Guiro - Willie Everich, Izzy Davila, Jose Rivera - 11/17/2007

A while back Willie gave me a recording of himself, Izzy Davila and Jose "Jose Conga" Rivera playing a "Guiro" that was recorded on 11/17/2007. This recording was never meant to be shared with anyone. With the recent passing of Willie Everich and the earlier passing of Izzy Davila (2009), I wanted to share this little gem to showcase their talents. Willie was never one to brag about his abilities and would rather highlight other players/rumberos/talents.

This particular set up has Izzy Davila singing lead and playing guataca. Willie Everich is playing shekere and singing coro. Jose Rivera is playing caja and singing coro, that's it. No more singers/players! One thing Willie told me a while back which stood out is that he felt that his ability to sing and play simultaneously was the main factor that kept him working for so long. Willie told me that he felt that other players were more gifted than him but it was his ability to do the job of two men that kept him busy.

I have shared two clips below that I hope you will enjoy.

 

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)

Ibae - Israel "Izzy" Davila

(Izzy Davila, Photo Credit: Izzy Davila's Myspace)

It is with great sadness that I share with you the passing of another great rumbero. Israel "Izzy" Davila passed away in New York a couple of days ago, and has left a major void within the rumba/santo community. Izzy was an accomplished singer and percussionist, and if you have never heard him, just look him up on this site. More info to come but I wanted to put this out to everyone before too much time had passed.

(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***

Bruckner Rumba

A little snippet from a rumba earlier this year with Angel Rodriguez, Jose "Apache" Rivera, Willie "El Ruso" Everich and Babafemi.

Bruckner Rumba

(Willie, Angel, Anthony, Apache, Photo Credit: Ivan Ferrer)

Willie organized a rumba outside of his building which unfortunately I could not make. Dennis Flores took some video which will hopefully make it's way to us soon. Willie told me it was a successful rumba. I wouldn't want to miss the next one.

* I have updated this post with more pics by Ivan Ferrer.

(Angel Rodriguez, Photo Credit: Ivan Ferrer)



(Apache Rivera and Willie El Ruso, Photo Credit: Ivan Ferrer)



(Jose "Apache" Rivera, Photo Credit: Ivan Ferrer)



(Babafemi, Photo Credit: Ivan Ferrer)



(Jose Rivera, Photo Credit: Ivan Ferrer)



(Jose Rivera, Photo Credit: Ivan Ferrer)

Jose Rivera

(Jose Rivera on caja, Angel Rodriguez and Babaila in the background, Photo Credit: Willie "El Ruso" Everich)

"Don't ever sit down with anyone who will ruin the montuno..." (Santiago "Iko" conversing with Jose Rivera)

I first heard of Jose through my compay Willie. From the way Willie talked about Jose, you can tell that more than admiration and respect followed his words, it was a sense of loyalty and brotherhood. More often than not, (especially in the music scene) we are quick to be betrayed, used, and disrespected. This has unfortunately become the status quo, so it's really a breath of fresh air when you come across someone that really ain't looking out for number one. I don't have to tell anyone that's met Jose, what a great guy he is. In any case here is his story:

According to his mom he started around the age of 4, banging on the old export soda cans. The moment came when he about 17 years old, and happened to be playing baseball at his High School (Adlai Stevenson), when he heard a car drive by playing some "plena" and he was hooked. According to Jose, he struck out and said goodbye to his baseball career. His uncles taught him some bomba and plena beforehand, but this had been one of those special awakenings. Jose would go on to play conga in a band by the name of “Tony Aponte y su Conjunto”, the band would later dissolve after the band leader got married. They used to play Tito Puente charts among others.

