by konkoba98 » Wed Nov 05, 2008 6:12 am
Last week I attended JC's conga camp intensive. Here is my review of the experience and of JC as a teacher/mentor and as JC and his wife as hosts. I'll try to review in a fashion that will be helpful to other potential attendees who are considering attending.
First a little about my experience and skill level so that you know from what perspective I am coming from.
I was introduced to rhythm, percussion, and "world" music about 4 or 5 years ago (I'm 27 now). I was in a small town in Oklahoma where my only means to learn was via books, videos, online, cd's, etc. I started on djembe and moved on to congas about 3 years ago. The vast majority of my learning took place at home in a quiet room working with a book or video. I collected cd's, videos, books, and a few drums...I collected faster than I learned but I did learn quiet a bit. The most accurate way to describe my level or ability would be that I'm probably a strong intermediate in some areas and a green beginner in some areas. I'm able to make clean sounds, but quiet because I'm not used to needing to play over anyone...or even along with anyone. JC nicknamed me Mano Planchada because I kept my hands and wrists so flat. I've learned alot of rhythms and alot of rhythmic concepts and have developed the ability to learn new rhythms fairly quickly. I can play at least a dozen variations of tumbao, many 6/8's, a few split hand rhythms with simple soloing ability. IMO a weakness of mine is my ears...I don't follow the music that well and can get off beat on certain rhythms at certain speeds. I also have little understanding of the music as a genre and don't often know the context that I'm playing in...ex: I don't have good understanding of how to play a son vs a danzon vs mambo vs cha cha vs son montuno or the sections of a tune... mambo section, bomba section, etc. My solo ideas and techniques are green and immature. However, JC and his wife complimented me and said I played well and had good hands. I think you get the idea.
Review of the experience:
I chose to attend CC/I in Seattle rather than take a trip to the Bay Area to attend a smaller number of lessons with the teachers there and see some performances. I made this decision because of the huge amount of time I would get with JC and on gigs...and room and board...way more bang for your buck. I don't know of many other experiences available in the US (other than Humbolt) that give you this concentrated attention to develop your playing. While I enjoy and utilize videos, books, the internet, etc...It is a different and more fulfiling experience to get live lessons and to be able to get critiqued and corrected and improve right then and there. As far as how I've improved from the experience, so far (3 days out) I probably haven't made significant improvements just yet. During the week I was able to do some things I had never been able to do before (a fairly clean and fast ruff, some simple Changuito style mano secreta movements, etc). This was due to JC's work on my technique and the time spent working diligently on technique exercises. Much of what was taught (see JC's curriculum) after the initial work on technique and learning multiple exercises was on specific rhythms. JC taught me them until I had it and then we moved on (we also did alot of play alongs to examples of these rhytms)...so much of what I learned, I will have to work on again later. In general what I think I got out of the week was a 1) good critique of my technique and JC pointed out some things I did not know were problems in my technique/could not see/could not hear 2) multiple exercises and more importantly HOW to perform them to really improve your playing 3) many rhythms (vast majority were 1 or 2 drums, to be played in band setting) some new, some old, some I knew, many variations I did not know, etc 4) practice and advice in playing in context...play alongs to music, critiques of how to be sensitive to the music as a whole and when to play soft or loud, when to introduce a lick, when to change the rhythm, when to solo, when to shut up, etc. Much work (months and years) to really impliment all that was learned will be needed. I left JC inspired and motivated (when I got home I actually sat and played for several hours!), but at this time just out of the experience I am not yet a whole new vastly improved player...eventually I expect to be because of it.
Review of JC as a teacher and mentor.
Pros
- JC is experienced...old school as he would say and what he shows you is everything from the old to the new (with an emphasis on the old). When he teaches a topic/rhythm he has the perspective to tell you and show you and teach you how it was originally played, how it was adapted to a certain group/conguero, how it was developed decade to decade, and how players are playing it now. He gives you a thorough understanding of a rhythm and its history rather just what notes to play in what order. JC knows alot of stuff (his music collection is impressive...and he gives you access to it)
- JC has a good eye for picking out small bad habits, things that a novice would not see. I have worked alot on developing a reasonably good technique and was proud of it and of the sounds I made. After my week, I now have some improvements to make that I'm sure will help me reach the next level. JC also knows exactly how a rhythm/music should feel...after I learned a rhythm he tweaked it and helped me to feel the swing/tempo/etc of the music rather than just the rhythm. His attention to detail is good.
