Cajón Power hits the Royal Northern College of Music

Another successful masterclass by Marco Fadda; this time it was at the Royal Northern College of Music in Manchester, during the Day of Percussion Festival.

This prestigious music conservatoire had asked me to hold a cajón workshop in 2010, and since it went down well, the organizers extended their invitation to this year, requiring Marco to be part of the main programme.

Marco speaks some English, still he felt that I would be necessary as  translator, because having worked together at the making of the dvd,  I'd know how to convey Marco's words and concepts as faithfully as possible.

However, I must say that in the end Marco did pretty well by himself, so my contribution  stayed on a pretty accessory level.

Otra exitosa masterclass de Marco Fadda: esta vez fue en el Royal Northern College of Music de Manchester, dentro del festival Day of Percussion. 

Este prestigioso conservatorio musical ya me había invitado en el 2010 para hacer unas clases colectivas de cajón, y como tuvieron una muy buena acogida por parte del público, los organizadores extendieron la invitación a Marco, para incluirle en la programación principál.

Marco habla un poco el Inglés, pero sintió la necesidad de mi presencia como traductor, porqué al haber trabajado juntos en el dvd, sabría enteder correctamente sus palabras, y procurar que en inglés fueran fieles a los conceptos originales.

De todas formas, se vió que Marco supo explicarse bastante bien por sí mismo, así que mi contribución se quedó en un plano accesorio.

This masterclass was conceived as a  condensed synthesis of Cajón Power. but it opened with a very intense solo, and then moved to the explanation of some traditional playing styles.

In front of an audience of 200 people, Afro Peruvian, Afro Cuban and Flamenco rhythms were represented respectively by a Landò and Festejo, Guarapachangueo, Bulería and Rumba.

Marco showed these beats and played them with the aid of pre-recorded rhythm tracks, featuring Cajita, Quijada, Cencerro, Clave, Palitos and Palmas.

He then talked about the diverse hand techniques for each traditional style, and  explained how the Flamenco style cajón, with snares inside, is particularly suited for applications in other musical fields, performing a couple of Brazilian rhythms,  Samba and Baião.

After that, he moved to a larger percussion set, demonstrating how the cajón can blend perfectly with hi-hat, snare drum and congas, by mixing all these ingredients down in an infectious groove.

Delante de 200 personas, la clase magistrál fue una sintesis muy condensada del dvd Cajón Power, pero abriendo con un solo muy intenso, para luego enseñar una selección de estilos tradicionales. 

Lo Afro Peruano, Afro Cubano y Flamenco fueron representados respectivamente por un Landó y Festejo, Guarapachangueo, Bulería y Rumba.

Marco explicó estos patrones y los tocó con el auxilio de bases grabadas con Cajita, Quijada, Cencerro, Clave, Palitos y Palmas. 

Luego demonstró las distintas posturas de las manos, según cada tradición, y habló de como el cajón al estilo Flamenco, con bordoneras en su interior, está particularmente apto para ser tocado en contextos musicales no tradicionales, tocando unos ritmos Brasileños de Samba y Baião.

Después pasó a tocar con un set de percusiones más amplio, demonstrando como el cajón se puede integrar perfectamente con hi-hat, caja y tumbadoras, mezclandolo todo en un groove contagioso.

The final part was a vibrant live duet with a very talented musician whose speciality is  the art of human beat box.

Jason Singh, a young Londoner now based in Manchester, tuned in smoothly with Marco, surprising the audience with an incredible display of diverse rhythmic influences, ranging from Brazilian, Indian, African and Hip Hop.

An amazing quantity of stuff, if we think that this masterclass lasted just an hour! 

La parte finál fue un vibrante dueto en directo con un músico excepcionál, especializado en el arte del beat-box vocál. 

Jason Singh, joven Londinés  afincado en Manchester, se sintonizó con Marco, sorprendiendo el público con una increible muestra de distintas influencias rítmicas, desde Brasil, India, Africa, hasta el Hip Hop,

Bastante asombroso, si se piensa que esta clase duró una hora!

