So I follow up with Timbao Vibe. 'We' have a new bass player Daniel from CUBA !! He has helped me with the whole process and I gave him some help with the reading of charts in a rehearsal. It turns out that it's really a lot about dancing. I've thought about the timbao being in 2 but Daniel explained that
dancers essentially dance in 4 and the montunos reflect that. Things (8ths) seem to be pushed to the beginning and the middle of the bar. The other thing Daniel mentioned that I should listen very carefully to the Timbales and flow and follow their figures and fills. My biggest concern apart from that is just following the form and repeats etc. in the charts. But that is something I should be able to address with the mp3s.
Timbao Vibe had a gig last Saturday again at AZUKARS. The volume didn't quite bother me as much. I felt more prepared and actually was I thought :) laying it down and did get some encouragement from some of the rhythm section guys. The band played much better as a result of tightening up the figures. There was far less conflict than the first time. I was nervous but really was able to smack that beat and it was huge fun. Compliments came from the audience as well. So this is fun.... I may take up the Salsa Dancing and I'll have to play standing up if I get it right :). This is powerful stuff. It's just like the old days (real old) when I played in a (rock type) band for local dances. Here there is this Latin Intensity that is very elating and in spite of the 4-ness of the rhythm, when it's done correctly and with attention, that beat can broaden up and be felt in 2 and in 1. So I'm getting this even though there is room for improvement.
Showing posts with label Timbao. Show all posts
Showing posts with label Timbao. Show all posts
Monday, 27 August 2012
Wednesday, 11 July 2012
Latin Beats
Latin transcribed from professional international bands is tough. I'm spending quite a bit of time practising figures and montunos. Montunos are fairly specified as to 2 - 3 or 3 - 2. In many of the charts there are no indication of 3 - 2 or 2 - 3. I'm trying to learn them from the mp3s. All I have to say is that the latin music I'm playing is definitely worth spending the time. When I've been practising to the tracks, I'm finding it really intense but the more I do it the clearer it becomes of course and it's starting to get that wonderful broad sweep with rhythm units falling in place.
We have an upcoming rehearsal after the first where I played new charts with just three percussion players with no bass. I was quite unprepared and figured I could manage if the bass player was there laying down the Timbao; but no... I was on my own and playing on the tinker toy of electric pianos—I'm taking my own keyboard tonight. It should go better. I feel really connected to a few of their tunes.
The piano's role is really central what with montunos getting quite creative and beautiful on the tracks that I've heard. I'm doing more practise today. The big thing is to be able to synchronize with the complexity and magic of that groove. It's very specific and presents a narrow door into the paradise awaiting once the feel is truly achieved. One of the most common features is the '2' feel in most of the songs. You're either playing on the beat—quite often just one on-beat note in a 2 bar pattern, or, you're anticipating the down beat in 2. Either anticipating beat 1 or beat 2 (n the 2 feel) or, there is an 8th just after the beat. As long as it's felt in 2 it will be easier to play it just right. Most of the time it's pushed 8ths in montunos all the way. Sometimes 2 pushed 8ths and commonly variations on supper-imposed dotted quarters.
The thing I find so encouraging is the overlap that the salza feel, timbao, and montunos bring to other songs an pieces I've been playing. It's quite a revelation.
We have an upcoming rehearsal after the first where I played new charts with just three percussion players with no bass. I was quite unprepared and figured I could manage if the bass player was there laying down the Timbao; but no... I was on my own and playing on the tinker toy of electric pianos—I'm taking my own keyboard tonight. It should go better. I feel really connected to a few of their tunes.
The piano's role is really central what with montunos getting quite creative and beautiful on the tracks that I've heard. I'm doing more practise today. The big thing is to be able to synchronize with the complexity and magic of that groove. It's very specific and presents a narrow door into the paradise awaiting once the feel is truly achieved. One of the most common features is the '2' feel in most of the songs. You're either playing on the beat—quite often just one on-beat note in a 2 bar pattern, or, you're anticipating the down beat in 2. Either anticipating beat 1 or beat 2 (n the 2 feel) or, there is an 8th just after the beat. As long as it's felt in 2 it will be easier to play it just right. Most of the time it's pushed 8ths in montunos all the way. Sometimes 2 pushed 8ths and commonly variations on supper-imposed dotted quarters.
