Posted: Thu Apr 28, 2005 8:21 amwhats up y'all does anyone know of any cd's on conga soloing any help would be much appreciated
congaplace.com
The World of Percussions
http://www.mycongaplace.com/forum/eng/
conga cds?
http://www.mycongaplace.com/forum/eng/viewtopic.php?f=15&t=688
Page 1 of 2
Posted: Thu Apr 28, 2005 8:21 amPosted: Thu Apr 28, 2005 12:57 pmProbably the best record to get is Cachao- Decargas in Miniature, w/ Tata Guines in conga. That is the school.
Posted: Fri Apr 29, 2005 12:49 amI always recommend Mongo Santamaria from his recordings in the 60's and 70's, anything by him is good because you can hear his solos so well on the recordings, after that I would recommend anything by Ray Baretto,then Candido, then Tata Guines. Not necessarily in that order....but definetly Mongo first....."JC" Johnny Conga.....WELCOME!.... 
Posted: Fri Apr 29, 2005 1:09 amWord to all thats been posted already.
In addition, many Poncho Sanchez recordings out there with alot of 'stealable' chops, solos galore on tumbas by Poncho.
By Daniel Ponce, 3 recordings to keep an eye out for "Chango Tel LLama". "New York Now", and "Arawe".
There are tonnes more, but then we start moving into more advanced solo technique, good to start with whats already been mentioned.
Also, might help you to get the LP release on DVD "Drum Solos" Hosted by Ralph Irizarry, numerous percussionists featured on the DVD with solo techniques from begginer to intermediate and advanced. Might be worth your while to obtain it. (ring Billy Hydes for this one)
Other than that, a profficient instructor can guide you into solo's and chops, the rest is up to you, practise, practise and then some more practise.
Edited By ABAKUA on 1114737019
In addition, many Poncho Sanchez recordings out there with alot of 'stealable' chops, solos galore on tumbas by Poncho.
By Daniel Ponce, 3 recordings to keep an eye out for "Chango Tel LLama". "New York Now", and "Arawe".
There are tonnes more, but then we start moving into more advanced solo technique, good to start with whats already been mentioned.
Also, might help you to get the LP release on DVD "Drum Solos" Hosted by Ralph Irizarry, numerous percussionists featured on the DVD with solo techniques from begginer to intermediate and advanced. Might be worth your while to obtain it. (ring Billy Hydes for this one)
Other than that, a profficient instructor can guide you into solo's and chops, the rest is up to you, practise, practise and then some more practise.
Edited By ABAKUA on 1114737019
Posted: Wed May 04, 2005 1:00 amall you guys out there!! a question in soloing??? which instrument is best to follow while performing a solo. why do i feel comfortable following the piano phrasing or ''guajeo''??? my best and áche !!!! franc :rock:
Posted: Wed May 04, 2005 1:02 pmThe montuno pretty much interlocks with the clave much like the tres golpes pattern. It's pretty easy to follow if the montuno is being done right, as far as whom to follow, you can follow the bells, clave, bass, or whomever is easy to follow, sometimes you could be taking a solo on conga, and the cascara and bell may be off, so you can follow pretty much anything, even the "clave in you mind"
Posted: Thu May 05, 2005 2:53 amralph,
what is the most important thing you do , in your opinion while performing a solo?? what makes a great and profound solo?? beside knowing the hands technics, you know, slap, open muff, bass and so on...will appreciate your input!!! thanks and áche!!!! franc
what is the most important thing you do , in your opinion while performing a solo?? what makes a great and profound solo?? beside knowing the hands technics, you know, slap, open muff, bass and so on...will appreciate your input!!! thanks and áche!!!! franc
Posted: Thu May 05, 2005 1:18 pmwell thats tough to say, soloing is more of a concept or framework than anything. The most important thing is to come in on time, and to pace yourself so you don't waste all your energy or ideas on the first bar, a lot of guys like to start with a simple riff and build off of that. You can implement rudiments that you exercise with such as triplets, flams, whatever...
Also you can listen to people soloing and pick up phrases, and then eventually ideas will come.
Also you can listen to people soloing and pick up phrases, and then eventually ideas will come.
Posted: Tue Jul 19, 2005 2:28 amI have just tried to download a LIVE recording of a gig I did last thursday. I don't know if it will come thru this site...i have never downloaded music here..."JC" Johnny Conga....
Attachment: http://mycongaplace.com/forum/eng/uploa ... _set_2.txt
Attachment: http://mycongaplace.com/forum/eng/uploa ... _set_2.txt
Posted: Tue Jul 19, 2005 2:30 amCANCEL..right file...wrong way to put it here...anybody know how I cn download a music file?..."JC" Johnny Conga...
Posted: Sun Jul 24, 2005 5:53 pmHey Johnny Conga,
I'd love to hear the recording of your live gig. Typically you need to upload your files to a hosting site. What size is the file? What format .wav .mp3? I may have some space available to host the file depending on the size. PM me.
Rick
I'd love to hear the recording of your live gig. Typically you need to upload your files to a hosting site. What size is the file? What format .wav .mp3? I may have some space available to host the file depending on the size. PM me.
Rick
Posted: Wed Aug 16, 2006 2:49 amIn response to the question "how to solo and what you should do in solo situations beside using the common sounds and technique....". In my opinion soloing is all about saying somthing and commenting on the music thats around you. The one word that comes to mind is "phrasing" We speak in sentences (phrases) to communicate and convey something to the listener. When soloing you need to phrase patterns with feeling and make a comment on the music around you. Now obviously, the more sounds and licks you know the more you will be able to express yourself elaborate your musical commentary. (chops are your musical vocabulary if you will.) Phrasing is the key word. chops are your vocabulary. Unfortuantly most folks flip flop it. This just leads to huge ego's and musical shouting everytime they solo. So thats my 2 cents...
