How To Do The Jerry Gonzalez Yambu 

I met Jerry and Andy in Los Angeles in the 70's when they came out with Palmieri . I spoke to both of them at length and they were VERY nice people and answered all this young musician kids questions. All I can say is I wish these beautiful brothers were still here today playing THERE MUSIC and knocking it down . Jerry was an encyclopedia of Afro Caribean music and he blew my mind during his disurtations as I heard him speak to me. I will never forget it . He was a stand up guy and very happy that I was interested in his music.DD

Olowa Segun Thank you!!!!

Alex Laureano yesss thank you!

lpsalsaman yea man he passes away on October 1st sadly! Thanks brother! I appreciate it!

@@APercussionLife Your welcome Bro and keep up the great work. PS. I read the report and it is really sad indeed, but his music will live Pa'Siempre!

BM Spence I’m just tuning at a lower register.... it’s how a lot of the vintage players would tune. It’s an awesome approach

edgar bodero hey Edgar can you post a pic or short video? Or maybe describe how much tape & position of the tape. Thanks

It's just electrical tape (black), just cover the oposite side of the head. I have REMOs and it made a big difference in sound, you really have to experiment: If you cover most of the area you will get a different sound than if you just make a fat cross starting from the middle, make sure that it goes to the rim so that the tape will be secure pressed between the head and the rim of the drum, @@boricua0073 don't hesitate to write again if you need more clarification. Greetings brother.

Back when Remo first started making their djembes (like 30 years ago+) lots of regular “real” djembe players hated the “ringy-ness” of the Remo heads; the best solution was a version of this one, using foam weather strip tape, which is an even better “mute”.

VIVOMUSIC William Ortiz Yea man!!! That low tune vibe haha

Alessio Serafini I tunes very low for this video! Thank you!!!

@@APercussionLife they give me a kind of feeling like they fill the air and even the silence sounds better.

I purchased Moperc recently!

He would use Junior Tirado congas!

Also Matthew Smith "ritmo' on last years.

A Percussion Life thanks

@@APercussionLife I have a Junior's quinto that I purchased from Skin on Skin in NY from around 1980, I saw him play many times at a time when I was getting lessons from Gene Golden who also played with him BADASSERY!!! keep up the great work. peace

I am so happy that you are doing a tutorial on Jerry Gonzalez . His passing is a great loss .

Up until the early 1960s both yambú and guaguancó used the son clave, and the tones of the segundo were played on the "three" side of that clave, In that way of playing much of the melody of the combined tones of the bajo and segundo ended up falling in unison with the hits on that "three" side of the clave. After the revolution everything changed in Cuba, even the rumba. Guaguancó started using what is now known a the rumba clave (with the distinctive displaced third hit on the "three" side). Also, the melody tones on the segundo started to be played on the "two" side of the clave, creating a funkier and more polyrhythmic feel. These changes to rumba that were taking place in Cuba did not immediately spread to NewYork and Puerto Rico, because free movement of people and recordings were hindered by the US blockade against Cuba. For that reason, the old school style of playing rumba using the son clave with the segundo tones on the "three" side persisted in many circles in both NY and PR up until the 1980's, when musicians who emigrated as part of the Mariel boat lift brought a wealth of new information to both of these outposts of rumba. To this very day, yambú is often played in the old style with the son clave and the segundo melody on the "three" side of the clave. This is very typically done in folklore shows, to help underscore the fact that yambú is an old style of rumba that comes from "el tiempo de España," from "los tempos de la colonia." But when played in clearly modern contexts such as latin jazz, yambú is likely to be played in a modern fashion, with rumba clave and the segundo tone on the "two" side of that clave. If you are interested in the history of rumba and the evolution of the clave in rumba I encourage you to check out David Peñalosa, who writes much more extensively and elegantly on these matters.

@@BranMarPercussion Thank you for this little part of the rumba story!

My percussion mentor taught us the rumba yambu clave to be... 1 1-2 1-2-3-4 Pa Pa pa Pa pa pa pa You’ll hear in yambu recordings of Los Muñequitos, Los Papines and others.