- JC likes to teach and seems to want you to improve and feeds off of it when you do. He didn't get frustrated with me when I sucked and could not pick up something... and he sticks with it with you and makes sure you get whatever he is showing you.
- JC is attentative to how you are doing/ how you are feeling/ are you getting burnt out, tired, etc. He knows alot of stuff and can talk about rhythms, history of the music, his experiences playing, stories about Mongo and other great congueros. When he senses you need a break he can talk you up and when he senses you are ready to play he can certainly get you jamming.
- JC has alot of stuff...massive album collection, very interesting video collection (Changuito teaching mano sectreta on a table top) and he is willing to show you whatever you want to see.
Cons
- On few occasions the intensity of the session seemed to drop a bit...typically early in our afternoon session.
- Early in the week we stuck to a pretty rigid or regular schedule of when we started and finished. Towards the end of the week we kept a less planned schedule. I'm pretty sure we got in as much time if not more.
- The curriculum...while it was good/great in some ways it was also a pre-planned curriculum. JC didn't necessarily probe to find out what I wanted to do, or what I wanted to work on or what my goals were. The way I see it though, JC ought to know what learning players need to know and what he can show them and it is probably best for him to make the curriculum than for the novice student to come in and decide what they need to know...none of my college professors asked me what I wanted to learn in their class...they told me what I was going to learn...same thing. On the flip side, JC is providing a service to voluntary students...and the customers desires ought to get some attention. JC's curriculum is great and an outstanding foundation for which to build...but depending on the students ablility, level, experience, they might not complete the curriculum or might even exceed it. It might be better to be slightly more flexible with what is taught to taylor what the student can do and wants to do. IMO
- JC's critique of my technique was probably spot on but we were unable to really break my habits then and there. I play alot (for me) ...about 5-15 hrs a week depending on how much I'm working...and my habits are pretty inate by now. I think I will need to put in some significant time and energy to break my bad habits and develop a better, more efficient, more aggressive sound. That is not really a JC critique just an observation.
- Also, (and this isn't a criticism either) but most of what I was taught seems to be meant for a conguero in a band setting...1, 2, or maybe 3 drum playing in a musical/performance situation...salsa, latin jazz, etc etc. He did not do much forkloric stuff with multiple players each playing 1 drum...like what the majority of the Humbolt stuff was. Again, not better or worse, just different.
Review of JC and his wife as hosts
Since you are paying not only for lessons but for room and board...and possibly for transportation to gigs, etc that should be considered also. All in all JC and Maggie were great hosts. They want you to be confortable and satisfied and they do whatever they can to help you feel that way. They were attentative to how I was doing and gave me space when I wanted and welcomed me as company when I was around. The food was good, the room was good, etc. No complaints here...I was satisfied with the "room and board" that I paid for... good value when considering the price for the lessons and room and board.
Summary:
All in all it was a good experience and I'm happy that I did it. I could see myself returning to JC for more work but I would probably talk with him beforehand to decide exaclty what we would do...ex: I would love to get good at doing all the things a conguero would do other than straight tumbao...learn many riffs/licks to insert and when and how...how to solo...some standard breaks...etc. Hopefully we can work out a series of lessons so I can return...although I don't know if it would be for a week or a day or what. I've had a few other teachers but they were all short experiences (lessons I got while passing through town, etc). I'd have to rate my experience w/ JC at CC/I at the top. JC is the first player that I can consider to be my actual mentor. I hope to take what I was taught and carry the tradition in the manner it was meant to be carried.
Colin
BTW, I didn't mention that JC can really play...I went to a few gigs with him and he kind of cut loose a little in our lessons...it was motivating to see. The man can play the way the drums are supposed to be played.