Hi Nolan, can you please send me a text file of this solo
Vinnie?

Well, it only took me eight years, but I finally have a PDF on my website of the
Mongo solo that I transcribed for Latin Percussionist newsletter years ago.  The
link is at the bottom of this website:

http://www.nolanwarden.com/info.html

Enjoy!

-Nolan



_________________________________________________________________
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[Non-text portions of this message have been removed]

Many thanks to everyone who sent me the lyrics for Cuba Linda. This group rocks!

-----Original Message-----
>From: Dave Crowder <mcdave1@...>
>Sent: Sep 29, 2008 7:25 PM
>To: latinperc@yahoogroups.com
>Subject: RE: [latinperc] Cuba Linda
>
>Cuba linda de mi vida,
>Cuba linda siempre te recordare
>(bis)
>
>Yo quisiera verte ahora
>Como la primera vez
>
>Cuba linda de mi vida,
>Cuba linda siempre te recordare
>(bis)
>
>Cuando escucho un son cubano
>Cuando escucho un son cubano,
>De los tiempos ya pasado
>Mi corazón se entristece
>Y mi juventud revive ese tesoro cubano
>
>Tierra de ensueño y encanto
>Con su son tan habanero
>Tierra que yo tanto quiero
>Tierra que yo tanto quiero
>Y por ella yo me muero
>
>Cuba linda de mi vida,
>Cuba linda siempre te recordare
>Te recordaremos, te recordare
>Rumbero te recordaremos...
>
>Coro:
>Te recordaremos
>
>
>From Cancionero Rumbero
>
>Respectfully,
>Dave
>
>
>http://mrcrowder.us
>http://home.mindspring.com/~mcdave1/
>http://myspace.com/elleguago
>
>____________________________________
>- These are the roots of rhythm, and the roots of rhythm remain.... (Paul
>Simon)
>
>
>
>-----Original Message-----
>From: latinperc@yahoogroups.com [mailto:latinperc@yahoogroups.com] On Behalf
>Of ray
>Sent: Wednesday, September 24, 2008 9:59 PM
>To: latinperc@yahoogroups.com
>Subject: [latinperc] Cuba Linda
>
>can anyone provide the lyrics to Cuba Linda, English preferred but
>Spanish OK, too. The Grupo Folklorico Y Experimental Nuevayorquino
>version preferred.
>Google gave me a lot of time wasted.
>Thanks in advance,
>
>Ray Ruhlen
>
>
>------------------------------------
>
>===================================
>LatinPerc homepage:
>http://www.nolanwarden.com/latinperc/
>===================================Yahoo! Groups Links
>
>
>
>
>
>
>------------------------------------
>
>===================================
>LatinPerc homepage:
>http://www.nolanwarden.com/latinperc/
>===================================Yahoo! Groups Links
>
>
>

Cuba linda de mi vida,
Cuba linda siempre te recordare
(bis)

Yo quisiera verte ahora
Como la primera vez

Cuba linda de mi vida,
Cuba linda siempre te recordare
(bis)

Cuando escucho un son cubano
Cuando escucho un son cubano,
De los tiempos ya pasado
Mi corazón se entristece
Y mi juventud revive ese tesoro cubano

Tierra de ensueño y encanto
Con su son tan habanero
Tierra que yo tanto quiero
Tierra que yo tanto quiero
Y por ella yo me muero

Cuba linda de mi vida,
Cuba linda siempre te recordare
Te recordaremos, te recordare
Rumbero te recordaremos...

Coro:
Te recordaremos


From Cancionero Rumbero

Respectfully,
Dave


http://mrcrowder.us
http://home.mindspring.com/~mcdave1/
http://myspace.com/elleguago

____________________________________
- These are the roots of rhythm, and the roots of rhythm remain.... (Paul
Simon)



-----Original Message-----
From: latinperc@yahoogroups.com [mailto:latinperc@yahoogroups.com] On Behalf
Of ray
Sent: Wednesday, September 24, 2008 9:59 PM
To: latinperc@yahoogroups.com
Subject: [latinperc] Cuba Linda

can anyone provide the lyrics to Cuba Linda, English preferred but
Spanish OK, too. The Grupo Folklorico Y Experimental Nuevayorquino
version preferred.
Google gave me a lot of time wasted.
Thanks in advance,

Ray Ruhlen


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

===================================
LatinPerc homepage:
http://www.nolanwarden.com/latinperc/
===================================Yahoo! Groups Links

can anyone provide the lyrics to Cuba Linda, English preferred but
Spanish OK, too. The Grupo Folklorico Y Experimental Nuevayorquino
version preferred.
Google gave me a lot of time wasted.
Thanks in advance,

Ray Ruhlen

I am cleaning out the house and getting rid of the instruments less used.
The Timbales are LP Matador 12/14 with a pro LP timbale stand, LP chacha cowbell
and a LP timbale Bag and a couple pairs of sticks $250. For an extra $50 I will
through in a Sabian 14 crash/ride and LP Claw Crash mount.

