New to congas, interest in Afro-Latin and Caribbean styles

If you don't find a specific forum, post your message here (please read all the forum list first).

New to congas, interest in Afro-Latin and Caribbean styles

Postby KalindaChevere » Wed Aug 28, 2019 2:52 am

Hi mycongaplace forum community! I have just purchased an LP Matator conga and a tumba. First I just want to say thanks to the community here for providing so much great advice which lead me to my first conga purchase (which I’m very satisfied with) and for helping me begin to understand congas. I did not have an account before but the threads I read and studied helped me a great deal.

The next step for me is to connect with percussionists interested in Afro-Latin and Caribbean rhythms in my area. I live in Jersey about half way between Philly and NYC. I can attend activities in New Jersey and as far as Philly and NYC.

If anyone knows of any group lessons or activities in this area for the Afro-Latin and Caribbean rhythms please let me know. I would like to get connected and learn.

Or if anyone on the forum who lives in the area wants to start a practice group with me to jam on rumba and eventually the many other regional Afro-roots and popular rhythms let me know.

Thanks everyone, looking forward to hear from the community.
KalindaChevere
 
Posts: 1
Joined: Fri Aug 16, 2019 5:03 pm

Re: New to congas, interest in Afro-Latin and Caribbean styl

Postby Greensail » Fri Feb 21, 2020 1:57 pm

Hi Kalinda, came across your post. I play with some mates doing rock, blues, a little country and funk. But I "hear" Latin and mostly what I practice. I too am very interested in Caribbean rhythms but personally I find it difficult to translate. They do not seem too favorable to congas. Have you come across any links or info to that end? I have just established a presence in the islands and look forward to playing with a number of the locals here.
regards.
Greensail
 
Posts: 81
Joined: Mon Jan 21, 2013 4:18 pm

Re: New to congas, interest in Afro-Latin and Caribbean styl

Postby Greensail » Sat Apr 11, 2020 12:43 pm

Hi Kalinda, I reviewed our comments again and wanted to add a suggestion. In some recent communication with a Caribbean island friend, she noted perhaps Calypso rhythms. I have begun exploring and while quite the novice in this genre, calypso seems far more "conga friendly" than many of the Caribbean rhythms that I have tried to incorporate. Perhaps give a listen.
Greensail
 
Posts: 81
Joined: Mon Jan 21, 2013 4:18 pm

Re: New to congas, interest in Afro-Latin and Caribbean styl

Postby Chtimulato » Sat Apr 11, 2020 7:47 pm

Caribbean rhythms [...] do not seem too favorable to congas


calypso seems far more "conga friendly" than many of the Caribbean rhythms that I have tried to incorporate


Greensail and KalindaChevere, which Caribbean rhythms do you want to play ?
This would help us to help you. I'm sure we can find conga patterns fitting on Caribbean rhythms. There are so many anyway : calypso and soca, reggae, mento, kompa, cadence, biguine, zouk, bomba, plena, the whole Cuban declension to name a few. And you can incorparate congas in all of them.
User avatar
Chtimulato
 
Posts: 529
Joined: Thu Oct 15, 2015 8:54 pm
Location: Heights of France

Re: New to congas, interest in Afro-Latin and Caribbean styl

Postby Greensail » Wed Feb 02, 2022 2:04 am

Revisited this post. Chtimulato, you had turned me on to a couple musicians and thanks to you, I find the French Caribbean groove fascinating, and I've become a fan of dede. Been playing around with kompa-not quite sure how to use that but a very cool, almost meditative experience. You got any calypso and soca suggestions? That's more the rave in SKN.
Greensail
 
Posts: 81
Joined: Mon Jan 21, 2013 4:18 pm

Re: New to congas, interest in Afro-Latin and Caribbean styl

Postby Greensail » Wed Feb 02, 2022 2:14 am

Revisited this post. Chtimulato, you had turned me on to a couple musicians and thanks to you, I find the French Caribbean groove fascinating, and I've become a fan of dede. Been playing around with kompa-not quite sure how to use that but a very cool, almost meditative experience. You got any calypso and soca suggestions? That's more the rave in SKN.
Greensail
 
Posts: 81
Joined: Mon Jan 21, 2013 4:18 pm

Re: New to congas, interest in Afro-Latin and Caribbean styl

Postby Chtimulato » Wed Feb 02, 2022 11:57 am

Greensail wrote:I find the French Caribbean groove fascinating, and I've become a fan of dede.