(Jose on a beautiful Skin on Skin quinto, Photo Credit: Willie Everich)

Jose and a friend by the name of Alex used to play behind a high school on Friday nights in the Bronx, and one day some guy with a Doberman came by and it turned out to be the late Ralphie Davila (Chivirico’s Son). Ralphie asked Jose if he wanted to go to a big rumba on the concourse, and as time went on Jose got more and more into the scene. Apache had been playing rumba, and was ushered into the bembe scene by non other than Willie. Willie was playing with Totico's Okokan guiro group and after insisting for a while Jose finally joined eventually developed into the first call cajero that he is today. Jose has played with Totico's Okokan, Izzy Davila, and Bembesito.

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.

Da Bronx Rocks.....

and it always has....from Jazz and R&B at places like the 845 Club on Prospect Ave, to the great Sunday Latin Dances at the Hunt's Point Palace, on to Break Dancin' and your very first Hip Hop MCs, now a world wide phenomenon and last but not least, rumbas in the parks on those hot summer nights, the Bronx has been heavy in the talent department. I have been here for almost 60 years and am a witness to much of the cultural development of this truly remarkable place . Click on the photo to enlarge.

"Congueros de parque......."

Here is a vintage photo of a rumba taking place in Mulally Park, the Bronx, circa 1974. A 19 year old Angel Rodriguez is in the middle and that's Ray Marrero to his left. We need help to identify the rumbero to his right. Just about everyone was playing LP fiberglass congas at the time.

In Support Of The Spoken Word 10/30/98

There are members of my generation who will remember the Last Poets and their particular blend of progressive poetry accented by percussion. Amazingly, more then 35 years later, the Last Poets continue to spread their message. Today, there are any number of both groups and individuals who use the format to express their points of view. In this video we play our instruments in support of a group of young poets who are fighting for better living conditions in their homeland of Indonesia. Kali Ramirez, Victor Montanez, Adrian Garcia and myself are in attendance.

A taste of Columbia @ the Sport's Bar, Bronx NY

Sport's Bar, on Castle Hill in the Bronx, 4/6/05

NY Rumba 101 Orchard Beach

In the 60's, there were three locations where one was almost always assured of finding some drumming going down. One was Central Park, which began at Bethesda Fountain and then moved over the hill West to it's present location past the bridge near the row boat lake. Then you had Marcus Garvey Park which back then was called Mount Morris. Located at 5th Ave. and 124th to 122nd Sts., the park had drummers playing there in the early 50's. Queen Latifah filmed one of her first videos at the park's highest point which looks out over the Harlem community. Then you had Orchard Beach. Known as the Bronx Riviera or Horse Shit beach depending upon your point of view, Robert Moses, the great city planner, created a beach where there had been none before. Opening in the mid 30's, Orchard Beach rapidly became one of the Bronx's favorite weekend retreats. It is very possible that I had been there prior to being born as my parents frequented the beach on a regular basis and I'm sure my mother went there while carrying moi. The beach was divided into 13 sections, each reflecting various cultural and racial identities. Section 9 had a picnic area just off of the boardwalk and I remember vividly those of Ukrainian heritage eating our foods and playing our music while dancing the folk dances from the "old country." Time went by, demographics changed and from this emerged a new paradigm of beach use. Sections 11-13 became White working class enclaves with Italians dominating population wise. Sections 5-11 were frequented by African Americans and a smattering of other folks. It was perhaps the most diverse part of the beach. Sections 1-4 became in essence, an extension of the Bronx and Manhattan's Puerto Rican community. It was here that the rumba was played and a tradition begun. By the time I was 14 (1963) I was practically living at Orchard. My crew would arrive on Friday after school and stay until Sunday evening...sleeping on the beach, living off of hot dogs and bacalaitos and consuming copious amounts of cannabis. It has been decades since anyone has been allowed to sleep on the beach at this point. The police put an end to it. Such was the reputation of section 1 that would be Latin Music stars such as King "El Solitario" Nando used the beach as a background for a photo for one of his hit albums. There were sure to be drums being played all day Saturday and Sunday. I learned several of the popular coros, "Tu ve yo no lloro tu ve," and "Ave Maria morena," among them so that I could participate. This was 7 years before I began to study the drum in earnest but the seed was firmly planted by these experiences. When not playing, there was plenty of mambo dancing going on. There would literally be 50 radios of various dimensions tuned to the same station, uniting into a cacophony of Bugalu, Cha Cha and Guaracha. The boardwalk was instantly converted to a ballroom as scores of dancers took to the floor.

