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93-480: Bongos are mainly employed in the rhythm section of son cubano and salsa ensembles, often alongside other drums such as the larger congas and the stick-struck timbales . In these groups, the bongo player is known as bongosero and often plays a continuous eight-stroke pattern called martillo ( lit.   ' hammer ' ) as well as more rhythmically free parts, providing improvisatory flourishes and rhythmic counterpoint. Bongos originated in eastern Cuba at

186-479: A bass line and chord voicings , respectively, that suit the style of the song. In each style of music, there are different musical approaches and styles that rhythm section members are expected to use. For example, in a country music song the guitarist will be expected to be able to perform a chord progression using an intricate fingerpicking style; in a heavy metal song, the guitarist will be expected to play power chords and complex, precise rhythmic patterns; in

279-421: A bassline . The types of basslines performed by the bass guitarist vary widely from one style of music to another. Despite all of the differences in the styles of bassline in most styles of popular music, the bass guitarist fulfills a similar role: anchoring the harmonic framework (often by emphasizing the roots of the chord progression) and laying down the beat (in collaboration with the drummer). The importance of

372-422: A jazz song, a guitarist will be expected to be able to play "jazz voicings" of the chords, which emphasize the third, seventh and often the sixth or ninth chord tones (this contrasts with the barre chord voicings used in pop and rock, which emphasize the root3e, fifth, and to a lesser degree, the third of the chord). Drummers and percussionists are expected to be able to improvise or prepare rhythm parts that suit

465-521: A keyboard bass to play the bass lines. Manzarek, guitarist Robby Krieger , and drummer John Densmore would act as an organ trio with the addition of singer Jim Morrison . New Orleans or Dixieland jazz bands occasionally use tuba , sousaphone, or bass saxophone in place of the double bass that was common in 1920s-era jazz bands. This tradition developed from the origins of New Orleans music in marching bands, which used instruments that could be carried on harnesses or with straps. Marching bands use

558-698: A keyboard instrument ( piano , electric piano , Hammond organ , synthesizer , etc.) a double bass , an acoustic bass guitar , or an electric bass guitar (depending on the style of music), and drums (usually acoustic, but in some post-1980s styles, the drums may be electronic drums ). In some styles of music, there may be additional percussionists playing instruments such as the djembe or shakers . Some styles of music often have two electric guitarists, such as rock genres like heavy metal music and punk rock . Some styles of music use multiple keyboard instrument performers simultaneously (e.g., piano and Hammond organ or electric piano and synthesizer ) for

651-586: A "pops orchestra"), or musical theatre orchestras may also feature a rhythm section (at a minimum drum kit and electric bass/amplified double bass, but possibly including keyboards and guitar) that performs with the larger ensemble. The rhythm section provides a rock or pop feel and sounds that would be difficult to recreate with orchestral instruments. A typical rhythm section comprises one or more guitars (either electric guitars , in rock music bands; acoustic guitars , in country music , folk music and blues or both electric and acoustic in some bands); and/or

744-658: A boiling point. Massive demonstrations erupted and Afro-Cubans began to loot and burn businesses and property owned by foreign investors. In response, the Cuban government sent in the army to burn the property of the Afro-Cubans and slaughtered many. Within two years, half of the sugar mills in Oriente were owned by U.S. investors. For Cubans working within the province, life had become near unbearable. The presence of Americans , Jamaicans , Bahamians and Haitians , brought in by

837-455: A dance craze known as " rhumba " (in reality based on Cuban son) which led to the widespread use of the bongo among Latin bands in New York. In the early 1930s, Cuban orchestras proliferated in New York, featuring the bongo as key percussion instrument, including those directed by Antonio Machín, Alberto Socarrás, Pedro Vía, Antobal, Enrique Bryon, etc. However, apart from Chiquito Socarrás, who

930-409: A drummer. In bluegrass bands, the timekeeping role is shared between several instruments: the upright bass generally plays the on-beats while the mandolin plays chop chords on the off-beats, with the banjo also keeping a steady eighth note rhythm. This distributed nature allows for rhythmic continuity while players take turns highlighting the melody. In funk-oriented groups that do not have a drummer,

1023-423: A full rhythm section. A jazz pianist accompanying a singer in a duo needs to play a deep bassline , chords , and fill-in melody lines while the singer is performing. The pianist often improvises an instrumental solo in between vocal melodies. Rarely, a jazz vocalist may perform in a duo with a double bass player. In this duo setting, the bass player may have to use less commonly-used bass techniques to fill out

