Ortiz himself states that only later was a third drum incorporated which was designated by the name quinto. He states also that the three drums are of approximately the same size, although he does not indicate that the difference in pitch of each relative to the other two is determined by the difference in head diameter of each drum. It is remarkable that Ortiz should indicate in that "the term conga is of relatively modern introduction in Cuba" Ortiz, F. However he also indicates later that "the conga was born in Havana in times of Spanish rule" Ortiz, F.
He furthermore states that purpose of the stave-built drum was to differentiate it from African drums - generally made from hollowed tree trunks - because of the prohibition to which they were subject. We can further conclude that there was a certain connection between the instruments used for congas and carnival street bands and those used for the rumbas. It is fitting to mention that both musical streams originated in the marginalized and peripheral barrios of Havana and Matanzas and in the same segment of the populace.
It is significant that Ortiz asserts, "Nowadays special drums are not required for playing rumba. Rumba is a dance and a rhythm but not a drum," and goes on to say that the drums used for rumba are not historically related to the drums called congas, inasmuch as the fashionability of the latter has all but eliminated the former, and that in present-day popular dance bands when rumbas are played congas are used, creating a certain confusion since today many are unaware that there were special drums called rumba drums Ortiz, F.
From this we can infer that the advent of the conga in Cuban music is not an event remote in time. The earliest mention of the instrument dates from the first decades of the 20th century. All the available information suggests that the most primitive congas first appeared in carnival street bands.
However the rhythms and style elements that characterized their debut as musical instruments came from the rumba cajones. It is also in the rumba context that the conga reaches its definitive form and acquires the head tensioning system that it presently possesses.
For this reason we prefer to place the birth of the conga in the context of rumba, and to see the drums of the carnival street bands as just one more predecessor of these instruments. Some authors state, I think rightly, that during the third decade of the 20th century the first congas began to be introduced at rumba gatherings. This occasioned less frequent use of the cajones at such gatherings. Furthermore each conga took over the job of one of the cajones so that there were three congas, each quite different in size and function.
The phonetic antecedent of the the word tumbadora we find in the expression tumba , an Afro-American word denoting drums in general. Both words - tumba and tumbadora - contain the phoneme mba which is evidently of Bantu or semi-Bantu origin. This is one more clue leading us toward the large Bantu group of peoples in our search for the historical predecessors of the Cuban instrument.
The instruments had the barrel shape obtained by stave construction - just as we see today - but the head was attached to the body of the drum. This was in urban areas of the provinces of Havana and Matanzas.
This period was characterized by a strong migratory movement toward eastern Cuba, since the sugar industry was growing in that direction and with it the Cuban railway system. This offered job opportunities to many living in western Cuba, who moved eastward principally during the time of the sugar harvest. Introspection Late Night Partying.
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It appears your browser does not have it turned on. Please see your browser settings for this feature. During and there was one change and one addition to the Orquesta Aragon: Pedro Depestre replaced his father, Filiberto, on violin and in January Rafael Bacallao was added as a singer.
Now the Aragon had three voices, and a unique sound. Many of these records are released as limited pressings and finding them can be an arduous task. Our best advice is to try the specialist African music outlet Stern's. This sublime track Elixir by Cindy Le Coeur — a protege of the great Koffi Olomide — features synths and three guitars alongside congas.
Reminiscent of Sade or Angelique Kidjo, Cindy could easily be a chart star in Europe given the right promotion. Ferre Gola is one of the biggest stars of the new generation. This track, Madia Tambambi , contains elements of dancehall and calypso — reflecting Kinshasa's melting pot of influences and the hybridity that globalisation and MTV has brought to African music.
An irresistible, mesmeric dance track.Jan 13, · JOACO MUERTE '' Muy buena esta produccion del reconocido percusionista Pedro Conga y su Orquesta Internacional. Que cuenta con musicos de primer nivel como el famoso trompetista Elias Lopez, en el timbal Bienvenido Lugo, en el coro el gran Andy Montañez y en la parte vocal Silvestre Ayala tremendo cantante.