There are those whose intolerance will not allow for the expression of a culture different then their own. Racism, the ignorance of which knows no bounds, reared it's ugly head on more then one occasion leading to the suppression of the drum several times. This was also the case in Central Park and the drummers of Marcus Garvey are now fighting for their right to express themselves free of the censorship some would impose upon them. The Mariel boat lift bred new life into the rumba scene and Orchard saw a resurgence of a waning tradition. The location has changed to a pathway leading from the parking lot to the boardwalk near section 5. Go on a Sunday about 3PM if you'd like to learn a coro or two and participate. Who knows...you may be inspired to pick up a drum.

Luciano "Chano" Rodriguez....Calabashologist

Of course there's no such thing as a Calabashologist, but if there were, Chano would have certainly held a PhD. His knowledge of the plant, the fruit it bears and its cultural and historical place in the lives of the People of the Caribbean Island groups becomes abundantly apparent in this video of his teaching abilities. Filmed at a beautiful retreat called Wave Hill in the Bronx, Chano shares his knowledge with a family who give him their undivided attention. Chano, who lived in a private house in the Sound View section of the Bronx, actually grew shekere size gourds along the side of the house. To say he had a green thumb is an understatement. Besides being an excellent percussionist with a collection of drums from various cultural backgrounds, he was also an instrument maker which will be seen in the video as well. We lost Chano a while back and the community lost a source of knowledge and wisdom that doesn't come along every day. Chano...those of us that knew you loved you.

Late one night en el Barrio, 117th Street

A rumba is like a living thing...it has ebbs and flows....it is fed by the passion and energy of the drummers...the singer can manipulate it to great heights or tranquil lows...no chorus, no rumba...the waves are actually palpable....this video is a good example of this phenomenon.

(Beatriz - tumbador, Michael Rodriguez (ibae) - tres dos, Rene Lopez II - quinto y cajon, Ivan Ayala - vocals, Video Credit: Willie)

Johnny Conga lets his hands do the talking

Performer/Teacher/Radio DJ, Johnny Conga was my very first teacher way back in '72. He has travelled the world several times playing with notables such as Gloria Gaynor and Sergio Mendes to name just two. Now residing in Seattle, JC continues to perform with several local groups. He has developed a unique teaching concept where the student stays with him for a week and works on a variety of exercises, techniques and rhythms...a boot camp for congas so to speak. His contact information is available on this blog. This video will give you a chance to see what a capable percussionist he truly is. El Ruso

Skip "Brinquito" Burney

When I first became really interested in learning afro cuban rhythms, I called Puntilla. Puntilla was not teaching at the time and the first person he recommended was a cat named "Skip". Puntilla had called Skip, "un tambolero completo". I had not heard of Skip before talking to Puntilla so I was real curious as to what he knew and what he could teach me. Puntilla gave me Skip's number and I called him at his place on West Farms. Now Skip is a rather tough cat to get a hold of, but I was able to talk to him.

I never got to speak to Skip after this, and a couple of years have passed. I never took any lessons with him, but I have been trying to get in touch with him ever since.

(Skip Burney, Photo Credit: Skip Burney)

I have tried to find as much info as I possible could about Skip, here is some info that I got off of a workshop that he was doing 2002.

