Our current Spotlight Artist, Brian Andres and the Afro-Cuban Cartel, brings a wide variety of drummers into the forefront of the musical experience. Each song on their creative album, Drummers Speak, is written by a drummer from either the Afro-Cuban or jazz tradition. The arrangements provide plenty of opportunity to explore different Latin styles and hear intensive percussive interplay. Most importantly, the album presents a new generation of Bay Area Latin Jazz drummers in an engaging performance that both pays tribute to the historical legacy of Latin drummers and confirms the presence of a new voice.

Staying with the album’s theme, I’ve decided to provide information on Andres and the dynamic drummers that join him on the recording. You’ll find information below on four drummers from the album: Andres, Sandy Perez, Carlos Caro, and John Ulloa. Take the opportunity to visit their websites and MySpace pages - you’ll enjoy the music you find!

Brian Andres
Like many other drummers I found myself beating out rhythms on any stationary object from an early age. The impetus to create sound, to find rhythm urged me to fill space and silence. I found the perfect voice for myself when I first sat behind a drum set. I believe it is the drum that chooses us, not vice versa. My lifelong dedication to rhythm and sound has nurtured a passion for Afro-Cuban music. The San Francisco Bay Area has historically been a hotbed for Latin Drummers. Players such as Armando Peraza, Francisco Aguabella, Benny Velarde and Orestes Vilato paved the way for John Santos, Michael Spiro, Jesus Diaz and Paul VanWageningen. Continuing in this tradition are the percussionists featured on this CD: Carlos Caro, Sandy Perez, Patricio Angulo, Colin Douglas and John Ulloa. A drummer can speak not only with his hands or his sticks, but also through composition. The true highlight of this recording lies in the fact that all the composers featured on this CD are themselves drummers, drummers whose careers have influenced me tremendously. As players, composers, or band leaders they have all set a standard of excellence we all strive to achieve. It is with much love and respect for them and their work that I feature their tunes on this recording. I have been honored to work with my fellow Bay Area musicians to lend a voice to these compositions. The journey has been both challenging and inspirational. So whether with sticks, hands or the composer’s pen, listen to the drummers speak. Featuring the tunes Complicacion by Francisco Aquabella, Estampa Cubana by Armando Peraza, Song for Chano by Ray Barretto, Manteca by Chano Pozo, Sister Cheryl by Tony Williams, Cual es la Idea by Tito Puente, Adios Mario by Bobby Sanabria, Toffi by Art Blakey and Where or Wayne by Jack DeJohnette.

For more info, check out:
Brian Andres’ Website
Brian Andres’ MySpace

Sandy Perez
Ramon “Sandy” Garcia Perez, a master Batalero/Congero, and principal/lead percussionist for 12 years with Grupo Afro-Cuba de Matanzas, is recognized the world over for his expertise as a percussionist and instructor. Sandy Perez, who is a direct decendant from the legendary Villamil family, brings a wealth of knowledge while continuing the legacy of Afro-Cuban folklore from the cradle of african Culture in Cuba: Matanzas. Sandy joined Grupo Afro-Cuba de Matanzas at age 17, and within a few years he earned the position of principal drummer and soloist; a privilege he maintained until his move to the US. Grupo AfroCuba is a legendary folkloric group from Matanzas, Cuba. They are known as the originators of “Bata Rumba,” and famed for their mastery of the full spectrum of Afro-Cuban folkloric music and dance. Although the roots of his techniques are founded in Afro-Cuban folkloric styles, Sandy’s open-minded approach has enabled him to adapt to styles ranging from Cuban popular (Salsa) to fusion and avant-garde jazz. Sandy is one of the best known and most talented percussionists from Matanzas. Playing for over 12 years with the legendary Groupo AfroCuba de Matanzas, Sandy has become one of the most experienced folkloric players in the world. Since his days with Grupo Afro-Cuba, he recorded with other artists, and has now moved to Oakland, CA. Recently, Sandy was a featured artist at the 1996 Havana Jazz Festival and was invited to perform at the 1996 Afrocubanismo! festival in Banff, Canada.

