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As son evolved and distanced itself from its precursor, the changüí, so did 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 and other folkloric lead drum parts. [7]
Cándido Camero Guerra was born in the barrio known as El Cerro, in Havana, to Caridad Guerra and Cándido Camero. [1] [2] [3] His interest in music began at the age of 4, when his maternal uncle Andrés, a professional bongosero for the Septeto Segundo Nacional, taught him to play bongos on condensed milk cans.
In conjuntos that play son cubano, as well as in charangas and other ensembles where one or two congas were introduced to complement other rhythmic instruments, the drums are named like the bongos: macho (male) and hembra (female), for the higher and lower-pitched drums, respectively; an additional drum would be called tercera (third). [4]
The drumheads are made of the skins of animals such as cows, sheep, or guanacos. Because the fur is left on the hide, the bombo's sound is deep and dark. The bombo is played while hanging to the side of the drummer, who drapes one arm over the drum, to play it from above, while also striking it from the front.
In 1972, Nze Dan Orji, and Raphael Amarabem formed the Peacocks International Band. The band’s first single, “Sambola Mama,” was the first truly popular Bongo music. It would go on to sell 150,000 copies in Ghana, and more than double that amount in Nigeria. The 1970s and ‘80s marked the strongest periods in the trajectory of Bongo ...
Funde: The funde is the middle drum. It maintains the rhythms, on 2 and 4. It is held on the floor between the knees and played with the palms. Repeater: The repeater or kete, is the smallest and highest pitched drum. It is somewhat of a single elongated bongo. The drummer tends to play around 2 and 4, with a syncopated, rather than a backbeat ...