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¡Saludos a todos! Mi nombre es Jeren L. Guzmán-Rivera. Soy Politólogo, Geógrafo Cultural y actualmente curso estudios en ejecución de la música caribeña. Tengo un hambre insasiable por aprender constantemente sobre la música de nuestra región caribeña y sus dimensiones etnomusicológicas y geopolíticas. Dentro de mis estudios de lo que es esta música, he encontrado que aparte de los tres instrumentos más populares y utilizados en esta (La Timba, El Bongó y El Timbal) existe un cuarto instrumento que en momentos del pasado también fue igual de popular, pero que ha perdido vigencia a través de los años dado a la comercialización desmedida de nuestra música y el deseo de aplicar el modelo consumerista en esta (que ha sido lo que ha hecho que La Timba, El Bongó y El Timbal sean la instrumentación estándar dentro de la ejecución de nuestra música). Es cuarto instrumento tiene varios nombres. Algunos le llaman timbalitos, porque parecen unos timbales de pequeña circunferencia (9 pulgadas el tambor macho y 10 pulgadas el tambor hembra) y originalmente eran de metal. Otros le llaman Bongó Sonoro, dado a que el objetivo original de este instrumento era el fungir como un bongó, pero ejecutado con baquetas (palitos) especiales y colocados en una base alta, como se hacía con el timbal. Pero el nombre por la cual muchos conocen a este instrumento es el de PAILITAS, ya que se consideran un diminutivo de lo que son unas pailas (nombre del tambor del timbal) pero se ejecutan sin las extensiones que caracterizan al timbal (campanas, clave, platillos, etc) y se ejecutan reproduciendo el martilleo (forma de tocar) del bongó con baquetas.
Este instrumento fue creado por Manuel Sánchez "El Jimagua" y lo bautizo con el nombre de Bongó Sonoro ya que la agrupación en la cual lo tocaba (La Estudiantina Sonora Matancera, agrupación que luego pasa a ser la inmensamente famosa Sonora Matancera) tenía un sonido "sonoro" y único para la época y su objetivo era remplazar el Bongó tradicional que se coloca entremedio de las piernas para poder ser ejecutado. Como dicen, la necesidad es la madre de la invención y "El Jimagua" inventa este instrumento para poder tocar el martilleo del bongó parado ya que padecía de desgaste en las rodillas y no podía aguantar el peso de un bongó (para aquella época no existan bases altas donde se pudiera colocar el Bongó). Es aquí entonces que nace un instrumento con un objetivo y una forma muy peculiar de ejecución Y son los "paileros" (como eventualmente se le hacen llamar) de la Sonora Matancera quien le dan la mayor exposición al instrumento (Manuel Sánchez "El Jimagua", José Rosario Chávez "Manteca", quien remplaza a "El Jimagua", Simón Domingo Esquijarroza "Minino, quien remplaza a "Manteca" y, tal vez el más famoso de todos, Mario Muñoz "Papaíto", quien remplaza a "Minino"). Este instrumento también es trasladado a la Ciudad de Nueva York donde músicos como Oreste Vilató, Manny Oquendo, Johnny Pacheco, Luis Mangual (hijo del gran José Mangual "Buyú" y hermano del bongocero José Mangual Jr) . y Pablo Rosario se consideran algunos de los ejecutantes de renombre y a Puerto Rico, donde uno de sus ejecutantes de renombre fue Manolito González. A pesar de la popularidad del instrumento por las distintas épocas que trascendió la comercialización desmedida de la música caribeña, especialmente el mambo (a principio) y la salsa donde la configuración instrumental que termina convirtiéndose en tradicional no incluía a las Pailitas, van rezagando el instrumento a ser solamente un instrumento que se coloca al lado del timbal para complementarlo a la hora de hacer un solo (tradición que empieza Tito Puente). Ahí una de las razones por la cual se empieza a apodar el instrumento como "Timbalitos".
De hecho, hasta esa tradición se ha ido perdiendo desde la pérdida del gran Rey del Timbal (Mantenida por aquellos especialistas del estilo de Puente, como lo son los Maestros David Rosado Cuba y Egui Castrillo, actual profesor de Percusión latina del Berklee College of Music).