Posted: Mon Sep 04, 2006 3:15 pmAlafia Abures!
Espero que todo este bien con todos!
I was searching for some Lazaro Ros music online and came across this CD by "Lazaro", it's pretty hot my brothers! Check it out!
http://music.msn.com/album/?album=43268403#
There are sound clips available, the CD is only $8.91 and change!
Gozala!
Onile!
Espero que todo este bien con todos!
I was searching for some Lazaro Ros music online and came across this CD by "Lazaro", it's pretty hot my brothers! Check it out!
http://music.msn.com/album/?album=43268403#
There are sound clips available, the CD is only $8.91 and change!
Gozala!
Onile!
Posted: Mon Sep 04, 2006 4:52 pmI don't know whether there are still any congeros at all who would drive on my lane; but to me, flams, rolls, and paradiddles are snare drum rudiments that make excellent exercises - conditioners, as I might say. From your practice routines one or two elements might occasionally, and organically, drop into your solo.
To me, rudiments are an add-on to what I would call a "tipico" solo style that is largely based on quinto playing in Rumba, or on Bembe caja / Abakua bonkó style in 6/8. Even early bongo playing, like Papa Kila and Yeyito, or Changüí bongo-adlib takes from these sources, especially from Rumba.
Also, that's what you hear on timbales from everybody prior to Changuito. It's the foundation.
I remember when I heard Giovanni for the first time. You can't help being impressed by what he does, especially from the perspective of an active congero. But I hated to hear his stuff, mostly because it overshadowed what I still take for "the real thing" in conga soloing. Now, here's a player who knows all of the tradition, not to be mistaken. But I knew in an instant that the future of conga playing would be rudiments, speed, a zillion of notes, instead of playing five notes per clave in the right (exactly right!) places. Because that's what most people would notice primarily (if not exclusively); they think rudiments is it. It isn't, if you'd ask me. Rudiments is something you can wrap up in exercises and "train" yourself. It's easier to overlook than trying to acquire that certain micro-timing, the feel and the motion of a quinto player. But this is the basis, not the double stroke roll! I recommend every conga drummer should start and go from there. JC's suggestions are pretty much compatible with what I would say.
I spent quite a few years trying to imitate the Mongos, Titos, and Patatos of that early period, before I discovered Rumba recordings like Patato y Totiko, Papines, Munequitos, Carlos Embale's group, Totiko y sus Rumberos, etc. That was my diet.
Also, while I enjoy playing along a piano montuno, I forced myself to play together with the clave and the cascara pattern which is often played on a big campana during percussion solos in a band context. Moreover, nowadays it could happen to you that you have a piano player who digs people like Luis Perdomo and turns the guajeo upside down while you are soloing. I used to be annoyed by that and asked my pianist to kindly stick to his pattern, but I'd be happier if I could cope with it.
Just an idea.
Thomas
To me, rudiments are an add-on to what I would call a "tipico" solo style that is largely based on quinto playing in Rumba, or on Bembe caja / Abakua bonkó style in 6/8. Even early bongo playing, like Papa Kila and Yeyito, or Changüí bongo-adlib takes from these sources, especially from Rumba.
Also, that's what you hear on timbales from everybody prior to Changuito. It's the foundation.
I remember when I heard Giovanni for the first time. You can't help being impressed by what he does, especially from the perspective of an active congero. But I hated to hear his stuff, mostly because it overshadowed what I still take for "the real thing" in conga soloing. Now, here's a player who knows all of the tradition, not to be mistaken. But I knew in an instant that the future of conga playing would be rudiments, speed, a zillion of notes, instead of playing five notes per clave in the right (exactly right!) places. Because that's what most people would notice primarily (if not exclusively); they think rudiments is it. It isn't, if you'd ask me. Rudiments is something you can wrap up in exercises and "train" yourself. It's easier to overlook than trying to acquire that certain micro-timing, the feel and the motion of a quinto player. But this is the basis, not the double stroke roll! I recommend every conga drummer should start and go from there. JC's suggestions are pretty much compatible with what I would say.
I spent quite a few years trying to imitate the Mongos, Titos, and Patatos of that early period, before I discovered Rumba recordings like Patato y Totiko, Papines, Munequitos, Carlos Embale's group, Totiko y sus Rumberos, etc. That was my diet.
Also, while I enjoy playing along a piano montuno, I forced myself to play together with the clave and the cascara pattern which is often played on a big campana during percussion solos in a band context. Moreover, nowadays it could happen to you that you have a piano player who digs people like Luis Perdomo and turns the guajeo upside down while you are soloing. I used to be annoyed by that and asked my pianist to kindly stick to his pattern, but I'd be happier if I could cope with it.
Just an idea.
Thomas
Posted: Mon Sep 04, 2006 6:39 pmfranc wrote:which instrument is best to follow while performing a solo. why do i feel comfortable following the piano phrasing or ''guajeo''???
In popular music (as opposed to folkloric), the harmonic progression is the ground and the primary referent. Clave and all that goes with it, actually plays a secondary role in popular music. A song can momentarily abandon its clave-based structure by using funk, reggae, or whatever in a song section. The harmonic structure on the other hand, is maintained.
The piano guajeo (also called montuno) generates the chord progression as well as a rhythmic progression as important as any percussion part. The piano guajeo exemplifies the joining of rhythm and harmony and so it’s only natural that you use it as your guide when soloing. I do the same.
-David
Edited By davidpenalosa on 1157395221