Marco was also invited by Victor Mendoza, to perform with the RNCM Big Band at the closing concert.

Victor is a great vibraphonist who also teaches at the Berklee School in Boston, a really friendly and energizing  presence, so we had a good time hanging together after the event as well. 

Very "chevere" indeed!

http://victormendoza.com/

Marco recibió también la invitación de Victor Mendoza a tocar con la Big Band del RNCM en el concierto finál.

Victor es un gran vibrafonista que también enseña en la Berklee de Boston, una presencia muy amistosa y energizante, así que pasamos un buen rato juntos también después del evento.

Muy chevere de veras.

It was also a very happy time that I had with my british friends: I finally got to meet Tom Chapman and Lea Mullen in person (two fantastic percussionists of the DG roster), and caught up with David Ledsam, who is doing an excellent job distributing DG in the UK, plus Ian Croft, who was filming the event for his  brand new internet drum magazine.

Thanks again to the organizers of the event, Bruce Parry, Simone Rebello and Ian Wright, percussion teachers at the Royal Northern College of Music, and all the students, a really nice and friendly family.

See you soon chaps!

También lo pasé bomba con mis amigos británicos: por fin llegué a conocer de persona a Tom Chapman y Lea Mullen (dos fantásticos percusionistas del equipo DG), y  saludé a David Ledsam, que está haciendo un trabajo excelente con la distribución de DG en Gran Bretaña, además de Ian Croft, que estuvo filmando el evento para su nuevísima revista de percusión on line.

Otra vez gracias a los organizadores del evento, Pruce Parry, Simone Rebello e Ian Wright, profesores de percusión de la Royal Northern College of Music, y a todos los estudiantes, una familia muy amistosa y felíz.

See you soon chaps!

Silvia Pérez Cruz

                                                                         

Silvia Pérez Cruz, is a new endorser of Percusiones DG.

An excellent and versatile singer, Silvia is becoming quickly a very popular artist in Spain.

Not only she sings in various succesful combos, but she also happens to be a good cajón player, so she often switches to percussion, or even does the two things together.

I got to see a concert of one of her bands, Las Migas http://lasmigas.com/, at Palau de la Musica in Barcelona last December.

It was there that I gave her a cajón, and she played it straight away.

Now, a few gigs later, she is finally convinced that DG is going to be her first choice whenever she will need a cajón, and we are very happy about that.

Thanks a lot, Silvia!

Silvia Pérez Cruz es una nueva esponsorizada de Percusiones DG.

Cantante excelente y versátil, Silvia se está convirtiendo rápidamente en una artista muy popular en España.

No solamente canta en muchos conjuntos de éxito, sino que también es buena cajonera, asì que a menudo se pasa a la percusión, o incluso hace las dos cosas al mismo tiempo.

Asistí a un concierto de uno de sus grupos, Las Migas http://lasmigas.com/, en el Palau de la Musica  de Barcelona el pasado Diciembre.

Allí le dí un cajón, y lo estrenó la misma noche.

Ahora, después de algunos conciertos más, se convenció finalmente de que DG será su primera opción cuando tendrá que tocar el cajón, y estamos muy contentos por esto.

¡Moltes gràcies, Silvia!

Marco at the 2010 Cajón Festival in Perú

At last we are able to show you a report of the successful participation of Marco Fadda at the 3rd International Cajón Festival in Lima, Perú.
It was an enormous honour for Marco to go and present the dvd Cajón Power in the homeland of our beloved instrument.
He held a masterclass, and did the closing concert of the event with local musicians; just look at these pictures, and you will see how well it went down with the crowd.
Not an easy task, but Marco's talent and positive energy conquered everybody's heart.
www.cajonfestival.com

Por fin podemos enseñaros un reportaje de la exitosa participación de Marco Fadda en el 3er Festival del Cajón en Lima, Perú.
Fue un enorme honor para Marco el poder presentar el dvd Cajón Power en la patria de nuestro querido instrumento.
Hizo una clase magistrál, y cerró el evento con un concierto junto a musicos locales; solo con mirar las imagenes se pueden dar cuenta del éxito que tuvo con el público.

