(Izzy Davila, Photo Credit: Izzy Davila's Myspace)
(Photo Credit: Mark Sanders)
*** Mark Sanders, from Fidel Eyeglasses.Com sent me a great pic of Izzy, standing by his good friend Jose Rivera, and Eddie "Sweetback". Thanks Mark for the great pic***
Los Pleneros de la 21 in partnership with the Hostos Center for Arts & Culture Celebrate 25 Years of Bomba & Plena…Para Todos Ustedes!
Añade, which means the Crown of Aña was born in Havana, Cuba in September 2003 from Aña Bi Olorun, the Aña of Oluo Fran Marquetti. Aña bi Olorun was born from the Aña of the late Jesus Perez. Jesus Perez, Oba Ilu, and Pablo Roche, Akilakpa were the most influential olubatas of the 20th century. Since its New York debut at the start of 2004 Añade has presided over many Orisha ceremonies in the greater New York area wherein many omolorishas were presented to Aña.
Añade was received by Felix Sanabria, Awo Orunmila Ifamola omo odun Oshebile, Olo Obatala Igbinlaye who for over thirty years has been performing Orisha music with many of the most prominent drummers of our time. Most notably – the late great Orlando “Puntilla” Rios, Oni Shango Obatilemi who was a leading exponent of Aña, Orisha and Afro -Cuban music in the United States for close to thirty years.
The omo alañas of Añade include some of the youngest and brightest members of our Orisha community and they are dedicated to sustaining our traditions for future generations. These young men and women are part of the Añade family and have committed themselves to the ongoing study of Orisha liturgical music, respectful performance of religious songs and ritual and sharing the gifts and blessings of Aña with our community.
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CAMARADAS El Barrio
Rumba de cajones con “Caja Dura”
“Beats & Eats & Tabaco & Percusion”
Date: Tuesday, July 7, 2009 Fecha: Martes 7 de julio
Place: 2241 First Ave/115th St Lugar: Primera Ave y la 115, NYC
Time: 8 pm – 11 pm Hora: de las 8 a las 11 pmTel: 212 348-2703
Place/Lugar: 4418 Bergenline Ave between 44th & 45th St (2nd floor above La Roca supermarket)
Union City, NJ
Hora: Todos los domingos 5pm – 9 pm Time: Every Sunday 5 pm – 9 pm
CENTRAL PARK RUMBA! SUNDAYS, WEATHER PERMITTING
¡RUMBA EN EL PARQUE CENTRAL! SI HAY SOL HAY RUMBA
Sundays 4 pm – 9 pm Todos los domingos de las 4 a las 9
On the path by the lake near the bridge above 72nd St.
Enter at 72nd St, walk across the park, follow your ears!
LOS PLENEROS DE LA 21 ~
ARE PROUD TO BRING BACK
BOMBA & PLENA - UN PASO ALANTE
Intensive BOMBA & PLENA Classes for
musicians and experienced music students with master percussionist
Los Pleneros de la 21 are proud to announce that due to popular demand and request, we are offering an additional 3 evenings of intensive percussion classes with the incomparable ANTHONY CARRILLO!
Join us for in Bomba & Plena: Un Paso Alante's - our program that offers intensive Bomba, Plena and music instruction for musicians, experienced music students and music afficionados - next dates: on
JUNE 23RD THROUGH JUNE25TH 2009!
THREE CONSECUTIVE EVENINGS
REGIONAL PERCUSSION STYLES,
BOMBA & PLENA PERCUSSION:
REGISTRATION IS REQUIRED
VISIT OUR WEBSITE FOR REGISTRATION FORMS OR CONTACT US TODAY!
(212) 427.5221 / / email@example.com
or visit us at our headquarters:
1680 Lexington Avenue Room 209 NY NY 10029
Bomba y Plena:Un Paso Alante established in 2007, is a part of our “Bomba & Plena For All” – Educating through Arts Initiatives and is made possible in part with the support The New York State Council on the Arts, and NYC Council Member Melissa Mark Viverito, District 8.
Los Pleneros de la 21, Inc.
"BOMBA & PLENA -
uniting community buidling and cultural equity through music for over 25 years
T: 212-427-5221 / F: 212-427-5339
Jose and a friend by the name of Alex used to play behind a high school on Friday nights in the
I've had the good fortune of meeting Jose and hanging with him. Always humble, he is always willing to share what he knows as long as you are respectful. Once in a while Jose will play a bembe with the younger cats, and speak his mind as to certain behavior that goes on. Gentlemen take heed, because we could use a few more Jose Riveras in the game.
Rumbos de la Rumba (The Routes of Rumba) is the result of my collaboration with music virtuosos Pedro Martínez and Román Díaz. It is a conceptual musical journey about Rumba’s performance culture understood as a set of socio-historical relations. Each track is located within a different psychic space to evoke a sense of walking in la Havana, or circulating in the African Diaspora, or feeling caught between love and conflict, between the secular and the sacred.
Soon after their arrival to New York, I saw Pedrito and Román performing at La Esquina Habanera, a well-established Cuban Rumba space in Union City, New Jersey. This project is their first recording in the U.S. as a duo elaborating the entire music in the Rumba guarapachanguera style. Most Rumba records are performed by established ensembles, or what is known as a “ven tú,” a jam session organized by invitation. This work however traces Pedrito and Román’s musical synergy.
