november 2011 issuefounded in 1998 in puerto rico, yubá iré is the brainchild of a group of...

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NOVEMBER 2011 ISSUE

FROM THE EDITOR¡Bienvenidos! Welcome to our annual "Percussion/Drum Issue." Volume 21, Number 9, November2011 issue of Latin Beat Magazine Online features the Puerto Rican groups "Yubá Iré" (Coverstory) and "Atabal" (In the Desde Borinquen Columns section), both practitioners of the traditionaldrum-based rhythms of the Caribbean. A piece by pianist/bandleader Eugene Marlow explainswhat influences and drives his "Heritage Ensemble," and contributing writer/bandleader/percussionist Ernesto "Chico" Alvarez takes a look at some of the Tri-State's top percussionistsin his article "The Rhythms of My Soul." Yours truly salutes some of Southern California's favoritedrummers in my column "Que Pasa in L.A."

Due to time restrictions, we were not able to include all the scheduled material for this specialissue. Therefore, we will extend our percussion coverage into part of the upcomingDecember/January 2012 issue. We welcome our guest editor in this issue, pianist/bandleaderOscar Hernández for his thoughtful "A Week in the Life of SHO — A Tale of Two Countries," apersonal observation about the current state of live salsa music in the U.S.A.

We dedicate this issue of Latin Beat Magazine to the memory of writer/activist Piri Thomas. Mayhe rest in eternal peace. —Rudy and Yvette Mangual

A Week in the Life of Spanish Harlem Orchestra(A Tale of Two Countries) - An ObservationBy Oscar HernandezOn the way to one of Spanish Harlem Orchestra's few gigs in New York City, I was excited andlooking forward to our performance at the Copacabana. It had been a while since we performed ata salsa club in NYC — a city with rich history and deep connection to this genre of music - my city.

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Luis GonzálezSpainWindows MediaQuicktime

Rolando SanchezVamonos De FiestaWindows MediaQuicktime

Steve PouchieWatch Ur WalletWindows MediaQuicktime

Somos SonBilongoWindows MediaQuicktime

The Estrada BrothersMr. RayWindows MediaQuicktime

Manny SilveraBassed in AmericaWindows MediaQuicktime

Bobby MatosCuchy Frito ManWindows MediaQuicktime

There is nothing like performing or listening to live Salsa music at home in New York City — or so Ithought.

However, after we completed our first sizzling set, I was called to the office by the club's MC andwas stunned when the manager handed me our pay and then told us that we were done for thenight; there would be no second set. The conversation that followed brought me to a painfulrealization about our beloved musical genre.

The manager and the MC explained that salsa music doesn't have much of an audience any more.The club's clientele is no longer interested in dancing to live salsa music - even if it is beingperformed by an internationally recognized act such as the Spanish Harlem Orchestra. Instead,they would prefer to dance to a DJ's blaring selections of bachata and reggaetón music. It's ironicthat this NY experience happened at a time when more people are dancing Salsa worldwide thanat any other time in our history.

Following this unexpected treatment (that we have never experienced before as a band - let alonein our own hometown), my initial reaction was shock! Then I asked myself what was wrong withthis picture? If a particular audience truly feels this way about our music - then this is NOT the kindof audience we want to attract. We want to reach out to an audience that is mature and thoughtfulabout their musical choices; people who appreciate music performed by live musicians; and whounderstands the value of such music.

I then began to reflect upon my musical life - the privilege to carry on the beautiful tradition of thismusic. Having devoted my life to this art form, and having experienced, first hand, performing withlegendary musicians such as Ray Barretto, Celia Cruz, Tito Puente, Ruben Blades, and Cachao,etc. I know that this music — especially the live performances - brings joy to the audience andmusicians alike.

In this era, where excessively loud music is prevalent and hundreds of genres of music are thrownto the public, it is a challenge for a band to stand out. Look no further than the commercial Latinradio stations in New York, where they feed their listeners with mostly distasteful music - musicthat does nothing to inform younger generations about the rich tradition of their roots and music. Inspite of this, however, I remain convinced that the soul of our music will appeal to the rightaudience and that this interaction will live on.

In searching for an answer as to why things are different now, I think that as I was growing up inNew York City (in the 1960s), this music that we now call "salsa" was an important part of oursearch for cultural identity. It gave us a sense of pride and unity. Has that changed?

Moving forward from the above experience — one week later….The Spanish Harlem Orchestra is travelling to St. Petersburg, Russia, for the first time, as thefeatured band in a Salsa Festival on a Saturday night. "Salsa in Russia?" seemed to be thequestion in the mind of our musicians. Excited to be in Russia, we had no idea of what the musicscene would be like in St. Petersburg.


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Chembo CornielBuena GenteWindows MediaQuicktime

MañaTranquilitoWindows MediaQuicktime

Johnny Polanco y SuConjunto AmistadEl Gusto de Mi SalsaWindows MediaQuicktime

We arrived the day before our performance, and after having been taken to dinner by thepromoters, we were shown the venue where the festival had already taken place. The club heldapproximately one thousand people and was about half-full.

Prior to a scheduled performance by a local salsa band that night, a young woman DJ was playingmusic for the crowd. It was obvious that the she had a very good knowledge of the genre and itshistory. We were pleased to hear her play an excellent mix of old and new; at a comfortablevolume that actually allowed us to carry on a normal conversation.

This was a diverse audience comprised of couples, singles, young, and old - all dressed toimpress. We were amazed at the level of skill and sophistication of the dancers. It was clear thatthey understood and respected the music as demonstrated by their connection to it through dance— as well as their attentiveness to the music itself. Our overall impression was so pleasant thatwe decided to stick around in order to hear the local band. We were surprised to hear a group ofRussian musicians who sounded remarkably sophisticated — and authentic.

