There is a great difference between a drum set drummer playing timbales and an actual timbalero when he plays the timbales. Most drum set drummers try doing immense rolls, thinking that doing that is very impressive.
I, as well as others that have many years of experience playing timbales, can pick out an actual timbal drummer vs. a drum set drummer playing timbales.
Because drum set players are given the opportunity to bang on a drum and the audience roars, does not mean that they actually know their timbales chops. This is not in all cases. The late Mike Collazo was a drum set drummer for Tito Puente Orchestra and also one of the best timbales players ever.
Timbales or conga drumming is not about the ability of how fast you can play, it is about what you are saying with the drum as a percussionist. I have a friend from Africa. We are in a mutual club; he is a young guy and he told me he was a drummer in Africa. I knew the answers of what I was asking him, due to the fact that I am a very spiritual individual as well as drummer. I asked him why he drummed and he told me “to call spirits.” In our conversation he was telling me that they used the drums to talk to other villages from a distance.
Now, let me make the comment, when drummers play extra fast, what would the other village say about the extra fast conversations. That is what goes through my mind when I see drummers playing fast.
I used to sit down and talked to conga and batá legend Francisco Aguabella, at my home when he visited me. We would talk about fast playing on the conga drums. Francisco told me that he would play for days some non-batá ceremonies and that the drummers would take turns drumming and sleeping, taking shifts with other drummers and these ceremonies went on for 3 days at a time. Imagine the endurance of not tiring, when playing for days at a time.
As an orchestra leader observing and hearing remarks from conga drummers, today’s conga drummers do not want to do a conga solo on stage for more than 2 minutes duration; they have actually requested such. Endurance is one of the many keys to conga drumming or drumming per se. Playing fast does not impress me. Observing Francisco Aguabella or Mongo Santamaria with the voicing and language they were saying with the conga drum, when they played the conga drum to me is real conga drumming.
Francisco Aguabella would say that it was just a new technique that the drummers were utilizing by playing fast. Francisco Aguabella would tell me that these new drummers were getting bits and pieces and copying the techniques of other drummers or lessons from other drum techniques to try and be different and try to invent their own new style.
I asked Francisco Aguabella what he thought about these new up and coming drummers with fast techniques and he just made a face (smirk), like he always did.
To think in my mind, when I was around Francisco Aguabella, that he played with batalero group leader; “Okilakpa” Pablo Roche, Batalero Trinidad Terregoza, Raúl Diaz, Geraldo Rodriguez, Batalero Jesús Pérez, Julito Collazo and even learned batá from the famed Esteban ‘Cha-Cha’ Vega, plus years of playing with other legends and even playing rhythms that are no longer played in Cuba today that, and he taught his to his students.
Francisco would perform a conga solo on stage for Eddie Palmieri’s Perfecta Orchestra on one tune. Eddie and the whole band left the stage for 10-15 minutes while Francisco soloed alone on stage. In my mind I would say to myself, how could Francisco fear or even have a doubt of his own ability to play congas, when he came from the real actual roots of Matanzas (Cuba) and has played drums, even before some of these cats were born or thought of. And a lot of the new legends can never ever say they played with Trinidad Terregoza or batalero Jesús Pérez, like Francisco Aguabella did..
There has to be respect for some of these master drummers as well as Mongo Santamaria, Cándido etc. as well as the elder and present African drummers and timbal drummers like Manny Oquendo.
In timbal drumming I have personally gotten many tones out of the drums, but after 45 plus years of playing, I guess I also have the ability to do this with the conga drums. This comes with dedication, time, patience and love for the drum.
Manny Oquendo did not play the timbales fast, he was just Manny. Drummers I know wanted and actually did kiss Manny’s hands out of respect for his mastery as a timbal drummer.
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.
When I was a young Latin music percussionist, I would strive to find the best musicians to look at on stage and study their techniques. There were no lessons in those days and the great artists had most of the knowledge, so by standing in front of the stage watching Puente or Mongo was a lesson in itself. A lot of us learned that way in those days and actually got to meet the artist. I always endeavor to listen to the best Latin percussionist that was into the drumming style that I preferred. I did not look for fast styles; I looked for conversation in drumming. I looked for historic backgrounds in musicians; I looked for quality, endurance and showmanship.
