"the only original Valje drums that were painted"

Hey Tony,

I saw your web sightand must say you did a good job with the pics and especially the history. I have a little story for you.

I was living on the west coast for some time during the 70' and early 80's. I have been to Tom's shop a number of times and have had a number of his drums. Loved them all. However, I once was in the area and went to see Tom and if he had anything new and exciting. There was a set of three Quinto, Conga, and Tumba that caught my eye. Thery were a sort of cranberry red. Beautiful drums. Tom asked me to please get them the hell out of here because they drove him nuts. He went on to tell me that he never painted drums before and wanted to try it. He added that he would never do it again because he got paint all over his shop walls, floor and himself. I was trying hard not to laugh because I could see he didn't think it was funny. I bought the drums and still have them. As far as I know they are the only original Valje drums that were painted. I haven't played for a long time but just recently got them out to see if I still have "it". Well one thing for sure, the drums still have "it". They sound as good as when I first saw them. Valje drums always had a different sound. Full voices and rich clear tones. They made me a better player. Take care Thanks. .

Carnen

La Pena Rumba 5/09

What a great time we had yesterday, playing and singing at the best open Rumba in the country.

The singing was off the hook, and the whole rumba ripped in response.

Leading fat Coro, Carlos Aldama, Yaya Maldonado, Mejail La Brada, Hector Lugo, Orlando Diaz and a serious heavy from Caracas Venezuela (to be named later) sang beautifully. This Venezuelan has obviously been hanging with heavy Afro-Cubanos.. he sounded just like Puntilla's son. A nasally, out of the side of your mouth, heavy on the open vowels, more African sounding, choppy and percussive.. sounded more like the Yoruban spoken by the African decedents of relatively recent immigrants, as opposed to the sometimes slurred spanish sounding pronunciations from some. It has heavy G's, B's, open O's.. somewhat sounds like the Phillipean language Tagalog to me.... anyway...

I was having too much fun singing coro with Maria de Columbia, backing Yaya and Hector.

Chris Flaco Walker, Javier Navarette, Trevino Leon, Ruskin Vaughn, Carlito from Havana, Buddha, Cecil, Christina... and we were blessed to have Damian 'the chosen one' De Jesus there as well, looking hep and hitting hard.

Chris's good friend (Arturo?) from Seattle came to hang and play. He had the coolest studio 54 hat.. diggin it! He played a mean Chekere and sang coro like he knows whats up. It was cool to see Chris with an old friend.. hamming it up.

Ive been a bad blogger, and didnt get these cats names dialed, but I will try to update. I have to bring a note book, or something.. like a reporter!

We are so dang lucky to have so many talented singers, dancers and players in the area. What an amazing place the bay area is. For me, after seeing 38 other countries, I still love the US of A, and the best place to be - the SF bay area.



Irish Rick brought his Cedar Bauers (lucky dog, they used to be mine!) and they sounded so very nice. One great set for rumba, no doubt.

This group of people enjoy each others company more than any I know. It's a serious brotherhood, and the love is palpable.

After the rumba, we all were hanging outside, and the most amazing session came ringing out of the crowd.

Carlos Aldama, Mejail La Brada and this serious heavy from Caracas were singing one rumba after another, a cappella with clave and a clap on the pulse... for a nice long time..

I do believe that was the coolest thing i have ever seen at La Pena.. or way up there, anyway.

Carlos jumping in with old and familiar tunes received with boisterous cheers of recognition.... like, I havent heard that song in ages... and I'm lovin it!

Carlos was on fire, looking and sounding healthy and strong.... we are so blessed to have him here.




Earlier, we were talking about life... I told him that on my last day on earth, I will hear his voice singing me to sleep. He thought that was very flattering.. he is such a humble Master.