The following evening, the Spanish Harlem Orchestra performed for close to one thousand people— many appeared to be in an almost trance-like state of euphoria — from beginning to end. Theband felt the surge of energy from the audience. It was like the heyday of Salsa in New York Cityin the 1970s.

Later I spoke with several people. They conveyed how exciting it was to experience ourperformance; until this evening, they could only imagine how we sounded live.

Did they understand something about our music that we have forgotten? If so, then what could thatbe? Or, better yet, why could this be?

I wondered…perhaps might we have started to take our own music for granted? Why the contrastbetween performing in NYC and in Russia? Maybe the Russians felt that they were experiencing abit of history, since all of us in SHO had performed with many of the great musicians and bands ofyears past? Did they understand something about our music that we have forgotten?

I began to think about the broad range of audiences for whom we have performed (In countriessuch as Japan, Hong Kong, Singapore, Israel, Australia, as well as throughout Europe). It dawnedon me that in virtually every country outside of the United States, our audiences have appreciatedthe opportunity to hear (and dance to) our music - performed live. Another example of what I amexpressing is, we recently performed for a nice but reserved audience in California, and the verynext evening we were at the Toronto Jazz festival where we received six standing ovations,playing the same repertoire.

It is my fervent hope that we can somehow bring about a change in the way some of our domesticaudiences access music for their dancing and listening pleasure. If only they knew what they weremissing!


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YUBÁ IRÉ: CUBAN RUMBA MEETS PUERTO RICANBOMBA AND PLENABy Rudy Mangual


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Founded in 1998 in Puerto Rico, Yubá Iré is the brainchild of a group of street-cornerpercussionists who decided to come together as a folkloric percussion ensemble and dancetroupe with the sole purpose of elevating and promoting the cultural roots and folklore ofAfro-Caribbean rhythms. While the group's concept is modern and progressive to a certain degree,these musicians respect all the traditions associated with the Cuban rumba as well as the folklore


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of Puerto Rico and the Caribbean.

Cuban rumba has its roots in the music brought to the island by African slaves, as well as in themusic of the Spanish colonizers. It initially developed in the provinces of Havana and Matanzas inthe 19th century. Originally, rumba drumming and dancing were often suppressed and restrictedbecause such musical manifestations were viewed as dangerous and lewd. Rhythmically, rumbafollows the five-stroke pattern called clave (hence the term “clave de rumba”) and the inherentstructure it conveys. There are three types of Cuban rumba: yambú (oldest and slowest in beat),columbia (fast and energetic, with a 6/8 feel), and guaguancó (faster than yambú but slower thancolumbia, guaguancó is also the most popular of all rumba styles, and it is used frequently by salsabands). As in the case of columbia, many of the guagancó’s drum patterns and chants are linkeddirectly to religious Abakuá traditions.


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As for the rhythms of Borinquen (Puerto Rico's indigenous Taino name), bomba is rooted in thecoastal areas of the island where large concentrations of African slaves worked and lived. Likethe Cuban rumba, bomba is performed by drummers who provide the rhythms for the dances.There are five types of bomba rhythms: sicá, yubá, cuembé, holandé, and seis corrido. Plena isthe other Afro-Puerto Rican rhythm born in the southern city of Ponce. Similar to the calypsorhythm of Trinidad, the plena is characterized by its simplicity and repetition, while narratingspontaneously expressions of everyday occurrences.


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Yubá Iré signifyes the union of dance with good fortune (yubá meaning “tumba francesa” and oneof the types of bomba, and iré meaning an alternative of the ibo process in Ifá divination or simply“good fortune” in Abakuá). Directed and produced by percussionist Héctor Calderón Torres, thisgroup is comprised of Felipe del Valle (percussion/chorus), Diego Centeno (percussion/chorus),Victor Emmanuelli (percussion/chorus/dancer), Edgardo Hernández (percussion/leadvocals/chorus), Eric Marrero (percussion/lead vocals/chorus), Alberto Gallardo(percussion/chorus), Marcial Morales (percussion/chorus), and Marién Torres (chorus), plusdancers Vivian Ayala, Wallian Sánchez, Yinaidarís Rivera, Dickie Colón, Janlee Aponte, JorviánSantana, and Domingo Morales.


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Yubá Iré walks the path of Cuban rumba groups such as Muñequitos de Matanzas, YorubaAndabo, and Grupo Afro Cuba, as well as Puerto Rican groups like Paracumbé, and FamiliaCepeda. All members of the group (which span from 17 years young to 40 plus) are avidpractitioners of all the native rhythms of the three main islands of the West Indies: Cuba,Hispaniola (Haiti and Dominican Republic) and Puerto Rico, as well as all lands touched by theCaribbean Sea.


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In my opinion, what sets Yubá Iré apart from other folkloric Antillean groups that specialize in eitherCuban rumba or Puerto Rican bomba and plena is the obvious fact thar Yubá Iré performs all theAfro Caribbean rhythms from Cuban rumba to Puerto Rican bomba and plena, as well as therhythms of güiro, bembé, batú, palo, macuta, abakuá, merengue, etc.


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They are also proficient in the contemporary "guarapachanguero" techniques of Cuban rumba,practiced by all the new rumba groups in Cuba. Their renditions of bombas also bare a refreshingnew sound and approach to improvisations.


