Thank you for giving props to Ray Barretto as well as Mongo Santamaria. I spent many years working with each of them in their bands. I consider my time with them as well as my years with Tito Puente as graduate school studies. I appreciate you taking the time to give credit where credit is due. A lot of younger players are just not aware of the contributions of these extremely important figures. Again. Thank you!
I DID HAD THE HONOR OF PLAYING HIS CONGAS IN FORT LAUDERDALE, FL BEFORE HE PASS. I PLAY WITH PEQUEÑO JOHNNY, SAMMY TIMBALON AND OTHERS GREATEST IN THE MUSIC BUSINESS. THANK YOU TO GIVE CREDITS OF THE OLD SCHOOL, THAT'S HOW I LEARN AND CONTINUE TO DO SO AS A PERCUSSIONIST. QUE VIVA LA SALSA.
Watching Ray Barretto got me to play the Congas...his control playing the drums was amazing and he was asthmatic imagine the breathing control. I never can't understand why there's no line of Congas with his name. Thanks for the video I just subscribed to your channel. R I P Maestro
Your son reminded me sooo much of my daughter! She would also barge in when I'm doing work infront of the camera and it brings such a delight and joy to my day! Bring more of your son in your videos ☺️
This is such a simple version of the tumbao but it packs such a punch! Much appreciation for sharing it with us oh, Erik. Hope your family is safe and well. Thank you-Gerry
Thank you my brother Ray and Mongo was a great influence to my playing i am a drummer and percussionist for many years and on till now i still use a lot of there influences. And i even got to meet and talk to Ray Barretto! I'm from New York Spanish Harlem born and raised
I recently started taking Conga lessons... And love them. I want to thank you for your channel because it has a variety of topics and lessons that I don't see anywhere else on RUclips. Much appreciated!
Wonderful explanation! I was taught how to play that in the Bronx so many years ago. We were on a roof with two congas. It was a goof cause my buddy Louie while concentrating to get it right would stick out a hair that was on a mole on his chin. Our "instructor" taught us just like you showed. That instructor was a band member with Mongo Santamaria.
Excellent work, Eric. Thanks for carrying on the tradition. Like you, I’m an admirer of the late and great Maestro Ray Barretto. When I was a young man, I was at the famous Yankee Stadium concert with the Fania All Stars. His ability and his presence on that stage is a memory I truly cherish. That concert was a big factor in me choosing music as a career. I was wondering if you ever discussed Mr. Barretto’s Swing Tumbao. He played on so many Jazz albums where he adapted the Tumbao to a Jazz Swing feel. He played with Eddie “Lockjaw” Davis, Gene Ammons, Lou Donaldson, Kenny Burrell, Sonny Stitt, Lucky Millinder so many others. His name playing on those straight ahead jazz dates became the swing conga feel. I’ve heard others try to demonstrate that feel but I was not impressed. I was wondering if a really great player like yourself could explain it in detail. I really admire how you study the masters and carry it on in such a concise and detailed manner. Here’s two of my favorite examples of Ray Barretto work on some straight ahead jazz albums with a swing feel: ruclips.net/video/jiJZkPTUWbk/видео.html ruclips.net/video/Xi5Gt10qyQU/видео.html I wish you much success. Blessing to you and yours.
Thank you, sir, for bring this up, I agree there is much more to explore from this legend and back in the day He was by far the most that all American Jazz Directors ask him to play with them and thinking How all started He was in a club in New York with a little group and after we have done ready to leave the stage so the great Charlie Parker was getting ready and when Ray was about to leave Parker put his hand on his shoulder and say "You Stay". I cannot imagine Ray's reaction at that moment and from there I think that open doors because using common sense the word was spread.
I think you did a good job explaining to musicians & non musicians alike. Clave is so simple yet so hard for a lot of people to grasp. They might be so busy dancing or enjoying the music,etc. It's was really hard to find players who would know their role when we would do shows,however,some tried..Ray & Mongo were my favorites.Artie,Little Ray,Orestes,Willie Bobo,Sal,etc. gave me wonderful memories. Good job !
MrCudaddy well said! Clave is so simple yet so hard....to grasp..... i was housemates with a former percussionist of santana tour band..... when he taught me clave, my entire musical experience changed. every time i sit down to cubase to write some tracks, i lay one track of clave to use for a grid.....which, aside from percussion, would be absolutely the baseline for the bassline :) About busy dancing...... good point for a point...... the power of clave on claves is one thing..... but inferred clave another..... usually as Im sure you know the bass is at that helm. When anybody picks up an acoustic guitar and strums just about anything acoustic-friendly, i think they're unaware they're "carriers" of the clave bug :) it's just a natural tendency for acoustic jammers to play to what they're oblivious to running their clock. and as for dancing.... unless done properly, if clave were reversed you'd have a lot of annoyed-not-sure-why dancers glaring :)
I remember listening to that tumbao when learning to dance so I would get what the clave was by listening to the tumba drum. That's before I really got in the music more. And then I realized that none of the dancers cared about what bar we where in the music at all. But when U get it, you can't go back. Good Stuff!
Greetings Eric, I love this version of the tumbao , it swings! I am not that familiar with Ray Barretto and his style but i do know he was hugely influential. You obviously have a deep passion for the congas and their cultural history as this comes across in the enthusiastic way you present your videos. Thank s so much for taking the time to share your knowledge. I notice a lovely comment from WilliamJohnson whose videos I have also watcthed and enjoyed. You truly spoil us with two posts a week!!!!!
Blair MacEwan Crosbie thank you for those kind and humbling words. And I’m glad I was able to introduce you to a bit of Ray Barretto’s stuff... he was definitely very influential. William and I go way back and hopefully we’ll be doing some stuff together in the near future. I’m trying to keep up with the demand of things that you all are requesting... it’s a blessing to teach the little that I know. Thank you so much for you support. Really appreciate it.
My guess is that you have so much video material in your head and in the works that you can't wait for Thursdays, and one day is simply not enough. Great! Keep 'em coming. Whether veteran or beginner, your vids seem to be nicely designed to be enjoyable to all! Very nice.
DiscoCat1019 thank you very much! Yeaaaa there’s so much I want to share... it’s exciting to see people benefit from the videos.. so I guess two days a week works haha
Awesome info! Ray had a unique way of playing. His patterns for “Bemba Colorá” and “Que rico suena mi tambor” are the best. If you have figured those patterns out and you could share, it would be awesome. You inspired many!👍🏻
The greatest lesson I learned from Ray Barreto is that he was great example of superman!!!His strength didn't come from poking his chest out and saying "I'm super". His strength was felt for our latin people through the expression of his music and saying we are all superman!!