Born Kenneth Benjimen Burney in the Bronx on July 20, 1953, Skip was tutored beginning at the age of 8 by his mother, Madame Lucille Burney, who along with Leontyne Price, Inid Dale and Chancy Northern were among the first black musicians at the Julliard School of Music. At 13, Skip met Pancho Mora, a Yoruba priest, and was introduced toYoruba culture. After attending Juliard and receiving a master's degree in Theory & Composition, Skip studied & performed with Baba Chief Hawthorne Bey, Julito Collazo, Machito, Patato Valdez, Totico, the national Ballet of Guinea, Tito Puente, Orestes Vilato, and Chico Perez. Skip was introduced to Orlando "Puntilla" Rios, who has become Skip's mentor and padrino (godfather) in the Anya society. Skip, whom Downbeat Magazine has called "the Charlie Parker of drumming," has also studied trap drumming with the likes of Roy Brook, Louis Haye, Art Blakey and Billy Higgins.

Here is another write up on Skip (from a workshop in 08'):

Skip Burney ‘aka’ Brinquito graduated with a Masters in Voice from Julliard. He has since studied Afro-Cuban percussion with Julito Collazo, Lazaro Galarraga, Hector Hernandez ‘aka’ Flaco, Mongo Santamaria and Armando Peraza.
He met his godfather, Orlando Antonio Rios Alfonso ‘aka’ Puntilla. Skip performs with Puntilla in the group New Generation (Nueva Generacion). In 2002, he went to Cuba with Puntilla and was initiated into the priesthood of Aganju.
Skip has recorded and performed with Karen Briggs, Miles Davis, Joe Henderson, McCoy Tyner, Chaka Kahn, Monyongo Jackson and the Jungle Book Band, Bill Summers, Herbie Hancock, Quincy Jones, Dianne Reeves, Tanya Leon, Sting, Vinx, Phil Collins, Cirque De Soile, John Mac Laughlin, Gene Golden and Quinto Mayor, Saoco, Edwin Bonillia, Lefty Perez, Tito Allen, Charlie Palmieri, Ray Santiago, Stanley Clark, Bradford Marcelis, Trelok Gurtu, and Nu Guajiro.

He currently heads his Afro Cuban Ensemble, Eru Chambo and his latin jazz band, Quimbombo.

(Skip on quinto w/ Quinto Mayor, Video Credit: Barry Cox)

My main goal (as if I don't mention it on almost every blog post) is to make sure these great musicians/percussionists/rumberos are given the credit they deserve. Skip definitely fits this criteria. Hopefully I will be able to hook up with him in the future and maybe do an interview.

In the meantime if you want to listen to Skip, here are a couple of recordings that he has been on (unfortunately I don't have a full discography).

Mark Weinstein & Cuban Roots- Algo Mas

Ray Santiago- Latin Up

Mark Sanders has some great video of Skip playing quinto and tres dos on his blog.

Rene Lopez II

(This great pic shows from left to right: Apache, Tito, Rene Lopez Sr, Rene Lopez Jr, and Ivan Ayala at front, Photo Credit: Mark Sanders)

A couple of weeks ago I was on the phone with Jose Rivera, and somehow Rene Lopez Jr name came up. I asked Jose if he could pass along “Renesito’s” (as Jose calls him) phone number, and of course Jose obliged. When I called Rene Lopez Jr., I was pretty excited, and mainly for 2 reasons. One, I had never spoken to Rene, except for a minute or two on a previous occasion, I knew he had a lot of information to share, and I am glad he was willing to do so. The other reason is that a couple of years ago I had the opportunity to interview his father, Rene Lopez Sr. So me interviewing Rene Jr kind of brings things in full circle (at least that’s the way I see it). Let’s start at the beginning shall we? (For simplification purposes I will refer to Rene Jr as simply Rene, and Rene Sr, as Rene Sr)

I had come to the conclusion that Rene was born in the NYC area. To my surprise Rene told me that he was actually born in the Philippines, on a naval base where Rene Sr was stationed. After spending some time in the Philippines, in San Francisco, and Puerto Rico, Rene and family move to NYC and settle in Washington Heights (around 150th and Broadway, where Rene’s mother Zuni is originally from). They would later move to the Bronx.

