Cándido de Guerra Camero was born April 21, 1921 in Havana, Cuba, which makes him 96 and half years old (and one day) on the day of this recording.
Cándido is the most recorded conga player in the history of jazz having appeared on well over 1,000 albums.
Perhaps even more remarkable – and this is something many people have trouble wrapping their minds around – he is the first person to perform with multiple congas at the same time.
It may seem like an “obvious” idea, but as for all obvious ideas, someone had to go first and that somebody was Cándido de Guerra Camero.
Here’s the story straight from the Maestro’s mouth…
When Cándido first visited the US in 1946, in addition to being a percussionist, he also was a master on the bass, guitar and tres.
The rabbit hole goes even deeper…
Everyone is aware that Afro-Caribbean music was created from elements of African music. What fewer people are aware of is that the creative contributions have flowed both ways.
The practice of a single drummer performing with three or more drums first appeared in Senegal in the 1970s.
According to the liner notes of “Bougarabou: Solo Drumming of Casamance” (Village Pulse Records) the Jola of Senegal played just one drum, adding two later, then finally graduating to three or four in the late ’70s.
What stimulated this sudden innovation in an already well developed musical tradition?
Believe it or not, the evidence points to the influx and popularity of salsa records in the region.
Yes, salsa.
So we come full circle…From Africa to the Caribbean to New York City and back to Africa.
And who was on those records that changed the way the Jola of Senegal approached the drums? Almost certainly Puertorriquenos
Hanging around at home, Bacary Olé Diedhiou, Senegalese master of Bougarabou, gives an informal demo.
OK, we’ve informed you and hopefully entertained you.
Over forty musicians donated their time and talents to create the material we’ve shared with you in this series.
Over $10,000 in donated video production and post-production and web services were donated to bring you these highlights.
If you haven’t given yet, now’s the time. Thanks.
– Ken McCarthy
Jazz on the Tube
P.S. Our unique programming is made possible by help from people like you. Learn how you can contribute to our efforts here: Support Jazz on the Tube
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Michele Rosewoman and members of New Yor-Uba perform “The Egun and the Harvest”
Michele Rosewoman Trio perform ‘Akomado’ For Babaluaye
“Guerreros” Michele Rosewoman and New Yor-Uba at Dizzy’s Lincoln Center 10/13
New Yoruba, October, 1984 in Warsaw, Poland a year after the group’s founding
Ed Kelly exploring Monk – “Well You Needn’t
Orlando “Puntilla” Rios – “El Breve Espacio”
– Ken McCarthy
Jazz on the Tube
Music credit: The Jazz on the Tube podcast theme song is “Mambo Inferno” performed by The Manhattan School of Music Afro-Cuban Jazz Orchestra conducted by Bobby Sanabria from the CD ¡Que Viva Harlem!
Bobby Sanabria introduces the members of his MULTIVERSE Big Band.
Founded in 1998
The oldest Latin Jazz Orchestra in New York City
Multi-Grammy Nominated
Filmed at the Salsa Meets Jazz Benefit for Puerto Rico at Le Poisson Rouge (the late, great Village Gate.)
DRUMS, MUSICAL DIRECTOR:
Bobby Sanabria
SAXES:
David Dejesus – lead alto, soprano, flute
Andrew Gould – alto, flute
Peter Brainin – tenor, flute
Yaacov Mayman – tenor, flute
Danny Rivera – bariton
TRUMPETS:
Kevin Bryan – lead
John Walsh
Tyler Tritt
Andrew Neesely
TROMBONES:
Dave Miller
Tim Sessions
Armando Vergara
Chris Washburne
PIANO:
Darwin Noguera
ELECTRIC BASS:
Leo Traversa
CONGAS:
Oreste Abrantes
BONGÓ/CENECERRO, BARRÍL DE BOMBA, PANDERETA:
Matthew Gonzalez
P.S. Our unique programming is made possible by help from people like you. Learn how you can contribute to our efforts here: Support Jazz on the Tube
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The deeper you dive into Cuban music, the more amazing it reveals itself to be.
