The Tambours Croisés project celebrates the drumming traditions of France’s overseas territories. For this second volume of the project, the producers also invited musicians from two former French colonies, Haiti and Senegal.
The majority of the pieces have a similar format, featuring vocals or chants and drumming. There is a mix of traditional songs and original works by the participants as well as a final jam.
The album is part of a larger project that included tours, workshops, and a photo exhibition
The artistic director, Thierry Nossin brought together a larger cast for this second volume. Ideally, he wanted a vocalist and a drummer from every country or territory. The artists featured include griot singer Coumba Arame Mbaye and master drummer Alioune Seck from Senegal; the Martinique representatives are Nenetto (René Capitaine) and Beatrice Alcindor on vocals and Claude Jean-Joseph on drums.
Drummer Joël Jean and vocalist Marie-Line Dahomay hail from Guadeloupe. The artists from Reunion Island in the Indian Ocean are Eno Zangoun on vocals and Zelito Deliron drums.
Guyana is represented by singer Yannick Théolade. Diho provides the singing tradition of Mayotte. Lastly, two artist arrived from Haiti, vocalist Guerline Pierre and drummer Jackson Saintil.
Mickey Hart was born on September 11, 1943, in Brooklyn, New York City. He is best known for his nearly three decades as a fundamental part of the influential rock band the Grateful Dead. As half of the percussion unit known as the Rhythm Devils, Mickey and Bill Kreutzmann went beyond the conventions of rock drumming. Their extended polyrhythmic excursions were highlights of Grateful Dead shows, introducing the band’s audience to an ever-growing set of percussion instruments from around the world. Exposure to these exotic sounds fueled Mickey’s desire to learn about the various cultures that produced them.
Hart’s tireless study of the world’s music led him to many great teachers and collaborators including his partners in Planet Drum. The self-titled Planet Drum album not only hit #1 on the Billboard World Music Chart remaining there for 26 weeks it also received the Grammy for Best World Music Album in 1991- the first Grammy ever awarded in this category.
Planet Drum was one of twenty-nine recordings released on Mickey Hart’s The World series on Rykodisc Records. The World offered a wide variety of music from virtually every comer of the globe with releases like Voices of the Rainforest from Papua New Guinea and Living Art Sounding Spirit: The Bali Sessions.
Mickey’s experiences have led to unique opportunities beyond the music industry. He composed a major drum production performed by an assembly of 100 percussionists for the opening ceremony of the 1996 Centennial Olympic Games. Additionally Mickey has composed scores soundtracks and themes for movies and television including Apocalypse Now Gang Related Hearts of Darkness The Twilight Zone the 1987 score to The Americas Cup the Walter Cronkite Report and Vietnam A Television History arvdr The Next Step. In 1994 Mickey along with all the members of the Grateful Dead was inducted into the Rock and Roll Hall of Fame.
Mickey’s lifelong fascination with the history and mythology of music is documented in four books: Drumming at the Edge of Magic: A Journey into the Spirit of Percussion Planet Drum Spirit into Sound: The Magic of Music and Songcatchers: In Search of the Worlds Music written in collaboration with National Geographic.
In 1999 Mickey was appointed to the Board of Trustees of the American Folklife Center at the Library of Congress. In October of 2000 the Saybrook Graduate School and Research Center conferred an honorary doctorate of humane letters upon Mickey for his work in advancing the preservation of aural archives.
Mickey is the 2003 Recipient of The Music Has Power Award by The Institute for Music and Neurologic Function part of the Beth Abraham Family of Health Services.
Mickey is the recipient of the 2004 Governors Award presented by NARAS (National Academy of Recording Arts and Sciences).
On Sept. 18 2004 Mickey set a new Guinness World Record for the largest drum circle with 454 drummers.