Rene had an early introduction to the world of latin music and percussion. He was given a small tack head conga when he was around 3 years old, and he even mentioned to have pictures of himself as a toddler with the conga in the stroller. As a young kid, Rene Sr’s involvement in the latin music scene of the day afforded Rene with many opportunities to observe and learn from various notable musicians. Rene Sr. started Rene off on conga. Rene mentions having never had a real “teacher” per se, but learned rather, from a variety of people. Rene credits Nicky Marrero with showing him some timbal, and Manny Oquendo with showing him some bongo. As far as congas he was influenced early on by the likes of, Jerry Gonzalez, Milton Cardona, Gene Golden, and Frankie Rodriguez among others. It’s safe to say that the Grupo Folklorico crew definitely had an early, direct influence on a young Rene. When they would rehearse he would be allowed to sit in at times and play with guys like Virgilio Marti and others. As far as rumbero influences, he mentions, Babaila, Totico, the whole Central Park Rumba scene, etc…

(Rene and Tony Rosa, Photo Credit: Allen Spatz)

The first time Rene went to a club, he went to see Eddie Palmieri at Casino 14. It just so happens that the tumbador at the time was non other than Francisco Aguabella, which of course had a deep impact on Rene. Rene Sr, would start to take Rene to the rumbas, and one place in particular where they used to have rumbas was Angelito’s on 113th st and Lenox Ave. After guys would finish their gigs for the night they would go to Angelito’s para rumbiar. Here is where Rene remembers seeing a great display of dancing performed by none other than the late Patato.

“You know how back in the day you had the broomstick with the horse’s head on it, and little kids would play like they are riding a horse. During a rumba they get the coro going, “So so, caballo so so, so so, caballo so so”, and Patato while dancing rumba takes a broomstick and started riding it like a horse.” (Rene Lopez II, 9/08)

Rene was fortunate to be in the right place and time where he could experience these particular events.

I asked Rene about the now-classic album “Totico Y Sus Rumberos”. He mentions that he was around 18 or 19 at the time of the recording. According to Rene, the recording is important because it’s a meeting of the “old and new”, so to speak. On one hand you have Puntilla fresh out the boat playing rumba like its being played in Havana in the 80’s, and then you have Totico who has been in the NY for a while already who is playing rumba like it was played in Havana in the 60’s. Not only that but you also have Puerto Ricans, African Americans, and Cubans playing together as well.

(Rene playing quinto at Armando's Rumba, also in this vid you have Jose "El Chino" Real singing lead vocals and Izzy Davila singing coro next to El Chino, Fernando "El Poeta is in the mix, and Willie is playing guagua at the beginning, Video Credit: Willie Everich)

Rene himself plays conga, guiro, in the world of bata he known as an “okonkolero”, meaning he specializes in playing the okonkolo (although he mentioned that he is continuously studying and developing his craft). Rene has his own group in the Tampa area that plays guiro, palo, bata, cajon, etc…

Here are the key members of his group:

*Humberto “Pito”
*Reggie Washington “Choco”
*Carlos

Rene himself plays drum and sings. (I forgot to ask him the name of this guiro group unfortunately). At times Felito Oviedo will sing the group. Also Ramin Quintana (used to play iya with Ilu Aye and bata with pretty much everyone in the NYC) plays with the group as well since moving to Tampa a couple of months ago. Rene was telling me that cajon is really popular now and that everyone is asking for a cajon ceremony. He told me the first cajon gig he got, he had two weeks to prepare and in those two weeks he actually had to make the cajones since he didn’t have any at the time.

Rene comes across as one with solid opinions about rumba:

“I have always been a believer of one thing; the rumba is 3 drums or less, tumbador, tres dos, quinto”.

He told me that there is a certain beauty in the simplicity of 3 or less drums, and that when you have groups playing a cajon, two congas each and such, something is lost. Those old Munequitos recordings where the tumba is conversing with the tres and vice versa, and the tres is conversing with the quinto and so forth…that is what it is about.

Rene told me to contact him anytime I wanted an honest opinion about the music. I think I will take him up on that offer so we can continue getting as much info out there as we can.