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1116-416: A fuller sound. A rhythm section could be as small as two or three instruments (e.g., a guitarist and a bassist or a power trio of bass, drums and guitar) or it may be a fairly large ensemble with several keyboardists, several guitarists, auxiliary string players ( mandolin , ukulele , etc.), a drummer and percussionists. The largest rhythm sections may be led by a bandleader or a conductor who indicates

1209-415: A group of auxiliary percussionists (congas, shakers, etc.) to fill out (or "sweeten") the sound. Some rhythm sections combine electronic/digital instruments that are sequenced, pre-recorded backup tracks and live instruments (including electric, electronic and acoustic instruments). The drums and bass both supply a rhythmic pulse for the music, and the bass instrument supplies a harmonic foundation with

1302-506: A long career as a bongosero in Chicago until the 1980s. In New York, many Puerto Rican bongoseros would go on to join the pioneering Afro-Cuban jazz ensembles of the time such as Machito and his Afro-Cubans, whose singles "Tangá" and "Mango mangüé"—considered the first examples of the genre—featured José Mangual Sr. "Buyú" on bongos. Mangual's prolific career was continued by his sons José Mangual Jr . and Luis Mangual, who played in

1395-666: A long career in Las Vegas and was known as the King of the Bongo. Many others, however, would become primarily conga players, such as Mongo Santamaría , Sabú Martínez and Cándido Camero . The Latin music scene of New York, and the US in general, was primarily constituted by Puerto Ricans, and many influential bongoseros were Puerto Ricans who learned from Cubans. An early example is Rafael "Congo" Castro, who arrived in New York in 1924 and had

1488-462: A mixture of brass, woodwind, and percussion instruments, because all of these instruments can be played while marching. Not all rhythm sections follow the standard model of drummer-bassist-chordal instrument. Some bands have no drummer. In bands without a drummer, one or more instruments from the rhythm section often play in styles that replace the drum kit role—that is laying down the beat and backbeat . Traditional bluegrass bands typically do not have

1581-412: A pianist, guitarist, etc.). The term rhythm section may also refer to the instruments in this group (named collectively the "rhythm section instruments"). Klezmer bands rarely have percussion, but rely heavily on a bass instrument, often brass, and a piano or accordion. Traditional dance music bands from Central and Eastern Europe often build their rhythm section around a double bass and viola -

1674-455: A prominent placement in the mix; as well, the drummer may be often given prominent solo breaks, fills, or introductions that put the spotlight on their technical skills and musicality. In the more experimental forms of free jazz and jazz fusion, the drummer may not play the strict "timekeeping" role that is associated with drums in pop music. Instead, the drums may be used more to create textured polyrhythmic soundscapes. In this type of situation,

1767-549: A quartet of electric guitar , piano , double bass , and drums ; a noted example is that of the Count Basie Orchestra with Freddie Green , the Count , Walter Page , and Jo Jones . Earlier jazz bands had used banjo in place of guitar, and other bass instruments such as the tuba for recording purposes prior to the advent of microphone technology in studios. As bebop evolved, smaller jazz groups dropped

1860-402: A rhythm section of a synth bass , electronic drums (or drum machine ) and various synthesizer keyboards. In some 1980s and 1990s bands, live human rhythm sections were sometimes replaced by sequenced MIDI synthesizer rhythm tracks made in the studio. In the 1980s and 1990s, the roots rock scene went in the opposite direction from dance pop; roots rock favoured traditional instruments in

1953-530: A variety of salsa groups in the 1970s. The two biggest Latin orchestras of the 1950s in New York, led by Tito Puente and Tito Rodríguez , were home to two generations of bongoseros represented by Johnny "La Vaca" Rodríguez and his son Johnny "Dandy" Rodríguez , of Puerto Rican ancestry. Other Puerto Rican musicians who made a name for themselves on the bongos were Richie Bastar of El Gran Combo de Puerto Rico , Ralph Marzán of Johnny Pacheco 's charanga, "Little" Ray Romero, Frank Colón and Roberto Roena . On

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2046-559: Is Cuba's largest province containing about one third of the country's population. Oriente Province is in the most eastern region of Cuba with a population of 1,797,606. It stretches across 14,641 square miles (37,920 km ) and consists of various mountain ranges with the Sierra Maestra region having Cuba's highest mountain peak and elevation in Pico Turquino. Oriente Province is the cradle of much of Cuba's history being

2139-424: Is a group of musicians within a music ensemble or band that provides the underlying rhythm , harmony and pulse of the accompaniment, providing a rhythmic and harmonic reference and "beat" for the rest of the band. The rhythm section is often contrasted with the roles of other musicians in the band, such as the lead guitarist or lead vocals whose primary job is to carry the melody . The core elements of

