This post will deal with “Conga Fusion” recordings, which I define as commercial releases that combine substantial elements of both conga santiaguera (referred to as “conga” here) and other musical styles. (Download the PDF for easiest reading with working links!) Conga-Descarga: The 1950 (?) Panart Session Strangely enough, the first “fusion” recording is also probably the oldest known recording of conga santiaguera. “Conga en Oriente/Goza Mi Conga,”described in detail here, combines the conga “groove” or rhythmic feel, corneta china, and acoustic piano and bass. Conga-Jazz: New York, France and back to Santiago In 1983, percussionist Daniel Ponce (1953--2013), who arrived on the 1980 Mariel boatlift, recorded Ernesto Lecuona’s “Siboney” to a conga groove. Ponce had performed with carnival comparsas in his native Havana and was probably familiar with the Santiago style. This track features Paquito D’Rivera soloing on sax and a minimal percussion section of agogô bells and bass drums. "Siboney" refers to one of the indigenous tribes that inhabited Cuba before the arrival of the Spanish colonists and acts as a symbol for the island. It is also the name of a town near Santiago. This track is significant because it is probably the first conga santiaguera recording made outside of Cuba; this groundbreaking album was Ponce’s first recording as a bandleader. Ponce’s aggressive but tasteful tumbadora (“conga drum”) playing had a huge impact on the New York Latin Jazz and rumba scenes. In 1995 Cuban pianist Alfredo Rodriguez (1936 – 2005), who was living in France at the time, returned to Cuba to record the album Cuba Linda. The track “Para Francia Flores” features La Conga de Los Hoyos with longtime members “Nene” Garbey on lead vocals (in the guaguancó section), Ramon “Monguito” Camacho on quinto and Valentin Serrano on corneta china. It is probably the first documented example of a full conga ensemble collaborating on a “fusion” recording, in this case conga mixed with afro-cuban jazz. It is also likely the first of many collaborations featuring Los Hoyos. Monguito played quinto in Los Hoyos from roughly 1980 to 2005. His playing style became a reference point and strong influence for future generations of quinto players, especially in Los Hoyos. This album also includes “Tumba mi Tumba,” a collaboration with Santiago's Tumba Francesa Society, one of only three remaining on the island. Jane y Los Hoyos Vienen Arrollando In 2001, Canadian sax/flute player Jane Bunnet released Alma De Santiago. This album features La Conga de Los Hoyos (including Monguito on quinto) on two tracks: “Jane y Los Hoyos” and “Donna Lee.” “Jane y Los Hoyos,” is an innovative arrangement of conga which includes the Santiago Jazz Saxophone Quartet. This is a successful “jazz-conga” fusion because it combines both genres to produce a natural-sounding result. “Donna Lee” is a mambo-jazz version of the Charlie Parker classic followed by a sudden segue into La Conga, w ith a few traditional coros (chants). “Alma De Santiago” also has a brief conga as a tag at the end. Conga-Pop; representing Oriente: Micaela “Añoranza por la Conga” (informally known as “La Conga de Micaela”) by Ricardo Leyva and Sur Caribe (2005) is a huge milestone for La Conga and Santiagueros. A catchy dance number with lead vocals, strings and of course, El Cocoyé (La Conga de Los