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------------------------------------------------------------------------

There are 10 messages in this issue.

Topics in this digest:

1. Re: De-Tuning Djun-Djuns?
From: "Chris Bittner"
2. Babatunde Olatunji discography
From: bones45991@...
3. Re: Bottom drums
From: Beverly Nadelman
4. Re: Tam Tam Mandingue
From: "Olushola"
5. Re: Tam Tam Mandingue
From: "djemberay"
6. Re: Thanks for the love of my life Djembe_L
From: Merlin
7. Frame Drum Magic w/Judy Piazza, Claremont, California, 4/23/03
From: lunarhythmz@...
8. Re: Tuning Djun-Djuns
From: "bor_slana"
9. All praise to the Jun Jun Crew at Baba's Memorial
From: VILLAGEMC@...
10. needing seeds for shakeres
From: "charlestondrumstudio"


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Message: 1
Date: Wed, 16 Apr 2003 22:56:12 -0400
From: "Chris Bittner"
Subject: Re: De-Tuning Djun-Djuns?

Also... Chris.... you mention detuning the djuns "by the ropes." What
> exactly does that mean?


Sam, By this I mean that you would somehow take some of the tension off the
ropes, to loosen the heads a bit, to lower the tones. Djuns are originally
constructed with a single length of rope that goes back and forth between
the skins, a zig zag pattern all the way around the drum, ending at a loop
that the other end goes thru. The maker would have tightened these very
well to stretch the skins onto the drum. These are the "vertical" ropes.
Your drums may or may not have horizontal ropes that cross the verticals,
providing extra tension. Several rows of these horizontals create triangle
shapes in the ropes, which is why pulling these knots with the horizontal
ropes is called "pulling diamonds", similar to how we tighten djembes. If
your djuns have knots put in with horizontal ropes, you can take some of
them out to reduce tension on the heads. If your djuns don't have any
horizontal knots, I would not loosen any verticals, but just play the drums
until they mellow. Usually, diamonds are added periodically to bring the
pitch up, as it lowers over time. I don't know if I've ever de-tuned
drums, I just keep the pitch up to where i like it! Hope this helps!
It is worth noting that new djun skins seem very hard for awhile.
trust me, with some playing they will soften up.

Peace, Chris Bittner
www.drumworksbychris.com




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Message: 2
Date: Thu, 17 Apr 2003 18:07:32 EDT
From: bones45991@...
Subject: Babatunde Olatunji discography

Greetings,
A few days ago someone asked about what music Baba had out there
so I thought I'd compile a list. For those new to Baba's music, I'd suggest
starting with the "Drums of Passion" collections, "Love Drum Talk" and his
"African Drumming" video. For those who already know Baba's music I have
added a number of other artist CD's on which Baba appears which may be of
interest. I also suggest purchancing anything listed here(when possible) from
one of our list members business' as opposed to the 'big guys' ie: Best Buy,
Sam Goody, etc.

Drums of Passion [2002 Bonus Track]
Drums of Passion [Expanded] (2002)
Love Drum Talk (DVD)(1998)
Love Drum Talk (1997)
Drums of Passion and More (1994) 4 disc box set
Drums of Passion: Celebrate Freedom, Justice Peace (1993)
African Drumming (VHS)(1993)
Drums of Passion: The Beat (1989)
Drums of Passion: The Invocation (1988)
Drums of Passion (1959)
Healing Rhythms, Songs, and Chants(19??)

(Out of print or never released?)
Levels Of Conciousness(1985)
Soul Makossa (single)(1973)
Zungo!(1961)
Olatunji (1) 1956