Mickey Hart served for twelve years on the American Folklife Center (AFC) Board of Trustees and helped to establish the “Save Our Sounds project a collaboration between the AFC and the Smithsonian’s Center for Folklife and Cultural Heritage. He also served on the Smithsonian Folkways advisory board in the late 1980s where he was instrumental in shaping digitization strategy for the Moses and Frances Asch Folkways Records Collection and served as technical director for The Original Vision the initial Smithsonian Folkways reissue of Woody Guthrie and Lead Belly recordings. Hart also digitally remastered the Smithsonian Folkways album Hawaiian Drum Dance Chants and with Thomas Vennum Jr. supervised sound duplication for the album Navajo Songs.
In 2011 Mickey Hart made an agreement with Smithsonian Folkways Recordings to release the world music recordings known as The Mickey Hart Collection.’ The plan is to preserve and further the Grateful Dead percussionist’s endeavor to cross borders and expand musical horizons. Smithsonian Folkways will make many of Mickey Hart‘s music projects available digitally (stream and download) for the first time while keeping physical versions in print as on-demand CDs.
The Mickey Hart Collection started with 25 albums drawn from The World, a series Hart curated that incorporated his solo projects other artists’ productions and re-releases of out-of-print titles. Six of the twenty-five albums form the “Endangered Music Project”, a collaboration between Mickey Hart and the American Folklife Center at the Library of Congress which presents recordings from musical traditions at risk. Both The World and The Endangered Music Project were previously distributed by Rykodisc from 1988 to 2002. Hart co-produced The Endangered Music Project with Alan Jabbour former Director of the American Folklife Center of the Library of Congress.
The Mickey Hart Collection‘ offers a wide variety of music from virtually every corner of the globe recorded in a diverse range of locations from the Nubian Desert to the Papua New Guinea rainforest. “Music is our talking book our portal to the spirit world. I hope you will enjoy these audio snapshots of my musical journey ,” Hart said. “It’s an honor to have my recordings at Smithsonian Folkways alongside the greatest songcatchers of our time.”
Today, Hart continues his extensive Grateful Dead career with fellow original bandmates Bob Weir and Bill Kreutzmann — and now with John Mayer, Oteil Burbridge, and Jeff Chementi — in Dead & Company. The supergroup’s 2016 summer tour sold out shows nationwide in the United States, garnering acclaim from critics, Deadheads, and new fans alike.
Rolling Thunder (Warner Brothers BS2635 1972) Diga Rhythm Band (1976)
The Rhythm Devils Play River Music with The Rhythm Devils (Passport Records PB 9844, 1980)
Dafos Mickey Hart Airto Moreira Flora Purim (Reference Recordings RR-1, 1983)
Yamantaka with Mickey Hart Henry Wolff Nancy Hennings (Celestial Harmonies Records, 1983)
Music to be Born By (Rykodisc, 1989) At the Edge (Rykodisc, 1990) Planet Drum (Rykodisc, 1991)
The Apocalypse Now Sessions with The Rhythm Devils (1991) Mickey Hart’s Mystery Box (Rykodisc, 1996) Supralingua (1998)
Spirit into Sound (2000)
The Best of Mickey Hart: Over the Edge and Back (Rykodisc, 2002) Global Drum Project, with Zakir Hussain Sikiru Adepoju Giovanni Hidalgo (Shout Factory 2007) Mysterium Tremendum (2012) Superorganism (Empire, 2013) Planet Drum, 25th Anniversary edition (Universal, 2016)
Francisco Aguabella was one of the greatest Latin drummers. He was a conga and bata master, a Latin Jazz orchestra leader, and composer. Francisco was born on October 10th, 1925 in Matanzas, Cuba and passed away on May 7th, 2010 in Los Angeles, California.
Francisco composed many pieces and eyes and ears were always open to his tunes. ‘El Agua Limpia Todo and ‘Complicacion’ were composed by him and recorded and performed by the Tito Puente Orchestra. The dance halls from New York City to the West Coast went crazy. This was the mambo era after the war, a magnificent time and reason for all the races to unite, whites, blacks, Jews, Latinos, Asians, all who wanted to learn the new dance steps to the mambo, cha cha cha and the rumba (as in Walter Winchell rumba not Afro-Cuban folkloric rumba).
Tito Puente made the world go crazy with Francisco’s tunes. One of these, ‘Marchando Bien’ was recorded on Tito Puente’s last CD that featured Eddie Palmieri, and was sung by the late Pete ‘El Conde’ Rodriguez.
