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Interview with Legendary Afro-Rican Band Batacumbele at the 22Nd

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Interview with Legendary Afro-Rican Band Batacumbele at the 22Nd Batacumbele at The 22nd. Annual Chicago Jazz Festival By Luis Moreno and Gregory F. Pappas BATACUMBELE - Yoruba language meaning "to kneel before the drum". Founded in 1980 in San Juan, Puerto Rico by Master percussionist Angel "Cachete" Maldonado, Batacumbele is one of the leading Afro Caribbean ensembles in the world. It is to contemporary Puerto Rican music what Irakere is to Cuba. Known as a progressively innovative ensemble that respects tradition, Batacumbele excites audiences by fusing genres such as Afro Cuban salsa & jazz with African and Caribbean (Puerto Rican) folkloric polyrhythms. The combination of world-class virtuoso musicians and superb vocalists along with great compositions and arrangements result in a unique package that has garnered a cult following in Japan, Europe, South America, the greater Antilles & Caribbean and the United States. (Alumni of Batacumbele include: David Sanchez, Papo Vazquez, Charlie Sepulveda, William Cepeda, Nestor Torres, Cuban drummer Ignacio Berroa, John Benitez, Richie Flores, Eric Figueroa, et. al). The ensemble released two landmark albums in 1981 and 1983 entitled "Con Un Poco de Songo" and "En Aquellos Tiempos" (Tierrazo Records) that catapulted many of individual members into solo careers and bandleaders in their own right. The ensemble reunited for an exclusive appearance in the Midwest as a 12 piece All-Star unit with original members -now superstars- Giovanni Hidalgo as special guests. RMM Records recording artist, vocalist & trumpeter Jerry Medina joins the group leading the dance oriented songs with his exciting vocals. On September 3, 2000 Batacumbele's performance was to be heard live throughout North America (U.S., Canada and Puerto Rico) via National Public Radio's FM broadcast of the 22nd. Annual Chicago Jazz Festival on a network of over 300 Yan Carlos Artime, piano Cuban emigre, trained in Havana's top conservatory. Former Member of Cuban ensemble led by flutist Maraca Valle & Otra Vision. Recorded "Havana Calling" on Qbadisc and "Rumba Jazz: Tribute to Chombo Silva" on Sunnyside Records. Now one of San Juan, Puerto Rico's first call pianists. Youngest member of Batacumbele. Goyo: You are the new member of Batacumbele and the second cuban in the band's history (first one was Ignacio Berroa). How are they treating you in Puerto Rico? Are you playing with other bands there? Yan: Very well! I am having the opportunity to play all kinds of music, from musica jibara to traditional jazz. Goyo: With what bands did you played in Cuba? Yan: I was part of the founding members of the group "Otra Vision" with Orlando Valle (Maraca). I also worked with Joaquin Betancourt, arranger and director of "Opus 13", one of the best bands of Cuba at the time. We used to play Latin jazz and salsa cubana. Goyo: How does it feel to be part of Batacumbele? Yan: It is an honor. They are excellent musicians and people. I get along with all of them, both personally and musically. I am happy to be here. It is a group were you have the opportunity to learn from each other and to express your individuality. Giovanni Hidalgo "Mañenguito" congas & percussion, Latin Percussion Inc., Endorser. Considered the greatest conga player in the world -the Michael Jordan of his instrument. Goyo: Many people think that the Giovanni-El Negro combination is one of the most explosive and exciting one in Latin jazz. What kind of relationship do you have with him? Do you have any future projects with him? Giovanni: I have known El Negro for many years now. We have developed a special chemistry together, especially because we both have a strong willingness to learn. We read each other by just looking at each other. We have a future project together scheduled for November. Goyo: You sometimes play the drum set. We have seen in Latin jazz an effort to incorporate the more traditional latin percussion instruments into the playing of the drum kit, for example, with "El Negro" and Ignacio Berroa. I get the impression that you have done the reverse, i.e., incorporate your knowledge of the drum kit to your conga playing. Is that right? Giovanni: Absolutely! The first and most important person on this is Ignacio Berroa. He is mi "tio" and I have a deep respect for him as a musician. I started to experiment with a different approach to the conga in 1977. I remember that I would get a lot of questions about how I did make the conga sounds so strong without raising my