Baba also appears on:
Artist -Album -Credit

Abbey Lincoln, "Devil's Got Your Tongue" -Percussion
Airto Moreira "The Other Side of This" -Percussion
Bonnie Devlin "Action Grace: Soul of Urban Vodou" -Liner notes
Cannonball Adderley "African Waltz" -Percussion
Chris Darrow "Fretless" -Conductor
Carlos Santana "Dance Of The Rainbow Serpent" -Percussion
Herbie Mann "Verve Jazz Masters '56" -Percussion
Horace Silver "Silver 'n Percussion" -Percussion
Joe Claussell "Language" -Percussion
Michael White "The X Factor" -Percussion
Mickey Hart "At the Edge" -Percussion
Mickey Hart "Supralingua" -Vocals, sampling
Mickey Hart "Mickey Hart's Mystery Box" -Vocals (Background), Shekere
Mickey Hart "Planet Drum" -Percussion
Morley "Sun Machine" -Percussion
Morley "Sun Machine" (Japan) -Percussion
New York Voices "Hearts of Fire" -Percussion
Patrick Juvet "Patrick Juvet" -Percussion
Patrick Juvet "Got a Feeling" -Percussion
Pee Wee Ellis "Home in the Country" -Conductor
Pete Sears "Watchfire" -Percussion
Randy Weston "Uhuru Afrika Freedom Africa" -Percussion
Shades of Jade "Afro-Latin Jazz Salsa" -Percussion
Stevie Wonder "Jungle Fever" -Percussion
Taj Mahal "Taj" -Percussion
Various Artists "In the Blood" (movie soundtrack) -Performer, percussion
Various Artists "Best Of Both Worlds" -Performer
Various Artists "The Big Bang" -Performer
Various Artists "The Big Bang: In the Beginning Was a Drum" -Performer
Various Artists "Mondo Beat: Masters of Percussion" -Performer
Various Artists "Selections from Mondo Beat" -Performer
Various Artists "Songs of the World" -Performer
Various Artists "Club Africa, Vol. 2: Hard African Funk, Afro-Jazz,
Original Afro-Beat" -Performer
Various Artists "New Visions: World Rhythms" -Performer
Various Artists "Around the World for a Song" -Performer
Various Artists "Peace is the World Smiling" -Performer
Various Artists "The Best of Both Worlds" -Performer
Various Artists "A Peace Sampler for Families" -Performer
Various Artists "All The Best From Africa"(same cd as)"African Tribal Music
And Dances" -Performer
2Pac Shakur "Rose That Grew From Concrete" -variety of artists contributing
spoken word performances of Shakur's poetry

I hope this helps.
Peace,
Dan E.
St. Paul, MN



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Message: 3
Date: Thu, 17 Apr 2003 17:54:03 -0700 (PDT)
From: Beverly Nadelman
Subject: Re: Bottom drums



From: michael kraxberger
Subject: Re: Digital practice toys

...when I read from the list It's like a different
language. such as,, I am able to get sounds for
dundunbah, songban and kenkeni plus two bells. I am
guessing these are types of drums. mike krax.
walk in truth

[Sorry Mike.

The bottom drums of the djembe orchestra are collectively called the dunduns or djundjuns. They are played with sticks or, more commonly, with one stick on the drums and the other on a bell. The largest of the three drums is the dundunbah. The second in size and middle of the three is the songban. Ths smallest and highest is the kenkeni.

For most but not all rhythms the most important single drum if you only have one is the songban. My teacher used to say that if the songban player is sick you pull the guy off the kenkeni. If two players are sick you pull the guy off the dundunbah too. If all three are sick you take someone off a djembe to play songban. However for certain rhythms and in certain regions only the dundunbah is used.

Hope I have straightened you out in one place and only mildly confused you in another.

Beverly


Walk in beauty on your path.


---------------------------------
Do you Yahoo!?
The New Yahoo! Search - Faster. Easier. Bingo.

[This message contained attachments]



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Message: 4
Date: Wed, 16 Apr 2003 21:21:52 -0700
From: "Olushola"
Subject: Re: Tam Tam Mandingue

Here in DC, Mahiri directs Tam Tam Mandingue. He is an excellent drummer
with a very good understanding of the socio/cultural context of the music.
One thing I find interesting is what he call pyramids. This is when all the
drummers in unison play a set of rhythmic patterns. I prefer to look at them
as either melodic or linquistic phrases (drum talk). In any event, it's
pleasing to hear the drums singing.

You won't be disappointed going with Tam Tam Mandingue.

