It's All About the Piano

I'm doing a lot of trying to write when it comes to this blog. Lots of draft saving. Partially it's because I've not talked about my project, and I'm finding it difficult to always provide definitions when I just want to write. So here's a rundown of what I'm doing here, with explanations/translations of spanish words which are essential. I'm intentionally trying to keep it simple, but welcome questions, comments and of course, derogatory remarks.

So if all goes well, this project will earn me the title of "Dr." Sutton. Right now all I need to do is to write a paper; a paper about Uruguayan candombe drumming. But to do that, I had to come to Uruguay. The only reason I actually made it was because I received a Fulbright award. Probably the greatest academic accomplishment of my life, and in general, it's awesome.

So what is candombe? In Uruguay, it's music, dance, and a way of life. Just google it and you'll see it's all of those things and more. That however makes it difficult to discuss, which is why over the last month, I've started to shy away from using the term in favor of Llamadas. This translates to "calls," and in Uruguay refers specifically to the "call of the drums." Quite often you hear the specific rhythms refered to as Cuareim or Ansina. These are names linked to what are often referred to as the "historically black" neighborhoods of Montevideo: Barrio Sur ("Cuareim") and Palermo ("Ansina").

The drumming group that performs this music is called a cuerda, which literally means "a string" of drums. There are three sizes that form an ensemble. The smallest is the chico, and is the foundation; it's rhythm is similar regardless of neighborhood style. The largest drum, and the primary focus of this project is the piano; its rhythm identifies a neighborhood, or a particular cuerda. Then there is the repique, which is smaller than the piano and larger than the chico. This drum is primarily improvisatory, and often signals significant moments, such as the end of a performance.

Medio Mundo (photo:
Alvaro Sanjurjo Toucon)

When I started this investigation in 2009, there wasn't a lot of information available, especially on the drumming. But in 2010 all of that started to change, especially audio/video content online. I wonder now if I would have pursued this project if I had learned of candombe even a year later. A lot of my initial questions were mainly about what's on the surface of things. But I'm glad things happened the way they did, because it is amazing to experience this music on a much deeper level.

Anyway, from here on out I may be referring to these neighborhood styles, and I want any reader to have some knowledge of what they sound like. The following videos were recorded a few weeks ago, and each shows a demonstration of each historic neighborhood's base piano pattern, a performance by three drums in that style, and ending with a full cuerda performance. The demonstrations were from a presentation at a music conference I attended a few weeks ago, and the comparsa performances from the Llamadas del Patrimonio. I'm currently writing about these two events in another post, so won't say more now.

First is the rhythm of Cuareim, performed by members of C-1080. This groups name represents the street address of Medio Mundo, a historic conventillo ("housing project") in Barrio Sur, considered a birthplace of candombe.

I'm trying to present as much variety as possible, so here are two other great videos demonstrating the style. Both feature two of my favorite piano players: Diego Paredes in the first video, and Pablo "Paquito" Silva in the second.



  

 

Ansina conventillos
were demolished.

Next is the rhythm of the Ansina, performed by members of Sinfonia de Ansina. If you've watched the other videos, you'll recognize Diego Paredes on piano. Also take note of the excitement of the crowd in the last part of the video. I was filming in the Palermo neighborhood, about a block and a half from the location of the Ansina conventillos.

The second of these Ansina videos features master tamborilero José "Perico" Gularte, who is also playing with Sinfonia de Ansina in the video above.

During the presentation of rhythms at the conference, they included the Gaboto conventillo, located in the Cordón neighborhood. Aside from the conference and the parade, I haven't had an opportunity to speak with musicians from Cordón, though I hope that changes soon. Scholars such as Luis Ferreira often categorize this pattern as a variant of Ansina, saying it is "more rapid...more variable and not as sustained...." (Los tambores del candombe, 131). However, in Ayer y hoy: Afrouruguayos y tradición oral, Mónica Olaza includes an interview with Tomás (only first names are provided), who states: "the other important nucleus was the conventillo on the street Gaboto, with a distinct rhythm, between Ansina and Cuareim" (70). In the video from the conference, it was inspiring to see Aquiles Pintos take part in the demonstrations.

Thus concludes the lesson. And since I hear a cuerda, perfect timing.