Bongos are LP matador Blue bodies and Gold hardware, JCR Mule on Macho and Steer
hembra. $100.

LP Pro Fiberglass Shekere $75

Also have two mail/army duffel bags I have used for conga bags. $25 for both.

I live in FL, if your close we can meet up or I would be willing to ship. If you
want pics I am happy to send them.


CHECK OUT www.custommarimba.com For marimba, mbira, mallets, and hosho.

group
i have brand new a cooperman's kanjira and case , i trade for
cooperman's pandeiro,thanks............Pete

Chuck, I've got an LP onkonkolo in like new conditon that needs a new
home.

hey group

I'm looking for an okonkolo. Anyone have one they want to sell?

Thanks,

Chuck

Hi Pedro, do you make cajones?

Vinnie

i design a new model of my bongos i have one for trade is made in
birch wood and the sound is super heavy complete in wood not skin,send
me a email and i send photos , thanks..............Pedro
www.youtube.com/woodenbongo

hello i have a new model of my woodenbongo line made in birch wood
i trade for a profesional pandeiro , send me a email and i send
photos,thanks...pedro
www.geocities.com/woodenbongo

pasted message from Felix Sanabria....

Orlando "Puntilla" Rios   Message List

Reply | Forward   Message #3839 of 3840 < Prev | Next >

Orlando "Puntilla" Rios one of the greats of Anya has passed on to the
realm of the ancestors. May shango accompany him on his journey to Ile
Olorun.

I have the hardware from a Gon Bops 9 3/4 requinto made in the seventies.
Includes all hardware including rim, 5 lug brackets, 5 lugs bolts and nuts, old
head with flesh ring and the two stand mount screws. If you want pictures
contact me.
Aaron

CHECK OUT www.custommarimba.com For marimba, mbira, mallets, and hosho.

Well, I'm pretty sure Ortiz did learn notation later in life to benefit his
academic work... I want to say I read that in Robin Moore's first book, but I
can't say for sure.  It's easier to imagine that he was working from recordings.
If he wasn't, it's no wonder things ended up so screwy.

It's a good question about whether or not he had someone else do the
transcriptions.  But, either way, he would still be essentially approving their
accuracy by putting them in his book.

As a side note about the first writings on clave... I went to the bookshelf to
check what I said in the last message.  As we know, Ortiz wrote about claves in
1935 but not clave (the rhythm/concept).  However, after checking out his
bibliography in Miscelanea II, I noticed that he did write an article entitled
"De la música afrocubana. Un estímulo para su estudio."  That was published in a
couple obscure places in 1934, but I doubt it would have had anything about
clave if he didn't even include that in the publication on claves as
instruments.  Before that, it doesn't seem that he wrote anything specifically
about la música afrocubana.

