In the next pages you will find numerous possible combinations, orchestrations, and also, playing 24 rhythms from Colombia (Cumbia, Porro, Vallenato, Fandango, Puya, Mapale, Bambuco, Currulao and others). All of them are based on traditional grooves extracted from the folkloric Colombian drums. Also, audio examples are included to help the student listen to the grooves in context.
A Colombian drummer, percussionist, composer, bandleader, producer and educator with 40 years of experience. Since his early years, he has been active in different playing situations; Concerts, Shows, Recordings, and touring with different artists and bands such as Noches de Liverpool, Joe Madrid Jazz Trio, Pacho Zapata, Jorge Zapata, Juan Zapata, Arturo Astudillo, Cristian Vega, Kent Biswell, Carlos Franco, Edgardo Bossio, Luis Felipe Basto, Jose Gallegos, Mauricio Campos, Bandido Caribbean Band and groups “Renacimiento Colombiano” and “Un Sonido Mil Instrumentos” as part of the Bogota Philharmonic Orchestra, in Colombia and other countries. He performed in six versions of “Jazz al Parque” festivals in Bogota, Colombia. In September 2005 the Culture Institute of Bogota granted him a special recognition for his contribution to the Jazz diffusion in Colombia.
In 1998 his first book “Cómo tocar en batería ritmos internacionales y autóctonos”, authored along with drummer Jorge Leon Pineda, was published by Planeta Colombiana Editorial.
Ever since he decided to settle in the United States, in 2009, he has been teaching privately in different Music Schools, and also leading workshops in different institutions in New York City such as the Colombian Consulate, Queens Museum, Flushing Town Hall, and more recently, The New School. He is a member of FolkColombia, a collective of Musicians and Dancers that performs concerts and workshops focused on Colombian dance and music, and he is working on a new project known as FolkColombia School of Dance and Music, ran under the sponsorship of the Center for Traditional Music and Dance based on New York. Since his arrival to New York City, he has been working on different projects with different ensembles such as Jorge Arevalo Jazz Trio, Velvet Jubilee, Open Source, Peaces, and his own project called Bambacumbe, just to name a few.
Art & Fear explores the way art gets made, the reasons it often doesn't get made, and the nature of the difficulties that cause so many artists to give up along the way. The book's co-authors, David Bayles and Ted Orland, are themselves both working artists, grappling daily with the problems of making art in the real world. Their insights and observations, drawn from personal experience, provide an incisive view into the world of art as it is expeienced by artmakers themselves.
This is not your typical self-help book. This is a book written by artists, for artists -— it's about what it feels like when artists sit down at their easel or keyboard, in their studio or performance space, trying to do the work they need to do. First published in 1994, Art & Fear quickly became an underground classic. Word-of-mouth response alone—now enhanced by internet posting—has placed it among the best-selling books on artmaking and creativity nationally.
Art & Fear has attracted a remarkably diverse audience, ranging from beginning to accomplished artists in every medium, and including an exceptional concentration among students and teachers. The original Capra Press edition of Art & Fear sold 80,000 copies.
Today, more than it was however many years ago, art is hard because you have to keep after it so consistently. On so many different fronts. For so little external reward. Artists become veteran artists only by making peace not just with themselves, but with a huge range of issues. You have to find your work...