Olushola

----- Original Message -----
From:
To:
Cc:
Sent: Wednesday, April 16, 2003 12:01 PM
Subject: Re: [Djembe-L] Tam Tam Mandingue


>
>
> Hello Josh,
>
> [snip]
>
> >there's also Tam Tam Mandingue up in Santa Cruz that i'm
> >also considering. Has anyone out there taken classes from TTM? I'm
> >also open to any other option around Monterey/Santa Cruz. San
> >Francisco is just too far to take classes.
>
> I'm in Rochester, New York and have flown to CA for
> classes with the Santa Cruz TTM folks. It will be well
> worth your time to make the short drive, meet them,
> and see for yourself.
>
> You will be the recipient of instruction as it was handed
> directly down from one of the clearest teachers I've met
> in 12 years of study both here in the USA, and in West Africa.
>
> Enjoy the journey,
>
> Blair Hornbuckle
> Bush Mango Drum and Dance
> http://www.bushmango.com
>
>
>
> Spring 2003 Djembe Raffle. All proceeds benefit the ongoing web fees of
Djembe-L FAQ www.drums.org/djembefaq/raffle.htm
> ---------- Be part of our energy exchange. --
> If you GET from Djembe-L, please GIVE in return by purchasing a raffle
ticket!
> -- Help ensure that this free service can continue. --Or send your
tax-deductible (USA) CHECKS: payable to Drums not guns PO Box 141354,
Dallas, TX 75214-1354.
> <><><><><><><><><><><><><><><><><><><><><><>
> Promote your Event by posting to Djembe-L Calendar:
> http://groups.yahoo.com/group/djembe-l/calendar
> <><><><><><><>
> Djembe-L Archives: http://www.yahoogroups.com/messages/djembe-l
> <><><><><><>
> All Djembe-L posts will be archived by Yahoo and, with the permission of
the author, may be added to our Djembe-L FAQ by the moderators:
http://www.djembelfaq.org
> Disclaimer: **All posts have been reviewed for content by the
Moderators of Djembe-L. Approval of a post does not indicate endorsement by
the Moderators of any opinion, product, or service offered.**
> UNSUBSCRIBE DJEMBE-L - Send blank email TO:
> djembe-l-unsubscribe@yahoogroups.com
> FIGHT HATE. PROMOTE TOLERANCE. http://www.tolerance.org/
> rev:04/06/03
>
> Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
>
>




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Message: 5
Date: Thu, 17 Apr 2003 05:30:44 -0000
From: "djemberay"
Subject: Re: Tam Tam Mandingue

The TTM USA web site address is:

www.ttmusa.org

From there you can hit the Santa Cruz link to see a list of classes,
times, locations and costs.

Good luck!

-raymond

--- In djembe-l@yahoogroups.com, "Josh Tabije" wrote:
> Greetings all,
>
> I've been playing djembe on and off for the past couple of years
but
> have finally been able to committ more time and effort to learing
and
> studying.
>
> there's one senagalese teacher here in Monterey, CA who's alright.
> 1.5 hrs of playing, not a lot of explanation or meaning behind the
> rhythms. there's also Tam Tam Mandingue up in Santa Cruz that i'm
> also considering. Has anyone out there taken classes from TTM?
I'm
> also open to any other option around Monterey/Santa Cruz. San
> Francisco is just too far to take classes. thanks for any help!!
>
> sincerely,
> josh




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Message: 6
Date: Thu, 17 Apr 2003 07:40:52 +0200
From: Merlin
Subject: Re: Thanks for the love of my life Djembe_L

HI Kath,

At 20:43 16-4-2003, you wrote:
>Well, to cut a long story short, we eventually got together, and a few
>weeks ago he asked me to marry him - to which I said yes!

Congratulations!

Happy drumming,
Dennis


[This message contained attachments]



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Message: 7
Date: Thu, 17 Apr 2003 03:28:54 EDT
From: lunarhythmz@...
Subject: Frame Drum Magic w/Judy Piazza, Claremont, California, 4/23/03

LUNA RHYTHMS Productions Presents:
FRAME DRUM MAGIC:
Demonstration and Workshop with Multi-Talented Percussionist
JUDY PIAZZA

Wednesday, April 23, 2003 7 - 9pm $15 - $25 (sliding scale)
The Claremont Forum, 111 S. College Avenue, Claremont, CA

Curious about what frame drums are? Wondering about their history? Want to
experience the rich and diverse sounds of these most ancient drums? Come to
this evening! Judy will demonstrate frame drums from around the world,
including the North African tar, the Egyptian riqq, the South Indian kanjira,
the Asian ghaval, the Celtic bodhran, the West African sakara, and more.
After the demonstration, you'll bring the Egyptian tambourine alive in your
own hands, learning styles and rhythms of playing. Bring your own tambourine
(any with a head), or use/purchase one that will be available. Will engage
all levels of frame drummers; beginners or those with experience! Tape
recorders welcome.