I proposed six essential Rumba concepts to Pedrito and Román: dialogue, prohibition, conflict, seduction, Abakuá, éxodo and fragmentation. Pedrito and Román interpreted these concepts by arranging popular Rumbas and composing new ones. Both decided to interpret the fragmentation concept individually. Pedrito created his “Encyclopedia of the Drum,” a number performed with the batá drums—a double-headed set of three drums considered the “Ph.D.” of African drumming. His piece is a salute to Élegua, Ogún and Ochosí, Yoruba warrior deities, also known as the Orishas from Cuba’s Regla de Ocha (Santería) religion. While Pedrito’s “Encyclopedia” shows one of rumba’s spiritual precedents, Román deconstructed the concept of fragmentation into an eight-movement composition. “Fragmentacion” traces Rumba ethnic roots and culminates in a totality: “all of a sudden you are in a Santería ceremony, then all of sudden you are in a rumba, this is Havana.” (Román Díaz)
This project is also about Pedrito and Román’s encounter with the diversity of NYC rumberos. We invited Alfredo Díaz "Pescao" who arrived to the U.S. in 1980 with the Mariel Exodo. Pescao’s contribution was not only his voice and original compositions, but his witty sense of humor bringing the street and solar energy into the project, elements of el ambiente de la Rumba: El Brete (neigborhood gossip), Salud Estomacal (on culinary matters), and “El Monumento,” a tribute honoring Manuel Martínez Olivera “El Llanero.” Pedrito, Román and Pescao performed together these three numbers, creating a sparkling call and response dynamic necessary in a good Rumba. Thus this recording connects two Rumba generations in the Diaspora, Pedrito and Román’s, who were entirely raised in Revolutionary Cuba and departed during the Special Period, and Pescao and Manuel’s generation who grew up in-between the Batista and Castro regimes and left during the Mariel boatlift. Two migratory generations still connected through Rumba as their common denominator and epistemological framework.
Most recordings of Latin music do not emphasize attention to the quality and diversity of the tumbadora drum’s sound because drums are reduced to their rhythmic function. It is also known that the best Rumbas are when they are performed live and spontaneously. However, this recording was done in studio and most of the instruments (with the exception of tracks 3, 6 and 8) were recorded independently. Kamilo Kratc concentrated in the analysis of each drum’s color and sound texture in order to reproduce the melorhythm and harmonies resulting from their combination. Kamilo’s art was also to experiment with different microphones in order to obtain a recording that captured the sound closest to each drum’s natural sounds.
The sound mix was a collective effort. With Kamilo, I was particularly interested in the reproduction of the different drum sounds’ spatial relations. Pedrito and Román also participated in different mixing sessions, they work with the various sounds, their combinations and their drums diverse manifestations. This resulted in sound mixes that complemented each other, adding to each song our different moods and sentiments. The final sound mix was about Rumba’s polyrhythmic figures, to recreate the dialogue between the various drums and human voices. For instance, “when one sound is telling another sound that he has not much time left, that the Abakuá sound is coming.” (Román Díaz) Pedrito also pays particular attention to the choral harmonies; with Kamilo and Maribel they experiment with the creation of Prohibition’s chorus. This resulted in a totally different version of Protesta Carabalí, the song’s real name, a classic made famous by Pedro Fariña and Juan Campos Cárdenas “Chan” in Cuba.
Thus this project is invested in Rumba’s multiple trajectories and layers to demonstrate the presence of history and memory, as they conflate momentarily within Rumba’s contemporary sound, “lo antaño con lo moderno.” (Román Díaz) While Rumba is a highly intellectual, emotional and spiritual, it is also about street culture. Thus where there is rumba, there is controversy, gossip and poetic conspiracies.
This recording captures Pedrito and Román’s musical chemistry right after their arrival from Havana, thus documenting their unique interpretation of their generation’s sound, the Rumba guarapachanguera, a grass-roots music movement that emerged in the late 1970s and that introduced a different Rumba rhythm, the interplay of beats and rests, or what the rumberos call “silences.” The guarapachanguero style juxtaposes traditional instruments with the invention of new ones, for example the “raspadura” drums. Raspaduras are pyramidal wood box instruments which size determines their tonality. Marielito Manuel Martínez Olivera "El Llanero" baptized the guarapachanguero by naming it before his departure from Cuba in 1980. The rhythm, however, was actually invented by his neighbors and cousins, the López brothers, better known as "Los Chinitos," a Rumba family from La Korea suburb in Havana. Los Chinitos, Francisco Mora “Pancho Quito,” Jacinto Schull “El Chori,” and the ensemble of Yoruba Andabo were this musical movement’s precursors and Pedrito and Román’s direct influence.
The invention of the guarapachanguero’s new rhythm and drums is a key indication of Rumba’s improvisational nature, an acoustic elaboration that showcases Rumba’s experimentation based on a profound sense of polyrhythmic knowledge based on the clave (performed with two wood sticks or two different spoons) timing, and the necessary conversation among drummers, singers and dancers. Thus improvisation or inventar (to invent) is a great example of the rumbero idiosyncrasy: anything rumberos think becomes a Rumba lyric, anything the rumbero touches becomes an acoustic surface, and when the police arrives there are no drums on sight but wood trunks, suitcases and spoons.