SFJAZZ-Discover Jazz Course 2 Música Cubana: Jazz in Cuba and Beyond

Looks like the indomitable folks at SFJAZZ are at it again. Let me tell you how much I love these guys. Not only do they bring excellent jazz musicians from all over the world to my little town of San Francisco, they also promote local acts, smaller venues and very importantly provide educational classes on jazz and Latin jazz. I've taken a couple of these courses including a full series on rumba taught by John Santos, which was incredible.

This latest series  Música Cubana: Jazz in Cuba and Beyond is being taught by the lovely and incredibly talented pianist Rebecca Mauleon!

The subject of the series is the underexposed topic of jazz and Cuban music, both jazz in Cuba and Cuba's influence on jazz here in America. As a Latin jazz musician and conguero this is a topic I am absolutely interested in and will be sure to attend every lecture.

Música Cubana: Jazz in Cuba and Beyond

 

Of all the Antilles, no island has done more to influence the outcome of American jazz than Cuba…from the infectious mambo to modern-day timba and beyond. Jazz, too, made its indelible mark on the island’s music, exploring the perfect marriage of luscious harmony and dance-churning rhythms, and finding a host of innovators along the way who would share the wealth of this “new” music, much of which would evolve far to the north in New York City. From the classic sounds of Machito and Mario Bauzá, Dizzy Gillespie and Tito Puente to the explosive modernists such as Chucho Valdés, Irakere and Emiliano Salvador, Jazz and Cuban music continue to walk – and dance – hand in hand. Taught by pianist, musicologist and SFJAZZ Director of Education Rebeca Mauleón, this five-week series will explore the remarkable history of jazz in and out of Cuba, and will feature live performances by Mauleón herself along with many special guest artists! This course may be enjoyed as a series or individually.

¡Mambo!

Wednesday, October 3, 7:00PM • Jewish Community Center of SF
In this class we will explore the myriad genres that stand today as some of the world’s most popular and influential styles – from the conga and the mambo to the cha-cha-chá – and discover how Cuban music has made such an indelible mark.

Rumba Para Monk

Wednesday, October 10, 7:00PM • Jewish Community Center of SF
The vast repertoire associated with both jazz and Cuban music often crosses the line both harmonically and
rhythmically, creating virtually unlimited interpretations. In this class we explore similarity and contrast between jazz and Cuban music.

Cubano Be, Cubano Bop

Wednesday, October 17, 7:00PM • Jewish Community Center of SF
The explosion of the big band era would firmly cement the importance of dance music in both Cuban and North American cultures, with iconic figures at the helm including Machito & Mario Bauzá, Dizzy Gillespie & Chano Pozo, Pérez Prado, Bebo Valdés, Tito Rodríguez and Tito Puente.

Revolutionary Fusion

Wednesday, October 24, 7:00PM • Jewish Community Center of SF
In the Caribbean, it is said music and politics go hand in hand. What took place in the years during and after Cuba’s revolution found musicians exploring new and often forbidden territory. Bold experimental groups such as Irakere emerged with a new sense of identity and sonic possibilities.

 

Young Lions

Wednesday, October 31, 7:00PM • Jewish Community Center of SF
Equally versed in classical music, jazz and Cuban folk and popular idioms, younger generations have burst on the scene eager to show the world their mind-boggling chops and stellar musicianship. From Gonzalo Rubalcaba to Alfredo Rodrdríguez, Dafnis Prieto and more, we will celebrate the young lions of Cuban jazz.

 

 

Rare Drums!

I have been very lucky recently to acquire some of the rarest drums around. First is a beautiful quinto made by Akbar Moghaddam. At one time Akbar Moghaddam ran a drum building company right here in sweet San Francisco called Sol Percussion. Sol Percussion was born out of the fire that destroyed the San Francisco Valje factory. Sol Percussion was not in business very long because Akbar Moghaddam was hired by Drum Workshop to resurrect Gon Bops and build congas for them. Now Gon Bops is run by Sabian.

It is obvious that Akbar Moghaddam put everything he knew into his Sol congas and this resulted in several innovations. Notably, Sol was first to use a half round section for the rim, apparently to help prevent some of the injuries that occur when your thumbs and palms hit the corners of the typical square section you see on conga rims. Also Akbar Moghaddam coated his hardware with a striking black and gold powdercoat pattern which is more environmentally friendly than chrome plating.

Other features of Sol Percussion drums greatly resemble Valje construction, not surprising as Akbar Moghaddam used to make Valjes. The lug loops resemble Valje and also the cuts made on the interior of the drum to help curve the staves are a feature of Valje that Sol Percussion drums share.

My favorite characteristic of Sol Percussion congas are the highly stylized lug plates. They are round with a serrated edge to resemble  the sun - Sol!