By chance I just came across your video. I also worked with Ray Vega in the orchestras of Mongo Santamaria and Tito Puente for many years and shared the stage with Ray Barretto many times. Ray Vega hit the nail on the head. Playing with these musical giants was my graduate school also. Your very informative (and humble) video is much appreciated. Since you analyzed part of Ray Barretto's version of "Ban Ban Quere", an interesting listening session for your audience might be to check out and compare the Tito Puente version of "Ban Ban Quere" with Barretto's version of the same song. Not as a competition to see which one is 'better' (because both versions are great), but to see and hear how 2 master percussionists approach the same song (although different arrangements). Keep up the good work....................Mitch Frohman
saxobronx maaaan! Thanks seriously!!! Really humbling for me! And Yessssss great idea!!! I am releasing another part of Barretto’s Tumbao on his version of Ban Ban Quere this Monday... but will definitely start working on that comparison! Love it!!! Thank you so much! I hope to continue this spirit for as long as I can!
Man this is such a great forum, not to sound so official but bc it is. I'm the little mouse just listening and learning since RB was and still is my favorite conguero of all time. Saxobrox, thanks for sharing your insight here and for the bit of homework. I wasn't aware of TP arrangement of Ban Ban Quere. Thank you both for your contributions here. PL, now I can't wait for you to do your magic and teach us about Tito's approach.
Great accolades given to Barreto, excellent context on clave. Great to mention that Ray Barretto's tumbao is that of El Gran Combo's Conguero but the feel slightly different. However, it should also be importantly noted and explained that Ray Barretto's tumbao, like Pollo of El Gran Combo, is the "old style" tumbao, instead of the "tumbao moderno", whereby, there is a "ghost note" after the slap and only a "toe- heel" on time hand, drawn toward the edge of the drum. This is essentially a "double" or "mama daddy" sticking.
Man I really like how you highlight the uniqueness and styles of all the pioneers. I tell you man,this tumbao strikes a chord in me. Have you heard the song from Ray, "oye la noticia"? There is sections of the song were he uses this signature groove after his solo.
That's what I think distinguished Barretto from his comptemporaries, He had those groovy things, so subtle, yet his sound projected such power, energy and swing like you said brotha.
Eric! Thank you so much for the tutorial on son clave. I've been working on this a lot lately because I know how important it is. I greatly appreciate it!
Dig this channel. Thanks! I think Ray Barretto was as much a composer as conga player.... "Indestructible" of course..... perfect first choice :) Also "Acid"? La Noticia? I have a couple "who I'd like to meet in after life" on a list.Ray Barretto and Ismael Rivera, among others. Thank you man....... this is a wonderful thing to stumble into :) The question as you're clapping clave...... "did you feel it?" You meant conga hit on the & of 2 (without hearing it)? Clave changed my entire analytical listening, inspiration, composition, and playing experience. I often tell my mentor (former Santana percussionist): "you RUINED everything, man...... not only do I hear and play everything differently, I'm a hopeless addict!!!! I got Fania, Eddie Palmieri, Celia, Willie Colon going in one vein, Papo Lucca, Joe Cuba, Henry Fiol, and Cuco Valoy in another, and Fruko y sus Tesos, Diego Gale, Quinto Mayor, Grupo Niche, and Joe Arroyo in the rest!!! Thanks!!" Maybe a student or aspiring musician will have the same musical experience, the tremendous influence and impact of that 5-note phrase; I never heard music the same way again. MY dream is to play lead guitar in a salsa band where it would fit, anyway. And my 12-year band of 6 couldn't have been less interested in that most powerful force. So Cubase is my band :) May I impose for one brief question? The bell pattern below.... is its name 6/8 bell or mambo bell? And does clave direction affect anything about it? thanks for a great video! Ya know.... anything and everyone that got within Johnny Pacheco's reach was turned to 25 karat gold. This is gringo talking here, btw..... years ago I used to see Johnny Pacheco LP's around, on the inner sleeve of LP's..... I presumed him to be a Mexican version of country singer Johnny Paycheck :) No interest. I stumbled upon the Fania live in Africa video, on which Carlos' brother Jorge Santana does an astronomical guitar solo on "El Raton"..... I see this guy on stage running around, conducting for a couple notes, running around..... NO idea who he was. Then I see movie "El Cantante"..... the scene where Willie introduces Hector at Fania's office, the guy that played Johnny Pacheco hit me like a brick. He looked exactly like Johnny!!! :) Summary is that Johnny Pacheco, for me, is reasonably close to a deity. I heard that the word "pachanga" is a combination of his name and "charanga"...Eddie Palmieri is the other deity. and you got another subscriber :) OOPS forgot the bell pattern.... name? does clave direction affect it? o o oo o o oo o oo o o oo o oo o o oo o oo o o oo o oo o o oo o
Thanks for your great video sir! Another perspective; the tumbao pattern is like the reverse of one ancient African djembe pattern that plays the slap AFTER the open-tones, and the "sacred" clave patterns can be thought of as just additional polyrhythms, not like the African "mother beats" that really ARE the heart of African drumming which is really the source of Latin rhythms. I played the African pattern once (on congas) with a Latin group doing some pop tune and their ridicule was hilarious (but the beat worked just fine, especially considering there was a trap-drummer at the time also).
Maestro! Ahora la veo clara y la siento. Muy útil el ejercicio de amarrar la marcha al 3 de la clave en la tumba. Mil gracia por esa nueva manera de ver la clave. Tu muchacho está ya muy grande. Felicidades y que Dios los bendiga siempre.
I agree with you, but if you listen to the solos of Armando Peraza in concerts and Mongo simple recordings are at the same level in terms of hardest especially Mongo. But each one has a style, I had a friend the He did en editing of conga section, and He challenge me to tell him who was the conga player just by the sound of the conga nothing else no background music and He put 10 and I hit 9 of 10 my point is that tells you how unique all these maestros that had there own signature way to approach the conga playing and how hard they hit it, the ones I hit was Candido, Barreto, Patato, Mongo, Tata, Peraza, Giovany, Jerry Gonzalez and I have to say about this one He is so unique it was so easy to know it was him. Anga, my cousin Jimmy Morales, the one I miss was the original of all of them the great Luciano Chano Pozo.
Nice video on Rey Barretto's tumbao. Although Cuban tumbao come's from Cuba's beautiful mambo rythum, it evauled first with one conga then two and so on, there is still much to learn. Ray's playing came from the heart ❤. A true pioneer of the CONGA.
Thanks to understanding where to put that pumm sound...i have to make myslef indestructible on my congas now! :) So thanks again, and your family is so nice, adios
Diría que es más o menos, sino lo es, la marcha que usa el conguero del Gran Combo, el señor Miguel "Pollo" Torres, ése tumbao como la marcha de un tren, que no para y no deja de marcar el tempo de la orquesta, el reloj del Gran Combo... DON RAY BARRETTO MI INSPIRACIÓN 👏🥁
Ese tumbao es de mongo SANTAMARÍA. No de Barreto. Ni del gran combo como dicen. Recuerden que una cosa es propagandas y la otra es cultura. Y CREACIÓN.
