Buying a set of congas: Corporate Congas for Rumba.

Sorry about the tongue in cheek title for the post, I couldn't resist. Anyways this is going to wrap up the posts about getting yourself a set of congas to play rumba with. The subject of this post is going to be about the large manufacturers of congas and other instruments, namely; LP (Latin Percussion), Toca, Tycoon, Pearl, Meinl, etc, etc.

I would like to start of with a positive note and describe the advantages of getting these kinds of drums. The big one is availability. You can find these drums anywhere, online or in stores. The big music stores usually have several models and makes and the little stores almost always carry a few examples of these drums. You can buy them with little or no waiting period. "Corporate congas" are also relatively cheap, especially for the quality you can get. The mass manufacturing and overseas fabrication keep the prices down, and sales and discounts are all over the place, especially for web shopping. With these kinds of drums it is a simple thing to try out the model you want in a store and then buy it for hundreds less online. However don't forget to support your local music store in other ways, if you use this tactic. We need those music stores.

Corporate congas are almost always well manufactured and durable. In addition spare parts are easy to come by should you need them. Every conga player has seen these kinds of drums, played on them, heard and are comfortable, experienced and used to them.

Now for the disadvantages. First is sound: while mass produced congas don't sound inherently bad, it is my opinion that artisan drums sound better. It's like comparing a Chevrolet to a Porsche. They both drive well, but one gets you there with a little more performance. Good sound can be a very fickle thing. Sometimes an LP with the right skin or a few adjustments can just sound phenomenal. If your playing outside, concrete can make your Skin on Skin not sound as great anymore. So sound can be fickle. Also most mass produced drums are designed more for salsa, latin jazz and other more mainstream types of music that use congas. Sometimes these kinds of drums just don't have the folkloric sound.

There are the exceptions coming out however. Toca and Pearl seem to be making some models with the "traditional" player or rumbero in mind. Pearl has their "folkloric" series and Toca is making their traditional models. They have some different features that are supposed to appeal to traditional players over their other models and be better for traditional styles of music. However, they are still just new and different models put out by a mass producer of instruments.

I always put a lot of stock in feel, how the drum feels to your hands. The mass made congas will feel a little "off-the-rack" to your hands versus a "well-tailored" feel of other kinds of drums.

Many, many rumbas and rhythms are played on mass produced drums. Most of the rumba and conga classes provide these corparate congas if they supply drums and many of my friends own them. You can produce fantastic music on them. You do see them everywhere however, posters, cd covers, and sometimes they seem a little generic, look a little plain and usually have a sound that just doesn't seem to recall the solars and barrios, streets and tenements, of old Havana or Matanzas in Cuba.

Buying a set of congas: Vintage Congas for Rumba.

Vintage congas are truly wonderful. They are like musical pieces of history. The most well known vintage brands of congas here in America are Valje and Gon Bops. Both Valje and Gon Bops were made here in California. On the East Coast they had Junior Tirado making drums and also Martin Cohen making LP (Latin Percussion) in New Jersey before he sold out and LP moved it's production overseas.

There are other brands such as King Congas , which is trying to get back into production. Sol Drums have been out of production long enough to approach vintage status. Echotone or Ecotone congas. Also there were several varieties of Mexican made drums with La Playa and Zim Gar being the most common. There are also the rare Cuban congas made by Vergara, Requena and SONOC. You can also see all sorts of unknown vintage congas available from to time on ebay.

What is meant by vintage drums? That's kind of a hard question. In my opinion, the term vintage when applied to congas usually means a drum around 20 years old and/or made by a company that is no longer in business. LP drums qualify, because after they sold out, they weren't really the same company any more. Other companies, such as Meinl have made great products in the past, but have discontinued them. The older style Woodcraft series comes to mind. Also the Raul congas that later became Bauer congas. They modified the drums a bit when they changed names as well. Also Fat Congas in Santa Barbera; they stopped making congas and make cajons now, but they may restart the conga line again.

