More Ilu Aye

One of my favorite, most energetic group of drummers which are masters over several Caribbean styles of drumming...here is a few videos I found on YOUTUBE. It's been a while.

 

Video Credit on all videos: Cartagena Santini (http://www.youtube.com/channel/UCN12_d4H0Klm76bGTpyWMQg)

Sentimiento Documentary - Part 1 & 2

I came across a documentary featuring Emery Damon and Danny Maldonado from the Ilu Aye and Anya Ade crew. They discuss aspects of the Ocha Religion, as well as race/color in the NYC drumming scene. There are some great clips of Ilu Aye in action and even a rare treat where they are doing a little bachata at La Pregunta...pero que Sentimiento! These guys are talents man, nuff said...

(SENTIMIENTO Part 1, Video Credit: beautyfullone01)



(SENTIMIENTO Part 2, Video Credit: beautyfullone01)

Palo Dominicano

(Ilu Aye playing Palo at La Pregunta, Video Credit: Nicky Laboy)

Ilu Aye 3.27.09

(Fidel, Jonathan, Bembesito, Norka, Photo Credit: Ilu Aye)

This Friday, if you got plans, than break them, if you want to impress your girl than take a trip uptown and catch Ilu Aye once again at the infamous "La Pregunta Arts Cafe". Definitely worth the price of admission.

La Pregunta Arts Cafe
1528 Amsterdam Avenue
New York, NY 10031
(347) 438-3236

They say 9pm, but probably won't start until 10pm, call ahead.

Ilu Aye 3.13.09 @ La ?

Its the usual suspects again playing their brand of funk. The good thing about Ilu is that you never know exactly what kind of set they are going to play, whether they will break out some cajones and play a "cajon de muerto", or bembe bakoso, a little seis corrido, etc...it would only seem right that their regular gig would be at a place called "La Pregunta". Catch them tomorrow 3/13/09 @ 9:30pm. I that will be $10 at the door.

Ilu Aye 2/27

Bembe 2 Iyesa

I had to put this up, in case you haven't been to La Pregunta to catch Ilu Aye, this is what you are missing.
Bembesito - akpwon, Danny Maldonado- atchere, Fidel Tavarez (?) - bells, Jonathan Troncoso- mula, Camilo Molina- caja, Nicky Laboy- cachimbo, Susan Sanabria - dancing for Ochosi....

Tonight.

Guess who is going to be playing tonight @ La? ?

My favorite group (and yours), be there and don't miss the excitement because you never know exactly what they are going to do.

Anya Ade = Ilu Aye = The Young Lions

From the looks of it, I think this was at a gig in support of Obama. Ilu Aye with Oludare Bernard (son of Canute Bernard, ibae) to the left on okonkolo, I think JBlak is on Iya, Emery Damon is to the right on itotele and Bembesito is singing akpwon of course. Bembe gave me permission to post this, as I thought it would be nice to post a pic showing some of the other cats that play with Anya Ade.

From La Yuma to Ilu Aye

(Danny Maldonado, Camilo Molina, JBlak, Photo Credit: Harold Martinez)

Without question Ilu Aye is one of the NY Folkloric music Scene's most important groups. Not only are they playing Afro Caribbean music of the highest caliber, but the group has been fertile ground for other young new talents (besides the mainstays). Those that make up the roster of Ilu Aye belong to an extended family of percussionists, dancers, historians, artisans, photographers, videographers, designers (graphic, etc...), singers, that all share and co-exist among each other. Your almost guaranteed to see members of Ilu Aye playing with Alma Moyo, and vice versa, much in the same way you wouldn't be surprised to see Julia Gutierrez (LP21) dancing at a gig in which Ilu Aye is playing.

I posed the question to Jonathan Troncoso, and this is what he had to say about the beginnings of Ilu Aye (03'):

"The first members of "La Yuma" were me, Nicky (Nicky Laboy), Bembe (Osvaldo Lora), Papote (Papote Jimenez, member of Cachimba Inolvidable), David Gomez (timbalero and batalero extraordinaire), Ramin (Ramin Quintana, currently in Tampa and playing with Rene Lopez II) and Oba (Obanilu Allende), but --- tried to change the name to "Tambu Ire" and we had a big argument and because of the argument we asked our muertos, "What was going to be the name?" And we started putting in names like "Ilu Ire", and the muerto said no, then we asked what about "Ilu Ara Aye" and the muerto said no, and then we asked about "Ilu Aye" and the muerto said yes with flying colors..." (JBlak, 09)

When you look at the how the group started probably not one of the members were over 30, and many probably weren't even over 25 if that. If you are in NY area, and Ilu Aye is playing, you need to catch them. More info to come...