This particular quinto used to belong to the one and only Sandy Perez, my teacher, world class conguero, monster rumbero and all-round excellent guy. Sandy was endorsed by Sol percussion back in the day, and has followed Akbar Moghaddam over to Gon Bops, his current endorser. This drum has a very thick skin, which is the fashion in rumba circles here. Sadly it does not have the original lugs, but has some beefy LP replacements. I'm not sure if they are going to stay or go, because they don't match the original hardware. The skin will stay however, as it sounds incredible with this solid little quinto. I'm very happy to have Sandy Perez's old drum and am hoping some of his 'anya' will rub off on me.

The other drum I am writing about today is a phenomenal Valje bongo. These are very rare indeed. Actually I have never seen this model for sale anywhere and I was lucky that the previous owner contacted me directly and asked me if I wanted it. Did I!?!

This model is referred to colloquially as the 'concert model', however I am going to be calling Ralph Flores over at Resolution Drums to get the low down. This model is known to have been the preferred ax of Johnny 'Dandy' Rodruez Jr , bongocero for Tito Puente and Ray Barretto.

These incredible bongos are the only bongos I have seen where the shell extends beyond the bottom rim. No other company has a bongo like this. One of Valje's most unique and innovative drums. It is a large bongo with an 8 1/2" hembra and 7 1/2" macho. Compare it to my other Valje at 8" hembra and 6 3/4" macho. The concert model also stands a full 1/2" taller as well due to the extended shell.

To tell the truth, I'm not 100% sure what this drum truly sounds like yet as these are the original skins and they are quite dry and a little rough, not surprising for 30-40 year old skins.  It does sound very nice right now even with the old skins, but I'm looking forward to getting some fresh cuero on the bongos.

Well what can I say? I'm very happy to have two examples of some very rare and innovative drums; Valje and Sol Percussion made in California! I'm looking forward to playing these drums for a long time.

Carlos Aldama Performance and Biography

A few years back I used to attend Carlos Aldama's class in the Mission District of San Francisco. It was held in the very colorful playground of Cesar Chavez school. Carlos Aldama was always so passionate and humble at these classes.

Carlos Aldama is of course famous for his role in the renown Conjunto Folklorico de Nacional, particlularly as a bata player in the Havana style.

 Recently an educator at my hometown of Monterey, CSU Monterey Bay's Umi Vaughan, has written an incredible biography about Carlos Aldama; Carlos Aldama's Life in Bata. Umi is an anthropolgist and specializes in subject of the African diaspora. He is also a student of bata and has been studying under Carlos Aldama.

Next week, on June 20th, my good friend Matt Leffel who works at the famous City Lights Bookstore here in San Francisco, has arranged a performance on bata by Carlos Aldama in conjunction with the release of his new biography. Carlos Aldama rarely gives public performances nowadays, and even less frequently does he perform on bata, so this is a rare treat and not to be missed. If you are in the area I recommend visiting City Lights and seeing the maestro perform on bata.

Here is more info on the performance from City Lights and other links.

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.

 Bios:
Carlos Aldama has made significant contribution to the richness and livelihood of Afro-Cuban music and spiritual traditions. Born in Havana, he was a founding member of Conjunto Folklórico Nacional de Cuba, studying under its original musical director, Jesus Pérez (Oba Ilu), and later serving as musical director himself. He is omo Añá (sworn to the drum) and a priest of Changó in the Santería religion.

 Umi Vaughan is an artist and anthropologist who explores dance, creates photographs and performances, and publishes about African Diaspora culture. He is also omo Añá and is a priest of Ochun in the Santería religion. He is Assistant Professor of Africana Studies at California State University, Monterey Bay, and author of Rebel Dance, Renegade Stance: Timba Music and Black Identity in Cuba.

http://www.citylights.com/info/?fa=event&event_id=1555

http://events.sfgate.com/san_francisco_ca/events/show/257289484-carlos-aldama-with-umi-vaughan-at-city-lights-bookstore

Marlon Brando and James Dean

Marlon Brando

 A story that has fascinated me since I first heard of it is the legendary Hollywood actor Marlon Brando's being a passionate rumbero an involvement in Afro-Cuban percussion. Apparently he was passionate enough to build a music studio in his house and host rumbas there, with among others, the ubiquitous Jack Costanzo. Here is an excellent interview with Jack where he discusses his musical relationship with Marlon Brando.

 

"Everybody thinks I taught Marlon Brando. I never taught Marlon how to play.  He knew how to play before I met him!" ~ Jack Costanzo 

The way the story goes with Brando, is Marlon was involved with Afro-Cuban at the early age of 15. Anecdotes of Marlon attending concerts at the Paladium and sitting in with the legendary Tito Puente, or with Cal Tjader can be read here and there. Apparently Marlon Brando was a true aficionado and had some skills as well, often being described as playing well for an amateur.

Obviously there must have been some musical respect for the A-list actor who could actually play, to be invited onto the stage with the illustrious mambo groups of the day. I have always had the impression that Marlon actually played a part of popularizing the mambo craze and bongo craze, rather than 'jumping on the band wagon'. His playing and interest just appear to be a little too strong. He actually had monographed instruments and top quality drums. Most images show him playing the legendary Gonzala Vergara Cuban made congas and bongos, the archetype of the modern conga.