Francisco Aguabella, born in Matanzas (Cuba) enjoyed drumming as a young boy and pursued his interest, by learning to play the batá drums, a set of 3 hourglass drums, played by 3 drummers. Cha Cha Vega, one of the founding members of the Muñequitos de Matanzas, a Cuban Folkloric Rumba group, “was the first person to lay the okonkolo on my lap and teach me batá,” Francisco shared with me.
Francisco learned many types of Cuban folkloric drumming and told me that on certain ceremonies in those days, there were two shifts of drummers playing for 3 days. Some slept while the others played and alternated with each other day and night. Endurance was a must in those days.
Francisco Aguabella left Cuba with Katherine Dunham Dance Troupe to tour the world and the rest is Latin music history. Francisco is from the Pablo Roche “Okilakpa” branch of batá drumming. His fellow batá drum comrades are the famous Trinidad Terregosa, Raul Diaz and Giraldo Rodriguez along with Merceditas Valdés a young singer and dancer. Merceditas later became a legend for her Afro-Cuban folkloric singing. There was no other conga or batá drummer that came to the USA that had that background that Aguabella had, with the exception of one of Francisco’s best friends, drummer Julito Collazo.
Francisco Aguabella came to the USA having more knowledge on Cuban drumming than any other drummer in the USA, aside from Collazo, Aguabella knew different styles/sects of drumming. “I do not play the drum, like some drummers, I have lived the drum“,” Francisco told me one day, when he was visiting my home for a rehearsal.
Francisco’s bandstand knowledge began to increase, performing and recording with Tito Puente, Eddie Palmieri and hanging out with musical friends that he enjoyed so much. Francisco always talked about his musician friends that meant so much to him, including Tommy López, Eddie Palmieri, Armano Peraza, Shiela E., Latin jazz pianist Patricia Thumas, Poncho Sánchez, Many Oquendo, Nerio de Gracia and Carlos Santana plus many more. Francisco shared with me his New York days and his love for the music and drumming playing with Tito Puente and Eddie Palmieri. Aguabella gave the youngsters and young drummers a chance to play his drums to get the feel of it.
Francisco loved what he did, drumming, and put more than his heart in it, through good times and bad, performing in front of audiences with his charisma, strength and endurance. Francisco had a few personal students. Most of his students have soared to popularity with their knowledge and showmanship as musicians, conga and batá drummers, instructors and as orchestra or folkloric group leaders, whereas Francisco enjoyed being a part of their drumming and musical interest.
i have asked a few musicians to contribute their thoughts of Francisco. Some of the musicians are former members of Francisco Aguabella’s band, band mates and a few musician fans of Francisco. I thank the musicians that took the time out of their busy schedule for this 2013 Tribute to Aguabella and for sharing their warm stories with us, preserving Latin Music History with this Tribute. I thank some of the musicians that shared the bandstand with Francisco and thank them for being part of Francisco’s musical life.
Francisco spoke to me a lot, about the musicians he admired. He enjoyed performing on stage with his fellow band mates. He held them close to his heart.
Gary Eisenberg – trumpet player, arranger, music director, and former musician with Francisco Aguabella, Los Angeles, California.
“I first met Francisco Aguabella in the mid-seventies, when he came aboard Johnny Nelson’s band as a sideman. I was already well aware of his importance, and felt lucky to be on the same band with him. Our piano player at that time was Vladamir, another legendary figure in the music.
To the best of my recollection, Francisco was on that band for no more than a year. I would see him from time to time at the Local 47 Musician’s Union. At some point in time during the 1980’s, he called me to join his band. I was thrilled to do so, and had the pleasure of being on that band for around a year, before a busier opportunity with another band pulled me away. I returned to his band around a decade later, and this time around became his musical director. That was a challenging experience, in part because of my limited Spanish language skills, and also because Francisco sometimes had difficulty explaining his musical objectives as a result of his inability to read music. In spite of the challenge, I felt very lucky – and honored – to have that opportunity.