...Jonathan just sent me some more info to clarify, just in case my post was misleading in any way.

Hey just for the info, Norka (Nadal) owns the barriles and she's been a member for 2 and half years and Oba (Obanilu Allende) is not in the group and Julia (Gutierrez) is not a member as well. Just in case the actual members are me, Nicky (Laboy), Bembe (Osvaldo Lora), Camilo (Molina), Norka Nadal, Fidelito Tavares and Danny Maldonado..." (JBlak, 09)

This just in...

Anya Ade, Ilu Aye

Check out these vids that I found on youtube. I believe Nicky put these out there. The second one is a gas.

Ilu Aye, Cajon Espiritual



Anya Ade

Jonathan Troncoso

A conversation with Willie the other day sparked the post at hand. We usually end up talking about the cats that comprise Ilu Aye (I hope at this point you haven't gotten sick of hearing that name) but we do so for good reason. One, they at the forefront in the NYC musical scene when speaking of Afro Cuban, Puerto Rican, and Dominican Roots music. And two, they are humble. This in itself is a rarity as I know many besides myself can attest to.

One of the main problems surrounding groups such as this is that the testerone level becomes so high that groups eventually disband for numerous reasons. It seems that Ilu Aye has stuck together and the key members are in for the long haul (let's hope).

Which leads us to our latest profile: Jonathan "JBlak" Troncoso.

To say that Jonathan can play is an understatement. Not only can he play, but he can play well and he seemlessly fits in with whichever groups he plays with. This fluidity has allowed Jonathan to not only become a first call percussionist but has also allowed him to play with most if not all NY's folkloric groups. He can sing, dance, he plays a mean caja to bembe and let's not even mention what he can do on a balsie drum.

(Jonathan on tambora, Photo Credit: Harold M Martinez)

Here is some info regarding Jonathan (taken from his myspace site):

Jonathan “JBlak” Troncoso, was born into a family of musicians (including grandfather Bienvenido Troncoso - the well-known composer) in Los Mina - Santo Domingo, Dominican Republic, in 1982. Jonathan was inspired to be a musician at an early age by his father, Domingo Troncoso, a percussionist. At the age of five, he picked up his first instrument, "la tambora", and amazed his family and neighbors. Jonathan’s ease and fluidity with the instrument had been learned observing his father, a professional musician. Shortly thereafter, Jonathan began playing guira and later, bongo. Versed early on in playing percussion for popular music such as merengue, bachata, and salsa, Jonathan began playing professionally as his father’s young protégé. His musical life changed and interests shifted when Jonathan moved to New York City in 1992, at the age of 10.

Displaced by the move to New York and fascinated by the presence of live percussion on New York City streets, Jonathan began training in Afro-Cuban and Afro-Dominican traditional percussion with Manolo Mota, his first teacher in a foreign land. By 2000 Jonathan was invited to join Claudio Fortunato y Los Guedes, a well-known ensemble of Afro-Dominican traditional musicians dedicated to preserving the Dominican traditions of “los palos” for sacred and popular functions. Increasingly, Jonathan was drawn to the pulse of street-side rumbas throughout New York and began to embrace Afro-Cuban musical traditions as eagerly as he embraced the musics of the Dominican Republic. At once, he had become a child of the Hip-Hop generation in New York City, where he performed Spanish Hip-Hop and Reggeatón. As much a student of professional musicians and traditional masters in New York, as the streets, Jonathan was a sponge for culture - a characteristic that broadened his musical horizons and inspired his study and later, mastery of several instruments in the Afro-Caribbean musical traditions.