At times, I would be at a restaurant, eating with Francisco and he would hum a few bars of a tune and chuckle, saying “Listen, this is something I composed and Eddie Palmieri is interested in it”.
Francisco resided in the San Francisco Bay Area for many years, making recordings, performing with the Latin rock group Malo; Carlos Santana; and Tito Puente. He was the musical director to Cesar’s All Star band nightly at Cesar’s Palace, a nightclub owned by pianist Cesar Arscarrunz. Francisco was always performing with his own Latin Jazz orchestra and traveled at night to play a bata drum ceremony in Los Angeles the next day without resting. Francisco traveled back and forth to New York City to play with Eddie Palmieri, to participate in recordings and to perform with various other Latin orchestras. In his later years, Francisco returned to Los Angeles.
Francisco had a knack in finding young new talent, such as the late vibe player, composer and bongosero Nerio Degracia. Nerio wrote compositions and performed with Francisco and in his later years had his own Latin Jazz band.
Composition by Nerio De Gracia, Image of a Star:
The first Latin female pianist in San Francisco, Patricia Thumas performed with Francisco Aguabella while Armando Peraza was in his orchestra.
Conga drummer and batalero master, Virgilio Figueroa, colleague, friend and apprentice with Francisco Aguabella says about Francisco:
“I first met personally Francisco Aguabella in 1972 in Los Angeles through Julito Collazo, who was my bata teacher and friend in New York City at a bembe toque at Bebo Ochun ocha house, when I was 15 years old at the time. I relocated to Los Angeles in 1974 and became Francisco’s personal friends till his passing 5 years ago.
I became a full member of his traditional Afro Matanzero folk group in 1980. Francisco was living in the city of San Francisco at the time. In 1982 I became a Lukumi priest and traveled to Cuba in 1983 to expand my knowledge of the Lukumi religion and ceremonial bata drumming in the city of Mantanzas (Cuba). In turn, I met my padrino (godfather) Alfredo Cano Calvo (deceased) who also happened to be Francisco’s sister Librada Aguabella’s godfather.
I met all of Aguabella’s blood relatives and became the bridge between them. In 1983 I decided to bring from Matanzas Cuba the first consecrated full set of añan bata to Los Angeles and recruited Aguabella to move here to Los Angeles from San Francisco and teach us how to play Matanzero style since he was the only one in the USA that new how to play in that manner. Tony Rosa, Mike Orta and myself were his only students at that time.
What impressed me to most about Francisco Urrutia Aguabella was his commitment in preserving the traditional Matanzero añan style of playing which he learned at the tender age of 15 by master oluaña Carlos Alfonso and the power he had when he played never got tired and demanded the same from his players.
Personally, I learned with him many other style of drumming such as olukun, iyesa, bricamo, bembe, arara and bakoso, styles that are no longer played in Matanzas today.
Francisco was a time capsule from the 40s and 50s.The main thing I miss about him is his sincerity and honesty and overall loyal friendship. Francisco did not befriend many people, but he made friends with me, and gave much needed advice growing up as a young man. For me, besides a friend and teacher he will always remain my Afro-Matanzero legend the one and only.”
Francisco Aguabella had few personal apprentices some who have reached legendary status due to their contributions in music:
John Santos, 5 time Grammy nominee and musical director of many charanga orchestras and Afro-Cuban folkloric groups throughout the decades. He’s a bata, instructor and clinician and a Latin music historian and musicologist.
Michael Spiro, music professor at University of Indiana, clinician, instructor, musician, and bata and Brazilian percussion master.
Tony Rosas, conguero, bata master, and musician currently based in New York City, performing with Conjunto Libre and Conjunto Folklorico Nuevorriqueño and other Latin orchestras;
Virgilio Figueroa, bata master, conguero, performing musician with other Latin orchestras in the Los Angeles area, with his tireless contributions to the Los Angeles, Nevada and other communities with his sacred añan drum group;
And me, Les Moncada, musician; former Latin orchestra leader & Afro-Cuban folkloric drum group leader; bata performer in clinics with Francisco Aguabella; founder of Latin Drumming Educational site on Facebook: Timbales and Congas Bongo Bata and Bells and 8 other Latin instrument sites on Facebook, and writer for World Music Central.