One of the high points of my experience with Francisco took place during the course of a regular gig that we had a long-defunct club called “Miami Spice,” located in the Venice Beach area here in Los Angeles. During one of our tunes, he waved the band out and took a conga solo without any accompaniment. That solo lasted for a good twenty minutes! I wish that somebody had recorded it. The entire band – and audience – were spellbound. I’ll never forget that experience. I also had the opportunity to help Francisco transcribe some comparsa melodies, which we utilized during a comparsa in Santa Barbara. I still have that manuscript somewhere around here.
Finally, I would like to point out that in addition to being a master conguero, Francisco was also a master batá player, and had a encyclopedic knowledge of the rituals and rhythmic foundations of Santería. I was fortunate enough to hear him play at a number of toques over the years. When he played the Iyá (the largest of the three drums that are utilized in batá), one could FEEL the entire room move with his every stroke – along with the intensity of the sound waves pounding against one’s chest and ear drums. A truly remarkable experience. I was very fortunate to know him, and even more fortunate to have had the opportunity to share the stage with him over the years
Patricia Thumas – First female Latin jazz pianist in the San Francisco Bay Area, former pianist for Francisco Aguabella; Charanga Cienfiegos with leader John Santos; Orquesta Sinigual with leader Maria Medina Serafin; Les Moncada Latin Jazz Band/Orquesta Les Moncada; and many more.
“When I met Francisco Aguabella, I was a very young woman. I was playing at Club Reunion in San Francisco. It was a hot spot in the 70’s for Salsa, on Thursdays and Fridays. John Santos was the leader of Tipica Cienfuegos, a great band. We were all young kids, and totally enthusiastic to the Latin scene. We would play at the park and jam and some musician would get arrested. I lived on Hancock St. I grew up in that neighborhood for some part of my life. At the park they played conga drums. Raúl Rico from Santana would play and others, we were all 17, 18 and 19 years of age. Tito Garcia, John Santos and a lot of musician were getting involved in Santeria and the music. I knew a lot of musicians and some percussionist decided to learn batá drums. The Mission Dolores rumba jams would transfer to Precita Park with the drums, because if was disturbing the neighbors.
John Santos, the famous musician and musicologist today, would showcase the only local Charanga band. Rene Del Mar would also play similar to us, although we were the “A” type band, with great musicians. I was playing with John before I traveled to Europe on tour in 1979, so this was in 1978.
John Santos and Tipica Cienfuegos got a gig with Los Papines, the famous Afro-Cuban drum group from Cuba. This was the 1st time they would play in the USA from Cuba; this was a big thing for us. We played at the Zellerbach Auditorium in Berkeley and we opened the show. Los Papines, had played in Russia, Poland, Italy, but were banned in the USA due to Castro.
During this time, some famous legendary drummer was in town, I think it was Tata Guines and John Santos brought him as a guest to the par in 1978. Well these young musicians pulled out the batá drums, Rumberos (drummers, dancer and singers) full fledged.
So it appeared that Tata Guines, informed Francisco Aguabella about me, and mentioned that I had some gift of a Orisha saint (“santo”) due to my playing ability as he observed.”
I knew Armando Peraza. He started to play with Carlos Santana. They were older men. Francisco and Armando would pull up to my house in a large Chevy Impala to pick me up for rehearsal.
Aguabella and Peraza would tell me at rehearsal, , “Tu Sabes Tocar Chica” (You know how to play gal), Tu tienes un santo metida (you have an [Orisha] saint in you).”
My father was friendly and smoked cigars with those Cubans, Francisco and Armando Peraza, and invited them inside for a drink at my home.
Timbales player Benny (Bayardo) Velarde of Cal Tjader fame and Benny Velarde Orchestra S.F Bay Area would pickup his girlfriend next door to my house and would see Aguabella’s huge car and recognized it of course, and would come over and smoke cigars with all of them.
My father told me once that Francisco asked for my hand in marriage, but Francisco was always a gentleman and very respectable to me at all times.
I cracked up laughing when I heard that so my father told me he had to take me to rehearsals. So my father would drive me to rehearsals, with my mom telling me I could not be alone with those men. So my father would take me to rehearsals and pick me up, but meanwhile go on his rendezvous, while I was at rehearsal, and was told, not to tell my mom. Ha! Ha!
Playing with Armando and Francisco, they would develop such energy and it felt like it was something else. Hija de Chango (Shango, Sango), Daughter of the Nigerian/Cuban Orisha of the Drum, they would call me.