He said, on his last day, he would dream or his life in Cuba and California, which he said he loves equally... he started to reminisce... and it dawned on me... This incredible human has had, and continues to have the most incredible life, we can only begin to imagine what his mind holds... ... Abakua ceremonies, trotting the world performing huge gigs, all the historical figures as brothers, friends, and family, the sights and sounds of his homeland. I got a glimpse of a humid and earthy little thatched outbuilding, the salty air and the smell or the sea, mixed with frying fish.... as he spoke.. odd...



I believe Carlos may be the most interesting person I have ever met. Such and incredible story to hear... unfathomable for us, what it must be like to live. His story is seemingly endlessly fascinating and so packed with experiences, its overwhelming to comprehend.

It must be very hard not to live in the past, with such incredible experiences. It seems to me, he is clearly living in the present. The Orishas have provided a strong mind, and he honors them with his strength.

He then took out his phone to dial up photos of his kids to show me. I snapped a picture of him with the technology... evidence of his modernism.

I need to spend more time with the Maestro. I need to make it a priority in my life.



Afterward, Yaya and I went to his place for tea, played some of his newest Chekeres. He has some really nice gourds he is stringing up.. one cachimbo i have my eye on...

He said one of the players at the gig we did together last week, broke beads of of his chekere by using it like one of those small beaded African instruments held by the neck and hit on the leg. Yaya repaired it by taking the same wooded beads, splitting them in half and gluing them around the strings.. cool fix... for some reason, i didnt think of replacing the beads.. I have a few i need to replace on my set.

He is a good friend, and we enjoy talking about life... music, the tradition, girls, fishing, cats (as in the furry purring kind)... we can talk for hours. He has the best stories about the music scene here and back east, before I hit the scene.

He played me some really fat sessions he did in early 2002 with a serious collection of talent: a heavy pianist and vibe player, heavy hitters lead and rhythm. The project had Yaya's nephew David Florez on traps and a ripping saxophonist. Yaya was crooning like a mix of Tony Bennet and Mel Torme... too fun.


I was like, Yaya, this @#$t rocks, man... you have to do more of this, and gig with these cats. He said they would be happy to perform, but Jazz gigs are hard to get. me: I'd be happy to book gigs for him, should he reconvene the group. The live recordings were so smooth, with completely ripping solos. A studio recording would be all that, for sure.

I was impressed with Yaya's prowess, as a jazz singer, hitting all the changes on some really challenging tunes. Coming from a Jazz family, I was surprised to hear that Yaya has such fat Jazz chops.

Speaking of studio recordings... Yaya is planning a studio recording of Rumba from the cats of La Pena to commemorate the 10th year anniversary of this legendary open public rumba, the absolute best in the states. I sure hope I make the cut.. id absolutely love to cut tracks with these cats, for posterity. We'll see.

Master Cuban Dancer Temistocles Fuentes Betancourt workshops 5/3-4

Special workshop focusing on Afro-Cuban folkloric dance from the Oriente provinces of Cuba-Gagá & Vodú-taught by master Temistocles Fuentes Betancourt. A native of Santiago de Cuba, Temi became a member of the renowned Ballet Folklorico de Oriente in 1978. For thirty years he danced professionally with the company, performing throughout Cuba, the Caribbean, Mexico, Spain, Italy, Russia, and Africa. Temi danced as primer bailarin from 1979 to 2000 and worked as choreographer and professor with the company until 2000, when he became assistant director. Other professional distinctions include director of the performance group Conjunto Folklorico Kazumbi; professor of Salsa in the Ateneo Cultural Antonio Bravo Correoso; choreographer of the youth group Los Chicos Alegres de Veguita de Galo for Carnival; and director of the Ballet Folklorico Cutumba.

Host:	CubaCaribe Festival of Music & Dance
Type:	Education - Class
Network:	Global

Start Time:	Sunday, May 3, 2009 at 10:00am
End Time:	Monday, May 4, 2009 at 11:30am
Location:	Dance Mission-$15-All levels welcome!
Street:	3316 24th Street @ Mission Street
City/Town:	San Francisco, CA

Peoples park 40th bday benefit - Way out, with Wavy Gravy!