Mi objetivo con esta campaña es reintroducir a los estudios y la
ejecución de la música caribeña la forma tradicional de ejecutar
este instrumento. Esto lo pienso hacer de dos formas:
1) Haciendo unas pailitas. En la actualidad, es muy difícil
encontrar unas pailitas que sean hechas con el estilo tradicional en
mente. Solo la compañía Latin Percussion (Lp) trabaja la vertiente
de este instrumento que conocemos como "Timbalitos" y lo
trabaja con las especificaciones que popularizo el maestro Tito
Puente, lo cual hace que el instrumento tenga un sonido más parecido
al Timbal. Esto aleja al instrumento de su sonido original. Tomando
en cuenta esto, para poder hacer el instrumento basado en las
especificaciones originales, el trabajo tiene que ser un trabajo
artesanal y de calidad. En esta hazaña me ayudará un artesano
puertorriqueño de gran renombre, quien se ha ofrecido a construirme
unas Pailitas con vasos en madera y parches de cuero de vaca con un
grosor fino (aunque al principio las pailitas se fabricaban en
metal, muchos artesanos han reproducido el instrumento en madera,
aplicándole parches de cuero de vaca para así tratar de que el
sonido se aleje de lo que es el Timbal), Pero para eso se necesita
una cantidad de dinero la cual no tengo disponible, al menos unos
$500 a $650.
2) Escribir un libro que tendrá como contenido una investigación etnomusicológica del instrumento y un método de estudio que incluirá diferentes estilos de como tocar el instrumento, trascritos en notación musical, trascripciones de solos de paileros de renombre como Papaíto, José Mangual y Pablo Rosario y trascripciones de solos de bongó ejecutados con baqueta que se puedan aplicar al instrumento. Luego de completado este libro, el mismo NO será comercializado, sino que será donado al Departamento de Jazz y Música Caribeña del Conservatorio de Música de Puerto Rico y a la Biblioteca del Departamento de Música de la Universidad de Puerto Rico, Recinto de Río Piedras, para que así, los profesores de percusión que cursen por estas instituciones a través de la historia futura puedan tener un método de estudio que le enseñe a los estudiantes sobre el instrumento y sobre el cómo ejecutarlo. En esta parte del proyecto también se necesita desembolsar cierta cantidad de dinero que no tengo a mi alcance en estos momentos.
Con mucho respeto, muchas ganas de aportar a nuestra cultura caribeña y el deseo de popularizar este instrumento entre la nueva generación de percusionistas caribeños, les pido agraciadamente que cooperen con esta causa. No solamente es algo que significaría mucho para mí como músico y académico de las Ciencias Sociales, sino que de darse, será una aportación esencial a la historia musical de nuestra región caribeña. Dicen que vivimos en la época de la innovación, pero para poder innovar tenemos que hacerlo sobre una base. Esta sería la base que le permitiría a un sin número de percusionistas caribeños poder innovar y crear nuevas formas de música folclórica y popular caribeña. Les invito a que sean parte de este gran proyecto que apenas comienza.
---------------------------------In English--------------------------------
Greetings to all! My name is Jeren L. Guzman-Rivera. I'm a Political Scientist and Cultural Geographer graduated from the University of Puerto Rico, Rio Piedras, and currently a Caribbean Music and Jazz Studies mayor at The Puerto Rico Music Conservatory. I have an insatiable hunger for the constant learning about the music of our Caribbean region and its ethnomusicological and geopolitical dimensions. In my studies about this kind of music, I’ve found that, apart from the three most popular and used instruments in this style of music (La Timba, El Bongó and El Timbal) there is a fourth instrument which in times past was also equally popular, but has lost popularity through the years due to the excessive commercialization of our music and the desire to apply the consumerist model to the commercialization of our music (which has been responsible for making La Timba, El Bongó and El Timbal athe standard instrumentation in the playing of our music). This fourth instrument has several names. Some call it the Timbalitos, because they look like a Timbale of small circumferences (the macho drum being of 9 inches of circumference and the hembra drum being of 10 inches) and originally were made of metal, like a Timbale is. Others call it “Bongó Sonoro”, given that the original objective of this instrument was to serve as a bongo, but executed with special mallets and placed on a high stand, like the Timbale, so it could be played standing up. But the name by which many know this instrument is the Pailitas, as they are considered a diminutive of what are the Pailas (name of the Timbale drum) but don’t have the extensions that characterize the Timbale (bells, wood blocks, cymbals, etc.) and its basic rhythm is played with the special mallets before mentioned.