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Since its inception in Puerto Rico’s vast music scene, Yubá Iré has performed in numerousfestivals and concerts throughout the island, including Festival Rafael Cepeda (San Juan/2000),Festival de Bomba y Plena (Cataño/2000), Día Nacional de la Bomba (Villa Palmera/2002/2006),Festival de Percusión del Conservatorio de Música de Puerto Rico (2002/2003/2005/2008/2011),and San Juan Salsa Congress (2003/2004/2006/2007/2008/2011); plus their presentationsabroad at Festival Étnico de Stevenson, along with the Ballet Junqueño Evolución Folklórica(Chicago, Illinois/2002), and at Festival Internacional de Tradiciones Africanas (Maracay,Venezuela/2006). They have also performed on television programs in Puerto Rico, including thepopular “Show del Mediodía” (Channel 4), and “Cultura Viva” (Channel 6).


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Yubá Iré’s debut CD “Esta es mi Rumba”, released in 2007 in Puerto Rico, earned the group aLatin Grammy nomination in 2008, as well as rave reviews throughout the Caribbean.


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Currently, the group is enjoying the release of their sophomore CD “¡Ya está! ¡Se formó!”,showcasing Yubá Iré’s ability to fuse rhythms, cultures and the folklore of all the people of theCaribbean. Special guest musicians in this recording include Paoli Mejías, Enoch Carmona, JavierOquendo, Chamir Bonano, Juan L. Fuentes, and Dave Marrero. If you like Cuban rumba, PuertoRican bomba and plena, and Afro-Caribbean drumming in general, this band is definitelyrepresentative of the current state of this music.


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The Heritage Ensemble: A Judeo-Latin Jazz JourneyBy Eugene Marlow, Ph.D.

With Multi-Grammy Nominated Drummer Bobby Sanabria

What happens when one culture mixes with another? You usually get something new. This iscertainly the case with my group, "The Heritage Ensemble"—a quintet that records and performsmy original compositions and arrangements of familiar Judaic melodies in various jazz, Cuban,Brazilian, and even neo-classical styles. The formation of the ensemble and the creation of almosttwo dozen charts in its current repertoire was perhaps inevitable. I was born in London, England,in the midst of a family with deep Jewish European roots, and from a very young age, I have beenlistening to and have been influenced by a variety of jazz elements, particularly Latin jazz sounds.

The Cuban/Brazilian Thread


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My first exposure to Latin music was in London, back in the late 1940s, when I heard the EdmundoRos sextet performing on early British television. At the same time, I was constantly listening tomy father's 78 RPM recording of "Caldonia," as performed by Louis Jordan's band. I was aboutnine years old when my father-a classically trained violinist, orchestral leader, and composer-tookme to an all-day jazz jamboree, where I heard one of the big bands of the era, the Ted HeathOrchestra. All told, my early music "listening" was a combination of classical (through my father),big band jazz, and Latin-style music.

Let's jump forward to the mid-1960s, when I wore a U.S. Air Force uniform, serving in California asan historian during the Vietnam War. During my free time, I had the good fortune to form a trio inCentral California with a couple of local musicians- Chicano drummer Rudy Merino (whose bossanova-style brush playing was the best in the San Joaquín Valley), and bassist Sonny Jay, whoallegedly played with Louis Jordan's band. This was the era of the Brazilian bossa nova craze, soeverywhere you went, you heard either Tony Bennett's "I Left My Heart in San Francisco," oranything and everything by Brazilian composer Antonio Carlos Jobim.

Now let's jump forward to the early 1990s, when I was a member of the committee assigned to the


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Milt Hilton Jazz Perspectives Series at Baruch College (The City University of New York), where Ihave been teaching media and culture courses for the last 24 years. We invited Tito Puente toperform. Over the years, we also invited The Bronx Horns, the Latin-Jazz All-Stars (led by MikeMossman, and featuring Arturo O'Farrill, Phoenix Rivera, Steve Turré, and David Sánchez),trombonist Chris Washburne's SYOTOS, Chico O'Farrill's Afro-Cuban Jazz Orchestra, BobbySanabria's Cuarteto Aché, and the Manhattan School of Music's Afro-Cuban Jazz Orchestra(under Sanabria's direction).

During my tenure as a member of the BMI Jazz Composers Workshop (1998-2006), I wroteseveral big band charts with a Latin feel, including "El Aché de Sanabria," eventually arranged andrecorded by my good friend and colleague on a Grammy-nominated album -Bobby Sanabria's "BigBand Urban Folktales" (Jazzheads 2007).

Clearly, my musical journey has been infused with numerous Latin jazz influences over a longperiod of time. For me, Latin jazz-style music represents the kind of rhythmic drive and pulse thatspeaks to people. It makes them want to move, especially to dance.

The Formation of "The Heritage Ensemble"

In the early 1980s, I was invited to a Shabbaton, a weekend-long celebration of the JewishSabbath. For this occasion, I was asked to perform a traditional Sabbath tune-L'Cha Dodi. Whilelearning the piece, I found myself exploring the jazz possibilities in the harmonization (It wascoincidental and fortuitous that I was studying jazz composition at that time with pianist HaroldDanko, who is now the jazz program director at the Eastman School of Music). Sooner than later,the piece became an opportunity for a swing-style, jazz improvisation. This was the beginning of apersonal process to explore Jewish liturgical and folk music as raw material for jazz (andespecially Latin jazz) arrangements and performances.