-Nolan



> To: latinperc@yahoogroups.com
> From: zeno@...
> Date: Wed, 6 Aug 2008 18:07:38 -0700
> Subject: Re: [latinperc] Re: earliest transcriptions and descriptions of clave
>
>   Hi Nolan,
>
> Did Ortiz really do his own transcriptions or did he have a hired gun
> do it? Do you know for sure? Maybe he made recordings and then had
> someone transcribe later? I am curious.
>
> Zeno
>
>
> On Aug 6, 2008, at 5:59 PM, Nolan Warden wrote:
>
> > As far as I recall, Ortiz did not publish any transcriptions until
> > the 1950's (in "La Africanía..." and "Los Instrumentos...").  He
> > had already been publishing for fifty years at that point
> > (amazingly) but, before that, he didn't really focus on music per
> > se; and for much of that time he was no sort of advocate of Afro-
> > Cuban culture.  I always found it impressive, though, that he
> > apparently taught himself notation in order to document things.  Of
> > course, his batá transcriptions are erroneous, but I think that was
> > due to where his "ear" was coming from rather than any inability to
> > notate.
> >
> > -Nolan
> >
> >
> >
> >> To: latinperc@yahoogroups.com
> >> From: zeno@...
> >> Date: Wed, 6 Aug 2008 14:39:22 -0700
> >> Subject: Re: [latinperc] Re: earliest transcriptions and
> >> descriptions of clave
> >>
> >> I thought people back when used to refer to his transcriptions for
> >> bata etc.
> >> I  thought he treated the folkloric as more than just novelties.
> >>
> >> Zeno
> >>
> >>
> >>
> >>
> >> On Aug 6, 2008, at 12:12 PM, David Peñalosa wrote:
> >>
> >>> Hi Zeno,
> >>> Fernando Ortiz wrote an article on the instrument claves, but I am
> >>> not aware of anything
> >>> he wrote about the rhythm and its role in the music. Are you aware
> >>> of anything like that?
> >>> -David
> >>>
> >>>
> >>> --- In latinperc@yahoogroups.com, Myron Ort <zeno@...> wrote:
> >>>>
> >>>>
> >>>> On Aug 5, 2008, at 11:39 PM, David Peñalosa wrote:
> >>>>>
> >>>>> Almost all the books on Cuban music concern the 4/4 popular
> >>>>> genres.
> >>>>> The 6/8 genres
> >>>>> are treated more as novelties in the Cuban and Latin music
> >>>>> literatures, rather than the
> >>>>> archetypal forms they are. Since almost all the literature is from
> >>>>> a popular music
> >>>>> perspective, almost all definitions of 4/4 clave include the 3-2,
> >>>>> 2-3 concept and
> >>>>> terminology.
> >>>>> -David
> >>>>>
> >>>>>
> >>>>
> >>>> Hi David,
> >>>>
> >>>> Does this statement consider the works of Ortiz?
> >>>>
> >>>> Zeno
> >>>>
> >>>
> >>>
> >>>
> >>>
> >>> ------------------------------------
> >>>
> >>> ===================================
> >>> LatinPerc homepage:
> >>> http://www.nolanwarden.com/latinperc/
> >>> ===================================Yahoo! Groups Links
> >>>
> >>>
> >>>
> >>>
> >>
> >>
> >> ------------------------------------
> >>
> >> ===================================
> >> LatinPerc homepage:
> >> http://www.nolanwarden.com/latinperc/
> >> ===================================Yahoo! Groups Links
> >>
> >>
> >>
> >
> > _________________________________________________________________
> > Your PC, mobile phone, and online services work together like never
> > before.
> > http://clk.atdmt.com/MRT/go/108587394/direct/01/
> >
> > [Non-text portions of this message have been removed]
> >
> >
> > ------------------------------------
> >
> > ===================================
> > LatinPerc homepage:
> > http://www.nolanwarden.com/latinperc/
> > ===================================Yahoo! Groups Links
> >
> >
> >
> >
>
>
> ------------------------------------
>
> ===================================
> LatinPerc homepage:
> http://www.nolanwarden.com/latinperc/
> ===================================Yahoo! Groups Links
>
>
>

_________________________________________________________________
Get more from your digital life.  Find out how.
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[Non-text portions of this message have been removed]

Hi Nolan,

Did Ortiz really do his own transcriptions or did he have a hired gun
do it? Do you know for sure? Maybe he made recordings and then had
someone transcribe later? I am curious.

Zeno


On Aug 6, 2008, at 5:59 PM, Nolan Warden wrote:

> As far as I recall, Ortiz did not publish any transcriptions until
> the 1950's (in "La Africanía..." and "Los Instrumentos...").  He
> had already been publishing for fifty years at that point
> (amazingly) but, before that, he didn't really focus on music per
> se; and for much of that time he was no sort of advocate of Afro-
> Cuban culture.  I always found it impressive, though, that he
> apparently taught himself notation in order to document things.  Of
> course, his batá transcriptions are erroneous, but I think that was
> due to where his "ear" was coming from rather than any inability to
> notate.
>
> -Nolan
>
>
>
>> To: latinperc@yahoogroups.com
>> From: zeno@...
>> Date: Wed, 6 Aug 2008 14:39:22 -0700
>> Subject: Re: [latinperc] Re: earliest transcriptions and
>> descriptions of clave
>>
>> I thought people back when used to refer to his transcriptions for
>> bata etc.
>> I  thought he treated the folkloric as more than just novelties.
>>
>> Zeno
>>
>>
>>
>>
>> On Aug 6, 2008, at 12:12 PM, David Peñalosa wrote:
>>
>>> Hi Zeno,
>>> Fernando Ortiz wrote an article on the instrument claves, but I am
>>> not aware of anything
>>> he wrote about the rhythm and its role in the music. Are you aware
>>> of anything like that?
>>> -David
>>>
>>>
>>> --- In latinperc@yahoogroups.com, Myron Ort <zeno@...> wrote:
>>>>
>>>>
>>>> On Aug 5, 2008, at 11:39 PM, David Peñalosa wrote:
>>>>>
>>>>> Almost all the books on Cuban music concern the 4/4 popular
>>>>> genres.
>>>>> The 6/8 genres
>>>>> are treated more as novelties in the Cuban and Latin music
>>>>> literatures, rather than the
>>>>> archetypal forms they are. Since almost all the literature is from
>>>>> a popular music
>>>>> perspective, almost all definitions of 4/4 clave include the 3-2,
>>>>> 2-3 concept and
>>>>> terminology.
>>>>> -David
>>>>>
>>>>>
>>>>
>>>> Hi David,
>>>>
>>>> Does this statement consider the works of Ortiz?
>>>>
>>>> Zeno
>>>>
>>>
>>>
>>>
>>>
>>> ------------------------------------
>>>
>>> ===================================
>>> LatinPerc homepage:
>>> http://www.nolanwarden.com/latinperc/
>>> ===================================Yahoo! Groups Links
>>>
>>>
>>>
>>>
>>
>>
>> ------------------------------------
>>
>> ===================================
>> LatinPerc homepage:
>> http://www.nolanwarden.com/latinperc/
>> ===================================Yahoo! Groups Links
>>
>>
>>
>
> _________________________________________________________________
> Your PC, mobile phone, and online services work together like never
> before.
> http://clk.atdmt.com/MRT/go/108587394/direct/01/
>
> [Non-text portions of this message have been removed]
>
>
> ------------------------------------
>
> ===================================
> LatinPerc homepage:
> http://www.nolanwarden.com/latinperc/
> ===================================Yahoo! Groups Links
>
>
>
>

As far as I recall, Ortiz did not publish any transcriptions until the 1950's
(in "La Africanía..." and "Los Instrumentos...").  He had already been
publishing for fifty years at that point (amazingly) but, before that, he didn't
really focus on music per se; and for much of that time he was no sort of
advocate of Afro-Cuban culture.  I always found it impressive, though, that he
apparently taught himself notation in order to document things.  Of course, his
batá transcriptions are erroneous, but I think that was due to where his "ear"
was coming from rather than any inability to notate.

-Nolan



> To: latinperc@yahoogroups.com
> From: zeno@...
> Date: Wed, 6 Aug 2008 14:39:22 -0700
> Subject: Re: [latinperc] Re: earliest transcriptions and descriptions of clave
>
> I thought people back when used to refer to his transcriptions for
> bata etc.
> I  thought he treated the folkloric as more than just novelties.
>
> Zeno
>
>
>
>
> On Aug 6, 2008, at 12:12 PM, David Peñalosa wrote:
>
> > Hi Zeno,
> > Fernando Ortiz wrote an article on the instrument claves, but I am
> > not aware of anything
> > he wrote about the rhythm and its role in the music. Are you aware
> > of anything like that?
> > -David
> >
> >
> > --- In latinperc@yahoogroups.com, Myron Ort <zeno@...> wrote:
> >>
> >>
> >> On Aug 5, 2008, at 11:39 PM, David Peñalosa wrote:
> >>>
> >>> Almost all the books on Cuban music concern the 4/4 popular genres.
> >>> The 6/8 genres
> >>> are treated more as novelties in the Cuban and Latin music
> >>> literatures, rather than the
> >>> archetypal forms they are. Since almost all the literature is from
> >>> a popular music
> >>> perspective, almost all definitions of 4/4 clave include the 3-2,
> >>> 2-3 concept and
> >>> terminology.
> >>> -David
> >>>
> >>>
> >>
> >> Hi David,
> >>
> >> Does this statement consider the works of Ortiz?
> >>
> >> Zeno
> >>
> >
> >
> >
> >
> > ------------------------------------
> >
> > ===================================
> > LatinPerc homepage:
> > http://www.nolanwarden.com/latinperc/
> > ===================================Yahoo! Groups Links
> >
> >
> >
> >
>
>
> ------------------------------------
>
> ===================================
> LatinPerc homepage:
> http://www.nolanwarden.com/latinperc/
> ===================================Yahoo! Groups Links
>
>
>

_________________________________________________________________
Your PC, mobile phone, and online services work together like never before.
http://clk.atdmt.com/MRT/go/108587394/direct/01/

[Non-text portions of this message have been removed]

I thought people back when used to refer to his transcriptions for
bata etc.
I  thought he treated the folkloric as more than just novelties.