I appreciated this experience and it was my great experience in Afro-Cuban music to perform with them. I have to credit Francisco for being the most outrageous drum master.
Aguabella had a strong influence from Santeria. Francisco and Armando Peraza were both master drummers. I understand now how prestigious that was to perform with them, and now looking back, I was only 18 and playing with these older masters, and a definite opportunity to experience this music better and also the Nigerian/Afro-Cuban religion was the influence of the concept of the music.
Francisco was an integral musician in Afro-Cuban music and to accompany him was out of this universe. Looking back the influence of John Santos and Francisco was a wonderful musical relationship.”
Maria Medina Serafin – Maria Medina Serafin is a sonera/poeta/percussionist, Latin Orchestra leader of El Grupo Singual in San Francisco, California.
She plays Salsa and Latin Jazz and is former producer of “The Latin Jazz Quarter” and “Fusion Latina” for WDNA FM in Miami. She lives and performs spoken word as “MM The Word-Weave Rumbera” and is a member in good standing of the “TroubleMakers Union” ensemble making international music for human rights.
“One of the true rumbero icons was the hard hitting and spiritually passionate, Francisco Aguabella. We were blessed to have had him in the Bay Area. I grew up listening to him, Julito Collazo and Mongo Santamaria. I danced to his drumming on many occasions especially at ‘Cesars Latin Palace’ back in the days. He was a man who spoke his mind frankly and to the point, in other words, he didn’t mince his words.
When a layoff from PG&E forced me to move to Miami, I was honored to have promoted his music on WDNA FM radio. It was great to see him play the Latin Jazz Festivals and events in Miami. I promoted and played his “H2O” recording on both “The Latin Jazz Quarter” and “Fusion Latina”. Thankfully we can listen to him via recordings. He was awesome on Eddie Palimieri’s “Macumba, Lucumi” and Mongo’s “Afro Roots” to name a few. He’s jammin big time with all the great rumberos in ‘Rumba heaven’. May his spirit rest in peace and illumination.”
Wayne Wallace – Trombone player and arranger with Wayne Wallace Latin Jazz, formerly of Cesar’s Latin Band, San Francisco, California
“My first experience working with Francisco was with Cesar Ascarrunz and his Latin All-Stars on Mission Street in San Francisco in 1982. The gig was 6 sets a night on Friday and Saturday. Even though it was Cesar’s band, Francisco counted off every song by hitting the side of his conga drums with a drumstick so that there was never a mistake in knowing that the song was starting. The members of the group at that time included Karl Perazzo on timbales and Jorge Pomar on bass. From playing with Francisco in Cesar’s band he invited me to play in a group he put together for a one time concert of his music. This was one of my most important introductions to pure Afro-Cuban music from one of its living masters. I am grateful for the experience.”
Giovanni Ramos – Latin percussionist from Puerto Rico
“When I was a rookie percussionist years ago, one of my first researches fundamentally about basic “rumba” and other Afro-Cuban rhythms, the main name that came in my list was Francisco Aguabella.
Not all musicians in these days know who he was and what contributions he made in Cuba to its folklore and to the Latin music in the present; many of his contributions to “rumba” and the different styles of drumming such as abakua, arará, batá, etc. etc.
Self-proclaimed “rumberos” of the 21st century (in my opinion) are from the Muñequitos de Matanzas and Los Papines era, but the question is: Did they know who Francisco Aguabella was, first? Of U.S. musicians, for most of the musicans, the answer of most of them is “no”.
I ask that question a lot of these days and the conclusion is that most musicians lack that type of knowledge and stay in just one type of genre. A great example of one of Aguabella’s drumming is in Eddie Palmieri’s “Justice” album (Tico 1969) on the track “Justicia”, the “quinto” solo was Francisco Aguabella. Therefore, to me he is and always will be influential in my drumming skills repertoire. R.I.P.”
Susie Hansen – Latin Jazz/Salsa Bandleader from Los Angeles, California. Former violinist with the Aguabella Band
“Francisco Aquabella was one of the most influential and powerful Cuban percussionists that I have ever known. I regarded him with the highest respect and honor, and I loved Francisco dearly. He gave me my first opportunity to play with a great Latin jazz band back in 1988 when I had just moved to LA, from Chicago and was first getting started playing Cuban music.