Let's fast forward a few years to the time when I formed a traditional jazz trio that initiallyperformed at the Society for the Advancement of Judaism in New York. By this time, I hadarranged a full 75-minute concert set, including some pieces with strong Cuban and Brazilianrhythmic patterns. A few years later, I added a saxophone to the mix. Our first public concert tookplace at Symphony Space. This iteration of what I began to call eventually The "HeritageEnsemble" recorded a demo tape of four of the arrangements. Several years earlier, I had goneinto the studio to record several other arrangements with the initial trio. I combined theserecordings in the album titled "Making The Music Our Own" (MEII Enterprises 2006).

This initial recording, as well as two subsequent Heritage Ensemble albums -"Celebrations:Festive Melodies from the Hebraic Songbook" (MEII Enterprises 2010) and "A Fresh Take" (MEIIEnterprises 2011)-further underscores my basic impulse to incorporate and adapt Cuban andBrazilian rhythms to the arrangements. This is one of the major reasons I asked Bobby Sanabriato perform with the ensemble.

Latin Jazz Maestro Sanabria Joins "The Heritage Ensemble"


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I first became aware of Bobby Sanabria when I serendipitously witnessed how he narrated thehistory of Cuban clave while playing the clave sticks (and never missing the proper beat) at aconference of the International Association for Jazz Education conducted in New York. A fewyears later, we met at an event related to the Jazz Journalists Association Awards. In my role(since 2000) as senior curator of the "Milt Hinton Jazz Perspectives Series" at Baruch College, Iinvited Bobby to perform. One thing has led to another, and now he's a member of The HeritageEnsemble.

Without a doubt, the formation a few years ago of the current version of The Heritage Ensemble-featuring saxophonist Michael Hashim, bassist Frank Wagner, percussionist Cristian Rivera, anddrummer Bobby Sanabria — has had a major influence on the adaptation of Cuban and Brazilianrhythms to my arrangements and original compositions.


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The Judeo-Latin Jazz Arrangements

Take, for example, "Hatikva," the Israeli National Anthem. The music for "Hatikva" is based on afolk song of unknown origins. Its earliest known appearance in print was traced to early 17thcentury Italy as "The Dance of Mantua." The modern adaptation of the music for "Hatikva" wasprobably composed by Samuel Cohen in 1888. It's possible that he took the melody fromcomposer Bedrich Smetana's work, or that he got the melody from a Romanian version of the folksong, "Carul cu boi" ("Carriage and Oxen").

"Hatikva" is written in a minor key, one that may seem depressing or mournful to some people.However, as our English-language title ("The Hope") indicates, the current mood of the song isuplifting. Although it is traditionally performed in a 4/4 rhythm, The Heritage Ensemble plays it in a6/8 bembé rhythm. The combination of the original melody with a bembé rhythm results in a deepercultural and musical meaning to be found beyond the usual melody.

According to Sanabria, "the bembé is probably the most often imitated, yet most incorrectly playedrhythm of West African origin in the United States. Although associated with Cuba, it originated


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from the Nigerian ethnicity known as Yoruba, who were brought to Cuba as slaves in the 19thcentury. Their religious belief system (known as Ifá) and its New World manifestation, known asSanteria -with its complex mythology, rituals, and music -has influenced much of Cuban popularmusic. The word 'bembé' literally means ceremony, feast, gathering, or party. It is used to praisethe orishas, the deities that explain all of the mysteries of life (both physical and metaphysical) andthe universe. The rhythm, with its cadence in 6/8 meter, is defined by an iconic bell pattern that isat the root of the "feel" of the swing ride pattern that every jazz drummer plays today. In ourarrangement of "Hatikva", the bell pattern is reversed, following the rhythmic cadence of the introand melody, and it is fused with elements of a jazz waltz feel, with a backbeat from rock music onthe snare drum. Meaning that there are three rhythmic traditions being fused all at once in what I'mplaying on the drumset. In the bridge of the song, I switch to the joropo, a Venezuelan style in threecounts that is very syncopated and driving. All of the rhythms fit beautifully together because thecommon denominator is that they give the aural experience of multiple meters of two, three and sixhappening simultaneously, thus creating a rhythmic intensity that compliments the melody, whileexciting the listeners and inspiring the soloists.

A Second example: Ata Hu Hashem

"Ata Hu Hashem" is extracted from the Jewish liturgy. The text declares: "You are the Lord, ourGod. Grant peace, welfare, blessing, grace, loving kindness and mercy unto us and unto all Israel,your people." The melody by Shimi Tavori indicates an allegro moderato (moderately fast) tempo.


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We play it with a samba- canção feel.

In the same manner in which the romantic slow tempo of a bolero is related to Cuba, the samba-canção is associated with Brazil, according to the following comments provided by Sanabria:"Tempo is a defining element in most forms of music, particularly those from Latin America, andthis piece's interpretation is no exception. With its haunting melody and static harmony, I interpretthe rhythmic feel of the piece on the drumset with syncopations that have their roots in the sambatraditions of Brazil, while I occasionally interject maraca-like patterns from Cuban bolero on thehi-hat. The bass lines and extremely slow cadence of the piece define it as samba-canção, theslow romantic tempo of Brazil".

A Third Example: Bilbililos (a.k.a. Zur Mishello)

"Zur Mishello" is an anonymous hymn that is generally chanted at the conclusion of the Sabbathmeal. This poem functions as an introduction to the Grace after the Meal, and its four stanzassummarize the content of that prayer. The refrain of this hymn reads: "Rock from whose store we


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have eaten-Bless him, my faithful companions. Eaten have we and left over-This was the word ofthe Lord." Usually sung in a lyrical 4/4 meter, we have adapted it to give it a world music-style,Middle-Eastern flavor, especially applied by Michael Hashim on soprano saxophone. HisLebanese family background comes into play here, although the tune's underlying drum/percussionpatterns are taken from the Antillean traditions, as explained by Sanabria:

“The funky cadence of Puerto Rico’s bomba-xicá style is featured on this piece,played in its folkloric context on rum barrels covered with goat skin, a large maraca,and a small whiskey barrel struck with two sticks, that is called cuá. PercussionistCristian Rivera and I simulate between congas and drum set what is normallyplayed by five percussionists. The xicá is but one of the many styles in the PuertoRican complex known as bomba. The tune’s bass line and harmony, deeply rootedin Middle-Eastern antecedents, beautifully outline the ancestral DNA that manyCaribbean melodies share with Judaic, Arabic, East Indian and flamenco traditions.