Hoyos), “Añoranza” is unique in that it retains the flavor and irresistable drive of La Conga while “dressing it up” with a full band (strings, trombones, etc) for “mainstream” dancefloor consumption. The opening verses highlight the importance of conga to Santiaguer@s: Micaela se fue pa ́ otra tierra buscando caminos, que por buenos o malos quien sabe le impuso el destino. Solo vive llorando, sufriendo y pensando en su vino, que no es vino, señor; ni aguardiente, señor; es la conga, señor santiaguera. (from https://www.lyricsondemand.com/) My translation: Micaela left for another land,seeking new horizons For better or worse, it was her destiny She just goes on crying, suffering, and thinking about her wine But it’s not wine, sir, it’s not brandy... It is the conga, sir. From Santiago. The song was a big hit in Cuba and abroad; it won the Cubadisco 2006 Song of the Year award, and made it as far as Walmart. One observer deemed it #6 of Cuba's 20 biggest hits since 2000. I first heard it on a fairly mainstream playlist at a restaurant in Queens that I gigged at from 2016 to 2018. And of course it inspired at least one satire. In 2007, Sur Caribe released a conga version of “Hey Jude” as a homage to the Beatles, who had been deemed “counter-revolutionaary” and banned (along with rock and jazz in general) for many years in Cuba. The group’s next album, Horizonte Próximo, released in 2009, includes four more conga tracks. Electro-Conga, Auto-Tune and The YouTube Era Starting around 2010, younger artists began mixing conga with genres like rap and reggaeton. Most of these tracks replace or supplement the conga percussion ensemble with a computer/ sequencer generated beat. “Hasta Santiago a Pie (Conga 500 Aniversario)”, by Kola Loka, celebrates Santiago’s “Quincentennial” with shoutouts to the city's barrios, and a guest appearance by La Conga de San Agustin. Several Artists include footage of conga groups in their videos without any substantial conga element in their music. A few of these are in the playlist at the end of this post. I'll note here that the terms “urban” and “música urbana” have become controversial; I had been considering giving this section the title “Conga Urbana.” Invasion Jazzistica In 2014, another Cuban pianist named Alfredo Rodriguez (b. 1985) released “The Invasion Parade” a tribute to La Invasion, a long standing annual tradition where La Conga de Los Hoyos visits four of Santiago's rival Congas in a marathon street parade. After studying conga with Feliz Navarro of Cutumba in 2000, I became hooked and eventually recorded the title track of Quimbombó’s Conga Electrica, which came out in 2008. I mixed some Brazilian percussion concepts with my knowledge of conga at that time and got a result that I'm proud of. In 2016 Cuban Composer, pianist and flautist Oriente Lopez released “Arrollando el Carnaval” as part of his album Abracadabra. This track features multi-talented Angel Bonné (formerly with Los Van Van) on vocals and clarinet. “Arrollando” combines Oriente’s angular jazzy arrangement with a slamming groove that makes you want to take to the streets. Surpassing Havana? This post actually included many more tracks than I expected. Could it be that, in the 21st Century, Conga Santiaguera has a stronger presence on Cuban playlists and dancefloors than its rival from Havana? Is this a “boom” brought on by the success