He hired me to play the trombone book in his band — yes, the trombone book! — on my five-string electric violin. You see, the low string of my instrument is C, same as the viola, so it comes close to being able to play as low as the trombone.
I played with him that full year, and really dug it! He gave me my start in Latin music here in LA, and I will always be grateful to him for that
Jerry Gonzalez – Renowned conga drummer and trumpeter who performed with Eddie Palmieri, Conjunto Folklórico Nuevorriqueño, Tito Puente Latin Jazz Band and Tito Puente Orchestra, and Manny Oquendo and Conjunto Libre. From New York City; currently based in Madrid (Spain).
“Don Francisco Aguabella was one of my heroes. We played together in Eddie Palmieri band in the 70s and I watched and listened to him many times. He was one of the pioneers of Cuban music in America, along with Mongo Santamaria, Julito Collazo, Armando Peraza, Patato Valdez. They all were my heroes. I would not be around if it was not for them, they inspired me to play as a kid and I am very grateful to them, they are like fathers to me.”
Carolyn Brandy – Afro-Cuban master conguera and batá player based in the San Francisco Bay Area
“I did not have the privilege of knowing Maestro Francisco Aguabella personally, but certainly did know him through his music, which as a student of Cuban folkloric music, I studied prodigiously. Maestro Aguabella was an inspiration to my generation and will be to all generations to come. He was an innovator with his work with Kathryn Dunham and with his years playing Latin Jazz. He was a dedicated practitioner of his faith, Regla de Ocha. AND we all know that his physical strength was nothing short of other worldly. Maestro Aguabella inspired the world with his music and with his life. Even death cannot cast a shadow on this man. He will live forever!”
Nerio De Gracia – piano, vibraphone, bongo. Composer with Francisco Aguabella and current Latin Jazz bandleader, with his recent album The Mambo Jazz Connection (NRD Records 2012), San Francisco.
“Francisco was a great Latin bandleader, and I am glad that I was part of Francisco’s S.F. band and that Francisco one of my compositions on his album. Francisco was a strict bandleader, but you gained a lot knowledge form his style of leader ship and I am thankful for his friendship and master musicianship and able to part of Francisco’s musical history.”
Randy Petit – Latin percussionist, Latin Music and Afro-Cuban Folklore Historian from Caracas (Venezuela) via Los Angeles (California)
“I started playing folkloric percussion when I was 5 in Venezuela and felt in love with Afro Cuban Percussion early on my teenage years. I’ve always been an active amateur but with an excellent taste for good music and their performers. By the way, I’ve been living in Caracas, Venezuela since I left LA in 1991. Wow!!!
I think it’s too much for me, but here’s a little story. Back in the 80´s, I was hanging out at Juanito´s (Cuban friend of mine) Percussion Shop in LA, testing some new LP when the late Aguabella stepped in and saw me playing. He told me he didn’t know I played and asked me if I would sit in with him some time. The fact is that I never did but just the fact that he asked was a great honor !!!”
Michael Pluznick – Drum maker and Afro-Cuban Percussionist from the San Francisco Bay Area
“He played for my first Bembe (Orisa) celebration 27 years ago at the western addition cultural center in San Francisco. It was an amazing honor for me to have him their especially to end my first year in white. Mickey Hart from the Grateful Dead was there and was so moved by Francisco that he mentioned it in his book, Drumming at the edge.”
Tony Rosas – Conga drummer, Batá Drummer, Master Drummer, formerly a member of Aguabella’s Folkloric Group in Los Angeles, currently residing in New York City, performing with Manny Oquendo & Conjunto Libre and more.
“Aguabella was a master, idol, an icon for me. He was very serious when it came to playing batás in Matanza rhythms. He was a serious man. He would only laugh and joke with you if he knew you well. I learned a lot from Francisco Aguabella, I played 7yrs with him in Los Angeles. RIP.”
I personally thank all the great musicians that assisted me with this article, some are great, great friends. Jerry Gonzalez, thank you for your great input, you are always on our mind with your great musicianship and music, and a special thanks to Patricia Thumas for her great first hand article, her fun times with Francisco and Armando and especially Maria Medina-Serafin with her vast knowledge and to assist me in fine tuning certain items. Most of all thanks to our great Editor, Angel Romero for his editing and for making all this possible for Francisco Aguabella and World Music Central and the world that views these articles!