The Multicultural Affect

The Heritage Ensemble's musical approach is to take Judaic melodies (and a growing number oforiginal compositions) and morph them into various jazz, Latin American, and, on occasion,neo-classical styles. It is not about novelty or slickness. The underlying purpose is to showaudiences the commonalities among the various cultures from which all these musical cultures areinherited. This is part of the reason the word "heritage" is found in the ensemble's name. Thecurrent iteration of the ensemble reflects this. As mentioned earlier, saxophonist Michael Hashimis of Lebanese descent, while bassist Frank Wagner has an Eastern European background,drummer Bobby Sanabria and percussionist Cristian Rivera are both Nuyoricans (New Yorkers ofPuerto Rican descent). My own Jewish family antecedents can be traced to Great Britain, Russia,Germany, and Poland. Taken together, our collective cultural and musical backgrounds addimmeasurably to our performances, as well as to our approach of melding traditional Judaicmelodies with rhythms and styles from other cultures (especially Cuban, Brazilian, and PuertoRican). The result, in our opinion, is a fresh sound and experience that jazz audiences, amongothers, can access, appreciate, and be inspired by.

Arturo O'Farrill and the Afro Latin Jazz OrchestraTribute to Andy and Jerry GonzálezText and photos by Allen SpatzOn October 14 and 15, Arturo O’Farrill’s Afro Latin Jazz Orchestra paid tribute to Andy and JerryGonzález, founders of the pioneering, Bronx-born Fort Apache Band and the most importantsiblings in Latin jazz. The ALJO cast the brothers in a retrospective of their greatest moments andpremiered O’Farrill’s “Ft. Apache Concerto”. With the assistance of guest arrangers such asMiguel Blanco, Michael Philip Mossman, Johannes Walter and Marty Sheller, among others, Andyand Jerry González performed with the orchestra in a retrospective of their greatest


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accomplishments. The event took place at the Peter Jay Sharp Theatre, NYC.

Global Rhythms, Drumning and Jazz at the


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Watts TowersText and Photos by Ricky RichardsonThe thunderous, roaring sounds heard throughout Watts weren't related to inclement weather,although other parts of Los Angeles had experienced some rain during that final weekend ofSeptember, which is usually set aside to celebrate the percussive heartbeat and wonderful soundsof America's number one art form - JAZZ!


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Sponsored by the City of Los Angeles' Department of Cultural Affairs and the Friends of WattsTowers Art Center, the 30th Annual Day of the Drum Festival and the 35th Annual Simon RodiaWatts Towers Jazz Festival attracted over 7,500 individuals of multiple backgrounds to theseculturally enriched settings (The Watts Towers and the adjacent Charles Mingus Youth ArtsCenter), where such aficionados enjoyed an ethnically diverse two-day program of free live music,dancing and drumming conducted by visiting international artists and local performers. This yearmarked a milestone by celebrating the first 50 years of the Watts Towers Arts Center(1961-2011).

Concerning the significance of the Watts Towers Arts Centers 50-year jubilee celebration, itsartistic director, Rosie Lee Hooks, stated: "We are celebrating a journey of artistic achievement,emotional healing, and community pride; and we are paying homage to Simon Rodia's passion forartistic expression that continues to be an inspiration for many renowned artists in Los Angelesand around the world."

The abovementioned festivals also included art exhibitions and sales, international food offerings,and crafts activities for kids.

Rosie Lee Hooks, Patrice Rushen and Munyungo D. Jackson served as artistic directors for thisyear's festivities, while Ndugu Chandler and James Janisse functioned as masters of ceremonyfor the Day of the Drum Festival. The audience was ready to travel to distant lands (in the wings ofour imagination) through the drums. The festivities kicked off on Saturday with the CuauhtémocMéxico Dance Group, which delivered and exciting synthesis of México's pre-Columbian andcontemporary music.


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Our musical journey continued in Asia with the folkloric sounds and dances of the Korean ClassicalMusic and Dance Company, one of the best Salmouri groups in the USA. The crowd sat in awe asthe Korean performers played multiple drums.

We journeyed back to the USA to hear the amazing Ron Bruner Drummers for JC (BrandiSingleton, Danielle Thompson, and Krystal Smith), with Rebecca Krotmann strumming the bass. I'msure that we will hear from this group again in the near future, and perhaps some of the drummerswill be touring with some major artists in the coming months.

Carnaval season might be over, but that didn't prevent us from imagining our Brazilian journey tohear the hot rhythms of Rio de Janeiro’s Carnaval. Charlo Eduardo & The Brazilian Beat kept upthe momentum by taking the crowd on a musical exploration through various regions of Brazil.

Our musical flight even took us to the rhythmic motherland as Leon Mobley and "Da Lion" roaredthrough some traditional African music and various North American byproducts.

