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In music of Afro-Cuban origin, tumbao is the basic rhythm played on the bass. In North America, the basic conga drum pattern used in popular music is also called tumbao [citation needed]. In the contemporary form of Cuban popular dance music known as timba, piano guajeos are known as tumbaos. [1]
Despite this musical versatility, the movement of blending Afro-Cuban rhythms with jazz was not strong in Cuba itself for decades. As Leonardo Acosta observes: "Afro-Cuban jazz developed simultaneously in New York and Havana, with the difference that in Cuba it was a silent and almost natural process, practically imperceptible".
The conga repertoire includes many other rhythms found in genres such as danzón, mambo and cha-cha-cha, as well as foreign styles that have adopted Afro-Cuban percussion such as Jamaican reggae, Brazilian samba and bossa nova, and American soul, funk, Latin jazz and Latin rock.
When one hears triple-pulse rhythms in Latin jazz the percussion is most often replicating the Afro-Cuban rhythm bembé. The standard bell is the key pattern used in bembé and so with compositions based on triple-pulse rhythms, it is the seven-stroke bell, rather than the five-stroke clave that is the most familiar to jazz musicians.
The clave rhythmic pattern is used as a tool for temporal organization in Afro-Cuban music, such as rumba, conga de comparsa, son, mambo (music), salsa, Latin jazz, songo and timba. The five-stroke clave pattern (distributed in groups of 3 + 2 or 2 + 3 beats) represents the structural core of many Afro-Cuban rhythms. [99]
Conga players perform on a tall, narrow, single-headed Cuban drum of African origin called the Tumbadora, or the Conga as it is internationally known. It is probably derived from the Congolese Makuta drums or Sikulu drums commonly played in Mbanza Ngungu , Congo.
Tresillo is the rhythmic basis of many African and Afro-Cuban drum rhythms, as well as the ostinato bass tumbao in Cuban son-based musics, such as son montuno, mambo, salsa, and Latin jazz. [12] [13] The example below shows a tresillo-based tumbao from "Alza los pies Congo" by Septeto Habanero (1925).
The Cuban mozambique features conga drums, bombos , cowbells and trombones. [See: "Mozambique Lesson in Cuba, 1985" (Pello el Afrokan) , and "Mozambique Rhythm from Cuba" (Kim Atkinson). Izquierdo's composition "María Caracoles" was later recorded by Santana on their 1977 album Festival .