Una empresa nada facil, pero el talento y la energía positiva de Marco conquistaron el corazón de todos.

www.cajonfestival.com

Dave Weckl plays DG!

An illustrious new endorser joined us: the world famous drummer Dave Weckl expressed a great interest about the cajón when I met him at the 2010 Drum Fest in Seville, so we sent him some of our gear.

He tried it and started playing and recording it straight away.

It was great to have such a positive response from him, and we also thank his daughter Claire, who took this great picture.

Un ilustre nuevo esponsorizado se une a nuestro equipo: el baterista de fama mundial Dave Weckl expresó mucho interés para el cajón  cuando le encontré en el Drum Fest del 2010, así que le enviamos algunos de nuestros productos.

Los ha probado y en seguida empezado a tocar y a grabar con ellos.

Ha sido una satisfacción tener una respuesta tan positiva, y también agradecemos su hija Claire, que hizo esta gran foto.

RHYTHM magazine

DVDs review on RHYTHM magazine (UK)

Very positive comments about our dvds appeared on the december issue of Rhythm , and Cajón Power chosen as Best New Release.

Reseña de los DVDs en la revista RHYTHM (Reino Unido)

Comentarios muy positivos sobre nuestros dvds aparecieron en la edición de diciembre de Rhythm, y Cajón Power escogido como  mejor nueva publicación.

Cajón Power in Japan

Marco's picture made the cover on the december issue of JPC, a popular Japanese publication.

He held a masterclass at Komaki-Gakki, one of the most important drum shops in the nation, which went down really well.

Rumors are that his services will be required soon by a Japanese  music festival!

Congratulations Marco San... 

La foto de Marco hizo de portada en la ediciòn de septiembre de JPC, una popular publicaciòn musical Japonesa.

Ofreciò una masterclass en Komaki-Gakki, entre los màs grandes tiendas de percusiòn nacionales, que tuvo mucho exito.

Al parecer sus servicios van a ser requiridos pronto por un festival japonés!

Enhorabuena Marco San...

The Interview. 

 Translation courtesy of Yuri Ozaki.

Thanks to the oustanding performance within the DVD "CAJON POWER",

Mr. Marco Fadda is attracting  rising attention.

On his second visit to Japan, Oct. 2010, he has organized a work-shop at JPC.

and instructed the basics of how to play the cajon and also his original style of playing.

After the work-shop, we have interviewed his unique background and his foresight.

MARCO FADDA

- Let us first ask you about the encounter with percussion instruments.

I first started to play the percussion instrument at the age of 11.

I have 7 brothers and my eldest brother is 10years older than me.

He loves music very much and he had (played) guitars and many pernussion instruments.

Although he was already self-dependent, every time he comes home, he used to talk to me about all sorts of music he knew.

One time I visited his house and found authentic instruments such as LP Conga and Bongo.

I asked him whether I can play these instruments and he let me touch all varieties of instruments.

From then, I got pulled in to percussion instruments.

Every weekend, I went to my brother's house and got together and jammed Santana's pieces with my brother's friends.

While I was a student, a Latin Percussion teacher (specialist) taught me the basics.

After graduating high school, I went to conscript service for 2years since there was a duty of national service in Italy during that time.

I started working at Genova Port conveying containers using a large crane after the 2years of conscript service.

Before working at the port, I was in a band and was in part of jams and concerts but I quit all these musical acts once

I started working at the port. This was to make time for practicing single-mindedly in order to improve my skills.

Not only practicing after work but I went to Spain, Cuba, Turkey, India and Peru during my weekends and holidays.