The Day of the Drum Festival concluded on a rousing note. The final set was labeled as "Drum &Percussion Summit —Stevie Wonder's Rhythms” and featured a rhythmic lineup comprised ofbassist Sekou Bunch, drummer Stanley Randolph, and percussionists Munyungo Jackson, LuisConte, and Perico Hernández, among others. With a line-up like this, magic was immediatelycreated!

The festivities continued on Sunday with the Simon Rodia Watts Towers Jazz Festival, whenKamau Daaood and James Janisse served as masters of ceremony. Another great day ofoutstanding music was in store for everyone. The program got under way with a Yoruba groundblessing ceremony and a special presentation was delivered to the family of the late greatcommunity activist Mrs. Lillian Harkless.

The festival continued throughout the afternoon with some straight-ahead jazz and blues performedby Nedra Wheeler’s band, plus Patrice Rushen & The Jazz Mentorship Program Women All-Stars,followed by a great finale presented on a high note by the Horace Tapscott Pan-African PeoplesArkestra.

Rhythms of My SoulBy Chico Alvarez

JOE GONZÁLEZ


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Joe González may have moved away from where (supposedly) all the action is, but he is still by farone of the most sought out studio musicians in Latin music. I recall that during the seventies andeven on through the nineties he was an integral part of that awesome band headed by MarioBauzá. And what a crisp, sharp sound he got out of those skins, not to mention his impeccabletiming! Watching him with Mario's band was truly a pleasure for me, and I'm quite sure that it musthave been an eye opening experience for any up and coming young percussionist as well.

González was born in New York City on March 12, 1953 and began playing Cuban percussion atthe very young age of eight. His first recordings were as a teenager during the early nineteenseventies, and by 1987 he had already turned out stellar performances with such greats asCharlie Palmieri, Dizzy Gillespie, Quincy Jones, Celia Cruz, Graciela, Chico O'Farrill, Tito Puente,Patato Valdés, Monguito Quián and Max Roach.

During the latter part of the nineteen eighties he appeared on the Cosby Show and was part ofRay Santos' all star lineup for the movie score of the 1992 film The Mambo Kings. In addition, he


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was included in a 1993 film, “The Wedding Banquet”. By the mid-nineties, Joe had toured Europeextensively with the Bauzá aggregation, recording three albums there and one here in New York,as well as having performed in just about every major American city with Mario's band. In Japan,he was asked to participate in a recording produced by Tashiba EMI, titled Saizansu Mambo.

As the new century was ushered in, more and more North Americans began to appreciate Latinmusic. Suddenly, the percussionist became the center of attraction, and the shy Joe González thatI knew from the previous years was now being introduced to a much wider audience through hisparticipation on recordings and performances by Wynton Marsalis & The Lincoln Center JazzOrchestra, John Faddis & The Carnegie Hall Jazz Orchestra, Paquito D'rivera, Arturo Sandoval,Hilton Ruiz and Daniel Ponce. All this newly acquired fame made Joe González more visible. Still,he continued to perform the people's dance music during this same period, both in the studio andin live performances with local favorites such as Armando Sanchez & Son De La Loma, PapoPepín & Carambola and Chico Alvarez y Nosotros.

González's contribution to the hard-driving sound of Afro-Cuban jazz is immeasurable and hispassion for the traditional music and culture of Cuba is genuine. His mastery on all the handpercussion instruments can be heard on various albums by The Conga Kings, a group that was puttogether to showcase such master drummers as Candido Camero, Patato Valdés, FranciscoAguabella and Giovanni Hidalgo. On timbal, he is an incredible timekeeper and accompanist, buthe has also been known to cut loose on some great solos.

These days Joe González resides in Palmer, Massachussetts, just north of Springfield, where healso teaches. Yet, he still manages to find time to come into New York and work with the big bandof Arturo O'Farrill, with whom he had enjoyed a solid working relationship for approximately 15years at Club Birdland. In my humble opinion, Joe González is an unsung hero and an asset to anygroup that he performs with.

TONY CRUZ


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Tony Cruz was born in New York City in 1958, during the tail end of the mambo craze, yet hesomehow managed to absorb all the unique sounds that came out of that fabulous era into hisyoung mind, mimicking them to perfection, amazing his family and friends to the point that just tenyears later, as the pachanga and the boogaloo were fading into memory, he could play the solosof his favorite bongoseros, note for note.

Still, imitating Johnny Rodriguez, Candido Camero and José Mangual were not enough for him, sohe sought out these and other master percussionists in New York City, studying earnestly withthem, learning not only the rudiments, but also the dynamics and the various techniquesassociated with the instrument. Add to these the unheard-of idea (at the time) of reading music!

Not only did Cruz study with the aforementioned Johnny Rodríguez, but also with Tommy Lopez,thus furthering his knowledge of the bongó, while simultaneously encompassing the completelineup of hand-played Cuban percussion instruments. His teachers were quick to recommend himto their contemporaries, and within a short time, he had achieved what very few musicians his agewere able to do. Tony Cruz made his recording debut in 1978 with Mayómbe, a local dance bandthat unfortunately recorded only one album. They held weekly rehearsals on 15th Street, in his oldneighborhood of Chelsea. It was a great debut, as I recall, and Cruz's cencerro was the glue thatheld it all together. His timing was like a clock and his sense of rhythm was innate.

Needless to say, Cruz went on to bigger things, playing with such notables as Charlie Palmieri,Javier Vázquez, Joe Quijano, Vicentico Valdés, Jimmy Sabater, Orlando Contreras, DanielSantos, José Fajardo, and Tipica '73 — the only band that he did not record with. I was honored tohave had him on board with the Palomonte Afro-Cuban Big Band, as I considered him then (andnow) to be an asset to any musical aggregation. These days, Tony Cruz can be heard playing withSunrise, a Latin jazz band led by percussionist Geovanni Arencibia.