The distinctive feature of most vintage drums is their sound, and also the reason they are sought after. Typically the vintage drums have a sound that cannot be recreated by modern drums. Reasons for this are many, but most commonly it has to do with construction techniques and woods. Modern drums are often made differently, utilizing different techniques and can be made mostly by machines. Also some species and ages of wood are just no longer available or used. Mahogany, Caoba and the Phillipine Luan wood used by Gon Bops comes to mind. Also companies discontinue model styles, or change specifications, like changing rims from traditional to modern "comfort" curves for example.

These vintage drums are often desired for rumba because of the sound. There is often a certain nostalgia attached to these drums. Vintage drums can sound older, and resemble the older recordings more. Also for some rumberos vintage drums were the only drums available at the time they first started playing and an old Valje or Gon Bops may remind them of times gone by. Perhaps less subjective is that older drums often have a "drier" and "woody" sound, with less sustain and resonance. I have heard it expressed that this kind of tone produced by congas is ideal for rumba. The shorter tones keep the drums from speaking over each other; the tones of the rhythm are more distinct. Also this quality of sound just has that folkloric feel.

There are disadvantages associated with these older drums. They can be hard to track down, and when they are found they are rarely in perfect condition. Most have had repairs and modifications done to them, and many require further repairs or new skins. Replacement parts are frequently impossible to find. Usually they come with scratches, dents, maybe a little rust, call it a patina of use or "character". Personally I consider that an advantage; if I have a drum with a few scratches I don't worry as much about giving it another, so for me they make good drums for playing outside, at public rumbas and that sort of thing. However some vintage drums can be very valuable, like Junior Tirados or some of the older Cuban drums, and some people like to restore them to as near perfect as possible and collect them.

Another disadvantage is it may be difficult to find or build a completely matching set of 3 drums from vintage stock of the same manufacturer, model and condition. Often you see mismatched sets of vintage congas. I have such a set with a 40 year old Valje tumba and a 30 year old Gon Bops tres dos. I use an Isla quinto with this set.

The JCR representative Isaac Gutwilik has written an excellent article on the subject and I'm going to paste it here.

Vintage Congas Bongos & Timbales Buying on eBay Guide

by Isaac Gutwilik
Tradicion Percussion / Percussionist / Instrument Design /
Authorized Rep. JCR Percussion

Once in a while a rare percussion treasure can be found on ebay. A lot of sellers use the word "vintage" to attract sales to their item. This does not necessarily mean that much. If it's Vintage it should have an old label shown, or some of the identifiable unique hardware designs. Some of the older pieces may have cracks and are in bad need of new heads. Consider the real costs of these repairs. Be sure to ask a few questions. If you get no answer, stay away. If you're handy with some carpentry skills, that's a big plus. A good repair project can be very rewarding and even therapeutic for some individuals with the proper tools and workspace. Be wary of sellers with no feedback or too many negative feedbacks. Sometimes good older percussion items end up being sold by people who know nothing about what they're selling. (They often incorrectly refer to them as Congos or large "African" Bongos) They may be sitting on a treasure.

Here are some questions to ask: for bongos, does the hardware still fit? Wood will always shrink over time, rendering the hardware or bands too loose. Replacement lugs are easy to obtain to replace rusted or abused old ones. Head diameters are often incorrectly measured, for example, and the age & type of wood may be unknown. Be sure to ask about cracks. If the crack is on a seam line, it can be repaired with the proper glues and clamps. A crack that runs at an angle however may be more of a problem, but any problem can be addressed if you're able to do it or pay someone else with experience. For steel bands, welding may be required. There may also be a need for an internal steel alma ring to reinforce and put a drum back in "round" if it's been warped. Cracks in other areas can be dealt with but the sound of the drum may never be the same. In any case, always ask the questions beforehand. It usually takes a minimum of 7 years of solid welding experience for a welder to artistically
repair bongos or congas. It's more challenging than the wood repairs. Many older fiberglass congas may also be
considered vintage. Fiberglass repair kits are cheap, come with easy instructions and available at Lowes or Home Depot, etc.

