Afro-Latin Polyrhythms is a collection of some of the most exciting rhythms of Latin America. This book was not only designed for percussionists, but for any musician interested in developing their skill at playing rhythmical patterns. No instrument necessary. Author describes how these rhythms may be played on any surface providing a distinct tone. Although many of these patterns individually provide an infectious beat, when combined together they furnish a rich tapestry of sound. Includes polyrhythms utilizing son clave, rumba clave, Brazilian clave, cascara, gaga, 6 bell,mambo bell, bongo bell, triplets, tumbao, manoteo and much more.

INTERVIEW:

1) How did you get started playing percussion?

My formal education really started when I moved to Toronto to attend the York University Jazz program in the mid 70's. I also studied jazz drum set with Jim Blackley. Around the same time I got my introduction to Latin percussion studying with Memo Acevedo, who now plays timbales for the Tito Puente group.

2) Name some of your most notable musical influences?

In the late 80's and early 90's I made several trips to Cuba and attended AfroCubanismo in Banff, Alberta. Through these events I was able to study with Los Muñequitos, Cutumba(Santiago de Cuba), Changuito, Roberto Viscaiño, José Eladio, Tomas E Cruz, Enrique Plá and Luis Miguel. I was also very fortunate to work with percussionists Alex Acuña and Armando Peraza a few years back and have always loved their playing. Armando and his wife Josephine have become great friends. Armando is truly one of my greatest musical icons.

3) What inspired you to write a book about percussive rhythms?

Previously,I wrote 3 bongo books for Mel Bay Publications (beginners, intermediate and advanced). These books were well received and became bestsellers. This encouraged me to expand to other topics. I have always been interested in the concepts of polyrhythms and am intrigued by the beautiful melodies that can be created by combining different tonalities in a rhythmic framework.

4) What specific percussion instrument do you enjoy playing the most?

I enjoy them all, but bongos and timbales are my favorite.

5) In your book, you teach a variety clave concepts from different parts of he world. Can you offer a brief explanation?

Clave literally means "key" in Spanish and is integral to many forms of Afro-Latin music. Clave is also the name of the two wooden dowels/sticks that play the clave rhythm. The clave rhythm is usually a 5 beat pattern. In
North America it is usually written as a two bar phrase with 3 notes in one bar and 2 in the other. Son clave is played in 4/4 by striking the clave sticks on 1,2+,4 of the first bar and 2,3 of the second bar. In Cuba it is usually written as a one bar pattern.

The most common form of clave used in popular music is son clave, although in the early years it was also used in rumba. It is interesting that son clave is still used in the slow rumba style called yambu in Santiago de Cuba. Rumba clave is a hipper form of son clave. In 4/4 it is played on 1,2+,4+ of the first bar and 2,3 of the second bar. The inclusion of more upbeats gives a sense of greater
motion to the first bar. Now, rumba clave is primarily used in rumba and some forms of popular music such as Mozambique.

Brazilian clave is also a 5 beat pattern in 4/4 and used in the music style called bossa nova. It differs from son clave by one note. Brazilian clave has notes falling on 1,2+,4 of the first bar (same as son clave) and 2,3+ of the second bar.

In the book I also include gaga clave (originally from Haiti) which is the same as the first bar of son clave and Brazilian clave..just repeated. This is really a universal rhythm used in Baion and many other styles of music.

6) What advice do you offer beginning players on the most important practice habits, endurance and independence on congas?

I try to instill in students the importance of listening to the great recording of the past to present in both folkloric and popular Afro-Cuban music. I don't think long practice sessions are as important as daily
application. Even 30 minutes a day can be more important than long infrequent sessions. I think it is especially important for beginners to use a metronome and practice new exercises slowly. Independence exercise often
can be mastered by breaking down the patterns. For example playing one hand separately, then noticing where the hands fall together. Some times the difficult parts are where the hands strike together.

I think musicians require special attention to their overall health. Endurance and facility on any instrument are greatly enhanced by exercise, healthy diet and positive mental outlook. Essentially the same as a great athlete.

I encourage percussionists to play as much as they can with others. Especially, playing with musicians more experienced than themselves. This can dramatically improve ones skill. One of my former students, Myles
Bigelow, recently was hired by Maraca for his European tour. Myles is a perfect example of someone who listens to everything both traditional and modern and practices daily. Finally it paid off.

7) Name10 of your favorite all time recordings that you think are essential listening for students of percussion?

In no particular order:
1."Guaguanco" Conjunto Guagaunco Matancero (Los Munequitos) and Papin Y Sus
Rumberos) Los Papines)
2."Rumba en el Patio" Conjunto Kubavana
3."Reliquia Musical" Maria Teresa Vera
4."Los Ritmos Calientes" Cal Tjader
5."Roberto Roena Y Su Apollo Sound 6
6."La Verdad" Eddie Palmieri
7."Meus Momentos" Clara Nunes
8."Latin Soul" Poncho Sanchez
9."Cantar Marvilloso" Los Muñequitos
10."Con La Conciencia Tranquila" Paulito F.G.

8) Tell us about any upcoming projects, concerts and/or recordings in the works?

I am presently working on two books for Mel Bay Publications. One is on timbales and the other is on folkloric rhythms. For the remainder of 2002 I will also be doing some Afro-Cuban workshops in Vancouver and throughout BC where I reside. I also have some clinics in the works with LP and Regal Tip, two companies I endorse.

interview by Bobby Ramirez
Publisher
LatnJazzClub Magazine
br@latinjazzclub.com