Yeah with Jose from El Gran Combo, he had to deal with being part of a big orchestra with alot of moving parts and three vocalist so he could just bust out or solo whenever he wanted. Ray was a composer and bandleader on top of being in Fania which was all about having your moment, so yeah you're right but just to expound on it as to why for the people...Good video. Keep it up.
There you go... sorry I didn't realize some northamerican are not close to the clave concept. Thank you for considering my suggestion anyways... makes me feel special... hahaha. Keep your taste on teaching, man. Cheers.
Barretto was powerful because he was as humble as they came. He was never comfortable with the superman image it was izzy sanabria's idea. Barretto felt that the only thing indestructable was the spirit in all of us the willpower to keep doing and fighting for what we believe in...God bless Mr. Hard Hands! Together was a perfect album and Adalberto's best.
I believe that Juan Pena, Izzy was not just Fania's MC but a great Marketting guy. I may consider my previous post, but I can imagine the regular man, humble Barretto, hurt because practically half his band left him. So con Sangre Nueva...Barretto kept on fighting in the best of Spirits. Juan, what do you know about his album RicanStruction. I heard he was recovering from an accident. Anything that you can add or correct. Anyway, I appreciated your post.
Edgar Ortiz Thk you Papa ill look around but i do remember him saying that Al Ver Sus Campos was a song dedicated to Dr. Pedro Albizus Campos. Theres a blog that used to be the joint and though its been pretty much dead its worth looking in there cause the info is priceless the blog is congaplace.com. check it out...www.mycongaplace.com/forum/eng/viewtopic.php?f=14&t=8645
Juan Pena izzy sanabria? a new name..... maybe heard it or read it in book......i love history of this all the way back to yoruba and invention of the clave family of rhythms Ray is on my who-i'd-like-to-meet in afterlife list, with ismael rivera among others. you say ray was humble..... first thought was the fania gig on a street, ray barretto shaving ice and making snowballs for people :) great footage and gig.... maybe "our latin thing"?
One World if you watch the full version of the live in Zaire when Barretto was drumming in the street with the children he acted more like a student not like a teacher very humble had his fun you know and walked away it was never that big thing about hey my name is Ray Barretto I'm that big motherfuker that plays drums I'm a star you know. Lol. Never that! As far as Izzy goes Izzy was the man who marketed latinos, thats it.
Yeah, the Apple doesn't fall too far from the Conguero! Kid is Indestructible! Or should we say the tree doesn't grow to far from the too far from the apple? Vaya!
I think it's easier when listen you playing straight up the rhythm. Than when you go dividing the rhythmic pattern step by step. Tumbao got go with clave. There's no way to around, you're totally right.
I got the rumba clave in my head, need to listen to some more salsa and not timba which is what I’m used to. It’s funny how Cuban music even today, cuban reggaeton and timba (cuban salsa) still use the rumba clave whereas the rest of the world usually uses the salsa clave which you show here.
My favorite since I was 5 years old, the first song I heard was Hard Hands and Together then as instrumental Tin Tin Deo and for me, the best arrangement from the original version from Dizzie Gillispie I understand they are more versions all excellent it just I like this approach because is more original and smooth
With all due respect, Barretto's tumbao is indeed similar (actually, identical) to El Pollo's tumbao (which is basically Martin Quinones tumbao from the Cortijo era) in that he plays 2 notes with the left hand - 2 notes with the right hand ALL THE TIME. His basic tumbao goes "L heel - L tip - R slap - R tip - L heel - L tip - R open - R open". So it's not what you play in the video.
Giovanni fue alumno d Changuito y nada se invento en P.R. Todos y tu tambien aprendites d los Maestros. LOS CUBANOS. Lo d uds es la Bomba , y la Plena.
Jajajajajaja, lo que yo no le queria decir. Ahora digo yo...Ndito Victor, la coges ahora. Nadie ha reclamado que nosotros inventamos naa de esto. Mira que ironia...Cuba sale con todos esos generos, PR nada mas 2. Mas sin embargo, nosotros perfeccionamos lo suyo pa ponerlo mejor, y ustedes los Cubanos no han contribuido nada a nuestros 2 generos. Vete a dormir, bro. In good fun I say all these things, riiight?
Barreto no tiene tumbao ni creo nada nuevo. El lo que tocaba lo aprendió de MONGO SANTAMARÍA. DE EL ES ESE TUMBAO. NO DE BARRETO. UNA COSA ES TOCAR MÚSICA OTRA ES CREARLA. UNA COSA ES CULTURA OTRA LAS PROPAGANDAS. EL NOMBRE ADECUADO ES EL TUMBAO DE MONGO SANTAMARÍA.
Perfeccionado nada. Aprendan la Clave . Cuba es y sera la Meca d todos estos ritmos. La envidia y celo d los Boricuas ke esta Musica es d los Cubanos y punto Toquen su Bomba y plena ke eso es d uds.
Chico, todavia estas con esas? Ve y tomate una siesta ahora pa que relajes esa mente mi hermano. Ni Celia Cruz diria eso. Hay mucha gente envidiosa en este mundo compi. Suavecito por ahi y pongase a tocar sus tumabadoras si es que las tienes por ahi.
@@eortiz222 Esto son los comentarios que por eso dicen que son come mierdas cuando en realidad eso no es cierto porque yo tengo mucha gente cubana muy bueno y humildes el punto es que los mismos cubanos percusionistas han dado credito total y que si no fuera por gente como Tito PUente los cubanos nunc ahubieran tenido la oportunidad de hacerce conocer tambien los maestros de maestros reconocidos en la Univerdsidades de Estados Unidos investiga de donde quienes son asi no hablas tanta mierda
@@edyrodriguez3419 tu y el tuyo están hablando mierdas en la cultura de cuba.. Los cubanos damos créditos a otros músicos porque les enseñamos la música muy bien. Y merecen creditos. Pero para que te informes hantes de hablar disparates. Barreto. Lo que tocaba. Era el estilo de el cubano mongo santamaria. Barreto no hizo nada nuevo. Tito puente el mas honesto de todos dijo que todo lo que el tocaba era cubano. A tito lo enseñó un cubano cuando estaba en el ARMY. ES DECIR DE NO SER POR LA MÚSICA NADIE CONOSIERA A TITO PUENTE EN ÉSTA MÚSICA. USTEDES TODO LO TUERCEN A SU FAVOR. CUANDO EN REALIDAD. LO QUE DIGAN USTEDES DE LOS CUBANOS NO NOS IMPORTA. NI ES NADA NUEVO PARA EL MUNDO. USTEDES TODA LA VIDA HAN VIVIDO DE LA CULTURA MUSICAL DE CUBA. Y HABLAN MIERDAS DE LOS CUBANOS ESO NO ES NUEVO. AHORA HAY UN CAMBIO EN TODO ESTO ESTAMOS AQUI CALLANDO LOS HIPÓCRITAS QUE NO TIENEN QUE DECIR DE USTEDES Y QUIEREN QUE LOS CUBANOS LES PERMITAN HABLAR MIERDAS EN NUESTRA CULTURA MUSICAL. FACIL MENTE LOS ESTAMOS MANDANDO A HABLAR MIERDAS EN LA CULTURA MUSICAL DE P.R. QUE TODO ESTO QUE USTEDES TIENEN EN SUS MANOS CUBA SE LOS REGALÓ SIN SABER QUE ERAN Y SON UNOS HIPÓCRITAS!! AHORA ESCRIBAN SU BIOHIPOCRECIA!!