 

Brando's interest in the subject actually led him to invent a whole new conga tuning system. Which is the subject of an article by NPR featuring Poncho Sanchez. Here is also another article featuring Poncho Sanchez where he discusses his relationship with Marlon Brando.

"It was 1976. I had been with Cal Tjader for about a year and Cal told me Marlon Brando and Merv Griffin were coming to our matinee set,'" recalls Sanchez, calling from his Whittier home. "Marlon used to sit in with Cal out in East L.A. at a place called the M Club back in the early '60s. He'd come in, have some drinks and play the bongos. So I told Cal 'introduce me, introduce me."~ P. Sanchez.

Sanchez's brief conversation with Brando revealed more than a passing familiarity Latin percussionists. "He knew everybody! Mongo Santamaria! Tito Puente!"

James Dean

Now we move onto the story of equally legendary and iconic actor, James Dean, who was also a percussionist. However James' is a very different story. There is not quite as much to say about James Dean playing congas and bongos as there is Marlon Brando. In fact most of the photos of James Dean show him with some sort of hybrid drum, not quite a conga or bongo. Anyways, the way the story goes is James Dean idolized Marlon Brando and picked up the drum as a sort of hero worship and is defintely seen as "jumping on the bongo craze bandwagon". Absolutely no disrespect intended to James Dean or his fans. Coincidentally, Jack Costanzo taught James Dean and reaffirms this assessment of James Dean's musicianship.

EEG:   How about James Dean?

JC:    I gave him two lessons, and I gave up.

EEG:  He couldn’t get it.

JC:   No, he couldn’t get it. I think that what you said it’s true; he wanted to do conga drums, because Marlon was doing conga drums. But it was not in him to be a conga drummer. But I never called him to take a third lesson. (LAUGHER)

 James Dean did record an album featuring himself on drums which resurfaces on ebay from time to time. A few of these recordings are available to listen to on video.

I love the shots in the video of James Dean taking conga lessons with a very attractive young beatnik 'chic' and a rather sophisticated looking Black conga instructor. The record does slightly remind me of the legendary recordings on the Afro Roots CD by Mongo, mainly due to the pairing of the flute with the drums.

The question regarding the quality of James Dean musicianship aside it seems quite obvious that James loved the drum, which is what really matters. I of course was not alive at the time, but bongos, congas and Afro-Cuban music, racially, have always been considered 'Black'. I have respect for these two actors playing Afro-Cuban music and publicly fraternizing with Black musicians at a time when the country was quite racially divided.

Well bongos and congas are not quite the 'craze' and so we don't hear the same stories about big Hollywood actors playing congas and bongos as you did back in the 1950's, though my compatriot at the very excellent Fidel's Eyeglasses blog has reportedly been giving lessons to Matt Dillon. Ironically of all the modern actors today Matt Dillon certainly has a flair and character that does remind one of Marlon Brando and James Dean. Perhaps Matt Dillon will help usher in the next 'bongo craze'?

photo from Fidel's Eyeglasses.

(One) More Cowbell!

I just picked up this beauty of a cowbell made by the ubiquitous cymbal company Zildjian. A "Zil Bel"! A beauty of a bell with a very pretty chrome finish, an unique shape and a truly wonderful sound. More of a clear bell sound with a slight ring to it as opposed to the clonk clonk kind of sound from your typical bongo bell, or flatter sound from the usual Afro Cuban type cha-cha or mambo bells.

 As you can see, the metal of this bell is a little thinner and has a flared shape for a more open mouth. I think this is what gives it the clear bell sound it has.

I bought this lovely little bell from the excellent local drum shop Sam Adatto's. Sam's shop is a true treasure, while Sam focuses primarily on trap sets, you just never know what he has in there, so I try and stop by regularly. He was selling this sweet bell for just $29.95, turns out Zil-Bels go for $150 on auction and vintage drum sites! So thanks for the deal Sam!

I'm using this bell on my pedal set up, and it really sounds good with the beater I have on there. Pedal and conga work is pretty challenging to say the least. So far on the right foot I have son clave with various tumbaos, all 4 downbeat and just beats 1 and 3 with tumbaos and some limited fills and improvising and montunos. For the left foot I am developing beats 2 and 4 as suggested by a friend; the jazz high hat ride.

There is no better practice for really ingraining the clave into your playing and making it a part of you. I say that like I'm an expert, but really I have a long way to go. Eventually I'll be incorporating this method into my rumba practice as well. I find that third hit of the clave and getting the right swing on the 2 side to be very challenging with the pedal set up. Though Pedrito Martinez seems to have no problem with it.



He makes it look so easy doesn't he? Truly an incredible musician.

What's that you say? More cowbell? Well here you go...