Songo or Mozambique ?

[niallgregory]

. . " bell pattern also was invented by Pello what Manny was incorporate it with with bass drum affect. "

interesting statement . would love to be pointed in the direction of pello using that bell pattern . I have lots of vinyl that i picked up in cuba by pello and i dont think ive ever heard it . could be wrong though !

[Anonimo]

POST REMOVED BY THE AUTHOR

[Anonimo]

POST REMOVED BY THE AUTHOR

[davidpenalosa]

David: Were you saying that Pello invented the mozambique bell pattern played by Palmieri
Leedy: David yes pello created the intire rhythm.

Hi Leedy,
I'm talking about the rhythm also called mozambique played by Palmieri, which was not invented by Pello.

About the two Youtune links you posted: the first one is the basic conga de comparsa bell, which I have never heard Pello use in his mozambique. It is very similar to the NY mozambique bell. There is only one stroke difference; the NY bell pattern has a pick-up leading into the two-side and typically only uses one tone, unlike the bell in conga, which has two tones. The pick-up is not practical for playing in conga, as it makes playing the pattern considerably more challenging.

The second Youtube excerpt has Pello's mozambique bell pattern, again, not the pattern I'm asking about.
-David

[Anonimo]

POST REMOVED BY THE AUTHOR

[Anonimo]

POST REMOVED BY THE AUTHOR

[davidpenalosa]

. . . if you hear bell pattern it same as Palmeri's and there are few more I just have tosk my friend to send videos and I will post . Mozambique is a form of comparca also what Parmeri is doing same thing

Leedy,
As I said, the NY mozambique bell pattern is not exactly the same as the comparsa bell. A minor point, but the point I am making here. Although both mozambiques (Cuban and NYC) are loosely based on the conga de comparsa rhythm, all three rhythms (conga, Cuban mozambique, NY mozambique) are distinctly different. To call either mozambique a form of conga (if that is indeed what you are asserting), is I believe, an oversimplification. I know the individual parts for the three rhythms, so I can break down the differences in detail if you wish.
-David

[Anonimo]

POST REMOVED BY THE AUTHOR

[davidpenalosa]

Leedy,
The two rhythms rhythms called mozambique, do not have anything to do with rhythms from the country of Mozambique in East Africa. Pello arbitrarily named his musical invention.

In regards to the bell patterns under discussion; there are indeed bell variations played on that Pello Youtube clip. Here are the ones I heard (the top one is the basic pattern):

L . L . H H . L . L . . H . H .

L . L . H H . L . L L . H . H .

L . L . H H . L . L . H . H H .

This is the NY mozambique pattern:

X . X . X X . X . X X . X X . X

This is the bell pattern used in Pello's mozambique:

L . H . L . H L . H H H L . H H

All patterns begin on the two-side of clave.

I've seen Manny Oquendo play mozambique live and on tape, but I'm always happy to see him play it on any video you wish to bring to my attention.
-David

[Anonimo]

POST REMOVED BY THE AUTHOR

[Omelenko1]

Chicky Perez was a dear friend of mine (RIP). Chiky was an excellent percussionist, he could play all 3 instruments (bongo, conga y timbal) great. His bongo' playing was awesome. In "Lo Que Traigo Es Sabroso" it was Chiky on conga and Julito on timbales, check out the 6x8 pattern on that tune, is clearly Julito. Mongo gave me that album at his apartment on 89th and West End, Mongo told me "the only reason I have it is because Julito is in it and he gave it to me". Mongo loved Charlie but didn't get along with Eddie because of the so called "la salsa de NY con los trombones". Mongo used to claim "que salsa de NY ni un carajo, Generoso "El Tojo" was doing the trombone thing since the early 50's in La Habana". On the theme tune "Lo Que Traigo Es Sabroso", the breaks and abanicos on timbales are clearly Julito's so is the 6x8 pattern.
Julito Collazo, a very underrated master of Afro Cuban percussion. He got most of the credit as a master batalero and as a babalao in the Santeria religion. Julito played a mean quinto and great timbalero (fuego en la paila).

Dario

[davidpenalosa]

Leedy,
Thanks for clarifying. There is currently a thread going on in the Yahoo Latinjazz group about Cuban-influenced African popular music. I have a small collection of this type of music, but I don't have an African rendition of Palmieri's "Mi mambo conga." I would love to hear that!

I'm reminded of a unique version of Manu Dibango's (from Camaroon) "Soul Makossa" performed by the Fania All Stars live at Yankee Stadium. It's done as a NY mozambique, and features Mongo on congas and Manu on tenor sax.

Dario,
How cool that your ear is tuned to the point where you can recognize Julito Collazo's abanico. I include a transcribed excerpt from Julito's timbales solo on "Carmela" in my upcoming book Rumba Quinto. There's a section where I show examples of quinto-influenced solos in popular music.

Before I had access to a lot of folkloric recordings from Cuba, I, like so many others, picked licks off from recordings by Julito Collazo and Francisco Aguabella. I spent hours learning Julito's chekere, bembe caja and bonko phrases in this way. Johnny Conga recently turned me onto a very rare LP recorded under Julito's name. Very cool stuff.
-David

[Anonimo]

POST REMOVED BY THE AUTHOR

[davidpenalosa]

Looks like that winning Africando formula.
-David

[niallgregory]

whats the name of julitos cd under his own name ? thanks .Niall .