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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). [3]
Nahru Lampkin, aka Bongo Man (born 1962), is an American entertainer, musician, street performer, and entrepreneur from Detroit, Michigan. [1] He has two other jobs, but he is best known as a street performer who plays conga drums (referred to as bongo drums by his customers) [2] near the entrance to sporting and other events, while offering rhymed comments to passers-by. [3]
A pair of congas. Conga players perform on a tall, narrow, single-headed Cuban drum of African origin called the Tumbadora, or the Conga as it is internationally known. It is probably derived from the Congolese Makuta drums or Sikulu drums commonly played in Mbanza Ngungu, Congo.
Owerri Bongo (Bongo/Igbo Bongo) is a style of Igbo highlife music that has its origins in the Igbo people of Owerri and spread around all Imo State, which is in eastern Nigeria. The musical style is a sub-genre of Igbo highlife music. [1] Unlike Igbo highlife, which is known for its brass horns and often somber feel.
The Incredible Bongo Band, also known as Michael Viner's Incredible Bongo Band, was a project started in 1972 by Michael Viner, a record artist manager and executive at MGM Records, producer, MGM Records executive and Curb Records founder Mike Curb and arranger Perry Botkin Jr. [1] [2] Viner was called on to supplement the soundtrack to the B-film The Thing With Two Heads. [3]
1.1.2 20-21st century music (Salsa, Son Montuno, Bolero, ... Printable version; In other projects ... Bongo drum; External links
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The sound of a freely resonating membrane such as a drum head, for example, contains strong overtones at irrational ratios to its fundamental, unlike a vibrating string whose overtones are at simple whole-number ratios to the fundamental. [1] The fundamental frequency may simply be unexpected, and unrelated to other sounds in the piece of music.