Francisco left us history in his recordings, especially his Afro-Cuban folkloric recordings. Additionally, Francisco contributed a great deal of folkloric knowledge to the Afro-Cuban recordings of Ramon Mongo Santamaria.
Francisco Aguabella once told me, “I do not play the drum, I have lived the drum”. Remembering that phrase, it’s great when one’s daily line of work is drumming for a living, teaching drum lessons and or even selling drums and miscellaneous supplies to drummers, or as a musician full time.
Michael Pluznick is such a drum master, who has been learning and teaching drumming all his life. What a dream job! Any drummer would actually die for! Michael is constantly traveling worldwide, teaching drumming classes and playing with the legends of drums for example djembe drum legend Bolokada Conde.
Michael was born in Elizabeth, New Jersey, but he presently resides in Delray Beach, Florida. Michael travels extensively to Asia and Africa and soon will be voyaging on his third trip to Cuba soon!
I became familiar with Michael when a group of young drummers decided to go to Cuba in 1985 for a venture. They wanted to learn more, had exhausted their resources in the San Francisco Bay Area and decided to go to Cuba.
During this trip to Cuba, they studied with the masters and brought back videos that knocked everyone’s socks off. I was one of the sponsors of the group, as an aspiring Latin percussionist also wanting to know more and more.
Michael and his group recorded the famed Changuito timbales solo in front of the hotel in Cuba, saw the show by Juan De Dios, quinto conga drummer and dancer, and met Pello El Afrokan who is the inventor of the Latin rhythm Mozambique, made famous by Pello, pianist Eddie Palmieri and timbalero legend Manny Oquendo.
Pello then invited them to his apartment for batá lessons and a rumba, with elder batá legend, Amado Gomez present. At a certain point, the legendary Afro Cuban rumba singer Carlos Embale walked in. There is a video of this session that might be recovered in the future. I no longer have this video personally.
Michael and the group also met and associated with the Conjunto Folklórico Nacional de Cuba and batá elder Carlos Aldama, who was the lead batá drummer for the Cojunto Folklorico. Today, Carlos Aldama resides in the San Francisco Bay Area, and sometimes on a whim, I have wondered, that if that trip inspired musicians to move to the USA and the San Francisco Bay Area.Let’s see what Mr. Pluznick has to say:
Les Moncada – Michael what is your family background.
Michael Pluznick – My family is of Russian descent, via Poland. My grandfather moved here to the USA prior to World War II.
When was the first time you actually heard percussion and realized that it interested you and that you would have a love for drums?
My father was able to get us free trips to Puerto Rico in the 60s when it was first becoming a tourist location. I wandered on the beach and heard drummers there for the first time as a small child. At our hotel, there was a band with a bongo player. I will never forget one Christmas there they were giving out presents and they gave my friend some tack head bongos. I was so disappointed I did not get them! Hounded my father for several months until he was able to find me a Mexican tack head drum and later he got me one with actual hardware.
How did you start studying drums, who were your teachers?
At the time I first started playing in 1967. There were no Cuban teachers in my area in New Jersey, so I took drum set lessons and learned basic fundamentals from a drum set teacher at a nearby music store. I had no technique, no slap and tone but I loved how it felt to play and practiced to Santana and Olatunji records.
I played in several bands as a thunder drummer not knowing how brutal I was! In 1975 I was at art school at RISD in Providence Rhode Island playing in the school jazz band. I met a local conga player, someone who told me I needed to study, that I would never learn, if I did not listen to people better then me.
At first I thought he was crazy. And then I had an epiphany, a realization that I had two possible paths I could partake on; one as a percussionist and hand drummer or one as an artist. I realized the path as a drummer would be incredibly difficult but in that moment of realization I decided to drop out of art school and pursue a path as a drummer.