I really love all percussion instruments and am interested in all genres so I'd go to Cuba for conga and India for tabla.

I'd learn the method of playing at actual countries and practice when I return home to Italy. During this period, I spent my time

practicing, practicing and practicing. It was an input-period.

At the age of 30, I decided to quit my work at the port and started to work as a musician.

There were no places nor chances to perform and I had not one student to teach so I had to start from scratch.

I thought to myself, "from now on, I will act up to my own style" and started to output all my music which I've cultivated so far.

- Can you tell us the way of your practice more specifically?

When I find good musicians while listening to their CDs, I'd look them up on the internet, email them and go to their concerts.

The musicians which drew my attention, I'd approach and speak to. No matter whether they are famous or not.

I'd learn the techniques from them when I felt the need.

At first I had no acquaintances in any countries but since I am a jovial person, I get to be friends with anyone in a short period of time.

So I'd go and see them during my visit and I'd ask them to introduce their friends to me.

For example, my wife plays a Cuban style percussion and through her introduction, I got the chance to stay at a famous Rumba family while my visit at Cuba.

When I was working at the port, I had no musical acts but there was never a day not thinking about music. This remains the same now.

Everytime I hear music, I think to myself "how is this music being played?" and when I'm not doing anything, my hands move without thinking.

It seems like some kind of addicition. (LOL)

Learing a language is a difficult task for me but when it comes to music, I can pick it up instantly and my mind gets filled up by it.

I often think in my head the possibilities of combining different music.

- At today's work-shop, you have shown various techniques of performing the cajon. When did your current play-style establish?

P.7 It's only been around 10years since my current play-style has been established.

I believe that when I was about 30, I started to set-up my indivisuality in timbre, style and instruments.

The experiences and studies at various places during my time before becoming 30 has established my style.

My first encounter with the cajon was in my early 20s. A Bolivian friend who I was jamming together with has taught me.

I've listened to Flamenco CDs and knew the tone colour of the cajon but didn't know what it's exactly like nor the way to play them.

So I went to Peru, Spain and Cuba to study about the cajon.

My play-style of the cajon is an application of various play-styles of different instruments which I've seen in all sorts of countries.

For example, the play-style which I've introduced at the work-shop today, (the one which Darbuka and Bongo were the hints)

I did not learn this method of playing from a teacher but I've established it myself.

For example, the Darbuka play-style. I've met a musician playing Darbuka in Canada and I modified its play-style

originally to enable the performance on cajon.

Cajon is different with drum sets and also differs with other hand percussions which has its own way of playing such as conga.

I've took advantage of the point that there's no particular rule for playing the cajon and managed to establish many play-styles.

Cajon was a brand new instrument to us and I think this fact has allowed us to lead this result.

One of the magnetism of the cajon is that its sound does not fit into any of the genres.

Other instruments such as conga and tabla, conga is Latin and tabla is Indian. Most sounds are fit into "this genre of music"

but for this not true for the cajon. When you want "some kind of sound", the cajon is the perfect instrument.

Cajon can fit into any small composition of guitars or pianos. Playing the cajon has enlarged my work range.Now, cajon has become my main instrument. My work now is to introduce this instrument to many people who still doesn't know about cajon.

- You have visited Japan last August during the tour of Ms. Cecile Corbel. Can you tell us of your recent & future activities?

Yes. Last year I've landed to Japan for the first time to perform the theme song of a motion picture; "The Borrower Arrietty Trailer" by Studio Ghibli Movie.

Last April, I was in Peru to attend the "Festival Internacional del Cajon Peruano" which is an international festival of cajon.

I was invited by a famous musical family, Mr. Raphael Santa Cruz and I was the only European attending.

Many artists and musicians from the US and Latin America have attended this festival and carried out concerts and clinics.

I, myself had the chance to carry out a clinic as well. Many famous players have attended my clinic. I felt very nervous but I enjoyed it very much.