Driven by his familial influences and the teachings of numerous other master musicians and percussionists, including David Oquendo, Roman Diaz, Pedrito Martínez, Pupi Insua, Felix Sanabria, Ernesto Rodriguez and Boni Raposo, Jonathan has dedicated himself to the African musical traditions of the Dominican Republic, Cuba, and most recently, Puerto Rico. As an emerging professional musician, Jonathan is known for playing a range of Afro-Caribbean genres, including, palo dominicano, Afro-Cuban rumba, bata, palo, and abakuá rhythms, and is presently studying Afro-Puerto Rican bomba y plena, two genres he embraced while collaborating with Puerto Rican percussionists Nicholas Laboy and Obanilú Allende. Influenced by the dynamic interaction between his peers - namely, young Dominican, Cuban and Puerto Rican musicians in New York - Jonathan co-founded Grupo Ilú Ayé (previously known as La Yuma) in 2003, a ground-breaking group of Afro-Caribbean percussionists dedicated to preserving and promoting the sacred and popular drumming traditions of the Spanish-speaking Caribbean. Jonathan is respected for his versatility and willingness to learn and experiment with fusions of different genres and rhythms. This versatility has propelled him to the stage with several well-established folkloric groups, including Raíces Habaneras, Felix Sanabria’s sacred bata ensemble Aña Ade, and folkloric troupe Los Afortunados. He has also freelanced with groups such as Oriki Omi Odara, Yerbabuena, Palo Monte, La 21 División and Alma Moyo. He continues to collaborate with musicians and noted musical ensembles throughout New York City. Jonathan’s career continues to expand to new venues and outlets. In early 2005, Jonathan was featured on NBC’s Third Watch, with Aña Ade.

Jonathan lives in the Bronx where he continues to collaborate with local artists, and broaden his own creative pursuits.)

Jonathan w/ Los Munequitos de Matanzas, Photo Credit: Barry Cox)

(Matthew on cachimbo, Jonathan on caja, Danny on mula)

He has recorded with:

Ben Lapidus - "Vive Jazz"

Smithsonian Folkways - "Quisqueya en El Hudson"

*top pic, Credit: Harold M Martinez

Osvaldo "Bembesito" Lora

(Bembesito, Photo Credit: Harold M Martinez)

A couple of years ago Willie invited me to tambor de fundamento at Julia de Burgos. It was Totico's Aña, and Willie and Jose (Rivera) met me there. Willie and Jose didn't play bata but were there to help with the ankori section. When I got there I saw a couple of people that I had been following for some time already. As I walked up from across the street I saw Jonathan Troncoso outside talking to Camilo Molina, and someone else. When I got inside the guys were just setting up and Ted "Woochie" Holiday would be playing Iya, Mikel Sotolongo was going to play itotele and Ramin Quintana would be playing okonkolo.

Then a high pitch voice brings in the oro, and it is non other than Osvaldo "Bembesito" Lora. I had heard of Bembesito through Felix previously but had never heard him sing live. Supposedly he was this great young apkwon, and let me tell you he definitely lived up to the hype. His knowledge and "Africania" as Willie calls it is off the charts. Just imagine a Dominican "Cusito" singing the hell out of a tambor. Without a doubt Bembe is not only one of the great "young" singers in the NYC, but probably one of the best "all around" singers period, and the great thing about it is that he does it so effortlessly.

(A younger Bembesito, guess which one he is?)

I reached out to Bembe and asked him for some biographical info which I will share with all of you. From what I can gather Osvaldo Lora is out of Queens, and is of Dominican descent.

RD: At what point did you decide to start playing and whom or what influenced you early on?

OL: I have been a percussionist since I was 14 and I'm now 28. I went to Boys Harbor and studied under people like Jose Madera (Tito Puente's musical director an arranger) and also Victor Rendon, etc. I played with many Latin Jazz Orquestras and big bands. I was also involved in the bachata scene

RD: I understand that early on you have played with Babaila and Felix's groups, were you singing then or just playing?

OL: I started playing folkloric later on after getting initiated into Santeria (Regla de Ocha) where I got heavy into the orisha music and started with many of the locally known musicians of that scene, including Mario Pipo Diaz, Babaila, El Moro, Frank Bell, Totico, Roman Diaz, Pedrito Martinez, and many more. I am sworn to Anya Ade wich is Awo Orunmila Oshebile's (Felix Sanabria's) fundamento.

RD: I understand that Ilu Aye came out of an earlier group called "La Yuma", how did La Yuma start and what was its purpose?