I contacted a close friend of mine who was a very good player, George Terzis for lessons. He showed me how to hit the drum correctly and told me there was an actual language to playing drums. He introduced me to Gail Philipo in Boston. She had studied with several master drummers and she was able to give me a solid foundation in the concepts of traditional drumming from Cuba and West Africa.
After Boston I went to California where I studied full time with Simbo (Craig Goodman) as well as several local teachers there at the time including lessons with Marcus Gordan, Tobagi, Luis Cespedes among others.
My son moved to New York where I visited often and I started studying with John Amira who taught me Haitian drumming as well as Afro Cuban drumming for a few years. He wrote everything out in box notation so he got me into that as well.
I got a job as the percussion salesman at Haight Ashbury Music Center, (San Francisco) after the change of owners from Chickens That Sing Music. That was 35 years ago!
While I was at the shop I would often practice on the many conga drums that were there. Armando Peraza would stop in regularly and we would have a jam session. He would quiz me on each rhythm I would play for him and then he would solo. The shop would completely fill up with a hundred or more people every time he got down to business! It was an amazing experience.
Armando had a friend an African American friend named Ray Gardener (he wrote” Dance Sister Dance” for Santana). Ray would come in often to the shop and he invited me to record with him and Raphael Ramirez in the studio, which was my first experience recording. He and I had intellectual debates on traditional music vs. making world music combining traditional with non traditional.
Tell me about your trip to Cuba.
I had a friend named Jerry Shilgi, who passed away a while back. I met Jerry in the yard at Sproul Plazz in Berkeley California where there were jam sessions on Saturday and Sundays. I would not call them a drum circle, but something like that. Jerry introduced me to my teacher Simbo who played both traditional Afro Cuban and West African styles.
Jerry was connected to everyone and everything at that time.
We became roommates in China town in San Francisco. He found out about the trip to Cuba. No one we knew had gone before and it was a no brainer for me. I had to go.
I was able to acquire one of the first non commercial video camcorders to film with. We went officially as members of an educational group going to the Jazz Festival in Varadero (Cuba). While we were in the coffee shop at our hotel the first day we were there we saw the legendary Pello El Afrokan. We were there with Rob Holland and Bret Golin.
We asked him if we could study with him (Pello) while we were there and he agreed to not only teach us, but he basically brought us around and introduced us to everyone in the music and drum scene you can imagine, as well as set up classes with us for rumba, mozambique and batá. We even had a rumba with Carlos Embale singing in Pello’s apartment!
We were able to sit in at the Saturday Rumba with Conjunto Folklorico Nacional as well as many of the famous night clubs and bands that were playing there at the time, as, Pello was so well respected. We barely slept and I remember several times passing out on the bed with all my clothes still on and waking up early with Pello waiting for us outside.
How did you get involved with the djembe drum?
My teacher Simbo insisted we study West African rhythms as he taught us that all rhythms on congas were some how rooted in and related to West Africa.
At the time there were no commercial djembes available so we were taught to make and skin our own drums.
Also, one thing a lot of people today do not realize is that in the mid-late 70’s there were no internet, CD’s or information readily or easily available. Plus most teachers were very secretive at the time for various reasons.
The rhythms, parts and arrangements were simply not out there like they are today. There were very few records available and there were not a lot of groups performing traditional music from Cuba, Africa or Haiti.
Professional percussionists and die hard students would learn any rhythm or percussion piece that came through. There was so little information compared to today. So therefore, many of us learned and played whatever came to us, or whatever we could find. There was not as big of a separation in styles as there is today. And if you wanted to get work you needed to be versatile in many styles.
Michael, who have you performed with or studied with, djembe wise?
I started with Simbo, then I took lessons with whoever would come through locally in the Bay Area including a talented griot named Karamba Diabate. When Abdoulaye Diakité came to the Bay Area, things changed drastically as he was open to and taught both women and white people. I personally believe that Abdoulaye is almost single handily responsible for the birth and explosion of the djembe in the USA. His philosophy is “Djembe Bara” or “unity of the drum”. He spent a lot of time in Santa Cruz where Drumskull Drums was born and many teachers came out of.