We had a great time the other night at Ashkenaz, one of the best local venues for world music, just north of Berkeley. It has a long history as a club and was an important venue in the 60's.

The show was a benefit to commemorate the 40th anniversary of the founding of Peoples Park, the famous place of 60's protest near the Berkeley campus.



At one point, the entire country was fixed on this little park, the protests that defined a generation, and the clash of differing American cultures. This was about Vietnam, social welfare, community self determination, the separation of rich and poor, and police brutality among other concerns. The debate continues, and its not difficult to see the same theme in the world bank/imf protests of today.

The bill: Funky Nixons, Wire Graffiti, Marimba Pacifica, with Wavy Gravy mcing and doing some spoken word/story telling.

It was so fun to be a part of this fund raiser, as I was a one year old kid when the park was founded. But have always had a connection to the event, somehow.



Hadley Louden's band, Marimba Pacifica, had a few of the lead players drop out at the last minute. So he threw in a Rumba tune to mix things up, called Rick and I up to play.

We did a slow guaguanco. I was on Tumba, Ruskin Vaughn on Segunda, Hadley on Piano, Yaya on Quinto... Hadley wanted to play a smooth kicked back Californian groove, like a Yambu without a care in the world... yea, its somewhat of an oxymoron, but the sound he was after worked beter with the band.. Ruskin wanted to play up on it like a Cuban, Yaya was also trying to speed things up... and i was in the middle trying to make peace by playing just up enough while trying to groove. At one point, Ruskin is looking at me like, push it man! and behind him Hadley on Piano saying slow it down, behind me Yaya trying to get clave up tempo.. funny.



After, we were in the green room with the cats from Funky Nixons and had the most hilarious time.. these guys were cracking me up. These cats were sharp. .. quality comedy.. that was too fun.

One of the cats in the band, pictured in back to the right of this pic, is actually the mayor of Albany! He was a crack-up and we couldnt tear ourselves from the entertaining conversation, till they had to go on.

I didnt know his ax, but I expected him to rip on guitar or something... but he was rocking the cow bell! yea man! I can just see this band performing as teens in the thick of it.. back in the day.

Fun to be a part of it, as I was born late in '67. For some reason, I feel like an honerary hippy!

Tony

Conga drums - still in love with the variety

Its been a while since I posted random ideas about the tumbadoras..

I am, and will always be in love with the very sight of the instrument. It seems I never tire of the search for information on these, and many other rare and forgotten instruments and makers.



The recent history of these instruments is really unwritten. Id love to see a book that discusses the development of the conga, from tack head to modern Matt Smiths.




One day, I will go on a journey to Mexico and South America, in search of the best makers of these drums.. I think it would make a great documentary.



I love quests that take you across the globe. It feels like you're Indiana Jones himself.

I will try to post more info about congas in general.

Tony

La Pena Rumba 4/09 LA in the house!

It was a fun time at the rumba this weekend.

Irish Rick brought his set of Cedar Bauers i helped him piece together. The set completely rocks.. so fun to play.

As far as the players of said instruments... we are sorting out a few things, as far as how we can make a more solid thing out of the new group of cats. Most of the additions, like myself, are not always the best players in the house, so it makes for a few awkward situations from time to time.



But somehow, and with the experience of a few heavies playing with straight, grooving parts.. we were all able to get the best sound with the players at hand. Its always amazing how well it all works out. I guess that's why the 9th anniversary is coming up soon. (BBQ, PARTY to be announced!)

Later in the day, the heavies came out, as usual, and really played well. Javier Navarrette, Trevino Leon, Pili Martinez, John Santos, Yaya Maldonado, Hector Lugo and the rest of the gang.

Yaya, Hector, Santos, Orlando singing some really fun tunes... mixing it up.

Hector has some great material, and he's really going for it, as far as learning the songs, etc.



I really appreciate his quinto playing. He has a really clean style.. very well thought out. He has a new project, i hear the heavies are laying tracks for.. not sure when its being released, but I will post it here when it does. It should be fat, with many of the biggest names of the bay on the recording.

