(C= Chuck,
A= Amadito, J= Jose)
C- I need
a little background information on you, Who is the most important
artist you've played with?
A - That's
a very interesting question. I could talk with you about the
musical directors I've played with, under their direction.
At their side, playing their arrangements. It's a difficult
question. There are many categories.
C- Just
the musicians....
A- Ahh
well, let's see , just the important ones? Paquito de Rivera,
Arturo Sandoval, Tata Güines, Richard Egües, Changuito,
Peruchin Jr., Ruben Gonzales...
C- You
have played with Peruchin right? (Chuck: Peruchin (Pedro
Justiz) was a very important Cuban musician who influenced
and continues to influence generations of musicians.)
A- Yes,
when I started out I played with Peruchin. I recorded an album
with Peruchin, with a trio. I was just starting out.
C - And
you Jose?
J- With
all the people from the new generation.
C- The
new generation?
J- Yes,
when I started I played with "Combinacion Cubana" and also
with - "Papa Cun Cun". It was a big group in the 70 's. The
name comes from rhythm. ( He sings the rhythm) - papa cun
cun, pa cun cun, papa cun cun....
C- Ahhh
very interesting! (chuck sings)
J- I played
with the singers that were from Papa Cun Cun. You have met
them, Jeny Enrique from "Combinacion Cubana"
Then I
played with Miriam Bayarde y Havana Son. Then I played with
Adalberto Alvarez y Su Son for three years, then after that
I went on to Amaury Pérez and then I played with "El
Medico de la Salsa". (Chuck: Literally, this means "The Salsa
Doctor". El Medico is one of Cuba's hottest bands.)
A- You
also played with el Médico?
J - Sure
, when the doctors were still "interns".
A - They
were pantristas
C - They
were what?
A- Pantrista
are the guys that bring you the food in the hospital!
(everyone
laughs.)
J - Then
I played with a project from Argentina that was composed of
big orchestras with Argentine and Cuban Musicians, It was
called "Tabaco". "El Tabacco " actually and then I played
with Rojitas. (Chuck: Rojitas is a great singer from Cuba,
nicknamed "The Golden Voice of Cuba".)
C - You've
played with several famous percussionists right?
J- Well
when I'm invited to play at descargas (jam sessions) at Mi
Salsa (Chuck: A famous Havana TV program) or at other places,
there are always famous percussionists there.
A- Oh
I also played with Chico O'Farrill. Some concerts in Finland.
Chico O'Farrill was very important.
C- Yes
I know, what did you play with him?
A- Timbales.
In that case, timbales.
c - In
many cases you play timbales.
A- In
many cases I play drumset and in many I play timbal. Oh look
I forgot Juan Pablo Torres, trombonist.
C- But
if you play on a gig do you play both things, timbales and
drumset?
A- If
I play a drumset on a gig then I'll play strictly set on that
gig. If it's timbale , then I'll play that all night. These
days not everything is done in the majority of situations.
You will see drummers with timbales set up on the side of
the set. That's not common. I'm in the habit of doing one
thing at a time. When a song calls for drumset, in the Cuban
style, I'll play set and when a song calls for timbal, I play
them separately. I have a personal philosophy that the drumset
, even though it is a very musically mixed up instrument,
can get a sound that’s very close to timbale. I have
the philosophy that the drumset, when played in a Cuban style
should not make you think of timbales. We play with specialists
of our style of music. The groups that we play with work on
a massive and intense level. But, one thing...I don't know
if you agree with me, (asking Jose), but the final valid criteria,
for example, is with you.
C - the
what?
A- The
valid criteria, is yours. When the timbale is played Cuban
style, (it is a Cuban instrument), it should not have colors
of drumset in it. With all those people I mentioned on occasion
I've played set and on occasion I've played timbales. I've
many recordings with drums and many with timbales, not with
the two of them at the same time.
C - Jose,
I've seen you playing timbales with Adalberto y Su Son (Chuck:
A great band in Cuba) but when did you start playing drumset?
J- You
know if it was up to me I would have stayed with timbales
because I like them. But times change and one has to adjust
to what’s happening. At least with one timbale, at least
for a solo or for a recording project it works but for the
street you have to play drumset. Music is very aggressive
right now. I had get in tune with what is happening.
C - So
when did you start?
J - I
started in 93-94 with the group "Tabaco".
C- You
played timbale and drumset?
J- Yes.
Timbal and drums. For me, it's very difficult....
A- You
have been alone.
J - Eh...What
do mean alone?
A- You
are the drummer and you have a tumbador, I have someone in
front me with timbales. (Chuck: Now Jose and Amadito start
to talk about where Amadito's playing tonight...OK guys! let's
get back to the interview!!)
See back
in the day it was the reverse of now. There was no timbale,
just Bata and tumba (congas). then we thought lets add a timbal.
In the group I am playing with there was no timbal. I only
play drums. Drums, three batas, and tumba. (Batá are
drums used in Cuban religious ceremonies.) Then I thought,
let's add a timbal.
C - Wow!
What group is that?
A- Las
d'Aida.
A - In
this group that I actually played with before, I played drums,
there was a set of drums, 3 batá, and tumba. On certain
numbers I left the set and played timbal.
C- Why
did you start to play bass drum with timbales.
A- I never
play bass drum with timbal.
J - I
always played with bass drum.
C- Why?
J - I
would see it done. I would see, when I was a kid , that when
it was time to play cymbal it was supported by the bass drum
or the macho on the timbal. (Chuck: the "macho" is the smaller
of the two drums.)
C- This
is the reason we are here, to find out why this happened,
You never played with bass drum?
A - I
have never played with bass drum.
C- But
you do use a cymbal?
A- Yes.
I have a very funny anecdote, do you know of a record called
"Nueva Visión"?
C - Ah
yes with Emiliano Salvador? (Chuck: Emiliano Salvador, who
passed away several years ago, is a revered musician in Cuba.)
A - Yes,
you know that Emiliano was an incredible drummer . He studied
drums not piano, he studied basic piano. He told me "Amadito,
your set up will be this bass drum, bell, cymbal and timbal".
At the moment he was a bit skeptical, he was thinking that
we weren't going to be able to produce the power he was used
to from the bass drum. I told him come on, you have to trust
me. Lets leave the timbal and cymbals. OK, well you have the
record. From that day on I have always played timbale with
cymbal. I always play timbal with cymbal.
J - The
jobs that I play, the crazy ones, I use drumset. The jobs
that are all salsa that’s all I use, timbal and cymbal.
When I play cymbal it's on the bell along with the hembra.
(Chuck: The "hembra" is the larger of the two drums that make
up the timbales.)
C - I
have a question I may have asked you about six months ago.
Where did the use of the cymbal originate , did it come about
because of American Jazz music?
A - Of
course, that comes from Jazz.
click
here to continue