There are a lot of rhythms in the French Caribbean, as in the other islands. Every island has its own rhythms, often close to other islands', but not necessarily similar. Like "cousins". ☺

Dédé Saint-Prix brought an old genre from Martinique up to date. It's called chouval bwa ("wooden horse"), which was played by bands to accompany merry-go-rounds/roundabouts in funfairs on the countryside back in the days.

Here's one of his hits :



Just for the anecdote, and to bragg a little : I've played in a band who made the opening for him once, decades ago, but he didn't come at all, and his band made the job without him. It was a great gig nevertheless.


Been playing around with kompa-not quite sure how to use that but a very cool, almost meditative experience


Kompa comes from Haiti, and derives from Dominican merengue (they are neighbours, after all ☺). In the kompa, the guys usually play quinto and conga rather than conga and tumbadora, because they find the tumbadora sounds too low, from what I know.

Here are some legends of the kompa :

(real kompa starts at about 00:35)


I warn you, it's addicting. You could dance all night long, forgetting everything else.

You got any calypso and soca suggestions? That's more the rave in SKN.


Soca is a commercial and accelerated version of calypso.
Here's a genuine calypso :



If you listen to Harry Belafonte, the emperor of calypso, you will notice it was mostly played like marcha / tumbao at the time :



Almost everything from Harry Belafonte will let you know what to play.
It's loved by a lot of jazz players, like bossa nova. Here's a one you can play martillo along :



One more : the sountrack of the Dr No movie, just after the beginning. You can here a calypso version of 3 blind mice.
First at 01:43, and then at 02:22 :



On this one, Ralph McDonald adds a soca feel :



Stay safe, everybody. ☺
Last edited by Chtimulato on Wed Feb 02, 2022 11:12 pm, edited 4 times in total.
User avatar
Chtimulato
 
Posts: 529
Joined: Thu Oct 15, 2015 8:54 pm
Location: Heights of France

Re: New to congas, interest in Afro-Latin and Caribbean styl

Postby Greensail » Wed Feb 02, 2022 10:16 pm

Thanks so much. Really appreciate you taking the time. Anxious to wade thru your suggestions. As mentioned,
I've come to enjoy Dede's groove. And I've been a fan of Harry Belafonte since I first heard him as a kid - my mother listened to him frequently.
Greensail
 
Posts: 81
Joined: Mon Jan 21, 2013 4:18 pm

Re: New to congas, interest in Afro-Latin and Caribbean styl

Postby Chtimulato » Wed Feb 02, 2022 11:05 pm

My pleasure.

It's part of my culture : I'm half-Caribbean.

I forgot to mention that Lord Invader's Rum and Coca Cola has been stolen by the Andrew Sisters' producer. Lord Invader had to sue him in the USA to get a little money back.
And I guess everybody here knows this version :

Last edited by Chtimulato on Thu Feb 03, 2022 1:17 pm, edited 1 time in total.
User avatar
Chtimulato
 
Posts: 529
Joined: Thu Oct 15, 2015 8:54 pm
Location: Heights of France

Re: New to congas, interest in Afro-Latin and Caribbean styl

Postby Greensail » Thu Feb 03, 2022 1:16 am

Thanks again Chtimulato. I'll link a couple of groups I've found as a result of your previous suggestions.
https://youtu.be/54MBijBO25M

And this has a pretty nice groove.
https://youtu.be/jK1lMY2iQUw
Greensail
 
Posts: 81
Joined: Mon Jan 21, 2013 4:18 pm

Re: New to congas, interest in Afro-Latin and Caribbean styl

Postby Thomas Altmann » Thu Feb 03, 2022 11:30 am

Hi Greensail & Chtimulato,

when I prepared for my seminar on Latin music in 2018, I also included studies on Caribbean music outside Cuba (which still remains my forte). Because most jazz musicians, even from the conservatories, don't really discern one style from another, and they throw Brazilian and Cuban music (which is already a vast field) in a big pot, together with Biguine, Calypso, and other related styles.

The first thing I want to mention is that Biguine and Calypso are not rhythms in the first place. These terms define musical genres of Martinique and Trinidad, repectively. In the beginning, Biguine also incorporated waltzes and mazurkas, and Calypso started as a song culture that often articulated social issues. It happened only later that rhythmic patterns became associated with these terms.
Soca is the crystallization of standard Calypso rhythm. There are also certain percussion parts that work well with most of these Caribbean rhythms, the majority of which are based on the three single-bar-cycled rhythmic cells known as tresillo, cinquillo, and tango (a.k.a. habanera). But there's a lot of freedom in what you can do, as long as you keep this rhythmic foundation in mind. Listening experience is as important here as in any other music.