Thanks Rene.

(Rene Lopez Jr - conga, Video Credit: razalatinaperu)

117th Street Rumba

Rumba in El Barrio @ 117th Street

Ivan Ayala - vocals
Danny Santos- quinto
Jose "Apache" Rivera- tres dos
Rene Lopez II - tumbador
Mike Rodriguez-tres dos

filmed by Willie Everich

Rumba University of the Streets

(Johnny Conga and Willie Everich in 1973 @ 149th st on the Grand Concourse, Photo Credit: Willie "El Ruso" Everich)

In 1972 I embarked upon my percussion journey. I had acquired several teachers most important of which was "Trap" or Johnny Conga as he prefers to be called these days. JC lived on Walton Ave near 166th St and Mulally Park, the rumba university, was several blocks away. His day time gig at that point was Mental Health Worker, a position with NYC's HHC. One of his colleagues was one Luciano "Chano" Rodriguez who was also an accomplished percussionist and artist and lived on Jerome and 165th St; directly across the street from the park. Phil Newsome, timbalero with Harlow at the time also lived in Chano's building as did percussionist/artist and one of the ORIGINAL founders of El Museo Del Barrio and the Taller Boricua, Adrian Garcia.

(Left to Right: Adrian Garcia, Willie "El Ruso" Everich, Amanda Everich, Johnny Conga, the late Chano, Photo Credit: Willie "El Ruso")

Just west, up a long flight of stairs, a group had taken over a building and claimed it for the people. They also included many percussionists and artists as well. They represented the African American presence in the park and included such players as Yomi Yomi, Balogun, Akinsele and Dafadi among others. These drummers travelled the world as members of the reknowned Chuck Davis Dance Company. They introduced me to Djimbe. Many of the members of this collective would go on to help found Oyotungi Village . They were the very first I saw play Bata (at the Studio Museum in Harlem) and DunDun, the talking drums . Other visitors to the park included Eloi Marti, older brother of Virgilio, Tapia, Osorio (who would become conguero with Charanga 76) and Henry Fiol of Saoco fame. Chano's apartment became a Mecca of percussion with many jam sessions lasting for hours as everyone honed their skills and fed their heads. I myself spent many hours there playing and listening to my teachers who were tough but fair. If Chano's apartment was the Dean's office then Mulally was the classroom where rumba and other rhythms were played just about every night. Chano was also in possession of a vast music collection that afforded plenty of research material. For someone wanting to learn to play, Mulally provided an opportunity that you would be hard pressed to recreate. It was without a doubt the Rumba University of the Streets and I am one of the extrememly lucky alumni.

(Mullally Park, Bronx NY)

Ilu Aye - Labor Day Weekend

(Left to Right - Matthew Gonzalez, Jonathan Troncoso, Danny ?, ?, Bembesito, Norka, Photo Credit: Ralph Duque)

I was in NY over the weekend visiting Willie and basically catching up. Before I took the trip up we had decided to hang out at La Pregunta on Friday night to catch Ilu Aye. Neither of us had ever seen them live...we were in for a treat. I got to Willie's place from Maryland at about 7pm on Friday and we decided to just chill at his house until the time came to head out to La Pregunta. Jose (Rivera) met us at about 9pm or so and soon after we headed out. Neither of us had ever been to this spot so I am glad to say that it was definitely a cool place to hang out. There was almost a "familia type vibe" in that most people knew each other and were obviously there to support the guys. Parking was a little bit of a mission but I soon found a spot about a block away from La Pregunta which is conveniently located right across the street from City College.