Zeno




On Aug 6, 2008, at 12:12 PM, David Peñalosa wrote:

> Hi Zeno,
> Fernando Ortiz wrote an article on the instrument claves, but I am
> not aware of anything
> he wrote about the rhythm and its role in the music. Are you aware
> of anything like that?
> -David
>
>
> --- In latinperc@yahoogroups.com, Myron Ort <zeno@...> wrote:
>>
>>
>> On Aug 5, 2008, at 11:39 PM, David Peñalosa wrote:
>>>
>>> Almost all the books on Cuban music concern the 4/4 popular genres.
>>> The 6/8 genres
>>> are treated more as novelties in the Cuban and Latin music
>>> literatures, rather than the
>>> archetypal forms they are. Since almost all the literature is from
>>> a popular music
>>> perspective, almost all definitions of 4/4 clave include the 3-2,
>>> 2-3 concept and
>>> terminology.
>>> -David
>>>
>>>
>>
>> Hi David,
>>
>> Does this statement consider the works of Ortiz?
>>
>> Zeno
>>
>
>
>
>
> ------------------------------------
>
> ===================================
> LatinPerc homepage:
> http://www.nolanwarden.com/latinperc/
> ===================================Yahoo! Groups Links
>
>
>
>

Hi Zeno,
Fernando Ortiz wrote an article on the instrument claves, but I am not aware of
anything
he wrote about the rhythm and its role in the music. Are you aware of anything
like that?
-David


--- In latinperc@yahoogroups.com, Myron Ort <zeno@...> wrote:
>
>
> On Aug 5, 2008, at 11:39 PM, David Peñalosa wrote:
> >
> > Almost all the books on Cuban music concern the 4/4 popular genres.
> > The 6/8 genres
> > are treated more as novelties in the Cuban and Latin music
> > literatures, rather than the
> > archetypal forms they are. Since almost all the literature is from
> > a popular music
> > perspective, almost all definitions of 4/4 clave include the 3-2,
> > 2-3 concept and
> > terminology.
> > -David
> >
> >
>
> Hi David,
>
> Does this statement consider the works of Ortiz?
>
> Zeno
>

On Aug 5, 2008, at 11:39 PM, David Peñalosa wrote:
>
> Almost all the books on Cuban music concern the 4/4 popular genres.
> The 6/8 genres
> are treated more as novelties in the Cuban and Latin music
> literatures, rather than the
> archetypal forms they are. Since almost all the literature is from
> a popular music
> perspective, almost all definitions of 4/4 clave include the 3-2,
> 2-3 concept and
> terminology.
> -David
>
>

Hi David,

Does this statement consider the works of Ortiz?

Zeno

Hi group,
Awhile ago Nolan asked me to report back here on the results of my quest for
historical
definitions and early transcriptions of clave.

The earliest transcription of triple-pulse (6/8) clave was in Natalie Curtis's
1920 book
"Songs and Tales from the Dark Continent". Her informants were Shona-Ndua from
Mozambique. In the decades that followed, triple-pulse clave and the standard
seven-
stroke bell pattern were thoroughly documented in West, Central and Southeast
Africa.
While both triple and duple-pulse clave are played over a vast area of the
continent, most
analysis of sub-Saharan African rhythms concerns primarily the triple-pulse
forms.

The earliest transcription and description of duple-pulse (4/4) clave I found
was in Emilio
Grenet's 1939 book "Popular Cuban Music":

"[Investigating] the rhythmic structures of our music we find that all its
melodic design is
constructed on a rhythmic pattern of two measures, as though both were only one,
the
first is antecedent, strong, and the second is consequent, weak." (1939:15)

Almost all the books on Cuban music concern the 4/4 popular genres. The 6/8
genres
are treated more as novelties in the Cuban and Latin music literatures, rather
than the
archetypal forms they are. Since almost all the literature is from a popular
music
perspective, almost all definitions of 4/4 clave include the 3-2, 2-3 concept
and
terminology.
-David