GENE GOLDEN


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I first heard Gene Golden playing the sacred Iya drum at a historic concert in New York's AveryFisher Hall. The date was March 7, 1975. Four years later, we were united in rhythmicbrotherhood as members of a New York Latin jazz/salsa band called Nosotros. Through my longassociation with him I have learned that he has performed with such luminaries as ArsenioRodríguez, Louis Armstrong, Michelle Rosewoman, Israel "Cachao" Lopez, José Fajardo, PharaohSanders, Gato Barbieri, Leon Thomas, Tito Puente, Johnny Pacheco, Olatunji, Patato y Totíco,Los Papines, Orlando "Puntilla" Rios, Miguel Quintana, David Oquendo, Bobby Paunetto and WillieColón. It is an impressive list that just goes on and on. His recording credits are a virtual "who'swho" in Afro-Cuban and Latin American music.

Gene Golden was born in 1940 in New York City. His parents were immigrants from the island ofSt. Croix. He often talks about their influence on him, and how they were instrumental in turninghim on to Latin music. They had all the latest records in the house, and they could easily see thatGolden was fascinated with Caribbean rhythms from the start. La sangre llama. So much thatwhen he finally took the plunge, he was no novice on who did what, when and where. He knew thehistory of "Latin" music, and he also knew the African traditions from whence they originated. Hisinvolvement with Grupo Folklorico y Experimental Nuevayorquino was documented during thenineteen seventies in two classic recordings for the Salsoul label, as well as in a forthcomingalbum, soon to be released.

Today, Gene Golden is one of the most respected drummers out there, known not only within thepopular dance-hall circuit, but within the more rootsy folkloric music circles. A few years ago,legendary drummer, singer and griot Orlando "Puntilla" Rios was on my radio show and hecommented to me that Gene Golden was a true master when it came to the ritual drumming of theYoruba religion (known as santería). In the realm of the more secular Afro-Cuban style known asrumba, he has been acknowledged by his peers as a virtuoso player, having acquired the


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nick-name "El Quinto Mayor". If you've ever seen him getting off on a solo, you can understandwhy.

On October 5, 2011, The Bronx Music Heritage Center, in association with Pregones Theatre,presented Golden with the Bronx Living Legend Award for his many contributions to world musicand culture, having played a key role in the evolution of New York's Latin music scene amongAfrican-Americans. He was in fact, one of the first African-Americans to study and perfect thepopular Afro-Cuban drumming styles and to embrace the Yoruba traditions, crossing the culturaland musical boundaries that had pre-existed in New York after the World War II. I'd say it wasabout time, wouldn't you?

RENATO THOMS

Renato Thoms was born in Colón, Panamá. He began his music training at the Conservatory ofthe National University of Heredia in Costa Rica. His private teachers have included GiovanniHidalgo and Ed Uribe. He arrived in New York in 1998, and earned a Bachelor of MusicPerformance degree at Boston’s Berklee College of Music, where he received a musical meritscholarship. Thoms also received his Master of Music degree in Jazz Studies at The BostonConservatory in 1998 and was honored with the Berklee College of Music ProfessionalPerformance Division Latin Percussion Award for Outstanding Musical Ability in the Area of Latin


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Percussion Performance.

He is quite versatile and enjoys playing a variety of percussion styles including classical, pop andR&B. This versatility has allowed him to be in different arenas, whether as a cast member-musician of the 2005 Broadway production of The Mambo Kings or playing the 2006 LatinGrammy Awards at Madison Square Garden with Ricky Martin. Thoms has also recorded with TheBoston Pops Orchestra.

In addition, he has performed with many outstanding Latin jazz musicians and ensembles, includingRubén Blades, Eddie Palmieri, Danilo Pérez, Brian Lynch, Ray Vega, Dee Dee Bridgewater, JonLucien, Sol y Canto, Paquito D'Rivera, Antonio Hart, Pete "El Conde" Rodríguez and Hilton Ruiz. 

Starting in 1996, and continuing through to the present, he's been a regular member of the ConradHerwig Ensemble. He has also worked with Bob Moses, Bobby Sanabria, Chris Washburne, DaveValentín, Eric Reed, Johnny Pacheco, and Papo Vázquez. He has performed, recorded, andtoured throughout the United States, Canada, and the Caribbean.

Not content with just performing, Thoms often lectures on hand percussion at Carnegie Hall. As aneducator, he has lectured and taught master classes at Holy Cross University, Rutgers University,LaGuardia Community College, Swarthmore College, The Crane School of Music and ElConservatorio Superior de Música in Spain. Renato Thoms can also be seen conducting the LatinJazz Workshop at the Brooklyn Conservatory and directs the after-school Afro-Caribbeanpercussion programs at Wingspan Arts and P.S.87.

Watch out for this guy – he means business and there's no doubt in my mind that the future islooking good for Renato Thoms.

GEOVANNI ARENCIBIA


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Geovanni Arencibia was born in Santiago de Cuba in 1951. As a child he was motivated by hisuncle Tito Arencibia, who is also a percussionist. It was Tito who first taught him formal musictheory, as well as the basic foundation of Afro-Cuban music. In other words, "la clave".