Judy travels widely with her music, performing, teaching, recording, sharing
her fascination with sound and rhythm, drawing from indigenous peoples as
well as from deep within. She has performed with Glen Velez and Ubaka Hill
among others. You won't want to miss out on what she brings to our drumming
community! For more information, check her website at:
www.resonanceandrhythms.com

For individual lessons/sessions ($60) on Wednesday or Thursday, contact Judy
at: jpiazza@....

Info: Chris @ (909)981-7360 email: lunarhythmz@...




[This message contained attachments]



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Message: 8
Date: Thu, 17 Apr 2003 08:36:52 -0000
From: "bor_slana"
Subject: Re: Tuning Djun-Djuns




Hello, Sam!

One very simple method for lowering the pitch of the drums is to put
your hand flat on the center of the head end pressing it with the
weight of your body down as much you can. Drum must be in vertical
position, best on the floor. I use this method for smaller changes of
pitch on my battery drums and djundjun's. But (!) I have remo heads
on both, so I don't know the efect of these method on cow heads (for
now:)), which are thicker...

Bor

--- In djembe-l@yahoogroups.com, Sam Ecoff wrote:
> Hello!
>
> This is my first post to this list. I would like to begin by
introducing
> myself. My name is Sam Ecoff, and I am a piano teacher at a large
> private conservatory in Southeastern Wisconsin. I am always looking
for
> ways to provide additional musical experiences for my piano
students and
> the other students at the conservatory, so I am attempting to start
up a
> drum circle here. I have purchased enough drums and percussion
> instruments for over forty people to participate at once. I have
> attempted (Where possible) to purchase authentic ethnic instruments
> rather than mass-produced items. (I am especially proud of my newly
> arrived set of three djuns and two djembes from Sineta at Senegal
Style
> Drums.) I have tried to read every book i can get my hands on about
> drumming and drum circles, and I have read many fine texts (some
penned
> by members of this esteemed list). I am still hungry for more
knowledge.
> If anyone has suggestions about how I could become better educated
about
> leading drum circles, i would be grateful for any pointers.
>
> My question today has to do with tuning djuns. The drums I have are
> brand new, but they seem to be a bit high from my (limited)
previous
> experience. I have searched this list's archives, and most of the
tuning
> info seems to center on working with the actual rope on the drum.
> However, I have read on a couple of different websites now that
tuning
> can be accomplished using water for lower pitch and sunlight or
exposure
> to heat for a higher pitch. I don't want to do anything to ruin my
new
> drums, so I would really appreciate some adivce from anyone who is
in
> the know before i attempt anything.
>
> Thanks for your time!
>
> Respectfully,
>
> Sam E.



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Message: 9
Date: Thu, 17 Apr 2003 05:29:15 EDT
From: VILLAGEMC@...
Subject: All praise to the Jun Jun Crew at Baba's Memorial

It was an amazing night. God bless Mickey Hart for making the Marin Baba
Memorial happen and inviting all his and Baba's special friends.
And God bless Howard Cohen for all the behind the scenes production and
stage managing of an ever changing in the moment event.

God bless Baba for being there in spirit even though he had rather been
jamming with his friends Coltrain and Garcia in heaven.

But All Praise Goes to the Jun Jun Crew!!!!
Thanks to the 30+ bottom players that brought in many multiple sets of
Jun Juns, surdos and base drums.

Insert, at this point, a picture of Arthur on his knees at the edge of
center stage, with his arms out stretched, palms down, bowing down to the
orchestra pit and the Jun Jun crew.

They constantly kicked the groove while connecting the players in the
"Audience" to the Band on the stage. Mickey, Santana, etc. I am sure that
you will hear more on the Band from other list members that were there.