The next wave of djembe related music and drumming came with Mamady Keita who I studied with, in group scenarios as well as Mabiba. Wade Peterson a student of both also tutored me regularly for a couple of years.
I moved to Maui, Hawaii where I got to study with Mohamed Camara, M’Bemba Bangoura, Dame Gueye and many others who would come through on extended stays.
When I moved back to the Bay Area about 15 years ago I was able to study with and then perform with several groups. The most notable is Bolokada Conde from Guinea West Africa.
While I was living in the Bay Area, my chiropractor told me he wanted to record some music. I had a friend who was an engineer at Bear West Studios in downtown San Francisco. I took the chiropractor to the studio and helped organize the session. This was the start of me producing and recording regularly in studios. I was eventually able to play on several rock and pop albums and created several of my own recording studios and music and drumming CDs over the years.
I recorded and performed with members of The Grateful Dead, Clarence Clemons (from Bruce Springsteen), The Tubes, Todd Rundgren and some other pop stars in the Bay Area over the years. In the 80’s i was able to get a recording deal on the Narada label for 4 CDs of my own world music combining traditional themes with western instrumentation as well. You can see and listen to samples of all my stuff on my website: www.michaelpluznick.com
I see that your travel all over the planet, which I think is great. Do you teach, give clinics and can you mention the different locations that you travel to, can you tell me more about this.
Yes, 25 years ago I started to travel to Asia and fell in love with it. I also started going to India on various pursuits. I started bringing my drums here, both congas and djembes and found the local pockets of friendly and curious drummers.
Most drummers here in Asia are talented and self taught, these days from the internet. One thing led to another and I started to share and teach wherever I went. People here are appreciative like I was and still am when someone shows me something I don’t know.
When I can I sit in with the local jazz or funk groups for fun. Of course the musicians are struggling here so it is not a great place to gig.
Michael who is your all time conga drummer?
My favorite conga layer who I actually played with is Armando [Peraza]. I also love his bongo work. My favorite recording conga player is Mongo Santamaria. I love Giovanni and Richard Flores. They have taken it to a whole new level. I used to listen to a lot of Los Papines, they were my favorite for a while, especially Luis. Then of course there is Patato! And Daniel Ponce.
How do you pick one? Thomas Cruz really has super cool stuff…there are so many fantastic and unbelievable players I love… but for me, what rocks my world is old school, deep pocket and groove. Maybe I am just getting old!
Who is your favorite bongo drummer?
Bongo… again it’s Armando and Dandy. I saw Karl do a bongo and an amazing bell solo the other day and I was quite impressed. I feel his playing has sky rocketed as well.
How about your favorite timbales drummer?
Timbales… I am an Orestes fan as well as Changuito. And I do love Chepito as well. He ripped in the day! The first time I saw Changuito was with Los Van Van in Cuba in 1985. I was filming them and standing behind him. I had no idea who he was in those days. Rob Holland did, but I did not. He was not an international sensation then.
Anyway, he did about a 15 minute solo and I filmed the whole thing. I had never heard anyone play like that except maybe Elvin Jones. So outside, so revolutionary”. All I can say is he blew me away!
Michael, who is your favorite djembe player?
Bolokada Conde and M’Bemba Bangoura for Guinea style; Abdoul Doumbia and Moussa Traore for Mali style; Dame Gueye for Senegalese; and Dr Jobi for Ivory Coast style. These are all older and some people consider “old school” style. There are several super hot young players who I listen to but I prefer to study with and play the older style(s).
Of all the drums and instruments you play, which is your favorite and why?
I cannot honestly say I have a favorite, I love congas, bongos, shekere and djembe. I practice and play as much as I can. These days, I suppose, because of the popularity of drum circles I get most of my students wanting to learn djembe so as far as work, it is almost always on djembe these days.
For me it is all related. When I study Malian music (I lived in Mali 2 times) I hear the roots and a direct undeniable connection to Afro-Cuban drumming. It is so plain and clear!
The 6/8 (or 12/8) bell, the root to all the drumming we do is in every drum music that comes out of the West African diaspora be it Cuban, Haitian, Brazilian or other regions in the new world. It is all connected and so are its instruments.
