By Les Moncada & Marco Moncada
There are individuals that are drummers, and then there are personalities that are drummers with heart, with the grand eternal love for drumming that goes hand in hand with heritage and religion. Virgilio Figueroa is such a drummer. He is a conga and batá drum master who preserves religion and his heritage through Latin salsa music and with the use of sacred batá drums.
Being a conga drummer and performer is a great feat in itself, but having the knowledge of playing three batá drums, makes you exceptional amongst any conga drummer, due to the complexity and language of the three drums and, most of all, the respect for the batá drum and utmost admiration of your batá drum teacher.
Along with the batá, there is a whole universe of things that go along with batá drumming; more than what one can imagine. It is a dedication to your religion, your life, and the universe.
I will let Virigilio tell us a bit about his background; let us see what Virgilio has to say about his musical life.
Virgilio, can you tell me where you were born and the rich cultural community around you at that time. Tell us where you first heard the drum and when you first heard the batá, and who was associated with these enriched events that incurred during your childhood.
I was born in the City of New York (Bronx), March 19, 1957 to a Cuban father and Puerto Rican mother. My father was from Matanzas, Cuba and immigrated to New York in 1950. My father was a practitioner of the Santeria/Lukumi religion. Through my father, I was introduced to the Lukumi religion and the religious community including meeting and befriending Cuban batá master Julito Collazo. (I was 12 years old), at a non-fundamento batá toque ceremony. It was also the first time I heard the batá drum, falling in love with it.
What was the first batá drumming group that you were associated with?
The first fundamento (consecrated drum) batá group was with Julito Collazo in New York City until 1972. (The year that I relocated to Los Angeles, California) I was 15 years old.
In 1982, I traveled to Matanzas, Cuba, to visit my paternal relatives and meet my future Lukumi and tambor de fundamento Anyan godfather, Alfredo Calvo Cano (Obatola). I was initiated in the Lukumi religion and Anyan tambor de fundamento in 1982 and received my own fundamento Anyan batá drums which I brought to Los Angeles the same year
How long did you visit Cuba and what made you return to the USA?
I traveled and lived in Matanzas, Cuba between the years 1982 and 2001, three to six months per year, with visits learning and developing my skills in Anyan and the Lukumi Religion, as an apprentice under the guidance of my godfather Alfredo Calvo Cano and second godfather Jesús Alfonso Miro.
You have very legendary relatives from Cuba that resided in the USA; can you share with me, who those individuals were?
My maternal aunt was the common law wife of Israel (Kiki/Kike) Travieso, Arsenio Rodriguez’s brother. He was a tresero (tres player). Through my aunt, I was able to meet Arsenio Rodriguez and his brothers, Israel and Raúl Travieso Scull. Both of them, Israel and Raúl, became my life and musical mentors. They both taught me how to play tumbadoras (Cuban conga drums) in a Cuban conjunto format.
Virgilio, what made you move to Los Angeles, California?
I relocated to Los Angele in 1972, on my uncle Raúl Travieso’s suggestion, to obtain better living conditions and educational opportunities. I was 15 years old and I had some batá drum skills, at such times, taught to me by Julito Collazo.
Can you tell us about your association and background with the legendary conga and batá master of all time, Francisco Aguabella?
When I mentioned to Julito Collazo about my Los Angeles relocation, he suggested to me to contact his childhood friend, Francisco Aguabella, so I may continue to learn and play batá drums. At that time, Aguabella was residing in San Francisco.
I met Francisco Aguabella in the summer of 1973, when he was on tour with the Latin rock group, Malo.
We became instant friends and I was a member of his inner circle and Matanzero Folkloric Ensemble, till his passing in May 7, 2010.
I was also a good friend of Francisco Aguabella’s sister, Librada Aguabella, who happened to be my older sister in the Lukumi religion; she was my godfather, Alfredo Calvo’s goddaughter.
Can you tell us how you became a member of the salsa orchestra Casabe you are a member in, there in the City of Los Angeles?
I became involved in the Cuban/salsa music scene here in Los Angeles in 1973 playing congas alongside my uncles Kiki and Israel Travieso Scull (Arsenio Rodriguez had died in 1970).
My first paid professional job was in 1975 (I was 18 years old) with the Dandy Beltran Conjunto, with members Cuco Martinez, Humberto Cane and Rolando Lozano (all of them power hitters).
What musicians have you met or associated with in your musical/community career?
Partial list of musicians from Cuba. New York, and Los Angeles, which I met and interacted personally and musically: Juan Formell, Samuel Formell, Pello El Afrokán, Tata Guines, Elio Revé, Odeluis Reves, José Luis Cortez (El Tosco), Isaac Delgado, Paulito F.G., Ramón Mongo Santamaría, Armando Peraza, Carlos Patato Valdez, Eugenio (Totico) Arango, Julito Collazo, Nelson Chembo Coronel, Milton Cardona, Víctor Pantoja, José Luis Quintana (Changuito), José Perico Hernández, Orlando (Mazacote) López, Pancho Quinto, Tommy López, Luis Conte, Michito Sánchez, Javier Díaz, Angel Figueroa, Bill Summers, Michael Spiro, John Santos, Juma Santos, Leonardo (Doc) Gibbs, Lázaro Gallaraga, Rubén (Cachete) Maldonado, Charlie (El Pirata) Cotto, Ray Barretto, Ray (Little Ray) Romero.
What does the future bring for Virgilio Figueroa, the musician and dedicated community member?
Presently, I continue to play with local Cuban salsa bands, but my main focus continues to promote the legacy of the Lukumi Religion and tambor de fundamento batá Anyan.
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We, immensely thank Virgilio Figueroa for this interview, and his great patience with me, Les Moncada. This interview was long overdue. Virigilio, we thank you for your greatness, patience and musicianship and most of all your dedication to your world music drum communities all over California, Nevada and other places..
Thank you, Marco Moncada, for your great musical knowledge in Latin
Music and more and the ability to assist me with your technical assistance with this article.
Les Moncada
Author: Les Moncada
Les Moncada is a former Latin Jazz orchestra leader and conguero for over 40 years. He was born in Oakland, California and currently resides in Sacramento, California. Les Moncada was an apprentice to conga and batá master Francisco Aguabella, a friend of vibraphonist Cal Tjader, Latin Jazz band leader Pete Escovedo, conguero Armando Peraza and many more. He has been writing for many years for World Music Central. Les Moncada’s Facebook site is: Timbales and Congas Bongo Bata and bells.