It is true that the musical styles of the Caribbean islands have influenced each other quite a bit. Cuban music had a big influence on Puerto Rican and on Haitian music, for example. Then we have Mento from Jamaica, which is sometimes referred to as "Jamaican Calypso", to the dislike of many Jamaicans. There's Calypso in Venezuela, too.

The Afro-Caribbean percussive roots, such as Gwo-Ka from Guadeloupe, Bèlè (Bel Air) from Martinique, and Bamboo-Tamboo from Trinidad are also great to explore. And of course there is the cult music of religions like Vodou in Haiti, Palo in the Dominican Republic or Shango in Trinidad. Trinidad stick fighting is said to derive from Calinda, one of the oldest documented Afro-Caribbean dances in European literature.

As to Belafonte, he was born in New York, U.S.A. in 1927 (still alive!). I used to listen to his "Cocoanut Woman" and "Day-O" (Banana Boat Song) when I was a little 4- or 5-year old kid, and I loved it! He is of Jamaican descent. He has done a lot for the propagation of Afro-American, especially Afro-Caribbean culture, and he still is a star. His record "Calypso" from 1956 was a big seller, and Harry Belafonte became known as the King of Calypso in the U.S. automatically. The bongo and conga parts on this record were reportedly cut by the Cuban percussionist Modesto Duran, who also accompanied Eartha Kitt and was featured on Mongo Santamaria's record "Mongo" from 1959. We all grew up listening to Harry Belafonte rather than people like Lord Kitchener, Mighty Sparrow, Lord Melody or King Radio and many, many more who many of us haven't even heard of, so consequently we take the successful imitation for the real thing. Naturally in Trinidad, Belafonte is not that popular. He made great records, no question about it; but he is to Calypso what Xavier Cugat is to Mambo or "Rhumba". (I like Cugat's "Mambo Jambo", too ...)

I recently had a period where I listened a lot to Haitian music. (By the way, Belafonte's "Yellow Bird" is a Haitian song originally called "Choucoune".) Dominican Merengue has it's counterpart in Haitian Méringue, and some Haitians claim that their's had been the original. Compas or Konpa, as well as Cadence were offsprings or variants of Méringue in the 1950's and 60's. The guys to name are Nemours Jean-Baptiste and Wébert Sicot. However, I never really managed to pinpoint the particularities and differences between these three Haitian styles.

Haitian Vodou drumming is a fascinating field to study. The first Haitian drummer to become famous outside the Vodou ceremonies and the theater and hotel performances in Port-au-Prince was a man named Ti-Roro. He used to play on a single tambou, and the sounds and the music he got out of it were more than amazing. Every conga drummer should know Ti-Roro. I think his first recording was made in 1948 for Cook Records.

Greetings,
Thomas
Thomas Altmann
 
Posts: 897
Joined: Sun Jul 02, 2006 12:25 pm
Location: Hamburg

Re: New to congas, interest in Afro-Latin and Caribbean styl

Postby Chtimulato » Thu Feb 03, 2022 9:49 pm

Wow. Lots of discussion material, and great knowledge, Thomas !

Because most jazz musicians, even from the conservatories, don't really discern one style from another, and they throw Brazilian and Cuban music (which is already a vast field) in a big pot, together with Biguine, Calypso, and other related styles.


That’s true. They mostly only know bossa nova, but I believe we already talked about it.

The first thing I want to mention is that Biguine and Calypso are not rhythms in the first place. These terms define musical genres of Martinique and Trinidad, repectively. In the beginning, Biguine also incorporated waltzes and mazurkas, and Calypso started as a song culture that often articulated social issues. It happened only later that rhythmic patterns became associated with these terms.


Yes… and no… Waltz and mazurka have a 3/4 time signature, whereas biguine is 2/4. What’s true is that it was a failed attempt to emulate the music and the ballroom dances of the masters (the white settlers), but the former slaves couldn’t get rid of the cinquillo, which became part of the biguine. BTW, they adopted the european song structure (verse, chorus, or verse verse chorus etc.), in opposition to other rhythms in which they kept their traditional structure (lead singer and choirs). You can find the same european structure in calypso and guaracha.
Biguine and (from what I know, guaracha too) where also used to talk about social issues, or news items, or events which happenend in the neighbourhood or the village, some passing sometimes the boundaries of the neighbourhood and becoming notorious, or quite famous hits.