For vintage bells, similar questions should be asked - any cracks, rust, does the mounting bracket still work? For timbales - are they still in round? are the lugs lubricated or stripped? Are there undamaged skins? Very important - is there a stand? A new stand can cost 1/2 the price of an entirely new set ! Why people buy or sell timbales without stands I'll never understand. Each set has it's own specific mounting system, so you'll be searching for a particular stand which may be next to impossible to find. Older Timbales also had no mounting brackets for bells, so you'll need to get
an attachable mounting rod.

If a piece has no cracks, investing in a new set of skins like calf, steer or the best - top of the line imported mule skins will elevate any drum' sound. Some humid climates or working situations may call for a synthetic head...which isn't a vintage sound but very practical on the road. Many pros have more than one set just for different performance styles or performance spaces, or recording. The skin is a major part of your instrument's sound and old skins usually will sound lifeless. Rest assured, the mules are not killed for skinning, but culled from the old retired work animals which are abundantly used in traditional mountain farming regions. They are available on a very limited basis only twice a year. . . . Thicker skins also enhance fiberglass congas, eliminating some of the ringing tones. The newer stock asian water buffalo skins on todays mass produced congas & bongos may be OK for beginners, but are not the way to go for a true vintage sound. The sounds they produce are not the authentic ones, and will not do justice to a wood handcrafted instrument. For an authentic sound experience, new players should listen to some old school players like Mongo Santamaria or Tito Puente to hear what I'm talking about! Vintage isn't just a matter of looks or style - it's also a quality of sound that's hard to find new in a stores or online today. He is required listening for the beginner player. I wish you luck if your an aspiring player or an experienced player & collector.

A well made percussion instrument from an old artisan - priceless. ( They deserve their own Mastercard commercial !)

~ ISAAC GUTWILIK ~

I myself have a couple of vintage drums and have completely refurbished another that I sold to an artist, Max Kelley, in Florida. I love owning these old drums for the history and character they possess. They also serve as excellent conversation pieces when playing with other older rumberos who love to recall stories that these older drums remind them of. Restoring an old drum and then playing it yourself or passing it along to another to enjoy is an incredibly rewarding experience that I wholeheartedly recommend to those that are so inclined. Of course they sound wonderful as well.

Buying a set of congas: Artisan Conga Makers

Contemplating a purchase of an artisan-crafted set of congas can be exciting and fun. It can also be daunting and confusing. The first step is deciding whether or not you should buy a set of congas like this. Artisan crafted congas come with several advantages but there are also drawbacks.

Congas of this type can be hard to try before you order them. So, many, are left to reviews, research and opinions. This kind of information can be very subjective. Everyone that just spent $800 for a conga wants to believe it is the best money can buy. So the first risk is potentially not knowing exactly what you’re going to get for your money. Drum makers will also change their designs, so their end product may be different than what is seen in pictures.

Another thing about handcrafted drums is they come with a waiting period. Are you the type of person that has the patience for that? 6 month or even 9 month waiting periods are not uncommon. Also not uncommon are unseen delays; skins become unavailable, shells can develop defects in the manufacturing, etc. I’ve known people to wait over a year for drums.

A related issue is parts and repairs. If something should happen to your drum and you need a repair or a new part, you would be required to ship the drum back or wait for a new part to be manufactured. Granted drum makers are usually very conscientious in this regard, but shipping costs are ofen involved and waiting. Compare this to either getting a brand new drum on the spot, or simply walking into a shop and having the part you need hanging on the wall, which is possible with other types of drums.

The main reason why people choose handcrafted drums is for the sound. In my opinion they do sound better. They all sound good. They almost all sound very good. I’ve heard a lot of these types of drums and I can’t really say that one artisan's drums are better sounding than the a different artisan's. Maybe I could describe subtle difference, but a good sounding drum is a good sounding drum. In fact, my experience with these types of drums, is that they sound more similar than disimilar when compared to each other, even drums of different woods and makers. However, the person you’re playing with may have a crappy sounding drum, or are you going to have your drums played as a set most of the time? Then you have 3 good sounding drums playing together. So the context of where you are playing most should also be considered.