The logistics challenges to the bottom players were great, but were well
met.
The Marin Veterans' Memorial Auditorium seats 2000, and by the end of the
evening it was at least 3/4 ths full. The Auditorium style seating went
up and back 60 yards from the stage to the back wall. Thank God for good
acoustics as the sound "kick back" from the walls was minimum.

I set up the bottom players in front of the stage in two lines that faced
each other. That way they also faced the center edge of the stage, that
was the Orchestration point for Mickey and myself. With this set up they
could play and listen to each other. I had them face the playing
audience at a 45% angle so their instruments could project out into the
seats, while at the same time, they could watch Santana, the band and the
facilitator.

We did not have a drum circle. We had a drum square; *1, A band on stage,
*2 The Jun Jun Crew in front of the stage, *3, The 1500+ players in the
Auditorium .
The Band included;
Carlos Santana, Sikiru Adepoju, Ade, Mickey Hart, Bobi Cespedes, Raul
Rekow, Hamza El Din, Joan Biez, John Santos, Val, Kim Atkinson, Jorge
Bermudez, Malonga Caskalord, Arthur Hull and friends.

The bottom players had to play to, and support the band. At the same time
they had to play through any "audience participation" transition points
that weren't being facilitated.
Through out the night, Mickey had me do most of the group facilitation
while he facilitated the band.

There were so many great moments that the Bottom crew contributed to
during the event. I will relate two. One was during my relationship with
them during Drum Call. And one other one, ( that I will relate in another
Email), was in their relationship with Mickey.

*1, Drum Call.
At the time of the start of the the Drum Call groove, there were just the
Bottom players and around a hundred other drummers who had gotten in
early.
That is a ratio of one bottom drum for every three drummers.
(The way our Hawaii FAC friend Michael Wall would like it ). For the next
hour there was a constant in pouring of people arriving, getting settled
and joining the groove. That created a constant influx of groove changes,
volume speed dynamics, and instrumentation changes.
The Jun Jun crew rode that crazy cacophony groove like a veteran cowboy
on a bucking bronco. All praise to the Jun Jun Crew !!!!

Things had settled down by the time the population had reached 1000.
I had popped into and out of the Orchestration point every once in a
while to make an adjustment. But since the whole group were facing the
stage and Jun Jun crew, I stayed off the side of the stage, or back stage
behind the big screen, as not to distract them from their music.

The only other person on stage with me was Kim Atkinson. He was apart of
"the Band" for this evening.

If you don't know Kim Atkinson he is a player, teacher and facilitator
extrodinare. He is also and a graduate of the first Hawaii Playshop, a
great guy and a long time friend.
In Northern California, North of the Golden Gate that is, he is "The
Man", especially when it comes to Samba, and AfroCuban playing. In the
national music indestry he is an LP endorser and is known as "the Clave
King".
Kim and I have played together since the early eighties and he is a
fellow contributor to our "Small Village Ensemble" Music series.

Kim was casually walking around on the stage playing with the "audience"
using a cow bell or shekere.
At this particular point in time, the Orchestration Point was well
established.
Proof of that was when Kim walked up to the center stage edge,
( The Orchestration Point), I could Hear, Feel and See the whole groups
attention move from from playing with each other to HIM.
He stood there playing with the group. He was not not showing off or
performing Shekere tricks, bounces, swishes etc. But the group was now
playing with and to him instead of to each other.
That was great at first, as what was already a great groove became
tighter. But Kim didn't "GOOW", ( get out of their way), ((A concept
that wasn't fully taught in the first Hawaii)). He just stood there
enjoying the music and playing with them.
After a while I could sense the anticipation in the groups music, as the
attention focus faltered, and the Orch. Point was loosing it's power
because some one was standing on it not facilitating.
I was standing off to the side trying to figure out a way to get Kim off
the Orch. Spot with out embarrassing him or distracting the group when he
casually walked to the other side of the stage.

As usual, Blessings come in disguises, Kim had given me an Idea.
I walked out to the Orch. Spot and called Kim back.
I gestured to the players in the Auditorium pointing to Kim with a
"Continue to play" sign. I then gave the "Continue to play" sign to the
Auditorium, then pointed at Kim again. "Play with Kim" I said with my
body language.