@@eortiz222 USTEDES SON LAS MOSCAS QUE DIJERON AL CUBANO DONDE ESTABA LA MIERDA. HIPÓCRITAS!! ESTOY ESPERANDO QUE DIGAN ALGO DE LA BOMBA Y LA PLENA. NO TIENEN QUE DECIR Y BIENES A HABLAR MIERDAS AQUI. DONDE NO TIENEN NADA. HIPÓCRITAS!! CREES QUE LUCES BIEN HABLANDO MIERDAS. PREPARENSE PARA EL APOCALIPSIS MUSICAL HIPÓCRITAS!!
@@eortiz222 para que te enteres y no hables mierdas todo lo que cuba Daba a los boricuas ellos salian corriendo donde pacheco y los HIPÓCRITAS de fania y ustedes creian que ustedes esto y lo otro. HIPÓCRITAS habladores de mierdas. No importa lo que ustedes digan de nosotros lo importante es que los de cuba los que le Regalan la musica ha ustedes las moscas se enteren de todas las mierdas que ustedes han hablado durante 60 años ESO SI ES IMPORTANTE!!!! QUE QUEDE CLARO SI QUIEREN HABLAR MIERDAS EN LA CULTURA DE P.R BAMOS HA VER CUANTO TIENEN QUE DECIR HIPÓCRITAS!!
Why don't dispense with all the ass kissing that feature in ALL your videos and get straight down to what everyone wants...the playing. Instead of cartoons and voices simply say this...'Ray Baeretto was the most intense and well organized conga player of his generation. His congo solos were like works of art'.
Victor eso que estás diciendo no tiene sentido en Puerto Rico tenemos los mejores Percucionista ase más de 30 años por ejemplo Giovanni Hidalgo.Paoli Mejías.Richi Flores.Egi.y muchos más Puerto Rico tiene muchos mejores Percucionista que en cuba para que tu lo sepas.y son reconosido en el mundo entero por las mejores universidades de Estados unidos.aprende ante de hablar.
I’m friends with Carlos Caro, a very accomplished Cuban percussionist. I’m roommates with Julio Perez, who you can check out on CongaBorikua with Paoli Mejias. Julio is from Puerto Rico. And I’m from a Dominican family. You know what we all learned in our time with each other? That all 3 islands developed similar patterns in different styles of music and gave it different names. And btw, the marcha we know today was actually invented by Eddie Montalvo in New York. Changuito has many videos showing how Cuban Congueros approached the Tumbao in many different ways. There wasn’t a “set” way of playing Tumbao until recent times. Though Cuba should get lots of credit for what they’ve given us, people need to stop acting like everything was developed there. It wasn’t. Cubans have told me that the Haitians actually contributed more to our music than people realize. And those same Cubans have mentioned the contributions from the other Caribbean Islands. People need to study before making these statements.
melquis naveo unbelievably well said. It’s crazy that Paoli Mejia’s told me the same exact thing when I went to do a video for CongaBorikua... but that’s the beauty of music... everyone can contribute and add!
This is akin to certain Cubans getting getting up in arms about the usage of the term salsa. They have reason to be proud, but like you said, they wouldn't have Danzon without the Haitians. Without Danzon, they wouldn't have almost anything they have now.
Thank you for giving props to Ray Barretto as well as Mongo Santamaria. I spent many years working with each of them in their bands. I consider my time with them as well as my years with Tito Puente as graduate school studies. I appreciate you taking the time to give credit where credit is due. A lot of younger players are just not aware of the contributions of these extremely important figures. Again. Thank you!
Man thank you! Especially coming from someone that has played with these greats! very humbling for me. Appreciate it.
I DID HAD THE HONOR OF PLAYING HIS CONGAS IN FORT LAUDERDALE, FL BEFORE HE PASS. I PLAY WITH PEQUEÑO JOHNNY, SAMMY TIMBALON AND OTHERS GREATEST IN THE MUSIC BUSINESS. THANK YOU TO GIVE CREDITS OF THE OLD SCHOOL, THAT'S HOW I LEARN AND CONTINUE TO DO SO AS A PERCUSSIONIST. QUE VIVA LA SALSA.
What's going on Ray! Hope you're doing well.
Watching Ray Barretto got me to play the Congas...his control playing the drums was amazing and he was asthmatic imagine the breathing control. I never can't understand why there's no line of Congas with his name.
Thanks for the video I just subscribed to your channel. R I P Maestro
Wow BB, what a great point. I Trust the MAESTRO is really resting in PEACE!!!
Your son reminded me sooo much of my daughter! She would also barge in when I'm doing work infront of the camera and it brings such a delight and joy to my day! Bring more of your son in your videos ☺️
This is such a simple version of the tumbao but it packs such a punch! Much appreciation for sharing it with us oh, Erik. Hope your family is safe and well. Thank you-Gerry
Thank you my brother Ray and Mongo was a great influence to my playing i am a drummer and percussionist for many years and on till now i still use a lot of there influences. And i even got to meet and talk to Ray Barretto! I'm from New York Spanish Harlem born and raised
I absolutely love how you break down these beats. I go from "I'm never gonna get this" to "got it!" In about 10-15 minutes.
I recently started taking Conga lessons... And love them. I want to thank you for your channel because it has a variety of topics and lessons that I don't see anywhere else on RUclips. Much appreciated!
Great instruction, hermano. Felt good to know I was naturally putting that tumba open note on the 2 beat of the 3 side. Many thanks!
Wonderful explanation! I was taught how to play that in the Bronx so many years ago. We were on a roof with two congas. It was a goof cause my buddy Louie while concentrating to get it right would stick out a hair that was on a mole on his chin. Our "instructor" taught us just like you showed. That instructor was a band member with Mongo Santamaria.
Excellent work, Eric. Thanks for carrying on the tradition. Like you, I’m an admirer of the late and great Maestro Ray Barretto. When I was a young man, I was at the famous Yankee Stadium concert with the Fania All Stars. His ability and his presence on that stage is a memory I truly cherish.