This one for instance tells the story of a bourgeois who disguised himself as a hunchback to visit his mistress nightly and incognito, and who one day lost his false bump, and was then recognized and made fun of by the whole neighbourhood. Check out the cinquillo pattern on the drumset, it’s emblematic of biguine.



This famous one tells from a strike in a sugar cane plantation



Kassav kept the cinquillo (or sometimes the tresillo) in the zouk, the genre they invented, and of which they’re still masters, more than 40 years later.

Here’s a traditional mazurka :

[youtube]https://youtu.be/jKAt-DFGgIs?t=30[/youtube]

There are also certain percussion parts that work well with most of these Caribbean rhythms, the majority of which are based on the three single-bar-cycled rhythmic cells known as tresillo, cinquillo, and tango (a.k.a. habanera).
But there's a lot of freedom in what you can do, as long as you keep this rhythmic foundation in mind.


Yes. But if you dare to divert from the «orthodox» pattern with a 16th note in the wrong way, the ancients will look daggers at you, and you’ll have the shame of your life. This happened to me several times, till I learned humility. :lol:

Listening experience is as important here as in any other music.


Of course.

The Afro-Caribbean percussive roots, such as Gwo-Ka from Guadeloupe, Bèlè (Bel Air) from Martinique, and Bamboo-Tamboo from Trinidad are also great to explore.


Bèlè and Gwo-Ka are « families » (like the Cuban rumba) : each one contains several rhythms (called « figures »), either 2/4, 3/4 or 6/8. I can’t speak about the other genres you mentioned, because I don’t know them enough.

These were initially popular dances, for peasants and plantation workers, etc. and have been despised for quite a while. It’s over now, they have made a «legitimate» come back and gained the due recognition.

Here’s some bèlè - there’s only one drummer, sitting on his (conga shaped) drum, and sometimes muting the sound with his heel rubbing the skin.





And here’s some Gwo-ka. There are mostly at least 3 drums : 2 (or more) rhythm keepers and a soloist.






[...] Calinda, one of the oldest documented Afro-Caribbean dances in European literature.


Calinda/Calenda was a forbidden dance during slavery, because the settlers considered it was indecent.


The bongo and conga parts on this record were reportedly cut by the Cuban percussionist Modesto Duran, who also accompanied Eartha Kitt and was featured on Mongo Santamaria's record "Mongo" from 1959.


I didn’t know that, it’s a discovery for me.


We all grew up listening to Harry Belafonte rather than people like Lord Kitchener, Mighty Sparrow, Lord Melody or King Radio and many, many more who many of us haven't even heard of, so consequently we take the successful imitation for the real thing.


That’s why I mentioned Lord Invader first. :wink:

(By the way, Belafonte's "Yellow Bird" is a Haitian song originally called "Choucoune".)


Choucoune / Yellow bird travelled a lot throughout the Caribbean. I’ve got a Trinidadian version played buy a pan (steel drum) band. Here’s an Haitian version :



Compas or Konpa, as well as Cadence were offsprings or variants of Méringue in the 1950's and 60's. The guys to name are Nemours Jean-Baptiste and Wébert Sicot. However, I never really managed to pinpoint the particularities and differences between these three Haitian styles.


I believe the initial rhythm was Cadence (kadans), with its multiple variants, kadans rampa, kadans lypso, … Then came the pioneer Nemours Jean-Baptiste (still respected by connoisseurs) with the compas direct, which became kompa later on, with the tresillo or cinquillo played on the crash cymbal and the kick on every pulse (early 70s?). That’s the kompa trademark.
Here one of his famous hits :



Kompa became then a flood, a tidal wave.
Besides being a redoubtable dance music, it also mentions social issues or worries of the Haitian reality and migration.

These are milestones of the kompa :





(The singer says he meets his former neighbour (from Haiti) in NYC, and he’s disapointed, because she now speaks english and doesn’t want to speak creole anymore)



A man begs his wife to unlock the door because he want to take his fighting cock and bring it to the fight (he bet all his savings on it).



It’s a song about Haitian boat people, wanting to flee to «Mayami» and betrayed by the boatsmen who throw them in the water once they arrive in high tide.

