause I couldn't decide what I wanted to do. I studied music and dance all through high school and when I got to college I played less than I played in high school. I found myself playing the same thing over and over again, going to juries totally freaked out from the stress of playing infront of anyone cause all I did was play for a bunch of judges. Don't get me wrong, I loved my teachers, but I got stage fright from the stress and just put it down and walked away. Took ceramics and thought I was going to get my degree in 'underwater basket weaving', but I dropped out to find myself. Now I reallize, I missed out on some opportunities, and when I borrowed my friend's congas, I found out how much I loved music and how I had let a part of myself die. I keep thinking about going back to school, but to study what? I love playing congas, but I checked out the University here and they don't have a 'latin percussion teacher', they have some great teachers mainly jazz and classical. I know about 6 really good drummers. They support themselves by teaching in public schools, playing on the side, some play on Beale Street or the Casinos, or they just starve between gigs. There are a handful of professional musicians in Memphis that make their living playing jazz. If I wanted to play latin percussion, I think I would have to move to actually support myself playing congas. At this point, I know of one salsa band/orchestre? , I have seen 2 mariache bands, and maybe one conga player that sits in occasionally with a R & B band. I guess my question to you is. You knew I had one coming ... How do you make it? Teaching and playing of course, but there are certain areas of the country that just started playing Santana again, like he was a new artist. Latin music has been around for a long time, but it is not like Rock or Country, it is very tough to making it playing them also. I wonder what you tell your students? Do you audition for 'percussion' at studios, do you make your name playing gigs with the best musicians you can find? I know the course that I was on, was to get a degree in music, and try to find a teaching job or studio, I wanted to play jazz, so I figured that it was either going to happen or not (coin toss). I never considered listing myself in the paper, 'flutist, to join serious rock band and likes beating on things...' Just kidding, I love playing but I am so new at this, that I don't feel like I can call myself a percussionist. I have thought, what if I do go back to music school and study 'percussion', what are the possibilities. I can always take lessons. And the rock band has really been fun, but I would have never done it without the help and support of my husband and friends. Should I take it to a new level? My husband plays bass, he played on 2 USO tours, went to L.A. to make it, came back to Memphis broke, nearly sold his bass and promised he would never play again. Of course, he plays now, but he went to school and got a computer type of job. He still loves playing. And he could go back to it if he wanted it, he is a great player, but he has never gone to music school. He took a few lessons, he can read music, but he has a great ear. I know that if someone called him tomorrow and said can you come and go on the road, he would have some serious concerns. We have a friend that plays steel guitar for Hank Williams Jr, a guitar player that played for Jerry Lee, I know Smoochie Smith (plays in the Sun Rhythm Section for Elvis), these guys are great players, but they struggle from gig to gig. In Memphis, half the people won't even agree to pay a cover, and the clubs have a tough time paying for a good band. The music business is tough and fickle. What does it take to be a real conga player? What did you do get the gigs playing in touring bands? And do you think a woman can make it in 'latin percussion', so far every recording artist I have seen has a male percussionist most are african american or latino. I did see a female percussionist with Faith Hill on the grammies, but that is the only one I have seen. Other than Shelia E., she is very talented, but I have never seen her play anything but timbales, or sing. She has earned her reputation, but I am embarrassed that I really haven't gotten to see her perform. She toured with Ringo, and she has a new recording out, but I know very little about her. In some way, I have just made my point. These questions are directed at anyone by the way. I know I have really strayed from the subject of Shekere's.

I am out of breath from typing. I am interested in some discussion on this.

