Apprentice, Edwin Estremera, drumming with Master, Nelson Baez, during a one-on-one session in Nelson's home.

Connecting to the history of one's cultural heritage has the power to illuminate one's identity. In the case of Master Drummer Nelson Baez, this illumination "came later in life", but made quite an impact on his understanding of who he is. The impact of Nelson's intense studies in the rhythmic-based traditions of Bomba y Plena has affected his life profoundly, linking him with his multi-cultural ancestry. In turn, others have benefited, and continue to benefit from his journey into self, through the mastery of his historical and practical knowledge of these rich musical forms.

Master Bomba y Plena Practitioner, Nelson Baez, detailing the relic drum he is holding. A contemporary version of the relic can be seen on display in the background.

 

Q & A with the Master

What are some of the most important historical aspects of Bomba y Plena for you to impart?
NELSON: When talking about Bomba y Plena it's really important to emphasize that these are both marginalized forms, as are all things African, from the mainstream culture within Puerto Rico and within the Puerto Rican diaspora. So, they are always on the edge of oblivion, especially Bomba, being a clearer symbol of the Island's African heritage. At one time it was not allowed to be played in the streets of Puerto Rico. Plena has benefited sporadically from glossy commercialism within Latino communities since the 1920's. But, we need the lineage of Masters who teach to help preserve it. It is not uncommon in NJ to meet people of Puerto Rican descent who know very little of the rich history and multi-cultural story of Bomba y Plena.

 

Can you speak to the influence of your teachers, and how they shaped your teaching style? Is there something unique that you offer?

NELSON: I learned from many different Masters of the tradition, most who were very protective of it and how things are played. Authenticity is highly valued in the Bomba community. Teachers of Bomba are often concerned about their reputation. They want what is being taught and learned to be accurate; some of the old-timers especially can be really strict in their teaching styles. Ongoing debate within the community about authenticity is very common. But, I also believe that teachers have to figure out the student's best learning style. What works for one student may not work for another. Performing is also a great teacher for students. Interacting with an audience is integral to the experience. I offer my apprentices a chance to perform with Cimarrones, my performance ensemble.

Can you give us a Bomba y Plena 101? Tell us about the experience.

NELSON The tradition is a dynamic, rhythmic interplay between drummers, dancers, and singers. The structure is a traditional call and response which has its roots in African musical forms. This is both an affirming and spiritual act. Dancers are telling stories with their dancing and the drummer interprets those stories. Each dance has its own foot work, its own personality. The dancer and the drummer work together to raise the energy, and the sounds will correspond to the movements of the dancer. There is one lead, improvising drummer who marks the dancer's movements and also responds to the lead singer. The songs are often about everyday life of the community and its members. Some are songs of protest, or songs that send out a message.

In what way does this art form connect you to your cultural identity?

NELSON When I was growing up in the U.S. as a "New Yorican", it wasn't popular to be Black or Puerto Rican. And there was no assimilation for me. I eventually had an identity crisis. When I found Bomba, it circled me back to New York, where I began my lessons, and then it sent me to Nigeria, where my connection to my African roots came alive. Learning to play Bomba y Plena gave me a chance to restore and confirm my identity.

 

 

Edwin Estremera playing the Cua and practicing patterns associated with Bomba. /span>

Q & A with the Apprentice

Will you tell us your background as a musician?

EDWIN: Growing up I was always attracted to drums, to rhythms. I started practicing on cans, boxes, anything that made noise. As a teenager I played with a Haitian band in Trenton. Now I perform with Spanglish Fly, Grupo Afinque, Machuco's Trabucosand Los Cimarrones. I'm very active as a musician.

 

Tell us more about the ensembles you play with and their role in the community:

EDWIN: My ensemble Machucos Trabuco played an event at the Ellarslie Museum in Trenton. There was a sense there that we brought community together, and I believe that because of the type of music that we were performing: Jazz, Afro-Cuban, Afro-Boricua, and R/B. It appealed to many different types of listeners. In regards to Spanglish Fly, we are re-surging an interest in "Bugaloo" - a genre started in the 60's from New York, that kind of disappeared. With groups like Afinke, it's about just being able to continue bringing our Latin sound to future generations, and that gives back great pleasure and satisfaction.

What is the significance of your studies? Why are you studying with Nelson?

EDWIN: Technically, I have the fundamentals of the rhythms and the dancing, but in order for me to develop further I need to learn the more intricate and varied drum patterns on the Buleador as well as variations of the cua and the guiro patterns. I have to learn to play the Subidor and understand the interrelationship between the dancer and the drummer. Also, I need to develop my quality of sound, speed, and endurance. I have chosen to study with Nelson because of his reputation within the Bomba y Plena community, and the fact that he instructs both genres. Personally, is another story.

What is the personal side to your deeper study of Bomba y Plena?

EDWIN: As a percussionist from Puerto Rico I feel it's a priority for me to learn this tradition. I was already playing Cuban rhythms when I thought to myself, 'why not learn MY rhythms'? I also feel it's important to pass this on to my son and to anyone who wishes to learn it. If I have the knowledge I should be prepared to share it. And, if I'm going to teach this to students, I need to develop my skills to the level that I have credibility within this art form.