One of the last “Giants’ of Latin Music, Afro-Cuban percussionist Francisco Aguabella died in Los Angeles on May 7, 2010 of a cancer-related illness.
Born in 1925 in Matanzas (Cuba), Francisco Aguabella was a conga master, soloist, batá player, orchestra leader, Afro-Cuban folkloric group leader, sideman and composer. He was raised in the drumming tradition of Matanzas, an area steeped in African traditions.
He composed “famous” big band mambos for the Tito Puente Orchestra, such as “Agua Limpia Todo” and Complicacion,” that tore up the Latin dance halls in New York and all over the nation as the Latin bands toured the U.S. during the 50’s mambo dance era. These bands integrated all races to go to the dance halls to learn the mambo. Francisco on rare occasions played timbales.
Francisco told me that the legendary batá master “Cha Cha” Vega, was the first person to place the batá drum on his lap. He left Cuba to tour Europe and South America with the world famous Katherine Dunham Dance Troupe. Francisco told me that Catherine Dunham had noticed that he had become depressed by leaving his homeland of Cuba and wanted to return back to Cuba. She surprised him by adding his friend Julito Collazo to her tour. Julito surprised Francisco on the ship, and they both drummed for the tour.
In the mid-1950s, he emigrated to the US and established himself in California, where he was well known as a master conguero in secular forms of Afro-Cuban music, including rumba and son, and Latin jazz. His goal was to maintain the integrity of the tradition that he so deeply respected, while incorporating it into “crossover” music aimed at broader audiences. He was also an olu batá (batá drummer) in sacred Santería ceremonies.
As a friend, mentor, colleague & teacher, Francisco Aguabella had an association with colleagues such as; Tito Puente, John Santos, Eddie Palmieri, Michael Spiro, Manny Oquendo, Rebecca Mauleon, Armando Peraza, Patricia Thumas, Peggy Lee, Nerio De Gracia, Susie Hansen, Ramon & Tony Banda, Jules Rowles, Julito Collazo, Les Moncada, Manny Oquendo, Poncho Sanchez, Peggy Lee, Pete Escovedo, Carlos Santana, Sheila E., Daniel Ponce, Carlos “Patato” Valdes, Israel “Cachao” Lopez, Merceditas Valdes, batalero Raul Diaz, Jose“Papo” Rodriguez, Mongo Santamaria, batalero Candido Martinez, Lazaro Gallaraga, Nengue, Tony Rosas, Richard Kermode, Frank Sinatra, Catherine Dunham, Carmelo Garcia, Tommy Lopez, Wayne Wallace, Jules Rowles and more.
Francisco Aguabella was the youngest of all conga drummers in the United States, having the most knowledge of any other drummer, regarding rare Cuban rhythms. He told me that he would sleep in the band bus while touring with the orchestra, due to the fact the he was black. I told him that he needed to preserve the Cuban rhythms for future drummers. He surprised me with a tape set of Francisco Aguabella y sus Tambores Bata and has recorded another non comparable Cuban folkloric recording.
Aguabella enjoyed an extensive performing and recording career, working with such artists as Dizzy Gillespie (who called him “the John Coltrane of conga drums”), Tito Puente, Frank Sinatra, Eddie Palmieri, Cachao, Peggy Lee, Nancy Wilson, Weather Report, Carlos Santana, Poncho Sanchez, Paul Simon, Bebo Valdes, and others.
He was featured in Les Blank’s documentary, Sworn to the Drum, and in Aguabella, currently in production.
Aguabella lived in Los Angeles, where he taught Afro-Cuban drumming at the University of California, Los Angeles (UCLA), and performed with his group, Francisco Aguabella’s Latin Jazz Ensemble. In 1992 he was awarded a National Heritage Fellowship from the National Endowment for the Arts.
Most recently, Francisco Aguabella was scheduled to perform as one of The Conga Kings, together with fellow master congueros Candido Camero and Giovanni Hidalgo on May 15, 2010 in New York City.
He will live in the lives of future musicians forever and there will be no other conguero in the Universe like him.
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion