I have spent most of my life learning the drum
set and exploring the endless nuances and
rhythms that I come across. The longer I do this
the more I realize that it’s all rhythm, and the
better I understand this the freer I am to express
myself. Maybe it’s behind a kit or behind a table
of toys. As a kit player, I think about keeping
time and providing the foundational pulse of the
song first, before the more nuanced textures
and rhythms that I hear. If I’m playing kit with
a percussionist, then I have to leave space for
those parts. If not, then I have to incorporate
those into the foundational kit parts. Over
the years, out of necessity, I found myself
in situations where I have to come up with a
“hybrid” part, which I love doing!
[Julio] Drums and percussion are two
completely different worlds.
I was born in Brazil and my first Carnival
(Brazilian Mardi Gras) experience was at the
age of fourteen. I got to march alongside with
the Samba School parade playing one of the
snare drum parts. I was greatly exposed to
Brazilian percussion as a young kid, and I
studied classical percussion with one of the
greatest percussionists that ever lived in South
America.
His name was Antonio Yepes, and he was
the principal timpanist with the Teatro Colon
Orchestra in Buenos Aires. He not only taught
me the different techniques used for mallets
percussion, timpani and snare drum, but also
how to properly hit the congas, the bongos and
even a clave. Mr. Yepes had the magic touch
and learning how to play the different percussion
and Latin percussion instruments really helped
that any drummer can also be a percussionist
“Listen more to
what’s going on
just because both families are somehow
related.
[Carl] It can be the problem of not studying
around you and the techniques of each instrument. I believe
then play what concept that each role demands that you have
you need to in much about kit playing when they move over to
order to enhance and hear the music from a different perspective.
it. Or maybe… drum set players and brilliant percussionists.
not play! That getting things musically right. Not just about
can be very hard together with the other elements. That is the
for a set player.” you and then play what you need to in order to
me to think different when I transition from the
- Carl
drum set mindset to the percussion mindset.
that is important. But it’s more of the musical
to be aware of. Some drummers still think too
the percussion chair. You have to be able to see
I’ve been fortunate to study with both amazing
All of them were very demanding about
the instrument itself, but how they all worked
key. Listen more to what’s going on around
enhance it. Or maybe… not play! That can be
very hard for a set player.
[Alex] Explain the concept of playing “with”
Later on, when I was in my twenties, I got to Understanding both worlds is very complex the drummer as opposed to “around” the
play with some Afro-Cuban heavyweights and requires a deep study of the instruments, drummer.
like Tito Puente, Celia Cruz, and also with culture, musical language and obviously a lot of the late great Cuban percussionist Francisco practice time!
[Julio] That’s an awesome question and I will
Aguabella, who was considered as the John
use both the bass players and percussionists
Coltrane of the Congas. I am blessed that I got We can’t take those facts for granted and in my
to learn from the best! humble opinion, it’s very poor judgment to think
140
November 2019
for this answer.
Subscribe for Free...