2232-568: Is that their tall unusual shape was the result of a purposeful avoidance of "African-looking" drums by Afro-Cuban musicians at a time when most drums of that sort were banned. Less supported hypotheses for the origin of the bongos, largely based on their superficial similarity to other twin drums, include the Cuban pailas and timbales (descended from European tympani), the Arab nakers , the North African tbilat (called "African clay bongos"),

2325-486: The conjunto format by incorporating a tumbadora ( conga drum ) into the rhythm section and having the bongosero double on cowbell. Arsenio's long-time bongosero was Antolín "Papa Kila" Suárez, who is often cited as one of the greatest of his time along with Pedro Mena of the Conjunto Matamoros. Arsenio's group also helped break the barriers of race, which particularly affected bongoseros . For example,

2418-673: The Afrocubanismo such as Guillén, whose "Canción del bongó" (Song of the bongo) was published in 1931. The 1930s saw an increase in the technical skill of bongoseros , as evidenced by Clemente "Chicho" Piquero, whose virtuosic performances inspired a young Mongo Santamaría to take up the instrument. By the early 1940s, Santamaría had become a master of the instrument, performing with the Lecuona Cuban Boys , Sonora Matancera , Conjunto Matamoros and Arsenio Rodríguez 's "Conjunto Segundo" among others. Arsenio had pioneered

2511-463: The Beatles were referred to as the band's rhythm section. In the 1970s, chordal instruments such as the electric and/or acoustic guitar and various keyboards (piano, electric piano , Hammond organ , clavinet ) continued to be used to augment the bass and drums in soul , funk , and reggae groups. The sound of late 1960s and 1970s rhythm sections was often given a unique tone and sound due to

2604-425: The E Street Band and Sly Dunbar and Robbie Shakespeare (the latter in reggae ). In some popular bands, all of the band members, including rhythm section members, have become famous as individuals (e.g., the rhythm section members of The Beatles , The Rolling Stones , The Who , etc.). In almost all genres of popular music and traditional music that use rhythm sections, ranging from rock to country to jazz,

2697-593: The Orquesta Casino de la Playa did not allow their black bongosero Ramón Castro to perform on stage, nor was Arsenio allowed on the tres. The Casino de la Playa would also feature bongosero Cándido Requena, who later joined the Conjunto Kubavana and Conjunto Niágara, and became one of Cuba's foremost makers of bongos and tumbadoras . Requena, as well as the Vergara brothers, were instrumental in

2790-707: The bongoseros who stayed in Cuba were the aforementioned Chicho Piquero, who had become a close friend of Benny Moré in Mexico and became his Banda Gigante's bongosero back in Cuba. Also important during the 1950s were Papa Gofio of the Conjunto Rumbavana and Rogelio "Yeyo" Iglesias, the main bongo player in Havana's descarga scene. Over the course of the 20th century, the bongo spread throughout Latin America. In

2883-661: The bongó del monte evolved from pairs of bokús , a larger drum from eastern Cuba similar to the conga. Bongos can also be played on a stand, as is the case with concert orchestras and bands. In classical music performances, bongos are usually struck with mallets or drumsticks . Examples of pieces featuring bongos include Ionisation by Varèse (1931), Le Marteau sans maître by Boulez (1955) and In seinem Garten liebt Don Perlimplin Belisa by Fortner (1962). Steve Reich 's 1971 piece Drumming features four pairs of carefully tuned bongos played with drumsticks. The origin of

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2976-440: The bongó del monte used in changüí is larger than the bongos used in son. In Holguín , similar drums which are considered possible ancestors of the bongó are known as tahona , which might have a been a generic word for drum in Cuba and also refers to an unrelated music genre . Other generic terms that have been used to refer to bongos across eastern Cuba include tahonitas, tambora, atambora and tumba. The bokú/tahona origin of

3069-456: The macho is on the left and the hembra on the right. In changüí, the bongó de monte is positioned the opposite way. Playing patterns are also different in changüí, where the bongó does not follow a steady beat. Instead, it usually marks offbeats and beat four while improvising. Thus, the playing technique in changüí resembles that of the congas (moreover, their pitch is often lower than both bongos and congas). This reflects it origin, since

3162-531: The synth bass , depending on the group and its style of music) plays the low-pitched bassline . The bassline is a musical part that supports the chord progression , typically by playing a musically interesting bassline that outlines the important notes of the harmony, often by emphasizing the root, fifth, and third of each chord. The term is common in modern small musical ensembles , such as bands that play jazz , country , blues , and rock . Orchestras that play popular music , film soundtracks (often called