Thanks Chuck, for sharing your trip with us.
Vinnie

Woke up very early this morning. I wanted to
drink in the morning here at Bacuranao. I took
many pictures of the flowers and palms in the
morning light. I'll post some of these on
photobucket so you all can see. The hibiscus are
beautiful here. Today I'll try to study with el
Goyo and with Jean from KLIMAX. I had breakfast
at Bacuranao then went with the group to Habana
Vieja. I left the group there and took a taxi to
Goyo's home where we studied for an hour and a
half. We went over some rumba, mainly guaguanco,
some bembe as well. We also delved, slightly,
into Abakwa. Abakwa, to me, is just gorgeous. I
really love this groove, the rhythms, the
soloing, just about everything. The three main
drums play a repetitive rhythm with the bonkó
soloing. It's really captivating.
After our lesson, I accompanied Goyo to a
rehearsal of his group. They rehearsed a 6-8 type
of thing. Very nice. The conguero played an
interesting pattern which I need to
transcribe...soon!
Then I took one of those funny little taxis from
Goyo's rehearsal to lunch with the Canadian
group. My lesson with Jean is at 2. We began
lunch at....1:30. One thing that happened before
lunch, and more or less during lunch, was a
serious discussion with the owner of Canada-Cuba,
about upcoming possible changes in the
relationship between the two countries, the one I
live in and Cuba. This is an important
conversation indeed. Well, time marched on and
before I knew it, it was 3:30. I had tried to
contact Jean at his home number, to no avail. I
knew he'd be waiting for me. Jean is very
punctual. Amazing but true.
I missed my lesson.
We piled back in the bus about 4 PM. It was time
for my last afternoon and evening in Cuba. For
me, sitting out by the ocean was the best way to
take in my last few hours. I had befriended a
little dog at the villa bacuranao and she joined
me, just sitting there taking in the breeze. A
fine late afternoon.
Not much more to add here. Of course I had to be
awake at 4 AM to be at the airport for my 7:30
flight and of course there was a big party at the
Bacuranao, right outside my room...'til 2 AM. Fun
times! I hope to be back here soon. Havana,
Matanzas, Santiago de Cuba, Cienfuegos, Camagüey,
Pinar del Rio. I can't wait for my next
professional research outing.

Two days left here in Havana. I'm with the group
of mostly Canadian music teachers, staying at the
Villa Bacuranao. I've been trying to hook up with
the two great percussionists from KLIMAX, Jean
and Julio. It's proving difficult, but that's
always to be expected here. Today I woke up
early, before the sunrise. I went for a long
run/walk in the countryside. We're about 15 k
outside of Havana. The air is exquisite, clean,
fresh with the aroma of vegetation, flowers and
the sea.
Today we're going to the Havana Jazz Café to hang
out with Bobby Carcassés. Bobby's the father of
Roberto Carcassés, a great pianist. Bobby's a
well known figure in the scene in Havana. He
leads his own group and will play for the
Canadian group. We get to the Jazz Café around
10.(I buy more bottled water, immediately upon
arrival. I've learned to buy water whenever I
can.) Jonathan Watts is already there. He's the
owner of Canada Cuba. He introduces Bobby who
goes into an extended all vocal jam, rumba and
song. Really nice. Then his band plays some very
swinging music. We're invited to sit in and I
take advantage of that, for sure. We just play a
jazz blues (I think)..a very extended version.
The bassist is very young and very good. Well, so
is everyone.
After this, we're introduced the Novel Voz, a
wonderful a capella group. I've known this group
ever since meeting them in 1996, when I assisted
in the production of the CD, Rhythm and Smoke. NV
is eight members and they sing exquisitely. I
have some great video of NV and I'll figure out a
way to put some online. Each member is a
wonderful performer and I'm honored to consider
them and Bobby Carcasses and his band, friends.
Then, we had lunch.
Afterwards...hmm..what to do? Two days left. The
group was going to Cerro municipality to visit
the home of a good friend, a babalawo, abakwa,
and palero named Jorge Padrón. I was asked to
accompany and to give a short lecture or
description of what we were about to participate
in. I had been at Padron's home many times so I
knew we were going to experience batá and an
introduction to Eleggua and other orishas. It was
fun talking about this as we rolled through
Vedado, Centro Habana and into Cerro. Ah, there
was Padron, as big as ever, a real landmark in
his community. I met friends I hadn't seen in
four years. Very touching, sweet. And the
drumming, the orishas, it was very nice.
Afterwards, it was about 4 PM, we went back to
Bacuranao. A little rest was in order, that's for
sure.
One more day....

Tuesday began my last three days in Havana. I did
forget to mention an important meeting I had the
past week. Dr. Olavo Alén Rodrguez is a
preeminent Cuban musicologist and a very good
friend of mine. I have known Olavo and his
colleague Ana Casanova for many years. We first
met at the CIDMUC (Center for the Development of
Cuban Music). Dr. Rodriguez was a lecturer to
many people whom I accompanied to Cuba. His
knowledge and thought have yielded some amazing
ideas about Cuba, her culture, people and music.
We shared a lunch together in Barrio Chino (China
Town). At our lunch we discussed the state of
affairs in Cuba, and we spoke at length about
Cuban music and culture. Olavo also gave me a
copy of his new book, Pensamientos Musicolgo.
I've begun to dive into this book. Olavo and Ana
are great friends and wonderful people.