Geovanni Arencibia first arrived in Miami, Fla. in 1964 and immediately fell under the spell of hismentor, Carlos "Patato" Valdés, who taught young Geovanni to reach another level. Alsoinstrumental in his development was a local drum master by the name of Juan Candela, who isrelatively unknown to many, but who was quite popular in that city during that decade. These twoindividuals instilled in Arencibia the desire to bring the tumbadoras to the fore, rather than keepthem buried in the background. But in the Miami of 1964 there were still obstacles, as much of themusic that was being played was strictly for conventional dancing. In other words, the ballroomprevailed over the solar. Fusionistic music and the art of letting it all hang out was not yet popular.Still, the weather was warm and the folks all spoke Spanish, and this young man was, after all, stillin the learning process.

Feeling quite at home in such a tropical atmosphere, the young Arencibia began playing with someof the local bands, most of which specialized in traditional Cuban dance music. But his heart waswith the more progressive sound of Latin jazz, and more often than not his mind travelednorthward, where the type of hybrid music he was into was not the exception, but the norm.Eventually, he made his way up in New York City, landing right in the midst of a "salsa boom".Without missing a beat, Arencibia plunged into the commercial mainstream, working the dance hallcircuit with such legendary figures as José Fajardo, Típica Novel, Andy Harlow and CharangaCasino. But there was more, there had to be more. Miami was where Arencibia paid his dues, butNew York was where he would cash in his chips.

Still looking for a chance at creating something unique and special, Geovanni Arencibia was eagerto associate himself with like-minded people. His chance came with the likes of Virgilio Marti,


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Jorge Dalto and Hilton Ruiz. He was learning as he went along, about the mean side of businessand about the tastes of his newly adopted environment. He soon formed his own group, Sunrise,and it was during this period that he felt most satisfied. Meanwhile, he continued working with thelikes of Jimmy Vivino, Rudy Calzado & Cubarama, The Tropicana Jazz Band, Charles Neville,Marco Rizo and Meme Solis.

The years passed and Geovanni Arencibia would often find himself working as a back up drummerfor such great singers as Celia Cruz, Maggie Carles and Malena Burke, as well as with bands suchas Conjunto Mafimba. He made frequent trips outside of his home base, performing at festivalssuch as The Kool Jazz Festival, Newport Jazz Festival, Chicago Jazz Festival, Calle OchoFestival, Curacao International Festival, Festival International Du Montreal, Festival D'Ete deQuebec, The Athens Jazz Festival, and The New Jersey Performing Arts Center.

Nowadays, Arencibia keeps himself busy leading two formidable bands; the first is Songosón, atypically Cuban son and funk dance band that will wear your shoes out. Secondly, there is theaforementioned experimental Latin jazz group Sunrise, not to mention an equally ambitious projectknown as The New York Cuban All Stars.

Without a doubt, Geovanni Arencibia is a brother on the move. His passion is deep, his energy iscontagious, and his desire to move people out of their seats is equally impressive. Oh, and Ialmost forgot to mention, he plays a mean-ass timba too.

Tribute to Jesse BermúdezBy Rob Bernberg


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On October 4th, Latin Beat Magazine and Temple University’s Office of Diversity, Equity,Advocacy and Leadership joined forces to celebrate Hispanic Heritage Month with “Siempre Salsa—Tribute to Hispanic Musical Heritage and Philly’s Legendary Salsa Icon, Jesse Bermúdez”. Thiscelebration featured a student-only survey* and introductory seminar, a joint reception (withmusical entertainment provided by Toque de Caché) and a dance that featured the Philly SalsaAll-Stars — an ensemble comprised of professional musicians trained or mentored by A.M.L.A.(Asociación de Músicos Latino-Americanos), highlighting the vocal talents of Anthony Colón,Carlos Sánchez and Tony Maldonado.

A host of local musicians and special guests, including Papo Vasquez and Teddy Panamá, Jr.,took to the stage, and participated in this homage to Jesse Bermúdez while WRTI’s David Ortizserved as “Honorary DJ.”


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As founder and longtime executive director of A.M.L.A. —the organization that has set the U.S.East Coast standards (along with New York’s Harbor Conservatory for the Performing Arts) forexcellence in the realm of community-based Latin music education— Bermúdez has transformedthe lives of countless youths by imparting lessons designed to transmit Latin music’s culturalrichness and emphasize its artistic discipline and capacity. He must be regarded as a truebreathing testament to the importance of preserving and expanding resources devoted to culturaleducation, and his living legacy was appropriately celebrated on this occasion by many stalwartsof the North Philadelphia community, including Councilwoman María Quiñones-Sánchez, formerCouncilman Ángel Ortiz, the González family of Centro Musical, and Diego Castellanos (host ofWPVI/6ABC’s long-running Puerto Rican Panorama television program). Latin Beat Magazinewishes to specifically acknowledge the efforts of Tomás Sánchez and Tchet Dorman(TempleUniversity); Wilfredo, Cándida and Cristina González (Centro Musical); Carlos Sánchez (Orquestadel Barrio and Toque de Caché); and Councilwoman María Quiñones-Sánchez; whose combinedorganizational efforts and support made this event possible. We also wish to thank the Asociaciónde Estudiantes Latinos (AdEL) and the dance troupe Esencia Latina for their support andparticipation.

Although Bermúdez has stepped down as A.M.L.A.’s executive director, he remains extremelyactive in his community by co-hosting a radio program (MEGA/1310’s “Sonido Differente”) eachSaturday (11 a.m.-1 p.m.), producing events for the Painted Bride, and providing a broad array ofproduction and consulting services through his web-site www.jessebermudez.com.—Rob [email protected]

*A random survey of Temple University students, undertaken at the university’s Howard GittisStudent Hall and Mitten Hall, revealed that 66% of its respondents indicated that their friends areof the opinion that salsa is “cool” and 89% expressed the desire to learn more about the musicand the artists that make it.

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