For more info, check out:
Sandy Perez’s MySpace

Carlos Caro
Carlos M. Caro was born in Havana, Cuba in 1967. From an early age, he was strongly drawn to Cuban music, and, in particular, to percussion. From playing as a child at the World Youth Festival in Havana, to being a member of school bands, his teenage years were filled with experiences that would foment his interest in percussion as well as put him on the path to success. Throughout his youth, he was strongly encouraged by his family to pursue his musical aspirations. In 1983 he entered the Alejandro Garcia Caturla Conservatory in Havana. Later, he attended ENIA ( National School of Art Instructors). Upon graduation from ENIA, he began his professional musical career with the group CLAVE. With the group, he was able to play with young, talented musicians who, like him, had graduated from musical institutions and were experienced in the popular Cuban music scene. Among the note-worthy musicians who played with him in Clave were “Puly” Hernandez, the current lead singer of DAN DEN, as well as the sons of the revered Cuban trombonist, Juan Pablo Torres. His experience in Clave was important in his development as a percussionist; it was during this time that he experimented with using a third bongo head, or the “Tri-bongo”. Clave also acted as a springboard to other musical opportunities. Exposure was beginning to get him the attention of other respected bands in Cuba. 1990 saw him begin a new stage in his career as the first bongocero for “OPUS 13”, a band which eventually metamorphosed into “PAULO Y SU ELITE”. During his two and a half year involvement with the band, he recorded two albums. The band was headed by Paulo Fernandez Gallo, one of the most well recognized and respected artists in Cuban music. Central American, European and Asian tours followed. The band also formed part of singer Jackeline Castellanos 1990-1991 tour and recorded the album, “La dama del son”. The recording was nominated for the “EGREM” award given by the Music Recording and Editing Association of Cuba. In late 1993, he emigrated to Mexico. Taking up residence in Mexico City, he played with groups such as 40 GRADOS, LA LEY, LA RUMBANTELA and various other Cuban ensembles. During his stay in Mexico, he was introduced to other genres of music; merengue and advertising jingles became part of his repertoire. The crown jewel of his achievements in Mexico came when he was asked to record and perform a work in the Danzon style with the Mexico City Philharmonic. The work was performed at the Palace of Fine Arts in 1996, shortly before moving to the San Francisco area. Since his arrival, he has become a much sought-after percussionist working with established Bay Area musicians such as Rebeca Mauleón, Omar Sosa, QBA, AVANCE, CUBANACAN, CANDELA, RITMO Y ARMONIA, Charanzon, among others. His desire to bring his music to students of music resulted in his recording of an instructional CD, “Muy Caliente”, with the aforementioned Mauleón, Orestes Vilató, Oscar Stagnaro and Edgardo Cambón. Love for the music and a tireless dedication to the improvement of his craft have contributed to making Carlos Caro an excellent and disciplined musician. His group, Vission Latina, has released its debut CD, Kitikimba Pa’ Ti.

For more info, check out:
Carlos Caro’s MySpace

John Ulloa
With a musical career that spans more than 20 years, bandleader, percussionist, and educator John Ulloa has been carving his niche in the Bay area’s musical realm, earning well-deserved respect for both his musical talents and his intellectual contributions.

With two Master’s degrees—one in Latin American History and another in Cultural Anthropology (with a visual emphasis), both earned from San Francisco State University— Ulloa’s lectures explore the historical, social, and cultural relationships of Afro-Cuban music and religious traditions.

John has parlayed his thirst for knowledge with his creative passions, having studied with Afro-Cuban percussion masters such Orestes Vilató, Michael Spiro, and Daniel Rodriguez, both in the United States and in Cuba.

From his remarkable knowledge base of the elements that have shaped his musical influences—especially in West Coast Latin Jazz and with seminal artists such as Mongo Santamaria, Armando Peraza, Cal Tjader, and Poncho Sanchez —Ulloa brings that very same consciousness to his own music. His debut solo album, Rum and Smoke (Puro Records), released this spring, is a tribute to West Coast Latin Jazz traditions and a showcase of some of the genre’s finest players.

A consummate professional, Ulloa has also demonstrated the kind of flexibility and open-mindedness that is essential to meet the demand of the very diverse Bay area music scene…as evidenced with his broad musical vocabulary that also includes Rock, Hip Hop, and R’n’B.

Ulloa has performed and recorded with the likes of Pete Escovedo, WAR, members of Los Lobos, Ruben Estrada, BUCHO, Dr. Loco’s Rockin’ Jalapeño Band, The Mario Flores Band, Benny Velarde’s Supercombo, and Stymie and the Pimp Jones Luv Orchestra.

For more info, check out:
John Ulloa’s Website
John Ulloa’s MySpace

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