What is the future for master drummer, teacher Michael Pluznick? Recordings, lessons, travel?
Ha, ha, ha. Brother, I am not even close to mastering anything. Fortunately, I have contact to and I am able to study with masters, and I see them online.
Mastery is a far off place for me. I am happy and will always be happy to be a student of this fine art and I am motivated to continue learning and studying every day.
I feel I have very good methodology for sharing and teaching, I can help people so I teach. I continue to record projects whenever I can and whenever there is a opportunity. I love traveling and hopefully with God’s help I will continue to do so.
I would like to thank Michael Pluznick for his time with this interview due to his busy schedule and wish him the world of the best in the “spirit” of drumming for many years to come!
Adrian D’Souza is a versatile drummer involved in the New York jazz circuit. Born in Bombay, India, he started his musical pursuits at the age of five, performing on national radio and television. After getting his B.A Economics from the Bombay University, he went on to take the drummers seat in the Louis Banks Quartet. His fascination with cultures and music of other countries led him to travel across the globe.
Over the years, Adrian has traveled to Africa, Middle East, Far East, Papua New Guinea, Australia, Europe and America. During these visits, he lived with the locals, assimilated the culture, studied the music, its ethnocity and the applications of specific rhythms. Adrian has performed at the Hasangatta festival in Bangalore which also featured Ali Akbar Khan and Grammy award winner Vishwa Mohan Bhut. Adrian d’Souza has worked with renowned Carnatic singer Rama Mani and mridangam maestro T.S. Mani from Bangalore.
Adrian D’Souza is now based in New York. He is a member of the International Association of Jazz Educators and a student of Peter Erskine. He works extensively with Roseanna Vitro. Adrian also works with Special EFX and Ratzo Harris . Besides studying and performing in and around the New York area , he has recorded with Roseanna Vitro, Jon Lucien, Special EfX, John Fedchock, Charles Pillow, Lao Tizer, Paranoise and The Indica Project.
Adrian has played with Art Davis, Eddie Gomez, Gary Bartz, John Hicks, Eddie Daniels, Ed Cherry, Mark Soskin, Chieli Minucci, Don Braden, Dave Mann, Gerald Veasley, Paul Keller, Chuck Bergeron, Jerry Brooks, Dave Kikoski , Shelly Berg and Mike Orta , who are among the most respected, famous jazz musicians in America.
In October 2003 he represented the Indian continent by performing in Johannesburg with the United Nations Jazz Orchestra featuring Miriam Makeba. In attendance were Nelson Mandela and President Mbeki of South Africa and the European Commission.
Adrian d’Souza’s debut album It’s About Time featuring Don Braden, Roseanna Vitro, Chieli Minucci, Allen Farnham and Bob Bowen was released during the winter of 2002.
When you talk about drums, there are the handmade versions of drums and then there are also mass manufactured drums. Michel Ouellet the owner of MOPERC located in Canada has one of the most outstanding handcrafted drum companies around, making congas, bongos, wooden timbales (tarolas) and soon, once again, batá drums.
Michel is an extremely social individual even though he has a busy shop schedule. He made time to talk with me as did the famed Jay Bereck. Let’s see what Michel has to say about himself and his drum company.
Michel, can you tell me little about your background?
I was born in a “not musician” family but very young I loved and listened to much music. My father was a blacksmith and was very clever with his hands so seeing him working daily, I began very young to make and build different things with my hands, spending my time beside him in his shop.
Michel, when did you first discover the drum, conga, bongo etc?
I moved to Montreal to study Arts at college. There, I began to play bongos with my guitarist room-mates. At the first 80s I began to study Latin percussion with different good players in Montreal as my friends Pierre Cormier and Andre Dupuis who studied in New York and Cuba. I learned rumba at this moment with them. This was my passion. I played hours and hours.
What made you start a drum making company?
At the age of 28 I moved to the country with my little family. I was a carpenter. The first month I arrived here, 27 years ago, I made for myself a djembe with a log with my chain saw! I accompanied African dance class with my first djembe. I made a second one that was better and I did more than 20 instruments in this way. Mostly, djembes and also batás.