The thing I find so encouraging is the overlap that the salza feel, timbao, and montunos bring to other songs an pieces I've been playing. It's quite a revelation.
Tuesday, 3 July 2012
Two kinds of music: Latin and .....
'Hear' I go again. I had the privilege of being asked to play in a salsa band: Timbao Vibe. I have less than three weeks to prepare to become an authentic latino-montuno-eating-timbao-feeling-getting-with-the -complexity of the charts and the groove. I'm going to practise the style and learn these charts: yes-sir!
More than anything, its the brotherhood of intensity. Intensity and absolute drive and conviction and this group will settle for nothing less. I'm hoping the lead singer will be happy and not say: "this is not right." My contact person with the band has sent me a book full of montunos and clave exercises that now, I'd wished I'd been practising for a couple of years. Happily, I have mp3's of the entire show.
I had played with them before and kind of handled the gig and even contributed to the energy and that felt good. So maybe (just Maybe) there is a growing future for this music. If I could only speak Spanish a little, that would help a little! I love the way the singers just seem to spit out the lyrics with such a remarkable emphasis. It's very stirring really. It gets to the 'nub,' i.e. where you live.
Jazz is definitely incorporated into this music and that is fun. To be able to play jazzy chords and reflect the jazz chords in the horn arrangements is a challenge but is also kind of a requirement. OK so here's the thing, I know there are lots of aspects to music and people expressing themselves in each individual way, but if I have a vision (not a tragic one), it will be that there might be '2' kinds of music (I'm kidding a little here). I'm borrowing from the famous Alberta joke, that for some there is only 2 kinds of music: Country AND Western:). So I'm thinking what with all the great latino players in the city (for which I call for a 'Hallelujah'), that there will be roughly 2 kinds of music that might sustain both instrumentalists, and, singers: Latin/salsa definitely, and, Country/folk musics of all dimensions. Of course there is classical and all kinds of jazz and those are often my first choice in listening (There is something called Rock that is popular too [I like that too]). But people of all walks of life will dance to that mighty committed, 'celebrational,' groove that Latin/Timbao brings to the table. So it is on one hand a sophisticated and complex music and on the other it is (keyword here) Accessable.
Truthfully, as I'm struggling to go through this assignment, I'm finding the Timbao so irrepressible that it merges into the jazzier standards I've been playing. It is just so strong. The Clave, Timbao bass-line, and the ever present montuno create a really joyous and powerful rhythmic urgency that at its best, keeps the players/singers/dancers involvement close to a trance-like state. So is this good! (?), of course it is. Adding to this is the icing on the cake: horns/band shots, and lines, and soloist, and vocals, contribute to this unstoppable beat and ecstatic melody—phrasing, that creates music that truly has a life of its own. Now if I could only play it !!!
I'm always impressed by the horn players in the band. They play shots and lines but also on occasion, play these impressive sounding arpeggio patterns that really move with individual parts that really lays down the chords and the rhythm all at once—it blew my mind when I first heard it.
One of the trepidations I had apart from the sheer challenge of the music, is the volume that this group plays on stage. It's got to be hard-driving but this is a band that plays pretty Loud. Little did I think when I was young, that I could lose my hearing, but it has definitely been damaged over 30 years of ensembles at MacEwan (this is documented). I loved to play drums and rim shots were my 'weapon' :) of choice when trying to get a class full of piano players to play with some authority, but now I don't. The hearing damage was noticeable when I was 50 and now 19 years later it's not getting any better if you know what I mean. So 'hear' I go again. Believe me, I wear custom ear plugs (25% reduction) which save my hearing every time I use them but they are not quite a match for these high decibels. We're playing Teddies in Edmonton on Sunday July 21 @10.00 PM and off to Calgary the next day for some sort of festival. It's going to be intense and I'm going to stick my head (and heart) into the roaring flame emitted by this great Salsa band.