3255-467: The tempo of each song, starts each song, leads slow-downs of the music at cadences (sections of songs where the music comes to rest on a chord), and indicates when to change soloists and how and when the song will end. The instrumentalists used in a rhythm section vary according to the style of music and era. Modern pop, rock and jazz band rhythm sections typically consist of a drummer, a bass player, and one or more players of chordal instruments (e.g.,

3348-507: The 1800s a significant number of enslaved African people were brought to Cuba to work at the sugar mills, although some were brought from Haiti and other neighboring islands because they were also cheap and efficient labor. Open warfare broke out after an independence movement and lasted from 1867 to 1878. Slavery was finally abolished in 1886, but life for many Afro-Cubans remains a struggle, especially in Oriente Province. After

3441-463: The 1950s, some jazz bandleaders began to replace the double bass with the then-newly invented electric bass. However, the electric bass made a big impact on jazz in the 1970s, with the advent of jazz rock and jazz fusion . The electric bass was much easier to amplify to stadium-filling volumes using large bass speaker cabinets and amplifiers than an upright bass. The electric bass also began to be used as an expressive solo instrument, as exemplified by

3534-518: The 1980s, the first widely-affordable digital synthesizer , Yamaha 's DX7 , was released. The distinctive FM synthesis tone of the DX7 is a key part of the sound of many 1980s pop and dance singles. As electronic effects became more sophisticated, with the development of digital signal processing , during the 1980s, there was some crossover between the roles played by electronic keyboards and electric guitar. Even though electronic keyboards or organs were

3627-553: The Conjunto Típico Cubano. His replacement was Agustín Gutiérrez "Manana", who is widely considered one of the most influential bongoseros , partly due to his condition as an Abakuá member, which allowed him to develop techniques based on the ekué (secret drum) drumming of such society. In 1930, Sotolongo's son, Andrés Sotolongo replaced Gutiérrez in the Habanero. Decades later, at 82 years of age, Andrés Sotolongo

3720-416: The Cuban government. This prohibition extended that of 1925, which outlawed congas in the context of street carnivals, but not the comparsas themselves. Ironically, this original ban was enacted by the mayor of Santiago de Cuba, Desiderio Arnaz II , father of Desi Arnaz , who later popularized congas, bongos and bokús across America and the world. This repression of Afro-Cuban culture was denounced by poets in

3813-596: The Dominican Republic, the bongo became integral to bachata , a genre related to bolero that emerged in the 1960s. In the 1920s, bongos were first played in the United States during the recording sessions of Cuban son ensembles such as Sexteto Nacional , which recorded in New York City for Columbia Records . Among the tracks recorded in their 1927 sessions was "Viva el bongó", a song about

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3906-458: The Indian tabla , etc. The bongo entered Cuban popular music as a key instrument of early son ensembles, quickly becoming—due to the increasing popularity of the son—"the first instrument with an undeniable African past to be accepted in Cuban “society” circles". This is attested, for example, in poems by Nicolás Guillén . As son evolved and distanced itself from its precursor, the changüí, so did

3999-589: The appropriate chord voicing. Rhythm section members may be expected to sing backup vocals or harmony parts in some styles of music. In some styles of music, notably 2010s-era pop, hip hop music and funk, rhythm section members may be required to perform a rhythmic dance routine, which may range from a simple body movement to a complex dance choreography that requires significant dance skills. In some types of heavy metal music , rhythm section members (guitar, bass, drums) may be expected to be able to "headbang" (move their head in an up and down fashion in time with

4092-431: The barest, stripped-down size of the " power trio " (guitarist, bassist, and drummer) and the organ trio (Hammond organist, drummer, and a third instrument) to large rhythm sections with several stringed instrument players (mandolin, acoustic guitar, electric guitar, etc.), multiple keyboard players (e.g., piano, Hammond organ, electric piano, synth), two instruments playing a bass role (e.g., bass guitar and synth bass) and

4185-406: The bass guitarist and the bass line varies in different styles of music. In some pop styles, such as 1980s-era pop and musical theater, the bass sometimes plays a relatively simple part, and the music forefronts the vocals and melody instruments. In contrast, in reggae or funk, entire songs may be centered around the bass groove, and the bassline is very prominent in the mix. Similarly, the role of

4278-426: The beat) while performing. Less commonly, some rhythm section members may sing lead vocals (e.g., Phil Collins or Sting ). In some groups, one rhythm section member may have other roles, such as bandleader (e.g., jazz bassist Charles Mingus ), conductor (often the case in 2010s-era musical theatre shows), songwriter , composer or arranger . In the case of swing bands , the classic rhythm section comprises

4371-647: The bongo is largely unclear. Its use was first documented in the eastern region of Cuba, the Oriente Province , during the late 19th century, where it was employed in music styles such as nengón , changüí , and their descendant, the son cubano . According to Fernando Ortiz , the word bongó derived from the Bantu words mgombo or ngoma , meaning drum. He hypothesizes that the word evolved through metathesis and by similarity with another Bantu word, mbongo . According to Ortiz's early 20th century informants,

4464-589: The bongos agrees with the generally agreed notion held by Afro-Cuban cultural historians that the bongo derives from Bantu drum models from Central Africa, noticeable in the open bottoms. The strong historical presence of Africans from the Congo/Angola region in eastern Cuba (where the bongo first appeared) makes such an influence possible, as does the widespread use of the term bongó/bonkó among Bantu speakers. Moreover, Central African/Congo influences are also documented in both son cubano and changüí, and initially

4557-419: The bongos. The bongos used in changüí, known as bongó de monte , are larger and tuned lower than their modern counterparts, have tack-heads instead of tunable hardware, and play in a manner similar to the lead conga drum ( quinto ) and other folkloric lead drum parts. Unlike modern son, changüí never extended its popularity beyond eastern Cuba, and hence its bongos remain a rare sight. It is commonly accepted that

4650-444: The cymbals and/or the snare drum. The venue informs musicians about which instruments are supplied as the backline for a specific concert or stage and in many cases, the contract signed by the band and the venue/promoter contains an explicit list of the backline gear that will be on stage, even specifying brand names and model numbers. In modern rock music, a rhythm guitarist specializes in rhythmic and chordal playing (as opposed to

4743-402: The development of the bongo drum was in parallel with these genres. From such conceptual African drum models, the bongo developed further in Cuba itself, and some historians state that the attaching of the two drums was a later invention that took place in Cuba. Therefore, the instrument has been described as "African in concept but Cuban in invention". Ortiz's hypothesis for the origin of the bokú

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4836-400: The drummer varies a great deal from one style of music to another. In some types of music, such as traditional 1950s-style country music, the drummer has a rudimentary "timekeeping" role, and the drums are placed low in the mix by the sound engineers. In styles such as progressive rock , metal , and jazz fusion , the drummers often perform complex, challenging parts, and the drums may be given

4929-458: The edge of the drumheads with the fingers and palms. The glissando used with bongó de monte , called bramido (howl), is done by rubbing the third finger, supported by the thumb, across the head of the drum. Usually, this is done during the climax of a changüí performance. The finger is sometimes moistened with saliva or sweat before rubbing it across the head, but many players use beeswax instead. When playing son cubano and other popular genres,

5022-410: The electric bass player may take over some of the drummer's role by using slap bass. With slap bass, the bassist slaps the low strings to create a strong "thump" (similar to the bass drum's role) and "snaps" or "pops" the high strings to create a percussive effect (the latter takes over some of the role played by the hi-hat cymbals). In some bands, there may be no bass player—the basslines may be played by

5115-478: The end of the 19th century, possibly from a pair of larger drums such as the bokú. These older, larger bongos are known as bongó del monte and played in changüí . The smaller bongos used in son cubano were popular across Cuba by the 1910s and reached the concert halls of the eastern United States in the 1930s. By the 1940s, bongos and congas were sharing the stage as son ensembles grew in size and Latin music began to cross-pollinate with jazz and other genres. During

5208-528: The era, and used banks of speakers and powerful amplifiers to create a massive sound large enough for stadium concerts. In the later 1980s and subsequent decades, jazz fusion bands such as the Chick Corea Elektric Band used synthesizers in the rhythm section, both for chordal accompaniment and for synth bass parts. R&B and rock and roll groups in the 1950s emphasized rhythm, so their backup bands generally consisted only of

5301-402: The flame of an oil lamp. Bongo drums produce relatively high-pitched sounds compared to conga drums, and should be held behind the knees with the larger drum on the right when right-handed . It is most often played by hand and is especially associated in Cuban music with a steady pattern or ostinato of eighth-notes known as the martillo (hammer). They are traditionally played by striking