So, Tuesday began as other days, very warm and
nice. I really like this weather. I grew up in
Miami, so the humidity is a welcome relief from
the "oven" that can be Los Angeles. Went to my
favorite place, el Coronel, for my 3 cent cafe.
Then up to the Capitol building to just relax.

At about 1 PM I took a cab to the Havana Golf
Club. Yes the "Havana Golf Club". What a
difference from where I was staying in Centro
Habana! Wow! I felt so strange, really. I was
there to meet friends from Canada Cuba
(http://www.canadacuba.com). They were going to
celebrate their 20th year of doing business in
Cuba. Check out their site to see what they do.
Canada Cuba had invited many music teachers from
Canada, people who had brought their groups to
Cuba. We met at the golf club and had a
tremendous lunch. Now _that_ was different! Next
we went to the Villa Bacuranao, east of Havana.
This is a really nice resort, but not like
Varadero at all. We're right on the water here
with a beautiful view of the Atlantic. Time to
seriously chill before I hit Havana again for the
last two days. Being with my friends from Canada
Cuba was really fine. And the music teachers were
extremely friendly. As I said, we went back to
the Villa Bacuranao and I spent the afternoon
relaxing. In the evening we headed out to dinner
in Havana at ArteChef, a very nice restaurant.
Things were definitely going to be different now!

Just found some notes regarding Saturday in la Habana. I stay at the
Hotel Lincoln in Centro Habana. One of the reasons I stay there is
because of the farmers' markets nearby. These are the real deal with
fresh produce available. So I went in early on Saturday morning
because it's mango season! I bought two huge mangoes, 3 lbs. of fruta
bomba ("papaya"), and five plantanitos. Oh man, please...$2! I took
all this back to the Lincoln, cut up one of the mangoes and enjoyed
it immensely. The nice people at the Lincoln kept the rest of my
stash for me in a fridge. At 10 I had my second lesson with el Goyo.
At 3 PM, KLIMAX will be leaving by bus for Cienfuegos. My friend
Jean, the timbalero, invited me to go along. hmmmm....They'll return
at 5 in the morning Sunday..but then I have to go to Matanzas at 7. I
called Piloto and pretended to be the bus driver, saying the bus had
broken down. Guess what? The actual driver had called Piloto and,
yes, the bus had indeed broken down! They eventually did go to
Cienfuegos, without me.

Monday in Matanzas. Tina from http://kabiosile.org has been such a
wonderful host. She's let me use her new Macbook to email my wife,
Elaine back here in Los Angeles. That alone is a blessing! Her
husband Alberto has been a real friend as well. He talk so fast! This
morning I walked down to a beach near Tina's home just to relax a
little. It was relatively quiet and a very beautiful hour was spent
really doing not much. Later, Tina and I figured out how we were
going to have our special lunch later that day. I had invited Minini
and Regaldo from AfroCuba de Matanzas and Alberto to join me for
lunch. Tina and the women she has in her house were going to cook and
I was to bring the refreshments.

I took a cab to Daniel's home for another bata lesson. It was an
intense experience. Once again I learned about okonkolo. Daniel is
extremely patient. I sit there, knowing he just knows so much about
this style of drumming and worship, and I just remain a kid, learning
at the feet of a Master Drummer. After our lesson we drove to the
house where los Munequitos de Matanzas were born. I took pictures for
my friend Barry Cox, for his blog. Then we stopped for refreshments
for our lunch.

When I returned to Tina's, waiting for me was Minini, Regaldo and
Alberto! WOW!! My friends. I hadn't seen them in almost 4 years. It
was so nice to see my friends again. We talked as best we could. My
Spanish is good but not _that_ good. It was nice just being in their
presence, remembering all of our past experiences together. We had a
phenomenal lunch, thanks to Tina and her buddies! The talk turned
quite intense and really difficult to follow. Tina told me that the
three were discussing the differences between Santeria in Matanzas
and la Habana. Whoa. OK. The conversation was, well, "lively" to say
the least. I had to take break as I couldn't follow exactly what was
goin on. When I returned they were still talking, discussing, etc.

At about 5 or so, I said goodbye to my good friends and hi I took a
cab to the bus depot for my ride back to la Habana. KLIMAX was
playing that night at about 1 AM and I had to see them. Got back to
la Habana with plenty of time to chill at the Lincoln before the
KLIMAX gig.