That concert was a big factor in me choosing music as a career.
I was wondering if you ever discussed Mr. Barretto’s Swing Tumbao. He played on so many Jazz albums where he adapted the Tumbao to a Jazz Swing feel. He played with
Eddie “Lockjaw” Davis, Gene Ammons, Lou Donaldson, Kenny Burrell, Sonny Stitt, Lucky Millinder so many others. His name playing on those straight ahead jazz dates became the swing conga feel. I’ve heard others try to demonstrate that feel but I was not impressed. I was wondering if a really great player like yourself could explain it in detail.
I really admire how you study the masters and carry it on in such a concise and detailed manner.
Here’s two of my favorite examples of Ray Barretto work on some straight ahead jazz albums with a swing feel:
ruclips.net/video/jiJZkPTUWbk/видео.html
ruclips.net/video/Xi5Gt10qyQU/видео.html
I wish you much success. Blessing to you and yours.
Thank you, sir, for bring this up, I agree there is much more to explore from this legend and back in the day He was by far the most that all American Jazz Directors ask him to play with them and thinking How all started He was in a club in New York with a little group and after we have done ready to leave the stage so the great Charlie Parker was getting ready and when Ray was about to leave Parker put his hand on his shoulder and say "You Stay". I cannot imagine Ray's reaction at that moment and from there I think that open doors because using common sense the word was spread.
Bro the clip with your son was epic!!!!! Lmaooo
I think you did a good job explaining to musicians & non musicians alike. Clave is so simple yet so hard for a lot of people to grasp. They might be so busy dancing or enjoying the music,etc. It's was really hard to find players who would know their role when we would do shows,however,some tried..Ray & Mongo were my favorites.Artie,Little Ray,Orestes,Willie Bobo,Sal,etc. gave me wonderful memories. Good job !
Adelante mi hermano.....!
MrCudaddy
well said! Clave is so simple yet so hard....to grasp.....
i was housemates with a former percussionist of santana tour band..... when he taught me clave, my entire musical experience changed. every time i sit down to cubase to write some tracks, i lay one track of clave to use for a grid.....which, aside from percussion, would be absolutely the baseline for the bassline :)
About busy dancing...... good point for a point...... the power of clave on claves is one thing..... but inferred clave another..... usually as Im sure you know the bass is at that helm. When anybody picks up an acoustic guitar and strums just about anything acoustic-friendly, i think they're unaware they're "carriers" of the clave bug :) it's just a natural tendency for acoustic jammers to play to what they're oblivious to running their clock. and as for dancing.... unless done properly, if clave were reversed you'd have a lot of annoyed-not-sure-why dancers glaring :)
We want more of the kid! That was a great cameo~
I remember listening to that tumbao when learning to dance so I would get what the clave was by listening to the tumba drum. That's before I really got in the music more. And then I realized that none of the dancers cared about what bar we where in the music at all. But when U get it, you can't go back. Good Stuff!
Greetings Eric, I love this version of the tumbao , it swings! I am not that familiar with Ray Barretto and his style but i do know he was hugely influential. You obviously have a deep passion for the congas and their cultural history as this comes across in the enthusiastic way you present your videos. Thank s so much for taking the time to share your knowledge.
I notice a lovely comment from WilliamJohnson whose videos I have also watcthed and enjoyed. You truly spoil us with two posts a week!!!!!
Blair MacEwan Crosbie thank you for those kind and humbling words. And I’m glad I was able to introduce you to a bit of Ray Barretto’s stuff... he was definitely very influential.
William and I go way back and hopefully we’ll be doing some stuff together in the near future.
I’m trying to keep up with the demand of things that you all are requesting... it’s a blessing to teach the little that I know. Thank you so much for you support. Really appreciate it.
My guess is that you have so much video material in your head and in the works that you can't wait for Thursdays, and one day is simply not enough. Great! Keep 'em coming. Whether veteran or beginner, your vids seem to be nicely designed to be enjoyable to all! Very nice.
DiscoCat1019 thank you very much! Yeaaaa there’s so much I want to share... it’s exciting to see people benefit from the videos.. so I guess two days a week works haha
Thank u so much. I think Ray Barretto has the most awesome elastical hands !! And what a crazy artist and composer
Awesome info!
Ray had a unique way of playing. His patterns for “Bemba Colorá” and “Que rico suena mi tambor” are the best. If you have figured those patterns out and you could share, it would be awesome. You inspired many!👍🏻
Hector Rivera I’ll try to get to those! Been getting requests now haha thanks man!
The greatest lesson I learned from Ray Barreto is that he was great example of superman!!!His strength didn't come from poking his chest out and saying "I'm super". His strength was felt for our latin people through the expression of his music and saying we are all superman!!
reallife828 man!!! Very well said!
I 2nd that. :)
By chance I just came across your video. I also worked with Ray Vega in the orchestras of Mongo Santamaria and Tito Puente for many years and shared the stage with Ray Barretto many times. Ray Vega hit the nail on the head. Playing with these musical giants was my graduate school also. Your very informative (and humble) video is much appreciated. Since you analyzed part of Ray Barretto's version of "Ban Ban Quere", an interesting listening session for your audience might be to check out and compare the Tito Puente version of "Ban Ban Quere" with Barretto's version of the same song. Not as a competition to see which one is 'better' (because both versions are great), but to see and hear how 2 master percussionists approach the same song (although different arrangements). Keep up the good work....................Mitch Frohman
saxobronx maaaan! Thanks seriously!!! Really humbling for me! And Yessssss great idea!!! I am releasing another part of Barretto’s Tumbao on his version of Ban Ban Quere this Monday... but will definitely start working on that comparison! Love it!!! Thank you so much! I hope to continue this spirit for as long as I can!
Man this is such a great forum, not to sound so official but bc it is. I'm the little mouse just listening and learning since RB was and still is my favorite conguero of all time. Saxobrox, thanks for sharing your insight here and for the bit of homework. I wasn't aware of TP arrangement of Ban Ban Quere. Thank you both for your contributions here. PL, now I can't wait for you to do your magic and teach us about Tito's approach.
A Great Lesson on Tumbao and Clave. Looking forward to understand more on Claves and its applications.
Thank U Sir!
Great accolades given to Barreto, excellent context on clave. Great to mention that Ray Barretto's tumbao is that of El Gran Combo's Conguero but the feel slightly different. However, it should also be importantly noted and explained that Ray Barretto's tumbao, like Pollo of El Gran Combo, is the "old style" tumbao, instead of the "tumbao moderno", whereby, there is a "ghost note" after the slap and only a "toe- heel" on time hand, drawn toward the edge of the drum. This is essentially a "double" or "mama daddy" sticking.