OL: Most of the Ilu Aye members are sworn to it (Anya Ade). Ilu Aye was was started by Jonathan Troncoso when he started putting all its components together so for more info I'm a give his number so you can contact him...

*Bembesito was gracious enough to respond to my inquiry via cellphone/text.

When I saw Bembesito and Ilu Aye at La Pregunta on Labor Day Weekend, they really did their thing. Bembesito sang some bomba, rumba, bembe, palo, and if you were there you know that the place was literally rocking.

Bembesito is a serious student and has really done his homework when it comes to the songs. Jose would tell me that at times Bembesito would sing something at a guiro/bembe that no one would be up on, and when asked about it, he would shrug it off like nothing. Bembe's maturation is truly something to note, as he seemed to have developed quite a repertoire in a rather short time. Although it could be that he was playing low key until it was the right time. Something about the rumba/santo scene, as they say, "Si no sabes no te metas".

Nowadays Bembe is a first call apkwon, and is currently doing things on the R&B side as well. We at Sentimiento just want to give props where due, and Bembe if you are reading this, keep doing you thing, and keep your head in those books.

(Bembesito & ?, Photo Credit: Ralph)

(Video Credits: Dennis Flores)

Nicky Laboy

(Nicky Laboy, Photo Credit: Harold M. Martinez)

Afro Caribbean percussion has an established history in NYC. We are speaking of tradition that has been passed along for a couple of generations already. With each generation more knowledge is ascertained and subsequently created upon, making the next generation of percussionist more proficient than the last. Enter Nicky Laboy.

Nicky Laboy plays it all, rumba, bata, palo, guiro, palo Dominicano, salve, congo Dominicano, bomba, plena, house, latin jazz, you name it. It seems that with the resurgence of young percussionists, Nicky is definitely playing a central role. He plays with pretty much every important folkloric group in the city (i.e. Ilu Aye, Anya Ade, Yerbabuena, among others), he has recorded with the likes of Lil' Louie Vega, and does work with House of Rhumba.

(Nicky Laboy, Photo Credit: Harold M. Martinez)

I am not going to speak too much on Nicky because he already has a bio out on his myspace site:

Nicholas Laboy (born June 18, 1980 in Spanish Harlem/ El Barrio, New York) is a driven musician with innate and continuously growing talents, placing him among the top young percussionists in New York City. Niko, as he is known in his professional circles, grew fond of music in his early childhood. His instruction began in a household surrounded by drums, bongos, congas, timbales and many other musical instruments. His father- being his most important influence- would sit with him, teaching him not only skills critical to his technical development, but above all, discipline. Playing on pots and pans as a child enabled Niko to create great sounds, eventually steering him toward formal musical training and cultivating his innate respect and love for the drums. Niko's formal instruction began at the age of 12 when his father enrolled him at the Harbor Conservatory for the Performing Arts, a renowned music school highly regarded for its commitment to teaching Latin music and percussion alongside other traditionally esteemed musical genres. Located only a block away from his home in the legendary "Spanish Harlem", Niko eagerly pursued music education at the Harbor, with his father's enthusiastic support. There he later met his mentors and teachers, the acclaimed Johnny Almendra and highly regarded Ramon Rodriguez. Johnny strengthened the potential seen by many and utilized rigorous drills and techniques to sharpen Niko's abilities. Under the guidance of his mentors at the Harbor, Niko obtained skills in Afro-Cuban traditional rhythms, and began the rigorous training which would help improve his stamina and speed on the congas, bongos and timbales Niko earned a Tito Puente Scholarship for 3 years at Boys Harbor, where he eventually went on to meet the legendary Tito Puente, and later began playing professionally with various local groups. Directed by Ricky Ayala at the Third Street Music School on the Lower East Side Manhattan, Niko has gone on to perform with renowned musicians such as Frankie Morales at the Copa Cabana N.Y and Masters at Work with Louie Vega at Opium Gardens Miami FL and NYC. One of his many goals in music as he once said; "To be able to use what I've learned and share with upcoming musical talents… We never stop learning and sharing our knowledge." Niko has worked on spreading the knowledge and has taught various percussion classes and Afro-Caribbean workshops throughout New York City and in Miami, FL. Niko is a current member of several notable Afro-Caribbean popular and sacred performance ensembles, including Puerto Rican roots band, Yerbabuena. Niko is also a founding member of Ilu- Aye, an Afro-Caribbean music collective dedicated to preserving the rich African musical influences in the Spanish-speaking Caribbean. Among his many noted contributions to these ensembles, is his superb ability to arrange and direct the groups, adding his own innovative touches and musical flavor. His talents have placed him among the most sought after young percussionists and stimulated the interest of numerous bands in including him in their recording projects. Among several bands and artists that he has collaborated with are: Latin Sensation directed by Jose Mangual Jr.; the internationally acclaimed dance music producer and DJ, Louie Vega ( M.A.W Inc.) for whom he recorded the highly praised percussion on "Steel Congo"; Lou Gorbea; Ashe Productions; and Yerbabuena, on whose forthcoming debut album he will appear. Also, most noted recently was his stay in Singapore.On behalf of SteelVybe Ent, Niko was sent to Singapore for 4 months in order to assist in a grand opening of teh super club Clinic located in Clarke Quay. There he joined Stefanie Rene(vocalist) and Kafele Bandele(trumpet), to add a live sound to the deep soulful house vibe the club was trying to engage. There, Niko met, and worked with the staff and management of Ministry of Sound,Clinic,Head kandy Bar, and Cuba Libre. Niko performed live at Clinic 4 times a week. Noted of his stay, got together with Alma Latina. A group of rich musicians ranging from Cuba to Singapore. They performed mostly every night in Clarke Quay, where Niko would come to sit in on a couple of tunes. The most recent, was a replacement for Anthony Carrilo at Pregones Theater. Desmar Guevara, the musical director, recommended that he do the job. Game Over was the name of the play. A live musical play, where Niko had to engage with many different instruments including timpanni,darbuka,barrile de bomba,bata,and minor percussion.