The way I have chosen all my drums from the many choices is that there was something that resonated with me about the drum maker. Sometimes it is their history, sometimes it is their particular approach to design and fabrication, it could be personality, reputation; many reasons. I am of the opinion that there should be something you like about the drum maker and this will transfer to your ownership of the drums. I’ve played and heard a lot of these kinds of drums, and I can’t say that one sounds better than the other, and you can drive yourself crazy thinking along those lines. These guys usually just don’t let poorly sounding drums out of their shop. However, as you research the different manufacturers surely something about how the drums look, the way they are built, the history of the company will stand out. That is how I’ve chosen my drums and I’ve never regretted it.

Always remember that there are other choices out there, cheaper and more readily available choices that don’t rely on faith. Keep these other choices in mind, but if they just don’t seem to grab your attention, if they lack the appeal, or just don’t seem to satisfy; if you are willing to endure the wait and the cost; if you want a handcrafted conga with a history, a status, and reputation; something not everybody else has; if you need that level of sound; then you should probably get yourself this kind of drum.

Buying a set of congas.

I've been asked for advice by a local musician who is studying rumba. He is considering what congas he should buy. This is a big decision. Congas can be expensive and some makes of congas require a big commitment in both time and faith as well as money.

I will be making a series of posts this week comparing the different pros and cons of what I can see are 3 different choices facing a musician purchasing a new set congas.

1. Congas made by artisan craftsmen such as Skin on Skin, Ritmo (Matt Smith), Isla Percussions, Volcano Percussion, Moperc, Resolution Drums, JCR ,etc, etc
2. Vintage congas made by companies that no longer exist, such as Gon Bops, Valje, King Congas, Sol Percussion, Junior Tirado, etc.
3. Congas manufactured by the large companies such as Meinl, LP, Pearl, Toca, , etc.

I won't be discussing which makes or models I think are the best or which is better than the other, all that is subjective. What is more important and matters the most is getting the drums that meet your needs; drums that will suit you as an individual conguero, rumbero and percussionist the best.

I don't have my camera at the moment, this series of posts should begin on Monday.

Two new guaguas / catas just completed.

I made a couple of guaguas for a reader and his brother. These two will be going to the wonderful city of Vancouver in Canada.

I try to make my guaguas as durable as possible. I wrap them with strong string; a technique I got from a book on how to make shakuhachis (Japanese bamboo flutes). I also coat them with Watco Danish oil which works well. I cut out round holes, instead of making a slit, to help prevent splitting and cracking.

These instruments take a beating and bamboo likes to split. Since musicians are paying me money for them I try and make them to last. Of course if your banging away on them with thick and hard rock and roll drum sticks, they are going to break. Timbale sticks are good, also softer wood dowels cut to size from a hardware store.

The thing is in Cuba, I assume you can just take a walk and chop down a stalk of bamboo anytime you want to make a guagua. That's not really possible in Vancouver, B.C. There are other alternatives, but nothing quite gives the authentic sound like a chunk of bamboo to get your rumba really driving hard.

Why rumba?

I get asked frequently why I started to play rumba and Afro-Cuban music and rhythms. I realize everyone has his or her own path. For some people it is part of their culture, for others it is a form of de-colonization. Others are looking for a spiritual path and for some it is all about the music.

For me I am a lover of jazz music, and also enjoy what some people call exotica and lounge music. I began to notice that the bongos feature heavily in the later two genres and I would also hear them in jazz music every now and then. So I bought a set of bongos and began to practice.

Well, the conga drums are the brother to the bongo, and after a while I became attracted to the sound of the conga. I bought a conga and started to practice. Well a funny thing happened. Once I started taking lessons with Carlos Aldama, his other students, who are rumberos, well they just pulled me in, dragged me into the world of rumba, as we know it in San Francisco.

There was a lot to appreciate about rumba. A big one for me is I very much enjoy the physical activity of playing drums. I like moving my arms, striking the drums with my hand, and of course there is the energy that enters your body, mind and heart when the rhythm and the feeling is right.