Sometimes I have to ask myself is Cuba a country – or an alternate universe?
How can such a small country – with less people than Ohio – generate so much musical accomplishment?
Notice: I don’t day “talent.”
Talent is a dime a dozen. Realization of talent is the thing that matters.
It takes dedication and relentless study – and a higher moral purpose – to turn raw musical talent into accomplishment the way the Cuban people have.
Here’s an example of all the various threads of Cuban music brought together on one stage: reverence for classical music, immersion in Afro-Cuban rhythms, affection for popular genres, and hip-as-hell jazz sensibilities.
Who is this flute playing musical visionary dressed in white?
Meet: Orlando Valle, aka Maraca. Enjoy and Viva Cuba!
How about another one? The small unit works out on “Manteca”
– Ken McCarthy
Jazz on the Tube
P.S. Our unique programming is made possible by help from people like you. Learn how you can contribute to our efforts here: Support Jazz on the Tube
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The members of the group Los Terry talk about two things:
1. The musical instrument the chekere
2. The training that master musicians in Cuba receive which is unique in the world
Tell me where else on the planet musicians master classical music, local popular music, indigenous music, religious music and jazz.
There’s a reason Cubans have had such a out-sized impact on world music: Their training, discipline and versatility are second to none.
The conversation is a bit slow moving at times and a lot of it is in Spanish, but stick with it. It will give you an unparalleled insight into what goes into making a Cuban musician.
In the conversation:
Eladio Terry, the patriarch of the family, known to many as Don Pancho
Yosvany Terry
Yunior Terry
Some musical reference from the interview:
Yosvany Terry & The Afro Caribbean Quintet
More about Los Terry and Don Pancho (Eladio Terry)
Los Terry are a family of musicians from the Camaguey province of Cuba. Their unique blend of musical styles includes elements of folklore, classic charanga and modern jazz, creating a bridge across generations.
Eladio Terry, the patriarch of the family, known to many as Don Pancho, grew up surrounded by the music of the Afro-Cuban religions and learned the traditional drumming and vocal styles that date back centuries. Eladio followed the path of the apprentice drummer as he learned the prayers, songs and rhythms that accompany the religious ceremonies- watching, listening and playing for hours. Like many Cuban musicians, he also learned to play popular music styles, incorporating his knowledge of African traditions into the secular dance music of the day.
Eladio Terry’s influence in Cuban music began with the legendary charanga group Maravillas de Florida, from the town of Florida in Camaguey. He utilized the chekere with the traditional charanga format of violins, bass timbales, flute, piano, and guïro, adding an instrument widely used in the syncretized African religions that have survived and flourished in Cuba.
The chekere is an instrument made out of a gourd strung with beads that requires a sophisticated physical dexterity to produce rhythms and harmonic timbres. Eladio Terry and his sons handle the chekere like veteran basketball players taunting their opponents as they effortlessly coax rhythms and tones out of these hollow gourds.
In the early 1960s Eladio went to the newly formed Conservatory of Music in Havana. There he met fellow music students from Mali who became legendary figures in contemporary African music when they formed Maravillas du Mali and wrote the theme song for Radio Mali in a Cuban charanga style. Eladio recalls that they had assimilated much of the Cuban rhythms but could not understand the role of the bass. He claims credit for teaching them the subtleties of the tumbao or “swing” of the bass that can’t easily be notated or understood without grasping the fundamental structure of Cuban music.
Traveling with the Maravillas de Florida in the 1970s Eladio visited many African countries as well as Eastern Europe and the Middle East. As director, violinist and arranger he was able to incorporate many of the musical influences of his travels into his music. The recordings of the Maravillas from this period are spiced with African-based rhythms, harmonies and timbres that he introduced, giving the charanga a very Afro-Cuban feel.
