Afro Latin Percussion Vol 2
Afro-Latin percussion Volume 2 offers an exciting collection of acoustic percussion loops, drum hits and mixed percussive ensembles, perfect for adding excitement and energy to pre-programmed drum tracks or layering with one-shot drums to create unique and organic percussion grooves.
Afro Latin Percussion Vol 2
The library explores a wealth of different playing styles and rhythms which have been expertly played and recorded by world-class percussionist Ed Uribe and engineer Jeff Trueman from New York, USA.The result is a unique and highly useable collection of full-bodied Afro -Latin percussion loops/samples which suit a wide range of musical styles; from house music and electronic genres, to film scores and media/TV applications.
Afro-Latin Percussion is a truly authentic collection of high-energy South American and Caribbean percussion grooves, ideal for flavoring your tracks, and bring the Latin flavor to your rhythm tracks. All the loops are performed by a world-class percussionist in a unique place Lightship Studios, made to order recording studio, located on a 550-ton boat. This melting pot of salsa, rumba and samba covers a wide range of tempos from 70 to 120 BPM, and also has an extensive collection of exotic percussion instruments, including clave, congo, bongo, timbales and wooden blocks.
Afro-Latin Percussion is a truly authentic collection of high energy South American and Caribbean percussion grooves, perfect for spicing up your productions and injecting Latin flair into your rhythm tracks. Performed by world class percussion player Satin Singh and recorded in the unique location of Lightship Studios - a bespoke high end recording studio on a 550 tonne boat. This melting pot of Salsa, Rhumba and Samba covers a variety of tempos, ranging from 70 to 120 BPM, and features a vast collection of exotic percussion instruments including claves, congas, bongos, timbales, guiros and wood blocks. These incredible loops are the ideal base to provide speed and movement to any drum track or nestle gently behind the fattest groove to inject an added sense of live excitement.
Interestingly, they were recorded in New York, by Gil Snapper of Worthy Records. Astatke would venture to New York City from Boston's Berklee College of Music on the weekends. He was already formulating the ideas for creating an "Ethio-Jazz" that he would perfect six years later on 1972's Mulatu of Ethiopia. While playing in the Big Apple and checking out jazz and the Nuyorican boogaloo scene, he formed his quintet with a host of Ethiopian, Latin, and African-American musicians -- he was originally trying to showcase the African continent's connection to Latin music. His outfit would play the Village Gate opening for Dave Pike's legendary sextet, and it was there he met Snapper, already a marginally well-known producer. He offered to record the Ethiopian quintet and the rest is history.
While the two individual Afro-Latin Soul albums have been available on various labels in various formats for years, this two-fer (also re-released separately) was painstakingly remastered from pristine vinyl sources obtained from collectors. They are easily the best-sounding sources of this music out there. These records stand as important foundational documents of Astatke's Afro-Latin groove consciousness. The fusion is complete on the first tune here: "I Faram Gami I Faram" is an Ethiopian war chant; Astatke had the lyrics translated to Spanish and delivered it as cooking proto-salsa, complete with the field recorded sounds of elephants bleating, punchy, syncopated two-chord piano vamps, driving vibraphones, and hand percussion timed to handclaps pounding out as the chant begins. On "Shangu," the rhythm is taken from an Ethiopian folk song, with Astatke's vibes offering a deft, tonally rich extension atop comping piano, bass, timbales, and congas. "Almas," with its sharp montunos and right-hand ostinatos, is a perfect portrait of Afro-Latin hard bop. Volume two contains a burning boogaloo in "The Panther," whose dancefloor vamp, played in unison by piano and vibes, complements the rhythm section in full with the tune's dancefloor grooves. "Soul Power" is pure African jazz with Rudy Houston's trumpet duetting with the percussion section with only bass underscoring the beat. "Love Mood for Two" offers a lithe melody -- that would not have been out of place on a Motown record -- before the piano's montuno shuffle intertwines with the rhythm section. "The Girl from Addis Ababa" is the first version of Astatke's most famous tune. Its cooking percussion and punchy vibes harmonically accent the driving piano vamps; it has been sampled often. Astatke provides his own historical liner essay in the booklet, making this an authoritative repackaging of this material. This is essential for anyone interested in the early fusion of African and Latin popular music with the improvisational flare of American jazz.
Through drumming, singing and storytelling children are introduced to the musical traditions and culture of the Caribbean and Latin America. Students learn how to play percussion instruments such as the congas, panderos de plena, bongó and other hand drums, as well as güiro, maracas, campanas, and cuás (drum sticks). They learn rhythms, songs and stories from Puerto Rico, Cuba, Dominican Republic, Haiti, Venezuela and Colombia and get the opportunity to perform at the end-of-semester class recitals. The focus of the class is on hands-on learning and fun activities, but the curriculum is designed to develop musicianship, physical coordination, bi-lingual literacy skills, multi-cultural awareness, and comfort with public speaking and performance.
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The one man most responsible for the growth of the bongo craze in jazz music is "Mister Bongo", Jack Costanzo. He was the first bongo drummer to join a jazz orchestra when in 1947 he became part of the Stan Kenton organization. His musicianship was so unique that Kenton even had 'Bongo Riff' written to feature Costanzo. This CD contains the most outstanding recordings Mr. Bongo made under his own name. The first 6 tunes were the first he recorded as a leader in 1954. On the following 12 tracks, all recorded in summer of 1956, Jack Costanzo sets his unique percussive sound to a setting of swinging brass and it takes all the brilliance of five trumpets to answer the articulate and exciting rhythm patterns Jack lays down. This CD is full of provocative and stimulating numbers. It is a great introduction to the many facets of The Versatile 'Mr. Bongo'.
ABSTRACT: This article addresses music and identity in the black Pacific through a discussion of the highland Afro-Ecuadorian bomba (genre of music and dance). Marginalized through much of the twentieth century, bomba is today recognized and celebrated throughout Ecuador as a prominent signifier of highland black ethnic, or afrochoteno, identity. Current manifestations of bomba, however, present competing interpretations and representations of bomba and afrochoteno identity: one static in its adherence to authenticity and tradition, and the other dynamic in its embrace of hybridity and modernity. Through a social history of bomba's recent development and examination of current stylistic trends in bomba performance, this article shows how bomba, in its diverse manifestations, indexes the shifting afrochoteno experience of blackness in Ecuador. This study updates the extant academic literature on Afro-Ecuadorian bomba as well as contributing to a growing body of literature documenting and theorizing black music and identity along the black Pacific.
resumen: Este articulo abarca la musica y la identidad en el Pacifico negro a traves de una discusion de la bomba afroecuatoriana (genero de musica y danza). Marginalizada durante gran parte del siglo XX, la musica bomba es reconocida hoy en dia en el Ecuador como un simbolo de la identidad y la cultura afrodescendiente (afrochotena) de la sierra norte. Las manifestaciones actuales de la musica y la danza bomba presentan interpretaciones conflictivas del genero de la bomba y la identidad afrochotena: por un lado estatica en su adherencia a la autenticidad y la tradicion, y por otro lado dinamica en su acercamiento a la hibridez y la modernidad. A traves de una historia social y de un analisis de las tendencias estilisticas actuales de la musica bomba, este articulo muestra como el genero musical y de danza bomba, en sus diversas manifestaciones, funciona como indice de la experiencia subalterna afrochotena. Este estudio contribuye a la literatura academica sobre la bomba afroecuatoriana y la musica y la identidad afro en el Pacifico negro.