I sat down at Kim's feet.
With my legs dangling over the edge of the stage, I gestured to the Jun
Jun crew facing either side of me.
I made an attention call by looking at each Jun Jun section and then
pointing to my eye, "Watch me".
I then made a small,(Close to the chest), Stop Cut to the Jun Jun crew.
By stopping the Jun Juns, I show cased the 1000+ players in the
Auditorium. It sounded great.

I quickly stood up, reinforcing the groove with a quick "Continue to
play" sign to the Auditorium players and with another point to Kim I sat
back down on the edge of the stage.
Kim and I were now Sharing the Orch. Spot, while co-facilitating
different parts of our elevated drum Square.

I did a small, (close to the chest), "Call and Response" signal to the
Jun Jun crew with my stick in one hand pointing to my bell in the other
hand.
Then I repeated the same "Call and Response" signal to the Jun Jun crew,
but I had put my bell down and I was pointing to the palm of my left hand
with the stick in my right.
I saw some quizzical looks from my Jun Jun crew so I knew that I wouldn't
get a full response the first time, but had confidence that they would
quickly get the new Arthurian "Silent Visual Call for a Response" Signal.
I held my open palm close up to my face. Staring at it theatrically, I
taped my palm with my stick three times in rhythm.
Sure enough, only 3 out of 30+ bottom players responded with a Boom Boom
Boom. But all the other Jun Jun players faces lit up in recognition. I
knew that the next Silent Call and Jun Jun response would be solid. It
was.

I would let the Auditorium groove go,( Led by Kim's rock solid 16 note
shereke rhythm). Every two or four measures I would send a coordinated,
syncopated Jun Jun blast into the groove, using my new "Silent call",
(Yippi!)
such as;
Boom,=== Boom,=== Boom Boom,= Boom Boom,
Auditorium groove, groove,= Auditorium groove, groove,
Boom,= Boom,= Boom,= Boom,= Boom Boom,= Boom,
Auditorium groove, groove,= Auditorium groove, groove,
And so on.

To get the Jun Juns back into the groove, on my last silent call I
gently, ( and continuously), taped out stright 16 th notes on to my palm.
The Jun Juns followed me with a soft 16 th note rumble. As I stood back
up I continued to pound the 16 th notes into my palm increasingly harder.
The Jun Jun volume increased as the Auditorium players joined us in a
speed up to an exciting continue to play groove. Kim and I quickly Got
Out Of the Way to the opposite sides of the stage as we all enjoyed the
humming groove of the Auditorium Top that we just wound up and spun.

Baba's Memorial Jun Jun Crew came from all over the state. ( about 1/3
of them Hawaii Graduates)
They included;
Robert Librizzi, Gaberial, Terry Kotsatos, Steve Loebs, Wade Peterson,
Kerry Shakerman, Yarie Mander, Cliff Warrner, Patter Hatfield+ Penny,
Mark Reinheimer, William McLane, Emily Ron Ulman, Gail Williamson,
Zsuzanna Brian, Larry Swanson, Lauril Walker, Dan Gershater, Terry
Kotatos,
Jeff Woolsey, Gabriel Harris, Sean Culloty, Skip Whideman, Teresa Baley,
Heather McTavish, Hadly Louden and Barbarbra Slone, and others.

Thank you Kim and Jun Jun crew.
Thank you Baba. .......... More .......Later..............Arthur
















Arthur Hull
Village Music Circles
719 Swift Street Suite 65
Santa Cruz CA 95060
1-831-458-1946
VillageMC@...
http://www.drumcircle.com/




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Message: 10
Date: Thu, 17 Apr 2003 15:33:51 -0000
From: "charlestondrumstudio"
Subject: needing seeds for shakeres

Greetings!

I am wanting to grow gourds this summer to make shakeres.
Has anyone tried this? What type of gourds did you use? I would
love to grow some large type gourds, something like Poncho Sanchez's
band uses.

Love to all drummers,
May our rhythms facilitate world peace.

Warmly,
Drummergirl

[Moderator's Note: Our Djembe-L FAQ, originally created by Doc Steve Tierra, there's a great volume of growing gourds and making shekere's that has good resources: http://www.drums.org/djembefaq/v8c.htm - hs]



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