And there are lots of local radios in Caribbean which broadcast kompa. This one in Martinique for instance. When I fly to Martinique and rent a car, the first thing I do is to search for it on the radio.

https://radiosudest.com/

It’s funny : I’m just listening to it while taping this, and they’re broadcasting a tune paying tribute to Nemours Jean-Baptiste, Wébert Sicot and Ti Manno (Gemini All Stars) amongst others.
And a fisherman just called the radio to tell he had some fresh fish left for sale, giving his address. :)

Haitian Vodou drumming is a fascinating field to study.


Yes. YES !!! :D
Thank you for making me discover Ti-Roro.
Here’s one of his recordings (check out the bramido, or « moose call ») :



Greensail, check this one out :wink: :



I've seen them, a long time ago. Fred and André only, with their band, because the whole family and sibling plays music.

I own this album of Malavoi. They play 2 latin tunes on it, El carretero and Xiomara. The rest is"classical" (biguines and mazurka).

That's all, folks. :)
Last edited by Chtimulato on Thu Feb 03, 2022 9:54 pm, edited 1 time in total.
User avatar
Chtimulato
 
Posts: 529
Joined: Thu Oct 15, 2015 8:54 pm
Location: Heights of France

Re: New to congas, interest in Afro-Latin and Caribbean styl

Postby Chtimulato » Thu Feb 03, 2022 9:49 pm

Wow. Lots of discussion material, and great knowledge, Thomas !

Because most jazz musicians, even from the conservatories, don't really discern one style from another, and they throw Brazilian and Cuban music (which is already a vast field) in a big pot, together with Biguine, Calypso, and other related styles.


That’s true. They mostly only know bossa nova, but I believe we already talked about it.

The first thing I want to mention is that Biguine and Calypso are not rhythms in the first place. These terms define musical genres of Martinique and Trinidad, repectively. In the beginning, Biguine also incorporated waltzes and mazurkas, and Calypso started as a song culture that often articulated social issues. It happened only later that rhythmic patterns became associated with these terms.


Yes… and no… Waltz and mazurka have a 3/4 time signature, whereas biguine is 2/4. What’s true is that it was a failed attempt to emulate the music and the ballroom dances of the masters (the white settlers), but the former slaves couldn’t get rid of the cinquillo, which became part of the biguine. BTW, they adopted the european song structure (verse, chorus, or verse verse chorus etc.), in opposition to other rhythms in which they kept their traditional structure (lead singer and choirs). You can find the same european structure in calypso and guaracha.
Biguine and (from what I know, guaracha too) where also used to talk about social issues, or news items, or events which happenend in the neighbourhood or the village, some passing sometimes the boundaries of the neighbourhood and becoming notorious, or quite famous hits.

This one for instance tells the story of a bourgeois who disguised himself as a hunchback to visit his mistress nightly and incognito, and who one day lost his false bump, and was then recognized and made fun of by the whole neighbourhood. Check out the cinquillo pattern on the drumset, it’s emblematic of biguine.



This famous one tells from a strike in a sugar cane plantation



Kassav kept the cinquillo (or sometimes the tresillo) in the zouk, the genre they invented, and of which they’re still masters, more than 40 years later.

Here’s a traditional mazurka :

[youtube]https://youtu.be/jKAt-DFGgIs?t=30[/youtube]

There are also certain percussion parts that work well with most of these Caribbean rhythms, the majority of which are based on the three single-bar-cycled rhythmic cells known as tresillo, cinquillo, and tango (a.k.a. habanera).
But there's a lot of freedom in what you can do, as long as you keep this rhythmic foundation in mind.


Yes. But if you dare to divert from the «orthodox» pattern with a 16th note in the wrong way, the ancients will look daggers at you, and you’ll have the shame of your life. This happened to me several times, till I learned humility. :lol:

Listening experience is as important here as in any other music.


Of course.

The Afro-Caribbean percussive roots, such as Gwo-Ka from Guadeloupe, Bèlè (Bel Air) from Martinique, and Bamboo-Tamboo from Trinidad are also great to explore.


Bèlè and Gwo-Ka are « families » (like the Cuban rumba) : each one contains several rhythms (called « figures »), either 2/4, 3/4 or 6/8. I can’t speak about the other genres you mentioned, because I don’t know them enough.

These were initially popular dances, for peasants and plantation workers, etc. and have been despised for quite a while. It’s over now, they have made a «legitimate» come back and gained the due recognition.

Here’s some bèlè - there’s only one drummer, sitting on his (conga shaped) drum, and sometimes muting the sound with his heel rubbing the skin.





And here’s some Gwo-ka. There are mostly at least 3 drums : 2 (or more) rhythm keepers and a soloist.