My recent activity is to bring forward the project of "Percussions and Voice".

I've composed and play the music of "Until being industrialized before the human race is born".

This music is only using percussion and voice. Instruments such as cajon is used and we also used stones and metals to express the music.

In my activity thus far, I played music which has groove so I'm thinking of playing something which is completely different.

I also would like to set up a "Cajon Orchestra" with around 20people, using all sorts of cajons such as Cuban cajon, Flamenco cajon, Peruvian cajon and so on.

It'd be interesting to make something such as a double-bass cajon. (LOL)

- Lastly, could you give an advise to the Japanese who are playing the percussions?

Firstly, when you play the instrument, don't think it as an exercise routine but to enjoy it as music.

Percussion instruments are not for playing independently. They are to play with people who plays other musical instruments.

It is important to have music always in mind and also important to learn about it continuously.

Secondly, it is very important to listen to other players' opinions, not just percussionists but players who play other musical instruments, too.

MARCO FADDA - Profile - 

Born in Genova, Italy: 1967.

Debut as a percussionist in "Avarta".

Won the victory with Daad Secchy at the "Percfest Memorial Naco" (The 1st International Percussion Festival) held in 1997.

Joined the tour + CD prodction of Billy Cobham, Stanley Jordan, Greg Brown, Sting and Ronnie Jones. Enterprises mainly in Europe energetically.

The DVD "CAJON POWER" which has been published in 2008, costarred with Billy Cobham and Giovanni Hidalgo.

Visited Japan in August 2010: assisted the Japan tour of a French singer "Cecile Corbel",

October 2010: assisted the Japan tour of an Algerian singer "Akim El Sikameya".

Marco Fadda's Work shop report.

On 3rd October, Marco Fadda's work shop has been held at JPC.Although the notification was less than two weeks, the work shop has achieved its quorum. This shows how Marco is attracting attention.

Firstly the demonstration of the performance. He has performed all sorts of play-style of the cajon.

The hall was drawn into Marco's music instantly by his performance!

After the demonstration, he started to lecture the basic method to play the cajon.

The main points of playing the cajon is the bass sound, ghostnote and the slapping.

All participators began to make the sounds after watching & listening to Marco's performance.

They start with the bass sound. Marco lectured two methods.

One is to use the upper part of the hand and to let go of the top head instantly after hitting.

The other is to use the whole palm and press the top head.

Marco creates various tones by changing the way of using his hands delicately.

Not just one "bass tone", these two methods clearly differentials the tone and it widens the range of expression!

Macro lectures on ghostnote and slapping after this.

"The point is to always have the rhythm of the ghostnote in your head when you move your hands!" as Marco strongly advised.

The practice of 4beats each for bass ==> ghostnote ==> slap has been acted out.

Paquito y el Drum Fest

Paquito Gonzalez  at Seville's  Drum Fest - november the 7th 2010

This event takes place in Seville every year, and is the most important drum related show in Spain.

Organized by a drum shop called Tam Tam Percusion, it hosts performances of world famous drum kit players, from rock, metal, latin and jazz genres, this year it was the first time that they decided to put a flamenco cajón player on the bill.

José Manzano, the owner of the shop, called me and said: "I know that Paquito is your endorser, and that you had this dvd production going on, so I decided to put this thing in your hands".

Paquito was thrilled by that, but also a bit worried about the outcome; after all, there were going to be some of the hottest drummers on stage, with mega kits and dozens of cymbals, what would be the reaction of the audience in front of an apparently minimal instrument?

Well, first of all Paquito is not a mere cajon payer: as a matter of fact he has developed (especially with his band UHF http://ultrahighflamenco.com/ ) an interesting percussion set, which includes cymbals, flat toms and a snare drum, therefore he is able to intrigue a drum audience with a sound palette which is familiar to their ears, but he can go back to  just the cajon, and keep them nailed to their chairs, thanks to his way of playing with lots of different shades, strokes and dynamics, multiplying the cajon sounds by ten times.