arms. Goyo: There are many great congueros but only a few that can fully master (to the point of even composing) jazz and the afro-caribbean musical traditions. What do you think is needed to develop such bilingualism? Giovanni: It is important to keep educating yourself from different styles of music so that you can bring versatility into whatever context. Since I was a kid I listened to all kinds of music. Luis: A different type of versatility was obvious in the Conga Kings CD. Candido belongs to that tradition of conga players with an emphasis on strenght in an era when they did not connect microphones to the congas. Then Patato is famous for his melodic approach. You, on the other hand, seem to incorporate all of the above... Giovanni: In one conga you can hit from 10 to 13 different sounds. So imagine with five timbas and the way you have them tune up for the ocassion. From all those possibilities available you guide yourself by whatever else is happening musically at the moment. They are abstract graphs. It is also important in playing never to forget the pioneers (like Patato and Candido). I try in my Conga playing to incorporate the past but also move forward. I have always tried not to get a big head about all the praise regarding my playing. It seems to me that the moment you start doing that you have closed yourself to learning. There are many incredible congueros out there, there is no reason to start putting me labels as "king", "the greatest", or the "best in the world". Luis: In your duet cd with Michel Camilo you showed that you can put aside velocity when needed . That relationship got you to participate in the upcoming film about Latin jazz by Fernando Trueba... Giovanni: Yes, there is more to life than speed. In fact, the slower stuff can be the most difficult. It was truly an honor to play next to Puente for that film. Tito open the doors to all percusionists in the world. One of the greatest experiences in my life has been to play with Puente. Even in his old age you could hear and feel with every stroke of his stick something that is very hard to describe. In someone like that, physical capabilities may somewhat fade, but there is always something there that does not go away with time. Puente is Puente. Goyo: In what direction to you think it would be good for Latin jazz to go? Giovanni: Latin jazz Musicians should try to develop their own style while also open to new styles of jazz. I hope there will be more well thought out harmony between jazz and the latin elements. Jazz is very neutral in the sense that it allows itself to almost any rhythm. Working with Dizzy was working with the precursor of what is even yet to come. God gave me the opportunity to share and learn with musicians that even though they are not with us they are still with me. But one must not take things for granted, one must keep growing and learning. Patience, dedication, and discipline are key to growth. Luis: Don't you think that the Bolero is a good example of a promising contribution to Latin jazz? Giovanni: Of course, and from bolero you can easily move into the Guaracha and the Son. If you notice you are doing "cum bim Bum Pa" , and then " Bim Pa", Bim Pa" is a very slow guaracha. Even though the Bolero is slow in some of then the Metric is complex. Goyo: Do you have any specific plans regarding future recordings or education? Giovanni: I have many things going, but I intend to do them one at a time. I need to finish my instructional material and then I am interested on starting a new quartet with a piano, drums, conga, and a guitar. Once in a while I do get the urge to sit down in the piano and compose whatever comes to mind. I store them and have faith someday I will use them. Once a year I do give clinics at the Berklee School. I just did that with my friend John Santos, whom I have known for a long time and respect as a percussionist. Goyo: Can you imagine what would happen if the doors to Cuba were open in terms of the interaction between musicians from Puerto Rico and Cuba? Giovanni: I am still very hopeful that soon there will be a direct flight from San Juan to La Havana. I would like to return this year to the jazz fest in Cuba. Chucho has already contacted me about this. Next time I do not want to rush and have the time to listen to some of the local music. Luis: What do you think about this Batacumbele reunion in Chicago? I imagine it is hard to meet when many of you have your own bands and projects. There seems to be also developing a San Juan school of Latin jazz with, for example, Humberto Ramirez, Charlie Sepulveda, and so many others..
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