Walking into the place I saw two Junior congas, a Gon Bop, and 3 barriles (Jose told me that they were made by Joe Santiago) so I knew there was going to be some bomba and rumba. I spotted some balsie drums to the corner and a guira, so I knew eventually they would go into Dominican palo and or salve. They started it out with a bomba which made my arm hair stand up. Me, Jose and Willie were looking at each other like....DAMN!!! They started out with Matthew Gonzalez (16 yrs old!!!) playing a sick primo, Jonathan Troncoso playing buleador and Fidel Tavares playing the other buleador. This young cat Matthew was marcando on that primo like a vet. He is defintely one to watch out for, he plays timbales and percussion for Zon del Barrio (click the link to see the bio), and did I mention that he dances a mean bomba as well?

(Matthew Gonzalez, Fidel Tavares, Jonathan Troncoso, Danny, Bembesito, Photo Credit: Ralph Duque)

So they did a great set of bomba's with Osvaldo "Bembesito" Lora singing the first couple and Norka Nadal singing as well. There was some great dancing by Matthew, Jonathan, Julia Gutierrez among others. I was glad to see Julia there since I knew that eventually when she did dance a bomba, heads would be taking notes, because she is that good.

(Matthew on primo, Jonathan and Felix on buleadores)

After that bomba set they went into bembe (with congas). Jonathan has probably played the best caja that I have ever seen in person, and he makes it look so effortless. Around this time Felix (Sanabria), whom I am glad came through was sitting at are table with this look of proudness on his face. See what you may not know as that many of these younger guys (i.e. Jonathan, Nicky, Bembesito, Camilo), play with and are Felix's godchildren. It was cool to see Felix there supporting them. Soon after they went into rumba and it was on. Felix got on quinto with Jonathan and Danny on tumbador and tres golpes respectively and lit the place on fire. Soon after Jose (Rivera) was called up and played a mean tumbador to a guaguanco and tres golpes to a columbia. Camilo Molina was on tumbador for the columbia and MAN, que ibiono. Willie had a running joke that night and kept telling Jonathan, "Hey Jonathan! Now play a fast one!"... These guys were playing with such energy and excitement that it was hard to stay in ones seat (which really is the whole idea to this music).

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

(Fidel on quinto, Jose on tumbador, Camilo on tres dos)



(Felix Sanabria on quinto, Jonathan on tumbador, Danny on tres dos, Matthew on guagua, Photo Credit: Ralph Duque)



(Fidel on quinto, Jose on tumbador, Camilo on tres dos, Matthew on guagua, Photo Credit: Ralph Duque)

The guys then went directly into Dominican Palo, just when we thought it couldn't get more exciting.

(Jonathan doing what he does best, Photo Credit: Ralph Duque)

After the last set we went to Cuchifritos to grab a bite after attempts at going to El Malecon were foiled. I dropped off Jose and Willie and headed to Queens, but not before experiencing some great bomba, rumba, and palo, all in the same place!

(Felix and Susan Sanabria guarachando, Photo Credit: Ralph Duque)

On Sunday I hooked up with Willie to check out Zon del Barrio play at the Harlem Meer. What a great show with David Fernandez on keys, Yomo Toro on cuatro, Aurora Flores and Sammy Ayala on Vocals, Orestes on tumbador and Matthew on timbal. Alfie Alvarado (whom I finally got to meet) was with camera in hand as usual (more info on her later). It's hard to believe that Orestes and Matthew are 19 and 16 respectively. As Willie says, "the future is in good hands."

(Nelson Matthew Gonzalez, Photo Credit: Martin Cohen)

We went to the show with the hopes of getting a rumba going afterwords. I called Barry Cox earlier and I think he was getting Max to come with him (these guys sing a mean duo). Willie called a couple of his people and we had hoped to rumbiar with some of the cats from Zon as well. It turned out that people didn't show, the Zon cats had other commitments, and before it was too late I called Barry to let them know it wasn't happening and he hit the CP rumba on 72nd. It was a dissapointment but what can you do? On the way to drop Willie off we stopped at Patsy's to grab a slice and forget our troubles.

(Alfie Alvarado w/ camera not too far away, Photo Credit: Martin Cohen, this was taken at her benefit, not the Zon del Barrio gig)

All in all it was a great weekend.