5394-474: The guitar, and many free jazz ensembles dropped the piano as well. Auxiliary percussion such as claves , bongos or maracas can also be used, especially in music influenced by strains from Latin America such as salsa and samba . In theory any instrument or instruments can provide a steady rhythm: for example, in the trio led by Jimmy Giuffre the late 1950s, the clarinet , valve trombone and guitar all switched between lead and supporting roles. In

5487-710: The instrument itself which—unlike the stylized Cuban son popular at the time—brought percussion to the foreground. Since these recordings were mainly sold in Cuba, they did not have any cultural impact in the US. Things changed one Saturday afternoon in April 1930, when the Havana Casino Orchestra directed by Don Azpiazú debuted their live show at the Palace Theatre in New York. Featuring José "Chiquito" Socarrás on bongos, Don Azpiazú's successful performances and recordings of " El manisero " gave rise to

5580-618: The large bongó del monte (mountain bongo) used in changüí was the ancestor of the smaller bongó used in son cubano and salsa. As explained by eastern Cuban informants to Benjamin Lapidus, the oral tradition among changüí musicians in Oriente is that the bongó originated as a replacement for pairs of bokús that were slung over the player's knee. Bokús are tall drums popular in the eastern provinces, particularly during carnival processions, and featured in early changüí groups. Eventually, these drums were cut in half into bongos. This may explain why

5673-466: The lead vocalist starts to sing). Since rhythm sections generally provide the background music for lead instruments and solo singers, rhythm sections are typically not as prominent as a singer or soloist. However, since rhythm sections provide the underpinning for a good performance by the lead instruments and vocalists, good rhythm sections are valued in the music industry . Some of the most accomplished rhythm sections have become famous, such as The Band ,

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5766-474: The lower octaves of a Hammond organ or electronic keyboard are used as a substitute for bass guitar or double bass. The organist can play the bassline using the bass pedal keyboard or using the lower manual. As well, the organist could play right-hand chords and melodies. Organ trios were a widely used type of jazz ensemble in the 1950s and 1960s to play hard bop . Organ trios are sometimes used in rock as well. The Doors ' keyboardist Ray Manzarek used

5859-471: The main pulse is often provided by the bass player rather than the drummer. The rhythm section members sometimes break out of their accompaniment role when they are asked to perform keyboard solos, bass breaks , or drum solos. In genres such as progressive rock , art rock , or progressive metal , the rhythm section members may play complicated parts along with the lead guitar (or vocalist) and perform extended solos. In jazz groups and jazz fusion bands,

5952-466: The melodic guitar solos and lead melody lines played by the lead guitar ), often repeating quaver (eighth-note), half note or whole note chords . In the louder genres, such as hard rock , heavy metal , and punk rock , rhythm guitarists often play power chords with distortion . Rhythm guitarists often strum open chords in pop, rock, country, and folk music and play barre chords in many pop and rock styles. Although rhythm sections spend much of

6045-454: The musician designated with the German term "Bratscher". In music industry parlance, the amplifiers and some of the instruments are nicknamed the " backline ." Backline instruments are commonly provided for bands at music festivals and other concerts where several bands will play during an event. By providing these backline instruments, the changeover process is quickened when new bands take

6138-473: The occupation of the Spanish ended in 1899, Oriente Province became a refuge for Afro-Cubans. Oriente had the highest number of individual land owners and renters with 96% of the population being native-born. Afro-Cubans constituted as many as 26% of the land workers. Of the total land owned by Afro-Cubans, 75% were in Oriente Province. Even though Afro-Cubans fared better in Oriente, poverty was still rampant in

6231-498: The other hand, American master bongoseros include Jack Costanzo and Willie Bobo (of Puerto Rican origin), the latter more active on timbales . Other bongoseros who had more impact as timbaleros were Manny Oquendo , Orestes Vilató and Nicky Marrero. American novelty rock acts such as Preston Epps and Michael Viner 's Incredible Bongo Band capitalized on the popularity of the instrument as well as its exotic and rhythmic qualities. Rhythm section A rhythm section

6324-461: The other) to create a shimmering, sustained "pad" for the group. These arpeggio pads created a sustained sound that was similar to the sound of an electronic keyboard. By the late 1980s, the price of digital effects pedals dropped, making these effects units available to the general public. During the 1980s era, rhythm sections in some styles of pop took an increasing turn towards electronic instruments . A 1980s-era dance pop band might be backed up by

6417-457: The performances of Jaco Pastorius and Stanley Clarke . In the 1970s, the main chordal rhythm instruments were often electric instruments such as the Rhodes electric piano or electric clavinet, often run through effects units such as fuzz, phasers, or wah-wah pedals and amplified through loud keyboard amplifiers . The jazz fusion rhythm section followed the lead of the rock rhythm sections of