Whenever I give Jose Rivera a call, I always ask him about Nicky and how he's doing. Jose plays with Nicky at times, has a lot of love for him, and tries to look out for him the best he can. We at Sentimiento are very supportive of Nicky and only hope the best for him.

So Nick if you are reading this, keep up the good work bro, we'll be checking for you.

(Nicky on tumbas, Obanilu playing a mean quinto, Bembesito singing, Tito dancing, Video Credit: exquisitemambo)

(Yerbabuena, Video Credit: BarrioMedia)

SPOOKY !

I was in NY this past weekend, so I haven't been around, but I brought back many a goodie for all you bloggees and bloggettes.

For now check out this event sure to send shivers down you spine.

Those ghastly ghouls from Ilu Aye will be at La Pregunta scaring the bejeezus out of anyone that dare to take the trip uptown on Friday. Don't say I didn't warn you...

Rumba en El Bronx

The Bronx has always had it's fair share of rumbas y rumberos. At one time, you could find a rumba on any number of blocks..like Kelly St. or Parks...like St. James. Now for the most part they are relegated to indoor venues like the Sport's Bar on Castle Hill. The drummers, to their credit do their best to keep the outdoor free feel of the real rumba despite the surroundings. Here, members of Ilu Aye and Chino and Cece tear it up. Recorded 4/10/05.

Oyu Oro

*I am planning on attending this event on the 25th, so if you plan on being there don't be a stranger.

Rumba on Castle Hill, the Bronx, Pt.2

There were many exceptional nights of Rumba at the Sports Bar on Castle Hill in the Bronx. The night of 4/10/05 was no different. Already extablished as the place to be on Sunday night..rumberos came from all over to participate. All of this was made possible by the management of the club and Cece the Rumbero/DJ who did double duty by providing both the live and pre-recorded music. Members of Ilu Aye were in attendance which really kept the drumming on point.

Chachalokuafun ---> Rumba

Just a little clip showing off the talents of one of the best all around Afro Caribbean groups in the city, Ilu Aye. Here they go from chachalokuafun (on congas) to rumba. Felix (sitting in with the group) is playing quinto and his wife Susan steps up to dance a little as well. Jonathan is on tumba and Danny is on tres golpe. You can hear Bembesito in the back doing his thing as well. I apologize dearly for the poor visuals, I hope you can still enjoy...