of “Añoranza por la Conga”? That's a rabbit hole for another day.... Discography Note: my recommended tracks are bold and underlined. Conjunto Corneta China. “Conga en Oriente /Goza Mi Conga.” Panart, 1950(?), 78 RPM. Ponce, Daniel “Siboney.” New York Now, Celluloid, 1983. Rodriguez, Alfredo (1936 – 2005). “Para Francia Flores.” Cuba Linda, Hannibal/Rykodisc, 1996. Percussion: La Conga de Los Hoyos Lead Vocals: “Nene” Garbey Bunnett, Jane. “Jane y Los Hoyos.” Alma de Santiago, Blue Note, 2001. Percussion: La Conga de Los Hoyos Bunnett, Jane. “Donna Lee.” Alma de Santiago, Blue Note, 2001. Percussion: La Conga de Los Hoyos Bunnett, Jane.“Alma de Santiago.” Alma de Santiago, Blue Note, 2001. Percussion: La Conga de Los Hoyos SurCaribe.“Añoranza por la Conga.”Credenciales, Egrem,2005. Percussion: La Conga de Los Hoyos El Gremio. “Conga Latina.” El Gremio, Bis Music, 2006. Sur Caribe. “Ay! Qué Felicidad.” Ay! Qué Felicidad, Egrem, 2007. Percussion: La Conga de Los Hoyos Sur Caribe. “Hey Jude.” Ay! Qué Felicidad, Egrem, 2007. Percussion: La Conga de Los Hoyos Quimbombó. “Conga Eléctrica.” Conga Eléctrica, Testa Dura, 2008. Percussion: Bloco La Conga (then known as Bloco Quimbombó) SurCaribe.“Arrollando por la Ciudad.” Horizonte Próximo, Egrem,2010. Percussion: La Conga de Los Hoyos Sur Caribe. "Bonito Bonito." Horizonte Próximo, Egrem, 2010. Percussion: La Conga de Los Hoyos Sur Caribe."Donde mi Cubana." Horizonte Próximo, Egrem, 2010. Percussion: La Conga de Los Hoyos Kola Loka. “Hasta Santiago a Pie (Conga 500 Aniversario).” La Alianza, Cubamusic Records, 2016. Chepin Reggae. “Conga Dans.” Mi Barrio, Yandris Araujo, 2013 Corneta China: Walfrido Valerino Cubanos en La Red. “La invasion.” Con Flow Guajiro, Caribe Sound, 2013 Percussion: La Conga de Los Hoyos Willetts, David. “Trueno De Chango.” Tem, David Willetts, 2013 Alejandro, Edesio. “Alalae.” 2013 Rodriguez, Alfredo (b. 1985). “The Invasion Parade.” The Invasion Parade, Mack Avenue, 2014. Percussion: Pedrito Martinez Drum Set: Henry Cole López, Oriente, “Arrollando El Carnaval.” Abacadabra, OHL Music, 2016. Lead Vocals: Angel Bonné Percussion: Mauricio Herrera Sources: Conga Fusion Youtube Playlist https://revista.drclas.harvard.edu/book/la-conga Correspondence with Lazaro Bandera, musical Director of La Conga de Los Hoyos Other Recommended Links: https://www.ritmacuba.com/chronologie-des-instruments-du-carnaval-Est%20de%20Cuba.html# 23 (in French) https://www.ritmacuba.com/textes-textos.html more about Sur Caribe: http://www.cubamusic.com/Store/Artist/1332 Alfredo Rodriguez (1936 – 2005): https://en.m.wikipedia.org/wiki/Alfredo_Rodr%C3%ADguez http://www.anapapaya.com/especial/e_arodrig.html An inspired essay on “Cuba Linda”
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In December 2019, thanks to a reccomendation from Edgar Pantoja Aleman, I had the pleasure of taking a few singing lessons with Berta Armiñan Linares, an expert on traditional music from Oriente (Eastern Cuba). At one of our lessons she spoke about a little known style, the comparsita. What follows is my video, transcription and translation of a lesson/interview dealing with this style. My comments and clarifications are included in brackets in the transcriptions. BA: My name is Bertas Arminan Linares, founder of Conjunto Folklórico de Oriente, [Oriente Folkloric Ensemble] which was formed in May 1959.