Por supuesto, pues nos podemos imaginar todas las influencias de Barretto cuando decidio a entrar al genero Latino. Tony Lopez thank you for that.
Man I really like how you highlight the uniqueness and styles of all the pioneers. I tell you man,this tumbao strikes a chord in me. Have you heard the song from Ray, "oye la noticia"? There is sections of the song were he uses this signature groove after his solo.
Of Course I heard that song! Ray does this almost all the time... I love it man! Such a swing to it.
That's what I think distinguished Barretto from his comptemporaries, He had those groovy things, so subtle, yet his sound projected such power, energy and swing like you said brotha.
Eric! Thank you so much for the tutorial on son clave. I've been working on this a lot lately because I know how important it is. I greatly appreciate it!
Dig this channel. Thanks!
I think Ray Barretto was as much a composer as conga player....
"Indestructible" of course..... perfect first choice :) Also "Acid"? La Noticia?
I have a couple "who I'd like to meet in after life" on a list.Ray Barretto and Ismael Rivera, among others.
Thank you man....... this is a wonderful thing to stumble into :)
The question as you're clapping clave...... "did you feel it?" You meant conga hit on the & of 2 (without hearing it)?
Clave changed my entire analytical listening, inspiration, composition, and playing experience. I often tell my mentor (former Santana percussionist): "you RUINED everything, man...... not only do I hear and play everything differently, I'm a hopeless addict!!!! I got Fania, Eddie Palmieri, Celia, Willie Colon going in one vein, Papo Lucca, Joe Cuba, Henry Fiol, and Cuco Valoy in another, and Fruko y sus Tesos, Diego Gale, Quinto Mayor, Grupo Niche, and Joe Arroyo in the rest!!! Thanks!!"
Maybe a student or aspiring musician will have the same musical experience, the tremendous influence and impact of that 5-note phrase; I never heard music the same way again. MY dream is to play lead guitar in a salsa band where it would fit, anyway.
And my 12-year band of 6 couldn't have been less interested in that most powerful force. So Cubase is my band :)
May I impose for one brief question? The bell pattern below.... is its name 6/8 bell or mambo bell? And does clave direction affect anything about it?
thanks for a great video! Ya know.... anything and everyone that got within Johnny Pacheco's reach was turned to 25 karat gold. This is gringo talking here, btw..... years ago I used to see Johnny Pacheco LP's around, on the inner sleeve of LP's..... I presumed him to be a Mexican version of country singer Johnny Paycheck :) No interest. I stumbled upon the Fania live in Africa video, on which Carlos' brother Jorge Santana does an astronomical guitar solo on "El Raton"..... I see this guy on stage running around, conducting for a couple notes, running around..... NO idea who he was. Then I see movie "El Cantante"..... the scene where Willie introduces Hector at Fania's office, the guy that played Johnny Pacheco hit me like a brick. He looked exactly like Johnny!!! :)
Summary is that Johnny Pacheco, for me, is reasonably close to a deity. I heard that the word "pachanga" is a combination of his name and "charanga"...Eddie Palmieri is the other deity.
and you got another subscriber :)
OOPS forgot the bell pattern.... name? does clave direction affect it?
o o oo o o oo o oo o o oo o oo o o oo o oo o o
oo o oo o o oo o
Thanks for your great video sir! Another perspective; the tumbao pattern is like the reverse of one ancient African djembe pattern that plays the slap AFTER the open-tones, and the "sacred" clave patterns can be thought of as just additional polyrhythms, not like the African "mother beats" that really ARE the heart of African drumming which is really the source of Latin rhythms. I played the African pattern once (on congas) with a Latin group doing some pop tune and their ridicule was hilarious (but the beat worked just fine, especially considering there was a trap-drummer at the time also).
Thanks for sharing that Ron.
Great anology of our Greats History and reference. Nice job here very appreciated
Maestro! Ahora la veo clara y la siento.
Muy útil el ejercicio de amarrar la marcha al 3 de la clave en la tumba. Mil gracia por esa nueva manera de ver la clave.
Tu muchacho está ya muy grande. Felicidades y que Dios los bendiga siempre.
Very cool approach my brother! Sounds and looks great! Pa Lante! VAYA!
Ray barreto had the hardest hands as a congero. When you hear barreto playing congas you knew it was him just by the sound coming from those congas.
I agree with you, but if you listen to the solos of Armando Peraza in concerts and Mongo simple recordings are at the same level in terms of hardest especially Mongo. But each one has a style, I had a friend the He did en editing of conga section, and He challenge me to tell him who was the conga player just by the sound of the conga nothing else no background music and He put 10 and I hit 9 of 10 my point is that tells you how unique all these maestros that had there own signature way to approach the conga playing and how hard they hit it, the ones I hit was Candido, Barreto, Patato, Mongo, Tata, Peraza, Giovany, Jerry Gonzalez and I have to say about this one He is so unique it was so easy to know it was him. Anga, my cousin Jimmy Morales, the one I miss was the original of all of them the great Luciano Chano Pozo.
That 'crouched fingers' slap is one of the basic ones in Ga drumming , from Ghana
Nice video on Rey Barretto's tumbao. Although Cuban tumbao come's from Cuba's beautiful mambo rythum, it evauled first with one conga then two and so on, there is still much to learn. Ray's playing came from the heart ❤. A true pioneer of the CONGA.
Bro ,your son responding to the clapped clave was good. Viva la familia
Thanks to understanding where to put that pumm sound...i have to make myslef indestructible on my congas now! :)
So thanks again, and your family is so nice, adios
haha Thank you!
I just found you, great videos and very helpful and Inspiring!
Big thumbs-up, just for the beautiful family.
Diría que es más o menos, sino lo es, la marcha que usa el conguero del Gran Combo, el señor Miguel "Pollo" Torres, ése tumbao como la marcha de un tren, que no para y no deja de marcar el tempo de la orquesta, el reloj del Gran Combo... DON RAY BARRETTO MI INSPIRACIÓN 👏🥁
Ese tumbao es de mongo SANTAMARÍA.
No de Barreto.
Ni del gran combo como dicen. Recuerden que una cosa es propagandas y la otra es cultura. Y CREACIÓN.
One of my favorite album of his is Homage to Art
*me gusto mucho la intervención del niño y mas si fuera en español SALUDOS*
ruclips.net/video/Fj2VJCTyuhY/видео.html
Yeah with Jose from El Gran Combo, he had to deal with being part of a big orchestra with alot of moving parts and three vocalist so he could just bust out or solo whenever he wanted. Ray was a composer and bandleader on top of being in Fania which was all about having your moment, so yeah you're right but just to expound on it as to why for the people...Good video. Keep it up.
Your drums sound good bro. Nice demo. Thx
Excellent
William Johnson thanks man!
cool lesson man thanks.