The history and culture of rumba and Afro-Cuban music is also a very fascinating subject. The perseverance and creativity of the early rumberos is admirable and remarkable. Learning about this music’s history both in Cuba and Africa is a very deep and interesting study for me.

A wonderful thing about rumba is it’s social nature. It’s a participatory musical form. By learning and playing this music I have become acquainted with several very interesting people I would probably never have met in my white-collar career and background. This aspect of the music is incredibly rewarding for me.

I have also fallen in love with the instruments that this blog is dedicated to. I love to tinker, as my friend puts it. Coming from working on bicycles and surfboards, the ability to craft and customize my instruments is a lot of fun. Playing an instrument that you made yourself is incredible. If I were a pianist, I would have missed out on that experience.

And of course, I love the sound of the music.

My shekeres in Manchester

I made a couple of shekeres for a friend in Manchester a while back. He just posted an image of them along with a shekere he already had. I made these two for him to make a complete agbe set of 3 shekeres (agbes). Here they are sitting on top of his beautiful set of Isla Percussion drums.

What he has now is a set of three shekeres in ascending (or descending) sizes and tones. This set up is ideal for playing guiro/bembe, where three shekeres are played accompanied by a guataca or bell and usually a single conga drum. The three shekeres and their different tones play rhythmic melodies similar to how three congas are played. Traditionally the shekeres are referred to by the same names as bata drums; okonkolo, itotele and iya, but now it is also common to refer to the instruments as cachimbo, mula and caja as well. The traditional names reflect the African and spiritual origins of the shekere and it's music. In rumba, which is a secular musical form, typically only one shekere is played, however sometimes you can hear two shekeres being played in a rumba.

It is incredibly rewarding for me to think of this fine gentleman making music for others to enjoy 1/2 way around the world with instruments I made in my Haight Ashbury apartment in S.F.

Chano Pozo

I came across this very rare image of the great rumbero and composer Chano Pozo, with the famous jazz trumpeter Dizzy Gillespie.

Chano Pozo is playing a conga in the style used for carnaval/comparsa which is the origin of the conga drum and the term conga. The drum is known by the name conga because if it's historic relationship to carnaval/comparsa.

It's a great picture, Chano Pozo playing the drum and Dizzy Gillespie playing claves. Beautiful!

Saying goodbye to an old friend.

Today I will be selling the first shekere I ever made. I got lucky with a very wonderful gourd from eBay. This particular instrument used 1,5oo beads and a bunch of string, and took me a couple of months to eventually finish. The round shape gives it an incredibly easy action. It's a loud shekere when played by itself, but in the context of a rumba or a guiro it is perfect.

I've had the pleasure of watching many local rumberos use this shekere, including Sandy Perez and Carlos Aldama even gave it approval.

I'm letting it go to Larry a rumbero from Oakland who has always praised this shekere and plays it very well. It's really impossible to put a price on this instrument (materials, construction time and sentimental value), and if I did Larry would not be able to afford it. I told him to give me what he could afford. Sometimes it is not about the money, the value of having this elderly gentleman making wonderful music will be a greater reward.

Rest in peace, Jesús Alfonso Miró

Sadly, the great artist and rumbero, Jesús Alfonso Miró passed away yesterday June 4, 2009. He was 60 years old. Jesús Alfonso Miró was the musical director and quintocero for the most famous rumba group of all time:

Los Muñequitos de Matanzas.

For many American players of rumba, the albums by Los Muñequitos were the number one source for the music, with rumberos learning directly from the albums tracks how to play the music.

I have always enjoyed Jesús Alfonso Miró's distinct style, what has always stood out is his distinctive use of nkembi while playing quinto. The nkembi are little shakers strapped to the wrists from the Yuka tradition.

The photo of Jesús used for the cover of the Congo Yambumba album playing what has got to be the tiniest requinto ever (!), has in my opinion, always encapsulated the very essence of rumba and Jesús' artistry.

Please read more about this great artist in Mark Sander's, Barry Cox's and Rafael Duque's blogs.

Esquina Rumbera

Fidel's Eyeglasses

Sentimiento Manana