I worked with this group until 1992, when I joined Cutumba, where i stayed until my retirement in 2009; I worked for 50 years in both groups. My role involved singing and dancing as well as teaching. The specific dances that I worked with were gagá, Tajona, and Tumba Francesa; I also sang these styles and some Yoruba songs. Today’s class deals with Comparsita, which emerged in the 20th century. Comparsitas used to form spontaneously during carnival [in Santiago]. Some friends would get together; and someone would bring a bokú [hand drum similar to a conga], someone else would have a bell, and everyone would start to sing and play. NH: Explain what a boku is. BA: ..nothing...boku is a drum, the one that plays the uno dos [“one two” pattern]. That is, for example: one of them [plays uno dos pattern on chair For example, in the song and rhythm we say for example (sings): “I’d like to be as tall as the moon Ay ay ay like the moon " That's the tempo of the Comparsita; ... and the bell simply does this [plays bell pattern and sings]: “I’d like to be as tall as the moon Ay ay ay like the moon to go up in the sky and be able to touch it ayayay to be able to touch it ” ...And so on… The songs would come up spontaneously, with a chorus following the lead singer. This would happen within families; for example, in my case, my family would have a verbena [street party]. Before carnival people would have street parties, and different families, friends, passers-by etc. would stop by to drink,eat, sing, have fun, etc. In my family, since there always were singers, musicians and dancers (in spirit of course), comparsitas would always get going around midnight.Because someone would get inspired-- my aunt Gladys for example, Gladys Linares, who played in La Conga de los Hoyos-- --they called her la campanera mayor "the chief bell player." I am the niece of Gladys de Linares "Mafifa." ..also my Aunt lydia, my Uncle Archimedes, my brothers and sisters...; I was little but they included me in that revolico [confusion, mess] to sing and play, and we would sing comparsita songs. For example: [sings] a “chin chin” It goes in a “chin chin” It goes out…” ...and so on until dawn. These are a few of the things that I can tell you about the comparsita. What happened was that, during carnival, friends and family would go to a Kiosk, to drink and eat; they’ fill the table with beer and soon enough, you'd have another conguita …[in this case another way of saying comparsita] They’d walk around and come back to the table to drink, and sometimes they’d carry a bucket of beer so they wouldn’t have to go back to the table. They’d take the bucket and stroll the avenues, singing, dancing and drinking. NH: So you were born in Los Hoyos [neighborhood]? BA: I was born at Escario and Sanmiguel, very close to the Moncada barracks. NH: Ok; and then you can can sing a few more examples of comparsita, with some improvisations? BA: Well, for example I have “rumbamba” here,which you already have, but let's do it again; help me out with the bell [pattern]; you have to do something!! NH If you want, you can do a few different chants: “La Luna , etc…” BA [SINGING]: Rumbambá rumbambá What a pretty girl! If her mother let her (??) I would marry her Such a pretty girl if her mother would let me Etc…. [Sirena Soy] Mermaid, I'm a mermaid Mermaid, I'm going to the sea “I’d like to be as tall as the moon Ay ay ay like the moon to go up in the sky and be able to touch it ayayay to be able to touch it ” Peasant, if you go to the country, Get up on the sidewalk [?] or I’ll knock you down. Peasant, if you go to El Caney [town near Santiago known for its delicious fruit] Bring me a mamey mango…. Guajiro if you hear the drum Get up on the sidewalk [?] or I’ll knock you down. [along with various untranslated improvisations] [La Jardinera] From the Cuban garden we will choose flowers And we’ll gather a bunch of evergreens (2x) We dedicate this to our audience I am a gardener... Flowers ! so many flowers! (2x) here comes La Jardiera [name of Havana comparsa group], Here it comes tossing flowers…. I hear a bass drum, baby it's calling me I hear a bass drum, baby it's calling me Oh God Oh God, it's Los Dandys! [name of Havana comparsa group], Oh God Oh God, it's Los Dandys! I hear a bass drum, baby it's calling me who? Who? The players! Get over there ! Hypocrite! [literally Pharisee] [fade out] BA [speaking]: Ha ha what a mess! NH: So, some of those chants [coros] were originally from comparsita others from conga, correct? ...or can any chant fit in? BA: Either can come up if it fits with the tempo... For example: [plays bell "uno y dos" of conga on chair] this beat inspires [certain chants], right? And then the beat of the comparsita [plays pattern] gives you the tempo. And so that helps the songs from the conga to fit into the comparsita, without any problem. The same goes for chants from paseo [style from Santiago close to conga Habanera] For example, I sang “La Jardinera,” which is from the paseo style, but it maintains the relationship [?to the clave]; it can be done, see? NH: Yes, it depends on the singer’s inspiration. B: Exactly, that's it! |
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Nick Herman is a New York-based percussionist, educator, composer and arranger. Archives
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