Eric Hazte el tumbado del pollo del gran combo.Sigo todos tus tutoriales .Gracias por los videos.
There you go... sorry I didn't realize some northamerican are not close to the clave concept. Thank you for considering my suggestion anyways... makes me feel special... hahaha. Keep your taste on teaching, man. Cheers.
My Pleasure!!! Thank you!!
Awesome video bro when you get a chance could you please make an in depth video on clave.... Would greatly appreciate it.
Eufemio Yantin Thank you! I’ll try!! Clave is so complex but I’ll give it a shot.
You look good with that wig dude it rocks!!
Your son got the hands
Barretto was powerful because he was as humble as they came. He was never comfortable with the superman image it was izzy sanabria's idea. Barretto felt that the only thing indestructable was the spirit in all of us the willpower to keep doing and fighting for what we believe in...God bless Mr. Hard Hands! Together was a perfect album and Adalberto's best.
I believe that Juan Pena, Izzy was not just Fania's MC but a great Marketting guy. I may consider my previous post, but I can imagine the regular man, humble Barretto, hurt because practically half his band left him. So con Sangre Nueva...Barretto kept on fighting in the best of Spirits. Juan, what do you know about his album RicanStruction. I heard he was recovering from an accident. Anything that you can add or correct. Anyway, I appreciated your post.
Edgar Ortiz Thk you Papa ill look around but i do remember him saying that Al Ver Sus Campos was a song dedicated to Dr. Pedro Albizus Campos. Theres a blog that used to be the joint and though its been pretty much dead its worth looking in there cause the info is priceless the blog is congaplace.com. check it out...www.mycongaplace.com/forum/eng/viewtopic.php?f=14&t=8645
Juan Pena
izzy sanabria? a new name..... maybe heard it or read it in book......i love history of this all the way back to yoruba and invention of the clave family of rhythms
Ray is on my who-i'd-like-to-meet in afterlife list, with ismael rivera among others.
you say ray was humble..... first thought was the fania gig on a street, ray barretto shaving ice and making snowballs for people :) great footage and gig.... maybe "our latin thing"?
One World if you watch the full version of the live in Zaire when Barretto was drumming in the street with the children he acted more like a student not like a teacher very humble had his fun you know and walked away it was never that big thing about hey my name is Ray Barretto I'm that big motherfuker that plays drums I'm a star you know. Lol. Never that!
As far as Izzy goes Izzy was the man who marketed latinos, thats it.
Wow..Nice tips. Many thanks Bro
Ray is awesome! Oh love this video! I also enjoy bee gees as well! This pattern is awesome oh yeah!
Gracias, muy bueno.
Excelente!!! Gracias.
Your. Son plays in the pocket. LoL. Thanks bro for your hard work and dedication . Please. Dont stop. Emilio your #1 Fan
Thanks Emilio! You've been one of my day 1's! thanks for the continued support!
I can imagine his son when he gets a little older. Masacote nama. lol
Giant force Ray Barretto
Baby indestructible 😎
God god lesson thank you 😃🙏 Muchas Gracias !! Gran Abrazo
Kenny Burrell, Midnight Blue, 1963 Blue Note Records: Ray Barretto.
Yeah, the Apple doesn't fall too far from the Conguero! Kid is Indestructible! Or should we say the tree doesn't grow to far from the too far from the apple? Vaya!
I think it's easier when listen you playing straight up the rhythm. Than when you go dividing the rhythmic pattern step by step. Tumbao got go with clave. There's no way to around, you're totally right.
great bro
Luis Alvarez thanks man!
es un gran .congas, rey.
Thank you! Great!
I got the rumba clave in my head, need to listen to some more salsa and not timba which is what I’m used to. It’s funny how Cuban music even today, cuban reggaeton and timba (cuban salsa) still use the rumba clave whereas the rest of the world usually uses the salsa clave which you show here.
Ray "hard hands" Barretto it's my favorite Latin artist.
My favorite since I was 5 years old, the first song I heard was Hard Hands and Together then as instrumental Tin Tin Deo and for me, the best arrangement from the original version from Dizzie Gillispie I understand they are more versions all excellent it just I like this approach because is more original and smooth
Tumbao africano !
And if we look at the history....ray was quite influenced by Big Black in terms of how to apply congas to "jazz"
Acid is the jam.
Listen to Ray in Kenny Burrell’s Midnight Blue.!
Váyanse directo al 6:03 para ver de un vez como es la vaina!
He also recorded with the Average White Band on the Cut The Cake album.
With all due respect, Barretto's tumbao is indeed similar (actually, identical) to El Pollo's tumbao (which is basically Martin Quinones tumbao from the Cortijo era) in that he plays 2 notes with the left hand - 2 notes with the right hand ALL THE TIME. His basic tumbao goes "L heel - L tip - R slap - R tip - L heel - L tip - R open - R open". So it's not what you play in the video.
Mr. Hard Hands!
maestro no es que estudien.. si tocan conga y no lo conocen que vendan las timbas en yard sale,Ebay lo que sea pero urgente
Daniel O Navarro Hahahaha verdad!
That's funny.
It's not the "Ray Barretto" tumbao, it's just the Son Montuno pattern, the "Marcha"...
En español
i did not see barretos tumbao i am a conga player as well i understood barretos tumbao ji ji ji ji.
2:57
Is that your son?...............or is it Ray Barreto's ;)
moss52 Hahahaha has his hair right hahaha good one!
Love your son...................... great technique ;). The edit is classic, very funny and very cute!
moss52 haha Thank you!!
Yeah, little guys takes after his parents. Beautiful kiddo. Beautiful family.
Ray Barretto used to dress like Elvis back in the 70s
Giovanni fue alumno d Changuito y nada se invento en P.R. Todos y tu tambien aprendites d los Maestros. LOS CUBANOS. Lo d uds es la Bomba , y la Plena.
Victor Bujase la realidad es que estos ritmos fueron inventados por Africanos apropriados por Cubanos y perfecionados por Puerto Riquenos
Jajajajajaja, lo que yo no le queria decir. Ahora digo yo...Ndito Victor, la coges ahora. Nadie ha reclamado que nosotros inventamos naa de esto. Mira que ironia...Cuba sale con todos esos generos, PR nada mas 2. Mas sin embargo, nosotros perfeccionamos lo suyo pa ponerlo mejor, y ustedes los Cubanos no han contribuido nada a nuestros 2 generos. Vete a dormir, bro. In good fun I say all these things, riiight?
@@eortiz222 NO argumentes con ignorantes esos comentarios son ignorantees estupidos que mas imbecil no puede ser
Exacto jajajaja
@@hypocriteorchestra Sabes algo el mejor comentario de todos al grano y al punto y real
NOPE BARRETO DID NOT PLAY LIKE THAT HE USED DOBLE SECO ...HIS SIGNATURE BEAT....