6510-424: The piano player, synth player, or guitarist. Using a guitar player to provide basslines is particularly effective if a guitar player has a seven-string guitar with a low "B" string. Some jazz duos consist of a singer accompanied by a single piano player. In these duos, the jazz piano player has a challenging task; they have to provide all of the rhythmic and harmonic foundation that would normally be provided by

6603-558: The place of Fidel and Raúl Castro's birth. José Martí was killed in battle in Dos Ríos and many guerrilla wars have also taken place in Oriente. Cuba's first guerilla-style war was in 1523. against the advancing Spaniards in the Sierra Maestra Mountains. Some of Cuba's oldest cities are in Oriente Province (such as Baracoa) and carry a rich history of Cuba's struggle for independence and racial equality. Throughout

6696-507: The province and they remained oppressed by wealthy Cubans and foreign land owners. Sugar and coffee were the main agricultural products produced. And at the highest there were forty-one sugar mills spread throughout the region. Foreign investors saw opportunity within the province and began to buy as much land as possible to increase sugar production. As investors bought land, local farmers were pushed out and frustration increased. Poverty grew and by May 1912 Cubans in Oriente Province had reached

6789-407: The rhythm section are usually the drum kit and bass . The drums and bass provide the basic pulse and groove of a song. The section is augmented by other instruments such as keyboard instruments and guitars that are used to play the chord progression upon which the song is based. The bass instrument (either double bass , or electric bass guitar , or another low-register instrument such as

6882-493: The rhythm section members are expected to be able to improvise (make up) their parts or prepare their own parts for a given song by listening to the CD at home. Once the bassist and chord-playing instruments are provided with the chord progression on a lead sheet (in which chords are typically named using the root note of the chord and its quality; e.g., C Major, d minor, G7, etc.), they are expected to be able to improvise or prepare

6975-434: The rhythm section members are often called on to perform improvised solos. In jazz, the drummer may "trade" short solo sections with a saxophone player or trumpet player; this practice, nicknamed "trading fours", typically involves the drummer and the horn player alternating four bar solo sections during a jazz tune. They can also trade eights, twos, ones, or other numbers depending on the musical context. In organ trios ,

7068-430: The rhythm section such as acoustic piano, acoustic guitar, mandolin , pedal steel guitar , acoustic bass guitar and upright bass . Another 1980s-era trend that helped revive interest in acoustic instruments was the " MTV Unplugged " style of performances, in which a rock band performs with acoustic instruments, including acoustic guitars and an acoustic bass guitar . In rock and pop, rhythm sections range in size from

7161-469: The second half of the 20th century, bongos began to be played in a wide variety of genres, from bachata to Latin rock . Bongo drums are about 20 centimetres (8 in) high and have diameters of approximately 20 centimetres (8 in) and 25 centimetres (10 in). The shells of the drums and the bridge (the small block that joins them) are usually made of wood, although fiberglass is also common. The heads are typically made of calfskin and attached to

7254-516: The shells via steel hardware that enables their tuning (lug tuning). Originally, metal tacks were used, so the skins had to be tightened by heating the skins with a flame and loosened with water or by striking them vigorously. This method of tuning is still used for the traditional bongos used in changüí. Therefore, Fernando Ortiz places the original bongó in the category of tambores de candela (flame-tuned drums), along with bokú , yuka , conga , bembé and smaller drums, since these were all tuned with

7347-491: The son reached Havana partly as a result of the arrival of musicians members of Cuba's ejército permanente (permanent army), which brought music from eastern Cuba with them. Among the first known bongoseros to enlist in the ejército permanente in Santiago de Cuba was Mariano Mena. During the sexteto era, son groups began performing and touring more than ever before, and for the first time, recordings were being made. It

7440-478: The sound, such as occasionally playing two or three-note double stops (to recreate the chord-playing role normally filled by a guitar or piano) or using percussive slaps on the fingerboard (to recreate some of the percussive elements provided by a drummer). The Canadian bassist Michel Donato has performed in a duo with singer Karen Young , and the pair released several albums in the 1980s and 1990s. Oriente Province Oriente ( [oˈɾjente] , "East")

7533-523: The stage. The backline typically includes large and heavy items that are hard to transport, including large bass amplifiers and guitar amplifiers and their speaker cabinets , the drum kit (usually minus the cymbals and the snare drum , which each drummer brings from home), a Hammond organ , stage piano , and a keyboard amplifier . Even when a venue or festival provides a backline amplification, musicians must still supply some instruments themselves, such as guitars, an electric bass, and in some cases