Yosvany recalls that when the Maravillas played Son Wambari at outdoor dances people in the audience were seized by trances when they heard the Yoruba chants and the familiar incantations calling out to Elegua.When the Maravillas toured Africa they found that many people understood the meaning of the words to the Yoruba and Congo chants that they sang which are part of religious rituals in Cuba.
Cuba’s nationwide musical education program has had a profound effect on the development of countless talented musicians. Cuba has always had a wealth of musical talent but few of the youth from poor families had the resources to receive the formal training and practice time that would allow them to master forms of music other than those with which they had direct experience. Eladio Terry’s sons, Yosvany, Yoel and Yunior have all passed through intense musical conservatory training as well as paying their dues in popular music groups and have sharpened their skills playing improvisational jazz.
– Source: Excerpted from the excellent resource AfroCubaWeb.com
– Ken McCarthy
Jazz on the Tube
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Good news and bad news about the new travel policy for Cuba. (As of November 10, 2017)
I’m going to quote the Washington Post on the changes. As is often the case, you have to read the fine print to know what the real deal is.
Make sure you read the second paragraph carefully.
The most significant change under the new regulations is the elimination of the individual “people-to-people” category of educational travel. As before the Obama opening, most visitors to Cuba will again have to travel in licensed groups.
One remaining exception appears to be the “support for the Cuban people” category, which requires travelers to “engage in a full-time schedule” of unspecified “meaningful interaction with individuals in Cuba” and activities that support civil society.
I don’t like the weasel word “appears” in the phrase “one remaining exception appears to be…”
However, if this is the case, then citizens of the “Land of the Free” can still freely travel to Cuba if they fulfill the following two conditions:
1) They check off “support for the Cuban people” as their reason for traveling
2) They engage in a full-time schedule of “meaningful interaction with individuals in Cuba” and activities that support civil society.
What the heck does that mean?
Your guess is as good any anybody’s. That said, here are some ideas.
First, you can’t go to the beach and loll around all day drinking Cuba Libres. That’s only for Canadians – and the citizens of literally every other country in the world.
You have to do things like attend cultural events, go out for music, spend money in privately owned business like guest houses and restaurants, talk with Cubans about life and art and love, visit museums and learn about Cuban history and culture. In other words, be a respectful student of Cuban life and be a good will ambassador for the United States.
You also must avoid engaging in any transactions with the State Department’s list of evil Cuban companies. Print it out and bring it with you on your trip. You can find the list at State.gov under “List of Restricted Entities and Subentities Associated With Cuba”
It was previously recommended – and I imagine it’s still the case – that you keep a daily diary that documents that you did these kinds of “approved” things while there and retain those records for five years in case a US government agent wants to “zee your papers.”
Is this ideal? No, but it’s more than good enough for us to work with.
Note: Am I a lawyer? No. Am I giving you legal advice? No. I’m a music writer and these are my thoughts. Use them at your own risk.
Should you go to Cuba?
Absolutely.
If you love jazz and all the ingredients that have gone into its making, seeing Cuba is essential.
All your musical life you’ve heard “rumors” and “distant echoes” of Cuba and its music. To experience it full bore with no filter is a life-changing experience.
It sure was for me.
If you can manage it, do it before our beloved government takes away even this thread of a right.
For perspective, back in 1977 Jimmy Carter opened travel to Cuba. Reagan shut it down in 1980 and it stayed shut for 35 years. (Because the US is a free country, don’t you know.)
How to get there? Is it expensive?
It’s easy to get there. Just get on a plane. There are scheduled flights everyday out of places like New York City and Miami.
Is travel in Cuba expensive?
If you go with a packaged tour or use the “normal” travel industry, yes. Cuba is no bargain. Budget at least $400 a day (probably more) plus your airfare.
You could have an exponentially better time – better housing, better food, better entertainment – for about $100 a day.
P.S. Our unique programming is made possible by help from people like you. Learn how you can contribute to our efforts here: Support Jazz on the Tube
Thanks.