KLIMAX was playing at the Casa de la Musica up the street from the
Lincoln. I got there about 12:30 AM or so. Piloto Barreto and I met
and talked for a while. Jean and el Guie were there of course and we
hung out before their set. Well, KLIMAX tore it up!! Seriously,
Piloto is an insane drummer and a wonderful arranger.  Piloto
arranges, composes and writes lyrics for KLIMAX. An amazing drummer
and just a great friend. KLIMAX played for about 90 minutes and then
they were done. Back to the Lincoln to prepare for Tuesday!

Chuck,

It's great to read about your exploits and adventures there in Cuba.
Thanks for taking the time to blog.
If you put it all together in an edition let me know. that would be
required reading  for perc. students.

On Jul 17, 2008, at 9:26 AM, Chuck Silverman wrote:

> Woke up early in order to catch the Viazul bus
> from la Habana to Matanzas. It leaves la Habana
> at 8 AM, arriving in Matanzas about 8:30 or so.
> Got to the bus station and decided to take a cab
> to Matanzas with three other people. Only $10.
> Not too bad. I think the bus is around $7 or $8.
> So, we took off and got the Matanzas very early.
> I had been in touch with Tina Gallaher of
> kabiosile.org. Tina produces great DVDs including
> the new Language of the Drum double DVD set. Tina
> had invited me to stay at her home, with her
> husband Alberto. I was to study with Master of
> Afro Cuban Percussion Daniel Alfonso Herrera,
> which is and was quite an honor indeed.
>
> Well, I got to Tina's home about an hour early.
> How American of me! Alberto was awake and invited
> me in. Tina awoke and we chatted for a long time,
> outside, enjoying the morning in Matanzas.
>
> Later that day I began my studies with Daniel.
> I've never done research into batá and it was
> time to begin. I have an affinity for Oshun, so
> after a brief toque to Eleggua, we began. Daniel
> is a very patient teacher indeed. And so is his
> wife. She was nice enough to hold my camera for
> me and video. We spent two hours with me studing
> okonkolo. Wow! It was a moving experience. Like I
> mentioned earlier, when I was studying with el
> Goyo, I am such a beginner. And I felt like it
> too!
>
> After my lessons I went back to Tina's home and
> enjoyed the warmth of her home's hospitality.
> Alberto had gone to a birthday party for Eleggua
> and he had left me dinner. Bistec! Gracias
> Alberto. And, Saturday came to a nice close at
> Tina's home. Thanks Tina!
>
>



[Non-text portions of this message have been removed]

Chuck,

You got a cab from Havana to Matanzas for $30?!  That's fantastic!
Was it one of those yellow cabs with 555.5555 on the side?
I love that toque for oshun, beautiful.

dan

On Jul 17, 2008, at 11:26 AM, Chuck Silverman wrote:

> Woke up early in order to catch the Viazul bus
>

Woke up early in order to catch the Viazul bus
from la Habana to Matanzas. It leaves la Habana
at 8 AM, arriving in Matanzas about 8:30 or so.
Got to the bus station and decided to take a cab
to Matanzas with three other people. Only $10.
Not too bad. I think the bus is around $7 or $8.
So, we took off and got the Matanzas very early.
I had been in touch with Tina Gallaher of
kabiosile.org. Tina produces great DVDs including
the new Language of the Drum double DVD set. Tina
had invited me to stay at her home, with her
husband Alberto. I was to study with Master of
Afro Cuban Percussion Daniel Alfonso Herrera,
which is and was quite an honor indeed.

Well, I got to Tina's home about an hour early.
How American of me! Alberto was awake and invited
me in. Tina awoke and we chatted for a long time,
outside, enjoying the morning in Matanzas.

Later that day I began my studies with Daniel.
I've never done research into batá and it was
time to begin. I have an affinity for Oshun, so
after a brief toque to Eleggua, we began. Daniel
is a very patient teacher indeed. And so is his
wife. She was nice enough to hold my camera for
me and video. We spent two hours with me studing
okonkolo. Wow! It was a moving experience. Like I
mentioned earlier, when I was studying with el
Goyo, I am such a beginner. And I felt like it
too!

After my lessons I went back to Tina's home and
enjoyed the warmth of her home's hospitality.
Alberto had gone to a birthday party for Eleggua
and he had left me dinner. Bistec!  Gracias
Alberto.  And, Saturday came to a nice close at
Tina's home. Thanks Tina!

Thanks Chuck, I am so Jealous! Just kidding, but some day I hope to get
there!
Videos are not of much use to me, but I would love to hear some of it on
sound files.
Vinnie