Matatia Foa’i, the master percussionist of Polynesian fusion band Te Vaka, has released a superb percussion album titled “Te Vaka Beats Vol. 2.” Matatia talked to us about the wonderful world of Polynesian percussion.
What are your fondest musical memories?
I actually have an early childhood memory of watching Te Vaka live on stage at about the age of 6. I grew up with music all around me, but I have this one memory where I sat in the middle of a really nice sounding theatre and just watched the whole show in complete awe.
What do you consider to be the essential elements of your music?
The essential elements of Te Vaka Beats I’d say are: number 1, the bass skin drum which we call the “malu” which is the foundation; then the big lead log drum, which we call the “pate ulu”, which is kind of like the melody; then the smaller log drums, “pate liki, and toa”, which harmonize the lead, but often with double the speed; and then the small skin drum “vili” (running drum), which provides a kind of continuous tone.
When did you become interested in Polynesian percussion?
I became interested in drums at the age of 5. I remember my older brother, Manase Foa’i, taught me a couple of beats around that age. I wasn’t particularly talented, but I practiced.
Where are the pate log drums originally from?
I’m no historian, but it is my understanding that the pate design, has its roots in many islands, as a communication tool, for rowing and various other uses. But as a highly technical drumming art form, that credit goes mainly to Tahiti and the Cook Islands for innovating an amazing style; of course many other islands would have developed their own, but I think these islands really changed the game.
How did your percussion ideas evolve over the years? Did you experiment with the sounds of the log drums?
You could say generally that the Te Vaka fusion style drumming evolved from the fast and exciting Cook Island style drumming combined with the groove of the Tokelau Fatele. And then from there, adding some contemporary structures. In Te Vaka Beats I have kept those core aspects and just developed them further.
As I understand, your family’s band, Te Vaka made innovations to the log drums. What are these changes?
Well, traditionally the pate is played on either a basic stand or held in one hand with a single stick in the other. But my father, (Opetaia Foa’i) and my grandfather, (Brian Clay), decided that a 3 tier system would give more tonal variety. Another key feature in the design, is its ability to pack down into small road cases for flights ha ha, which was quite essential with all the touring we did.
How long does it take to master the log drums?
I’m not sure, I haven’t mastered all the different styles; Cook Island, Tahitian, Papua New Guinea, Samoan etc. But Te Vaka Polynesian fusion style drumming, I’d imagine would take a bit of time due to needing to build up your wrist strength. The sticks used are around 4 – 5 times heavier than drum kit sticks and there is very little bounce. The speed comes from wrist strength so even if you are already a drummer it could take a few months.
Who makes your percussion instruments?
Our current instruments are from all over the place, sometimes a drum will be made in one country and repaired in another. It’s hard to keep track. But mostly they have come from the Cook Islands.
Te Vaka is the most famous band rooted in Polynesian traditions. Are you aware of other acts continuing these traditions?
I’d say there are plenty of cultural groups upholding these traditions far better than we are, but I think what we are doing is developing and re-expressing it in a modern way.
You grew up in a musical family. Are you transmitting your knowledge of Polynesian music and specifically percussion to new generations?
I’ve taught a few things to a couple of my nephews, but that’s about it.
How has the COVID-19 pandemic affected you in terms of work and livelihood?
It hasn’t changed a lot for me personally, but I know a great many people in the arts that have had their livelihoods vanish as a result of this pandemic.
What have been doing these days while there were orders in many countries to stay home?
I have been writing a lot. I have written a feature film screenplay and I’m halfway through a TV show. And I’m always working on music, you can’t escape it in my family.
In what ways are you promoting your percussion albums?
I’m not sure. I’m the kind of person who just focuses on creating things… marketing is a mystery to me.
If you could invite additional musicians or bands to collaborate with, who would it be?
I’m a huge lover of score for film. So my ideal collaboration would be working on a Polynesian epic (film) with Hans Zimmer, and probably every Polynesian drummer on earth. Because we will need them all for that huge percussion ensemble sound.
What advice would you give to beginners who are anxious and want to make music outside of pop and trendy music?
Well, I would say, the most important thing, in my opinion, is to make music that you want to make. It might seem simple at first to just “make music you want to make”. But it is actually quite hard. You might start working on something and you have an impulse but then you think “Oh people usually do it the other way” or “people might like it more if I do this instead” and so you change it.
You have to get used to following your own instincts. That might mean really finding what it is about music you enjoy. For everyone it’s different. A great way for me to guide myself to where I’m being authentic and where I’m losing my way, is by asking myself, “is this music I want to listen to?”. And the great part about this approach is. Even if, no-one likes your music…. you will. I’m lucky enough that people like my music, but I would have made it regardless, because my instinct told me it needed to be made.
Are there any additional future projects to share with us?
There are always a lot of projects floating around in the Te Vaka family, but as far as Te Vaka Beats goes, I’d like to really take the collaborations further in this next one. Have some big live ensembles featuring different islands, combining all the amazing styles of the Pacific.
Author: Angel Romero
Angel Romero y Ruiz has dedicated his life to musical exploration. His efforts included the creation of two online portals, worldmusiccentral.org and musicasdelmundo.com. In addition, Angel is the co-founder of the Transglobal World Music Chart, a panel of world music DJs and writers that celebrates global sounds. Furthermore, he delved into the record business, producing world music studio albums and compilations. His works have appeared on Alula Records, Ellipsis Arts, Indígena Records and Music of the World.