[...] Calinda, one of the oldest documented Afro-Caribbean dances in European literature.


Calinda/Calenda was a forbidden dance during slavery, because the settlers considered it was indecent.


The bongo and conga parts on this record were reportedly cut by the Cuban percussionist Modesto Duran, who also accompanied Eartha Kitt and was featured on Mongo Santamaria's record "Mongo" from 1959.


I didn’t know that, it’s a discovery for me.


We all grew up listening to Harry Belafonte rather than people like Lord Kitchener, Mighty Sparrow, Lord Melody or King Radio and many, many more who many of us haven't even heard of, so consequently we take the successful imitation for the real thing.


That’s why I mentioned Lord Invader first. :wink:

(By the way, Belafonte's "Yellow Bird" is a Haitian song originally called "Choucoune".)


Choucoune / Yellow bird travelled a lot throughout the Caribbean. I’ve got a Trinidadian version played buy a pan (steel drum) band. Here’s an Haitian version :



Compas or Konpa, as well as Cadence were offsprings or variants of Méringue in the 1950's and 60's. The guys to name are Nemours Jean-Baptiste and Wébert Sicot. However, I never really managed to pinpoint the particularities and differences between these three Haitian styles.


I believe the initial rhythm was Cadence (kadans), with its multiple variants, kadans rampa, kadans lypso, … Then came the pioneer Nemours Jean-Baptiste (still respected by connoisseurs) with the compas direct, which became kompa later on, with the tresillo or cinquillo played on the crash cymbal and the kick on every pulse (early 70s?). That’s the kompa trademark.
Here one of his famous hits :



Kompa became then a flood, a tidal wave.
Besides being a redoubtable dance music, it also mentions social issues or worries of the Haitian reality and migration.

These are milestones of the kompa :





(The singer says he meets his former neighbour (from Haiti) in NYC, and he’s disapointed, because she now speaks english and doesn’t want to speak creole anymore)



A man begs his wife to unlock the door because he want to take his fighting cock and bring it to the fight (he bet all his savings on it).



It’s a song about Haitian boat people, wanting to flee to «Mayami» and betrayed by the boatsmen who throw them in the water once they arrive in high tide.

And there are lots of local radios in Caribbean which broadcast kompa. This one in Martinique for instance. When I fly to Martinique and rent a car, the first thing I do is to search for it on the radio.

https://radiosudest.com/

It’s funny : I’m just listening to it while taping this, and they’re broadcasting a tune paying tribute to Nemours Jean-Baptiste, Wébert Sicot and Ti Manno (Gemini All Stars) amongst others.
And a fisherman just called the radio to tell he had some fresh fish left for sale, giving his address.

Haitian Vodou drumming is a fascinating field to study.


Yes. YES !!! :D
Thank you for making me discover Ti-Roro.
Here’s one of his recordings (check out the bramido, or « moose call ») :



Greensail, check this one out :wink: :



I've seen them, a long time ago. Fred and André only, with their band, because the whole family and sibling plays music.

I own this album of Malavoi. They play 2 latin tunes on it, El carretero and Xiomara. The rest is"classical" (biguines and mazurka).

That's all, folks. :)
Last edited by Chtimulato on Fri Feb 04, 2022 3:36 pm, edited 1 time in total.
User avatar
Chtimulato
 
Posts: 529
Joined: Thu Oct 15, 2015 8:54 pm
Location: Heights of France

Re: New to congas, interest in Afro-Latin and Caribbean styl

Postby Greensail » Fri Feb 04, 2022 3:10 am

Wow. About all I can say along with many sincere thanks for the wonderful education. I have much to learn and am anxious to start wading through the insights and suggestions you both have provided. While my goal is mostly to feel it and perhaps find ways to incorporate varied rhythms into what I can do, I am a bit of a history buff - how'd we get here and appreciate the journey and people that made it. Again - thank you.
Greensail
 
Posts: 81
Joined: Mon Jan 21, 2013 4:18 pm

Re: New to congas, interest in Afro-Latin and Caribbean styl

Postby Chtimulato » Fri Feb 04, 2022 10:08 am

I just noticed I posted this answer twice (this forum is sometimes mischievous), but couldn't find how to delete the supernumerary one... :)
User avatar
Chtimulato
 
Posts: 529
Joined: Thu Oct 15, 2015 8:54 pm
Location: Heights of France

Next

Return to Open Discussion

Who is online

Users browsing this forum: No registered users and 38 guests