One of these days I will write and seriously advocate that we all play softer. The range of expression that is available takes a quantum leap when we play softer. Each note can be an expression of individuality in a line. Playing softer can bring one's playing to life. So that's a topic for another time, but I am very happy to participate with this group because they really sizzle. Thank you one and all for reading this.
More than anything, its the brotherhood of intensity. Intensity and absolute drive and conviction and this group will settle for nothing less. I'm hoping the lead singer will be happy and not say: "this is not right." My contact person with the band has sent me a book full of montunos and clave exercises that now, I'd wished I'd been practising for a couple of years. Happily, I have mp3's of the entire show.
I had played with them before and kind of handled the gig and even contributed to the energy and that felt good. So maybe (just Maybe) there is a growing future for this music. If I could only speak Spanish a little, that would help a little! I love the way the singers just seem to spit out the lyrics with such a remarkable emphasis. It's very stirring really. It gets to the 'nub,' i.e. where you live.
Jazz is definitely incorporated into this music and that is fun. To be able to play jazzy chords and reflect the jazz chords in the horn arrangements is a challenge but is also kind of a requirement. OK so here's the thing, I know there are lots of aspects to music and people expressing themselves in each individual way, but if I have a vision (not a tragic one), it will be that there might be '2' kinds of music (I'm kidding a little here). I'm borrowing from the famous Alberta joke, that for some there is only 2 kinds of music: Country AND Western:). So I'm thinking what with all the great latino players in the city (for which I call for a 'Hallelujah'), that there will be roughly 2 kinds of music that might sustain both instrumentalists, and, singers: Latin/salsa definitely, and, Country/folk musics of all dimensions. Of course there is classical and all kinds of jazz and those are often my first choice in listening (There is something called Rock that is popular too [I like that too]). But people of all walks of life will dance to that mighty committed, 'celebrational,' groove that Latin/Timbao brings to the table. So it is on one hand a sophisticated and complex music and on the other it is (keyword here) Accessable.
Truthfully, as I'm struggling to go through this assignment, I'm finding the Timbao so irrepressible that it merges into the jazzier standards I've been playing. It is just so strong. The Clave, Timbao bass-line, and the ever present montuno create a really joyous and powerful rhythmic urgency that at its best, keeps the players/singers/dancers involvement close to a trance-like state. So is this good! (?), of course it is. Adding to this is the icing on the cake: horns/band shots, and lines, and soloist, and vocals, contribute to this unstoppable beat and ecstatic melody—phrasing, that creates music that truly has a life of its own. Now if I could only play it !!!
I'm always impressed by the horn players in the band. They play shots and lines but also on occasion, play these impressive sounding arpeggio patterns that really move with individual parts that really lays down the chords and the rhythm all at once—it blew my mind when I first heard it.
One of the trepidations I had apart from the sheer challenge of the music, is the volume that this group plays on stage. It's got to be hard-driving but this is a band that plays pretty Loud. Little did I think when I was young, that I could lose my hearing, but it has definitely been damaged over 30 years of ensembles at MacEwan (this is documented). I loved to play drums and rim shots were my 'weapon' :) of choice when trying to get a class full of piano players to play with some authority, but now I don't. The hearing damage was noticeable when I was 50 and now 19 years later it's not getting any better if you know what I mean. So 'hear' I go again. Believe me, I wear custom ear plugs (25% reduction) which save my hearing every time I use them but they are not quite a match for these high decibels. We're playing Teddies in Edmonton on Sunday July 21 @10.00 PM and off to Calgary the next day for some sort of festival. It's going to be intense and I'm going to stick my head (and heart) into the roaring flame emitted by this great Salsa band.
One of these days I will write and seriously advocate that we all play softer. The range of expression that is available takes a quantum leap when we play softer. Each note can be an expression of individuality in a line. Playing softer can bring one's playing to life. So that's a topic for another time, but I am very happy to participate with this group because they really sizzle. Thank you one and all for reading this.
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