During this time I was carpenter, as my career, during this part of my life. In the end of the 80s I began to study the construction of congas made by staves. I found different ways to build them. I saw the LP [Latin Percussion] method, with staves in two or three plies, I saw Skin On Skin who steamed and banded the staves (I went to buy congas at the Jay shop in Brooklyn).
I also saw how Valje (drums) would cut some grooves inside each staves to curve them. And I discovered the Junior Tirado; that Junior would cut each staves in a solid piece of wood. But I began with the steam method myself. Then I changed from cutting the staves to a solid piece of wood. This is the method I’ve used for 20 years and the one which I prefer.
The first congas I made I showed them to the percussionists in Montreal and they began to order some, and then ordered more. Later, I went to Toronto and the results were good, In 1990 I found the proper method officially, after 2 years of research.
The 90s were the years I developed my methods and different instruments. I have made batás, tamboras, congas, bongos, timbales, djembes, sabars, dununs, talking drums and different other little drums. Even a couple of drum sets for friends.
Quickly, I knew that my market would be in the bongos, congas and djembe drum making. Therefore, I have put the others drums on the aside and I just started offering timbales.
What kind of styles of music do you play and where have you traveled to expose your great product? Who have been some of the sponsors of your drums for your MOPERC Company?
In the 2000s. I came back on the scene with different models, salsa and grupo de son. I have Cuban friends Habana Café; with a salsa timba band. They still have a good success here in Canada.
I have played this style of music for 12 years on congas. But 8 years ago I quit the scene for keep my energy for my business.
I traveled to Cuba many times where I have concluded partnerships with Los Muñequitos de Matanzas, Yoruba Andabo, Afrocuban All Stars, La Charanga Habanera and different musicians such as Panga (Tomas Ramos Ortiz), Rolando Salgado, Pacha Portuondo, el Chino…
In the USA I have held clinics during these last years in different places as PASIC in Nashville, in Los Angeles and once In New York.
Last year, at the age of 55 and after more than 25 years of business I made a move to sell MOPERC Company and retire. But for some technical and human reasons the sale did not work. I think it is because I have not finished with this work. Now I’m very glad to be here as owner and founder for some more years. I have many projects. The sales go very well. I sell much in USA, much in Canada and a little in Europe. Some of my drums go to South and Central America and some to Asia, Africa …
How is the drum production going? Do you plan to start making batá drums again?
I’m working now on a new model of conga made of oak and mahogany. I used to make many congas and bongos with oak and mahogany in the 90s and I loved the sound projection of these woods. That will be more a vintage style model reminiscent of the old Cuban drums used in the rumba before and after the revolution. I like oak for the great projection and volume it offers. I love mahogany for its warm and rich tone. These are very nice looking grains of wood too. During these years I worked with maple, birch, ash, mahogany, cherry, oak, and others.
I’m working now also on batás drums. I have made some set during the years. Yoruba Andabo, Muñequitos de Matanzas and others play my batás around the world now. I have many demands. I’ll come back with these “high class” models of batá’s soon in 2016.
What is in the future for MOPERC, your drum Company?
We just went out with wood timbales (tarolas) recently and we have had great comments and success with them. We produced 2 videos demonstrating the wood timbales with my good friend and great Cuban percussionist based in Toronto: Rosendo Chendy De León.
I’m working on other different videos with my partner Francis Mercier. We are planning to film videos in Montreal, Toronto and also in Cuba this winter.
I do not have retail dealers, my preference it not to. So the best way for my product to be heard is on videos, and certainly producing live clinics with musicians. That is why in 2016, I will be producing several clinics in Montreal, Toronto, New York in and probably in Miami.
I have a small team, 2 employees in my workshop, plus myself and Francis, who helps me to develop and create the marketing utilizing these videos. We only focus on quality and contact with musicians. It had been always my target; “to make them happy and proud of their instruments”. Money and success come only after when this is well done. I think every craftsman and his craftsmanship should be like this.