Also, I feel that beyond the instruments issue, there is something  which makes a Flamenco percussionist interesting for a specialized drum and percussion audience: there is a new breed of cajon players in Spain who developed a very advanced language over the last 30 years, and they  master it just like Americans do with Jazz idiom, or Cubans do with their own musical heritage.

So I was convinced that not only the show would go down well with the audience, but that even the other performers would love it.

Paquito  was announced as first on the bill , and decided to divide his show in two parts: he would play a cajòn solo to start with, and then he would sit behind his special kit to play with his long term mate José Quevedo "Bolita", a wizard of the Flamenco guitar, from Jerez de la Frontera.

The show went down like a storm: with 400 people filling the auditorium (and another 100 were left outside), the reaction was overwhelming.

The star of the event, American drummer Dave Weckl, especially turned up for his set, even though he was due to play more than 6 hours later, and  enthusiastically complimented  Paquito  after his performance.

So the bet was won, a cajon player can take part to a drum show and  turn the crowd on. 

Mind you, if that cajon player happens to be Paquito, González then the result is guaranteed.

Paquito González al Drum Fest de Sevilla - 7 noviembre 2010

Este evento se hace en Sevilla cada año, y es el espectaculo sobre la batería mas importante que hay en España.

Organizado por la tienda Tam Tam Percusión, presenta actuaciones de bateristas de fama mundial, de estilos rock, metal y jazz, pero este año fue el primero en que decidieron poner a un cajonero flamenco en el cartel.

José Manzano, el  dueño de la tienda, me llamó, y dijo: " Sé que Paquito está  esponsorizado por tu marca, y que hicisteis un dvd  didáctico juntos, asi que he decidido poner esto en vuestras manos".

Paquito se sintió honrado por la invitacion, pero al mismo tiempo, algo dudoso; al fin y al cabo, allí se verían algunos de los bateristas más en boga en el escenario, con sus mega baterías y docenas de platillos, cual iba a ser la reacción por parte del público frente a un instrumento aparentemente tan minimál?

Bueno, en primer lugar Paquito no es un simple cajonero: de hecho ha desarollado (sobretodo con su banda UHF http://ultrahighflamenco.com/) un set de percusiones muy interesante, que incluye platos, tambores llanos y caja, por esto es capaz de atraer a una audiencia de bateristas con un abanico de sonidos familiares para sus oidos, pero al mismo tiempo de volver al cajón solamente y clavarlos en sus asientos, por su manera de tocar, llena de matices y dinàmicas,  que multiplican los sonidos del cajón por diez veces.

También creo que mas allá del tema de los instrumentos, hay algo que hace un percusionista Flamenco interesante para un público especializado en lo rítmico: hay una  generación de cajoneros en España que ha desarollado un lenguaje muy avanzado a lo largo de los ultimos 30 años, y lo dominan asi como los Americanos lo hacen con el Jazz, o los Cubanos con su propio patrimonio musical.

Por esto estaba convencido de que no solamente la actuación tendría exito con los participantes, sino que también los otros artistas invitados disfrutarían de ella.

Paquito estaba anunciado por primero en el cartél, y decidió dividir su actuacion en dos partes: tocaria un solo de cajón para empezar, y luego se sentarìa detrás de su set especial, para tocar junto a su compañero de muchas aventuras, José Quevedo "Bolita", un mago de la guitarra flamenca, de Jeréz de la Frontera.

La actuación fue un exitazo: con 400 personas en el teatro y otras cien que no pudieron entrar, la reacción fue de entusiasmo total.

La estrella del evento, el baterista americano Dave Weckl, vino expresamente para verle, aunque su turno para tocar fuera 6 horas después, y le complimentó mucho.
Se ganó la apuesta, un cajonero participó al Drum Fest, y el público se encendió.

Claro está,  si  el cajonero se llama Paquito González, el resultado es garantizado.