The glissando effect goes even further back to Haitian drumming
An ex girl friend of mine called it "make the cow" when she heard me play it.
Thomas Altmann wrote:The video confirms what you learned about the evolution of bongo playing.
Listening to Manana's story, I get the impression that in the 1920's, the Oriente was still the place to go for studying bongo.
Thomas Altmann wrote:The glissando effect goes even further back to Haitian drumming.
Chtimulato wrote:It's very common in Haitian drumming indeed, but in other cultures too. In the whole Caribbean, of course, but not only : I've seen some Congolese drummers play this note too, which has several names
Chtimulato wrote:From what I know, the 'regular' martillo, as we know it nowadays, with the "two bar lock", was first played by Papa Kila with Arsenio Rodriguez. But I could be wrong.
But it seems that the Haitian influence in Cuban music and culture is undeniable
Apparently, in the ritual part of Abakuá there is also some secret glissando involved, emulating the roar of a leopard. I guess that must have come directly from the Calabar to Eastern Cuba.
You mean the typical 2-bar pattern with macho accents on 4+ and 3+ [...], right?
Are you sure you dont mean the Ekue drum, a friction drum comparable in its sound production to a Brazilian cuica?
Apparently, in the ritual part of Abakuá there is also some secret glissando involved, emulating the roar of a leopard
Thomas Altmann wrote:Are you sure you dont mean the Ekue drum, a friction drum comparable in its sound production to a Brazilian cuica?
Users browsing this forum: Bing [Bot] and 4 guests