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 wrote: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.
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.
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.
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.
[...] Calinda, one of the oldest documented Afro-Caribbean dances in European literature.
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.
(By the way, Belafonte's "Yellow Bird" is a Haitian song originally called "Choucoune".)
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.
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.
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.
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.
[...] Calinda, one of the oldest documented Afro-Caribbean dances in European literature.
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.
(By the way, Belafonte's "Yellow Bird" is a Haitian song originally called "Choucoune".)
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.
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