Thanks,
Congabebe :0 :0
User avatar
congabebe
 
Posts: 114
Joined: Fri Apr 26, 2002 2:46 am

Postby JohnnyConga » Wed May 29, 2002 4:09 pm

:D WOW CONGABEBE...#### where do I start. Let me start with the female thing in music. I have personally taught Brie Howard, who went on to play for Robbie Neville, Jody Linscott, who has toured with Elton John and Eric Clapton. Susan Hadjapoulos who went on to play With David Byrne and Joe Jackson and Marina Bambino who has been with the Isley Brothers for 11 years as percussionist. There is also Carol Steele and Myra Casales from New York. Now how do u make it.Practice,practice,practice, then it's who you know. me I am from the University of the Streets of New York City/Bronx. I have had personal teachers and did go to Los Angeles City College, to get an AA degree in music. I was either in the right time for a gig or knew the person offering me the gig. talent today doesn't seem to matter, and that is a shame. Your best bet if you really wanted to play for a living is find a place on Earth where there is no one like you or close to your cpapbilities and live there. My friend Steve Thornton ,great percussionist,moved to Singapore/malaysia from New York some years ago and now he is with the top POP group in Malasia and is also teaching at the University there. He even converted to Muslim and married a Muslim woman. Now that is serious change just to PLAY!. What sacrifices are you willing to make.? But he is making a great living and lives very nicely. Me I haven't had a major tour in years and don't expect any calls anytime soon. Out of site,Out of Mind.! I make due but I am also searching for a place to live and work in my craft. But I struggle a lot,and at my age that is not supposed to be happening. It's not my world anymore,it was taken away from me and many others,who ruined the "Business of Show" that I have been involved with for over 30 years and counting. Some percussionist make 10 to 15 thousand dollars week today. In my day we were lucky to make 2500 a week. it's really rediculous and the quality of music out there in my opinion is All imitation, NO Innovation!It's a tough call. And it's all up to you in the end. If yoiu never try you'll never know...So give it a try!. everybody"s life experience is too different to know how to really make it work as a player today. If you ant to know where to hone your skills and learn about competition go to NYC. It's all there and like they say if you can make it there,you can make it anywhere!...........Just be realisitic about your talents and motivation, and how they serve you. the rest will fall into place.....Hope that helps, a little....At your Service....JC JOHNNY CONGA.... :D
User avatar
JohnnyConga
 
Posts: 3825
Joined: Mon Oct 29, 2001 7:58 pm
Location: Ft. Lauderdale,Fl/Miami

Postby congabebe » Thu May 30, 2002 2:29 am

You are very encouraging. So far, I maybe the only woman in Memphis playing latin style on congas. I have alittle over confidence going for me that is fueled by playing in the rock band. I really have surprized some people that have been in the business a long time. The guitar player that played for Jerry Lee, hates percussion, told me that I had to leave my tamborine at home. He is a great player, been playing forever, recorded and toured with some great musicians. I got a foot in the door cause he loves the way my husband plays bass. Butch doesn't call out the songs, never has a set list and very rarely does he catch Tom off guard. Half of the country tunes he knows, my husband has never even heard before and it amazes him. The drummer that plays in the band is wonderful too, and the only reason Butch let me sit in was because Sammy gave me such a good recommendation. I have good meter, that comes from practicing with a metronome. And I think he liked it cause I didn't step all over his solos and when I added something it sounded like it belonged. I didn't make any money playing with him, but he let me sit in for a month or so. So I got some good schooling. Nothing like playing infront of an audience. This last weekend, I had two professional drummers sitting in the audience who had never heard the band or heard me play and they said I sounded great. So, I am full of confidence. I had a good night, my solo came off better that it ever has and we ended the night with Black Magic Woman and Gypsie Queen. I have been listening to this album so long and I can't play it like they do but I can keep the meter. I listen to Santana alot, he has 2 percussionists and I want to create the same sound they get / rhythm pattern, and that is were I know I I have a long way to go. Plus, the band I play is more rock and R & B, so some of the percussion ensamble in not there. hat. I really need to get some real techique going, learn how to read and get my hands and mind more independent from each other. I made it through one video tape, learned all the patterns, but when I bought Richie Garcia's book "Basics and Beyond", I reallized that I got a long way to go. If I pursue this, I might could at least have alot of fun with it. So far, It has been great. There are a couple of female set drummers, one went to the University, she is really good. Good technique and can play better than most of the drummers in Memphis and they say she doesn't make the money she should. I am making "beer money" right now. I have put what I make into buying the different hand percussion instruments. Anyway, Thanks for inspiring me.

Congabebe
User avatar
congabebe
 
Posts: 114
Joined: Fri Apr 26, 2002 2:46 am


Return to Other instruments

Who is online

Users browsing this forum: No registered users and 12 guests