7626-399: The standard instruments used to create sustained "pads" of sound (e.g., held backing chords) for ballads, with the introduction of digital delay pedals and other modern effects, electric guitars could produce similar "pads" or " walls of sound ". The Edge , the guitarist from the rock band U2 , often used digital delay and reverb-drenched electric guitar arpeggios (chords played one note after

7719-451: The standard swing band rhythm section of guitar, piano, bass, and drums supporting a vocalist , and in some cases omitting the keyboards. The bass guitar took over from the double bass in the 1950s, and had almost completely taken over the bass role in the 1960s. As the 1960s progressed the term "rhythm section" as used in a pop music context sometimes came to refer to just the bass and drums. For example, Paul McCartney and Ringo Starr of

7812-420: The style of a given song. In some cases, an arranger , orchestrator or composer will provide a written-out bass part or drum part written in music notation (the five-line staff in which the notes are round symbols with or without stems). It is rare in jazz or rock for chords to be written out in music notation; the arranger or songwriter typically writes the chord symbol and expects the guitarist to improvise

7905-515: The technological improvement of bongos and congas. Before the advent of mechanically tunable bongos and congas in the 1940s, both instruments used to be tuned with oil or kerosene lamps . The heat of the flame was used to contract the drumhead to achieve the desired sound. Following the popularization of the tumbadora , Santamaría switched to the instrument, while remaining a close friend of bongosero Armando Peraza . Both moved to New York by 1950, bringing their music abilities with them. Among

7998-400: The time providing accompaniment (backing parts) for songs , in some cases they provide other musical roles. In some songs or styles of music, instruments from the rhythm section may play soloistic roles on occasion (e.g., improvised guitar solos or solo breaks ) or play a melodic role (e.g., a rhythm guitarist may play a lyrical countermelody behind a singer or a melodic intro line before

8091-489: The use of effects units . Funk bass players would play through auto-wah or envelope follower pedals. Reggae guitarists would plug into echo pedals. Rock guitarists would run their electric guitars through distortion and wah pedals . Electric piano or clavinet players also used effects. In the 1980s, many rock and pop bands continued to be based around the basic rock rhythm section established by 1960s and 1970s bands: electric bass, drums, and electric guitar or keyboards. In

8184-428: Was split in 1976 into five different provinces: Las Tunas Province , Granma Province , Holguín Province , Santiago de Cuba Province , and Guantánamo Province . This administrative change was proclaimed by Cuban Law Number 1304 of July 3, 1976, and remains in place to this day. Diego Velazquez founded the capital of Oriente province in 1514 and named it Santiago de Cuba. The province comprises 22 municipalities and

8277-416: Was also a singer, there were no bongoseros of renown and the instrument did not yet permeate American music styles. Spearheaded by the iconic conguero Chano Pozo , the late 1940s saw an exodus of Afro-Cuban percussionists from Cuba to the United States. Among the leading bongoseros of Cuban origin in the United States were Armando Peraza , Chino Pozo (unrelated to Chano) and Rogelio Darias , who had

8370-491: Was divided into three departamentos : Occidental, Central and Oriental. This arrangement lasted until 1851, when the central department was merged back into the West. In 1878, Cuba was divided into six provinces. Oriente remained intact but was officially renamed to Santiago de Cuba Province until the name was reverted to Oriente in 1905. Fidel and Raúl Castro were born in a small town in Oriente province ( Birán ). The province

8463-538: Was in this context that the first great innovators of the bongo made their mark, and unlike their predecessors, their names were not lost in time. Of particular note were Óscar Sotolongo of the Sexteto Habanero and José Manuel Carriera Incharte "El Chino" of the Sexteto Nacional , the two leading groups of the 1920s and '30s. Sotolongo himself would later leave the Habanero and direct his own group,

8556-525: Was recorded for the Routes of Rhythm documentary playing alongside Isaac Oviedo . "The Cuban government has prohibited the beating of the African bongo drum. The restriction carries heavy penalties on the ground that the monotonous reverberations induce a state of savagery in ignorant listeners and a state of irritation in others." Life magazine, 1929 In 1929, bongos and other drums were banned by

8649-417: Was the easternmost province of Cuba until 1976. The term "Oriente" is still used to refer to the eastern part of the country, which currently is divided into five different provinces. The origins of Oriente lie in the 1607 division of Cuba into a western and eastern administration. The eastern part was governed from Santiago de Cuba and it was subordinate to the national government in Havana. In 1807, Cuba

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