• Author / Uploaded
• Robert Sabin

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This recording was conceived of as a means for preingthe 1>fo}l t 1aying togeth'er i;'g:rgeous,·thrt bbing ; •- senting to today's percussionist thoroughly authentic harmony. You'll notice the accent is on unity, not solo. "· Latin rhythm material of a traditional nature that would lt is this perfect interplay of components that must tie' ; have present day applicatioii~f'· thoroughly understood before one may consider them, , · • selves a Latin percussionist. • Certain musical forms are classics and are of timeless Wl-\ile this tpay not be the first and only instructional beauty. The Latin rhythms chosen for pr~ntation i ,• this recording were selected based on their ad b1 reccirdfng on Latin rhythms, it can boast being the most '110! ti It offers two things that are essential !.... ity to both contemporary music, no m~er'io!Y category, as well as to whatever will . fol!O'ol·-'r~ of rliythmic fallerns, as well as a guide to future. These rhythms are the roots of some -:o (! r$'er phrasing o these rhythm54 something not powerful and compelling music_ever crease. in any other offeringt , · • ot_h er classic art forms, will never l!)se_!~it~ hllght of this record in~ is the pairint: together of s probably the " heaviest" percussion duo the It was no easy task confining this rei;ordi of percussion has ever known - Jose Mangual rhythms, as there are so fmany that--c ou Patato (Carlos Valdez). Mangual, Sr., the undispresented. It was my desire to adequa_t_eft_'J_· d master of the bongo drum, ,and Patato, the rhythms_m~t applicable to modem n:iu~ wned kinf of the conga. Wherever this Fcair has travtouch briefly on a greater number. List each selection.,There's lots of material to be ~n\~ie'r:Jt~"~1• ~~~iu~s~!!l~~e~t~~:gTt:::i~~ You'll find yourself playing the sel~iOIM 1 over. That's good! The interplay· of i ' It was Jose Mangual's performance on the bongo at a ;'~' component must be fully understood.\: ' . • Monday night jam session at Birdland in the 1950's that Most vital to the understanding, an~ ' ultjmlle y· th! offered the inspiration that ultimately led to the formaproper execution of Latin rhythms, is a thorougfi co lion of Latin Percussion, Inc. • prehension of how each percussion instrument relat 1 1 0 1 1 5 :~~s:s~~~:~a~s ~;,1~~~~~c:~ ~~~1i k: n~'i~!t~: to the clave, a pair of special wooden· strikei, lrolll d. which the rhythms revolve like the planets -around -t e is essential, it Is this melodic element that is part and sun. Even if the band omits a clave player, his presence.•· parcel of virtuosity. While Latin Percussion, lnc.'s drums is felt In the ,:nin~s-~~~ ~v:i.ry..,;;;. _m~~ber of the musicai_:--. are built to exacting standards, with time-tested degroup. • _ //'I!':.· . ....... ~signs, it takes time to acquire the technique necessary Every musician on this recording has devoted his entire to extract the full tonality of each of the percussion inprofessional career to playint: Latin "'funk."' Sure., there's struments, especially the bongo and the conga drums.r lots of guys around who claim to be Latin perrussionIt is for this reason that I felt ii essential that one be ists. Truth is, ther aren't! What you will derive from presented with the ultimate to serve as a. ~oal Mtoward this recording wil be, above all, a "'feel " for the music. · . achieving excellence in performance. Wit angua1, . Each rhythm starts with basic• and builds in percu\sive Patato, and. the other experts on this recording: that _·~'I: ultimateJrame reference is established I, - ~ -~ Instrumentation until the entir~ rhythm section, i~clud· · ; • • ..: .:11 -._-) , . ..• ;;~,..;; 0 •..i:'••' • ; • . / ~ •...ft~ -. ~- ~> -J:,• , ~ ·-• ' .,. .. ..,; ~.,11b-..._• , "1 '!';_/ " 1 t I

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- ~Mfn! ;~ q ~endo was cho'sl!n for timbales bec!iuse of his style being so basic and beautiful. His tinie is impec._ cable, taste unquestioned, and his left hand legendary. ~. He brings out the importance of a stro11g Jeft hand for . a timbale player, which adds the "bottom" to the.;:• ·rhythm, accentuating harmony with the tumbao of the cr·hoyntgam~_-!ld_f;!_t e bass, and most imf)ortant, i~e clave th , In choosing a bass player for this session, I insisted ·on~ the best, and feel honored that I was able to have· . Bobby Rodriguez, the undisputed master io.ihe fie!g o1 Latin. While this album's accent is on percussion._il takes a "funky" bass pl

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