Accompanying solos - How to?

[Salseroberlinense]

How do you accompany a solo of a bongó or timbale player? For example, do you play straight clave neutral tumbao? And what do you like them to do if you take a solo? Does it depend on the style of the song part?

[davidpenalosa]

A lot depends on the style. Listen to recordings. It's all there like recorded lessons. Rule of thumb is play simple while accompanying another solo. Give a strong foundation. I would prefer an accompanying part that reinforced clave in a basic way, rather than a clave-neutral part.
-David

[ralph]

If you are playing conga, than i would say either play la marcha bien afinquao, or sometimes i even switch to a guaguanco when the timbal or bongo is playing a solo...but less is more...



Edited By ralph on 1195219940

[Firebrand]

I second the recommendation to keep it simple. My take is that, across the board, on all styles, keeping the most basic variation or pattern on a particular instrument is what is required. There's also particular taste involved.

For Timbale and Bongo solos, the conga player can just play a simple tumbao on one conga, and alternate between one open tone at the end or two. Keep it real simple...it's the timbaleros or bongo players turn.

Bongo players usually will be on the Bongo Cowbell during Conga and Timbale solo (because they're usually organized in louder, descarga sections). When a timbale player is soloing, Bongo players are usually expected to keep the "Ki-Ki-PUM" three hit, salsa pattern going. When Conga players are soloing, it's personal preference of the rhythm section. Some like you to continue the "Ki-Ki-PUM", and some want you to do a muted-cowbell Cascara pattern, hitting all the strokes on the edge of the cowbell (for a muted, deep tone).

As for Timbaleros supporting other soloists, generally, they just keep the basic pattern of the style going. In Cha Cha Cha, just play quarter notes on the Cha Cha bell. In son montunos, son, etc...the Mambo bell pattern. In Mozambique, the interplay between Clave block and cowbells (the same for Pilon and Songo). Keep the basic beat going for the other soloists and keep your loudness down so that their instrument is at the forefront of the rhythm section.

If I am taking a solo, I want the rest of the rhythm section to keep the groove cooking, so that I'm freer to do non-linear / polyrhythmical solos. If the rest of the band is shaky, I'll feel a need to keep my solo simple and simmetrical to the style's regular rhythm (to help shore up the rhythm section). No soloist wants to have to do that...that's the time to let go and play what you feel. I'd expect the other musicians to do what they're supposed to do (basic beat, keep it grooving, keep it softer than the soloist).

I also second the idea of emphasizing the clave (if you're the timbalero, include the clave hits in between your Mambo pattern. If you're a Bongo player playing alone with a Conga player, do a Cascara pattern...it will help shore up the conga player).

[akdom]

It is some kind of rule to lower the volume and limit variations when another musician is soloing.. this prevents the band from playing louder and louder and it lets the soloer be more free in his play.

You can emphasize some end of bars if relevant by filling in but you want it to stay soft.
Listen to the 'montuno' sections is songs.. the band plays steady and straight while solos are happening.


B

[JohnnyConga]

You play TIME!. . . .THAT'S IT!. . . . AFINCAO!. . . .JOHNNY CONGA. . . .