This instrument was created by Manuel Sanchez "El Jimagua" and christened with the name of Bongó Sonoro as the group in which he played (La Sonora Estudiantina Matancera, a group that then becomes the immensely famous Sonora Matancera) had a sound described as “sonoro” and unique for the time, and its goal was to reimagine the traditional Bongó that is placed in between the legs to be played. As they say, necessity is the mother of invention and "El Jimagua" invented this instrument so he could play the “martillo” pattern of the Bongó standing up because his knees were worn off and he could not bear the weight of the Bongó in between them (during that time, high stands where you could place the Bongó didn’t exist). This is the moment in the history of Caribbean music where a new instrument is invented with a particular purpose and a particular way of being played. The “paileros” (as they will eventually call themselves) of the Sonora Matancera are the ones who give the most exposure to the instrument (Manuel Sanchez "EL Jimagua", Jose Rosario Chavez "Manteca", who replaces "El Jimagua" Simon Sunday Esquijarroza "Minino, who replaces" Manteca "and perhaps the most famous of all, Mario Muñoz “Papaíto” who replaces “Minino” in the orquestra. ). This instrument was also popular in New York City where musicians such as Oreste Vilató, Manny Oquendo, Johnny Pacheco, Jose Mangual Jr. and Pablo Rosario are considered some of its renowned performers, and Puerto Rico, where one of its renowned performers was Manolito Gonzalez. Despite the popularity of the instrumentduring the different periods of Caribbean music history, the excessive commercialization of Caribbean music, especially the Mambo (at the beginning) and the Salsa, where the instrumental configuration that ends up being traditional does not include the Pailitas, are pushing the instrument off the scene, causing the instrument to be seen only as an instrument that is placed next to the Timbale to complement it at the time to of improvisation (tradition that begins with Tito Puente). This is one of the reasons the instrument is sometimes referred as the "Timbalitos". In fact, even this tradition has been lost since the death of the great King of the Timbale (maintained by those skilled in his style, as are the Masters David Rosado Cuba, and Egui Castrillo who is professor of Latin Percussion in The Berklee College of Music ).
My goal with this campaign is to reintroduce the traditional way of playing this instrument in study of Caribbean music. Tis will be done in two ways:
1) Making the instrument from scratch: At present, it is very difficult to find a Pailitas that are made with the traditional style in mind. Only Latin Percussion (LP) makes the variant of this instrument we know as "Timbalitos" and they work it with the specifications popularized master Tito Puente, which makes the instrument sound close to a Timbale, shifting away this instrument from its traditional sound. Taking this into account, I would need an artisan to make the instrument from scratch. A renowned Puerto Rican craftsman has offered to build me a Pailitas with the drums made out of wood and and thin cow skins heads (although at first the Pailitas were made of metal, many craftsmen have reproduced the instrument in wood, with cow skin heads to try to shift away the sound from that of the Timbale), but the amount of money which I need to start the project isn’t at my disposal; at least about $ 500 to $650 is required.
2) Write a book which will contain ethnomusicological research on instrument and a method of study that will include different styles of how to play the instrument (transcribed in musical notation), transcriptions of solos renowned paileros such as as Papaito, Jose Mangual and Pablo Rosario, and transcription of Bongó solos that are executed with drumstick and can be applied to the instrument. After completing this book, it will NOT be sold. It will be donated to the Department of Jazz and Caribbean Music Department at Conservatory of Music of Puerto Rico and the Music Library at the University of Puerto Rico, Río Piedras Campus, so that professors that get to teach in these institutions can have a study method available to teach students about the instrument. This part of the project also be funded by money that I don’t have at my disposal right now.
With great respect, eager to contribute to our Caribbean culture, and with desire to popularize the instrument among the new generation of Caribbean percussionists, graciously I ask you to cooperate with this cause. Not only it is something that would mean a lot to me as a musician and scholar of the social sciences, but given, it will be an essential contribution to the musical history of our Caribbean region. They say we live in the era of innovation, but to innovate we have to begin with something. This would be the “something” that would allow a number of Caribbean percussionists to innovate and create new forms of folk and popular music in the Caribbean. I invite you to be a part of this great project that is just beginning.
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Aquellos que donen $20 o más, recibirán una copia digital del libro que se trabajara tan pronto este sea terminado. Les recuerdo que este libro NO estará a la venta. / Those who contribute $20 or more will get a digital copy of the book that will be worked on once its finished. As a reminder the book WONT be on sale
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- 3 ordered
Aquellos que donen $20 o más, recibirán una copia digital del libro que se trabajara tan pronto este sea terminado. Les recuerdo que este libro NO estará a la venta. / Those who contribute $20 or more will get a digital copy of the book that will be worked on once its finished. As a reminder the book WONT be on sale
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