Mongo Santamaría has a better tumbao
Barreto no tiene tumbao ni creo nada nuevo.
El lo que tocaba lo aprendió de MONGO SANTAMARÍA.
DE EL ES ESE TUMBAO. NO DE BARRETO.
UNA COSA ES TOCAR MÚSICA OTRA ES CREARLA.
UNA COSA ES CULTURA OTRA LAS PROPAGANDAS.
EL NOMBRE ADECUADO ES EL TUMBAO DE MONGO SANTAMARÍA.
Perfeccionado nada. Aprendan la Clave . Cuba es y sera la Meca d todos estos ritmos. La envidia y celo d los Boricuas ke esta Musica es d los Cubanos y punto Toquen su Bomba y plena ke eso es d uds.
Chico, todavia estas con esas? Ve y tomate una siesta ahora pa que relajes esa mente mi hermano. Ni Celia Cruz diria eso. Hay mucha gente envidiosa en este mundo compi. Suavecito por ahi y pongase a tocar sus tumabadoras si es que las tienes por ahi.
@@eortiz222 Esto son los comentarios que por eso dicen que son come mierdas cuando en realidad eso no es cierto porque yo tengo mucha gente cubana muy bueno y humildes el punto es que los mismos cubanos percusionistas han dado credito total y que si no fuera por gente como Tito PUente los cubanos nunc ahubieran tenido la oportunidad de hacerce conocer tambien los maestros de maestros reconocidos en la Univerdsidades de Estados Unidos investiga de donde quienes son asi no hablas tanta mierda
@@edyrodriguez3419 tu y el tuyo están hablando mierdas en la cultura de cuba.. Los cubanos damos créditos a otros músicos porque les enseñamos la música muy bien. Y merecen creditos.
Pero para que te informes hantes de hablar disparates.
Barreto. Lo que tocaba. Era el estilo de el cubano mongo santamaria. Barreto no hizo nada nuevo.
Tito puente el mas honesto de todos dijo que todo lo que el tocaba era cubano. A tito lo enseñó un cubano cuando estaba en el ARMY.
ES DECIR DE NO SER POR LA MÚSICA NADIE CONOSIERA A TITO PUENTE EN ÉSTA MÚSICA. USTEDES TODO LO TUERCEN A SU FAVOR. CUANDO EN REALIDAD.
LO QUE DIGAN USTEDES DE LOS CUBANOS NO NOS IMPORTA. NI ES NADA NUEVO PARA EL MUNDO. USTEDES TODA LA VIDA HAN VIVIDO DE LA CULTURA MUSICAL DE CUBA. Y HABLAN MIERDAS DE LOS CUBANOS ESO NO ES NUEVO.
AHORA HAY UN CAMBIO EN TODO ESTO ESTAMOS AQUI CALLANDO LOS HIPÓCRITAS QUE NO TIENEN QUE DECIR DE USTEDES Y QUIEREN QUE LOS CUBANOS LES PERMITAN HABLAR MIERDAS EN NUESTRA CULTURA MUSICAL.
FACIL MENTE LOS ESTAMOS MANDANDO A HABLAR MIERDAS EN LA CULTURA MUSICAL DE P.R. QUE TODO ESTO QUE USTEDES TIENEN EN SUS MANOS CUBA SE LOS REGALÓ SIN SABER QUE ERAN Y SON UNOS HIPÓCRITAS!!
AHORA ESCRIBAN SU BIOHIPOCRECIA!!
@@eortiz222 USTEDES SON LAS MOSCAS QUE DIJERON AL CUBANO DONDE ESTABA LA MIERDA. HIPÓCRITAS!! ESTOY ESPERANDO QUE DIGAN ALGO DE LA BOMBA Y LA PLENA.
NO TIENEN QUE DECIR Y BIENES A HABLAR MIERDAS AQUI. DONDE NO TIENEN NADA. HIPÓCRITAS!! CREES QUE LUCES BIEN HABLANDO MIERDAS. PREPARENSE PARA EL APOCALIPSIS MUSICAL HIPÓCRITAS!!
@@eortiz222 para que te enteres y no hables mierdas todo lo que cuba Daba a los boricuas ellos salian corriendo donde pacheco y los HIPÓCRITAS de fania y ustedes creian que ustedes esto y lo otro. HIPÓCRITAS habladores de mierdas. No importa lo que ustedes digan de nosotros lo importante es que los de cuba los que le Regalan la musica ha ustedes las moscas se enteren de todas las mierdas que ustedes han hablado durante 60 años ESO SI ES IMPORTANTE!!!!
QUE QUEDE CLARO SI QUIEREN HABLAR MIERDAS EN LA CULTURA DE P.R
BAMOS HA VER CUANTO TIENEN QUE DECIR HIPÓCRITAS!!
Why don't dispense with all the ass kissing that feature in ALL your videos and get straight down to what everyone wants...the playing. Instead of cartoons and voices simply say this...'Ray Baeretto was the most intense and well organized conga player of his generation. His congo solos were like works of art'.
Every conga pattern that everyone plays was invented in Cuba my friend, there's nothing new that u can show.
Victor eso que estás diciendo no tiene sentido en Puerto Rico tenemos los mejores Percucionista ase más de 30 años por ejemplo Giovanni Hidalgo.Paoli Mejías.Richi Flores.Egi.y muchos más Puerto Rico tiene muchos mejores Percucionista que en cuba para que tu lo sepas.y son reconosido en el mundo entero por las mejores universidades de Estados unidos.aprende ante de hablar.
I’m friends with Carlos Caro, a very accomplished Cuban percussionist. I’m roommates with Julio Perez, who you can check out on CongaBorikua with Paoli Mejias. Julio is from Puerto Rico. And I’m from a Dominican family.
You know what we all learned in our time with each other? That all 3 islands developed similar patterns in different styles of music and gave it different names. And btw, the marcha we know today was actually invented by Eddie Montalvo in New York. Changuito has many videos showing how Cuban Congueros approached the Tumbao in many different ways. There wasn’t a “set” way of playing Tumbao until recent times.
Though Cuba should get lots of credit for what they’ve given us, people need to stop acting like everything was developed there. It wasn’t. Cubans have told me that the Haitians actually contributed more to our music than people realize. And those same Cubans have mentioned the contributions from the other Caribbean Islands. People need to study before making these statements.
melquis naveo unbelievably well said. It’s crazy that Paoli Mejia’s told me the same exact thing when I went to do a video for CongaBorikua... but that’s the beauty of music... everyone can contribute and add!
This is akin to certain Cubans getting getting up in arms about the usage of the term salsa. They have reason to be proud, but like you said, they wouldn't have Danzon without the Haitians. Without Danzon, they wouldn't have almost anything they have now.
Papito, ese eres tu?