Anyway, at the rumba, these cats from LA came to check out the scene and play for us.

I was giving him a hard time for asking me for the quinto, just as i sat down to play. I just wish they would give it a listen, then take the drum... That being said, if I knew who the cat was, and knew he wanted to play, I wouldnt have been sitting at the quinto.

I didnt catch their names, but word is, the cat ripping on quinto was Francisco Aguabella's cousin. He played some sweet licks, ripping it up. He had an unusual, but tasty style.

so.. I waited, and caught a super sweet wave...

I sat down on quinto with John and Javier, Yaya singing a Yambu that I will always remember. John and Javier are the most solid two players one can ask for... anywhere in the entire country... the two best cats to lay down a super solid, and gracefully tasty Yambu.




I can tell you, it was like the bombing the fresh powder shoots of Utah.. carving up the cleanest set at mavericks.. way more fun than nailing a 3pointer at the buzzer.. these moments, I adore.

Anyway, the session was packed and successful, the 9th year running.

Yaya has really to be commended. In fact, he should be eligible for some community arts award or something. The cat really has made a huge contribution to the art form and culture of Rumba in the Bay. Im going to look into it.. perhaps there is a way to nominate him for something.... he needs to be recognized for this incredible long run of La Pena Rumbas.

It really has been a fine work of management, on Yaya's behalf. Trying to keep the heavies happy with quality rumba, keep the new blood flowing in, while keeping those who cant play from messing things up.... all that while playing clave and singing... ;)




At times, Yaya will stop everything and say.. I dont know what to say man... someone gives a wink to someone.. players shuffle in and out.. it starts again and works fine, usually. Not a big confrontation or 'call out' on the offending 'rumbero'. Its masterful, actually.

He quells the overexcited and under experienced with well timed mini-speeches about 'this is not a practise session, if you cant play rumba, listen and sing coro'... the usual montra. I bet he has given that speech around 100 times in the nine years. Thanks from all of us, Yaya, we know its a pain in the ass.

All in all, that session was sweet, here is the master quintero Pili Martinez on his favorite ax, the quinto cajon.... Pili has the fattest technique, with crisp, biting slaps on this wooden box of a beautiful instrument. so fun to watch, as it would tear my chops up if i played like that... yea... as if.

The "tree of traditions" project

So, Ive been thinking of a project.

I developed the initial stages in rough draft, naivete included.

Its like a family tree, only the family is the entire Afro-Cuban musical tradition.

Yes, we all know we wont be including everything, as much is not available to the uninitiated. But this project will be created to be edited. The hope is that the project will be a good start to a graphic understanding of the peoples and thier specific musical traditions, in Cuba from 1970 to today, religious or recreational.

It's easier to illustrate graphically... some day soon, I'll post a picture of the tree in its raw form.

I know this is going to stir up some people who think no-one but Cubans should be doing work like this, or there is something clearly wrong with someone of European decent doing a project like this..



Remember people, this project will be yours. The intention is to attract many people with varied knowledge and expertise to further develop this into something useful to future generations.

so, what is this thing... this tree....

well...

Starts with mother Africa... then to the geographic regions (ie Congo, Yorubaland, etc.), then peoples in general(Yoruban, Efik, for example), then traditions (Abakua, Arara, etc.), then specific rhythms, dances and songs.

Imagine a tree, with Africa at the top, and various rhythms at the bottom (Yambu, Arara Mase etc.)

Then, imagine a page on your computer, with the entire tree on one screen.

So, you can zoom into any section of the tree... say Comparsas from Santiago de Cuba, for example, and you see a page with links to video, maps, historical information, pictures, audio, references, etc.



Or, say you zoom into just the Dehome section.. you will see information about the people, their traditions in general (Arara, for example) Pics, video, etc.

It would have to be in Flash, or something... Im going to have to find a developer who needs conga lessons!

I do think this would be a great thing to leave our future generations. I know I'd be stoked to use it, as a student of this musical tradition.

Tony