A pair of congas

Front: A pair of congas.
Back: A pair of bongos.

The conga, or more properly the tumbadora, is a tall, narrow, single-headed Cuban drum. Although ultimately derived from African drums made from hollowed logs, the Cuban conga is staved, like a barrel. These drums were probably made from salvaged barrels originally. They are used both in Afro-Caribbean religious music and as the principal instrument in rumba. Congas are now very common in Latin music, including salsa music, merengue music, and Reggae, as well as many other forms of American popular music.

Characteristics[link]

Most modern congas have a staved wooden or fiberglass shell, and a screw-tensioned drumhead. They are usually played in sets of two to four with the fingers and palms of the hand. Typical congas stand approximately 75 centimetres (30 in) from the bottom of the shell to the head. The drums may be played while seated. Alternatively, the drums may be mounted on a rack or stand to permit the player to play while standing. While they originated in Cuba, their incorporation into the popular and folk music of other countries has resulted in diversification of terminology for the instruments and the players. In Cuba, congas are called tumbadoras.

Conga players are called congueros, while rumberos refers to those who dance following the path of the players. The term conga was popularized in the 1950s, when Latin music swept the United States. Cuban son and New York jazz fused together to create what was then termed mambo, but later became known as salsa. In that same period, the popularity of the Conga Line helped to spread this new term. Desi Arnaz also played a role in the popularization of conga drums. However, the drum he played (which everyone called a conga drum at the time) was similar to the type of drum known as boku used in his hometown, Santiago de Cuba. The word conga came from the rhythm la conga used during carnaval (carnival) in Cuba. The drums used in carnaval could have been referred to as tambores de conga since they played the rhythm la conga, and thus translated into English as conga drums.

Playing techniques[link]

Strokes[link]

A pair of Latin Percussion conga drums

There are five basic strokes:

• Open tone (tono abierto): played with the four fingers near the rim of the head, producing a clear resonant tone with a distinct pitch.
• Muffled or mute tone (tono ahogado): like the open tone, is made by striking the drum with the four fingers, but holding the fingers against the head to muffle the tone.
• Bass tone (tono bajo): played with the full palm on the head. It produces a low muted sound.
• Slap tone (tono seco): the most difficult technique producing a loud clear "popping" sound (when played at fast and short intervals is called floreo, played to instill emotion in the dancer).
• Touch tone (toque de punta): as implied by the name, this tone is produced by just touching the fingers or heel of the palm to the drum head. It is possible to combine a touch of the palm with a touch of the fingers in a maneuver called heel-toe (manoteo), which can be used to produce the conga equivalent of drumrolls.

The moose call or glissando is done by rubbing the third finger, supported by the thumb, across the head of the drum. The finger is sometimes moistened with saliva or sweat, and sometimes a little coat of beeswax is put on the surface of the conga head to help make the sound.^[1][2] The moose call is also done on the bongos.

To bend the pitch of the congas, a conguero sometimes uses his elbow to shift around on and apply pressure to different parts of the head; this causes the note to change. This is not a traditional stroke, but it is common in modern salsa and rumba.

Occasionally sticks are used on congas: some sticks, such as the Regal Tip's ^[3] conga sticks are made to imitate the sound of a hand hitting a conga; even timpani mallets, timbale sticks, etc. have been used on congas, despite the fact that the conga is usually called a hand drum.^[4]

Rhythms[link]

Afro-Cuban[link]

There are various rhythms for the conga, the most well-known being the marcha.This rhythm is commonly played on 1 to 3 congas, but has no true limit for the amount used. The marcha is the most common rhythm in Salsa/Son. Some songs that include the marcha or slight variations (Guajira)(chachacha) of the rhythm are:

• Oye Como Va by Tito Puente
• Pedro Navaja by Willie Colón and Rubén Blades
• Se Le Ve by Andy Montañez and Daddy Yankee
• Watermelon Man by Mongo Santamaría
• Los Dos Jueyes by Domingo Quiñones and Zion
• Amor Verdandero and A Maria Le Gusta by Afro Cuban All Stars
• Quizas, Quizas, Quizas by Omara Portuondo and Teresa Garcia Cartula
• Armonias del Romañe by Tomatito
• Soy Guanaco Salvadoreño by Bobby Rivas
• Hoy tenemos by Sidestepper
• Ahora Vengo Yo by Anthonious Meer, Richie Ray & Bobby Cruz
• Hipocrecía by Fruko y sus Tesos
• Escucha el Rithmo by Spanish Harlem Orchestra
• Me Voy Pa Cali by Oscar D'León
• Boogaloo Chevere by Sonora Carruseles
• Virus by Bamboleo
• Oye Baila Mi Onda by Orquesta Aragón
• El Barrio del Pilar by Orquesta Broadway
• Bodas de Oro by Cheo Belen Puig

Countless other songs use this rhythm.

There is also the bolero rhythm, which goes 1-2-3 1-2 1-2-3. Being very similar to the marcha, it involves a minimum of two congas and can be heard on:

• Buena Vista Social Club by Buena Vista Social Club
• Melodia del Rio by Ruben González
• Besame Mucho by Andrea Bocelli
• La Puerta by Luis Miguel

More complex rhythms can be heard in the music of Santería and Abakua rituals, many of which also apply to the bata drums, such as Guarapachangueo and Chacha-lokafun. In Cuba, variants of Guaguanco, Bembe, and Abakua change from province to province, so there is no true stating to what is or isn't correct.

Afro-Dominican[link]

The merengue rhythm, used in orchestral merengue, goes 1 2-1-2. It can also be heard as 1-2-1-2 1-2-1-2-1-2. Essentially, it is the rhythm of the tambora applied to conga. This can be heard on Elvis Crespo's Suavemente and Grupo Mania's Me Miras y Te Miro. Originally, this rhythm was derived from the trap drumming of African slaves from various animist religions^{[citation needed]}. In merengue tipico the rhythm is usually more complex and less standardized; it can range from simply hitting the conga on a fourth beat to playing full patterns that mark the time.

The rhythm of Palos is also representative of what we can call Afro-Dominican music. The drums are made out of hollowed-out tree trunks, and they are used both for secular and religious music in Santo Domingo and Haiti. The drums are called palos (alcahuete, palo mayor and adulon); the balsie is another drum which is played with both the feet and the hands; the player sits on it and uses a friction technique called 'arrugao'. Panderos are also used in Dominican folk music, like Congos, Salve and Palos. The Dominican version of the 'clave' is 'la canoita', which are two sticks which are struck against each other, and one of them has a handle. In the Gaga they also use palo drums and in the rhythm called Palo de Muerto, which is played when a member of the cofradia or brotherhood dies. The rhythm of palos is played throughout the Dominican Republic and is the national dance of the country. This music was suppressed and persecuted during Trujillo's rule due to social and racial discrimination.

Afro-Colombian[link]

The cumbia rhythm, simple and slowly played, goes 1-2-2-1, also heard as 1-2-1-2. It can be heard in Fito Olivares's Mosaico Fiestero and La Cumbia Sampuesana y La Cumbia Cienaguera by Ancieto Molino y Los Sabaneros.

Other genres[link]

There are many other kinds of rhythms for the conga. It is constantly applied in new genres of music, therefore taking up the rhythms of that specific style, such as punta, reggaeton, Brazilian forms such as samba and bossa nova, and even reggae, funk, go-go, and country music.

Tuning[link]

Conga drums are tunable to different notes. The original drums were tuned by adjusting knots and tension ropes on the drumhead, or, where the drum-heads were tacked or nailed to the top of the shell, by careful heating of the head. Modern congas use a screw-and-lug tension head system which makes them easier to tune (or detune) this modern type of tension system is attributed to Carlos "Patato" Valdes a popular Cuban Conguero. As was discussed above, terminology for the drums varies. Here, the naming system used is a composite of those mentioned before with those currently in use by major conga manufacturers. The drums are discussed in order from largest to smallest; the sizes of the drumheads given vary considerably by manufacturer, model, and style.

• The supertumba can be as large as 14 inches across (35.5 cm).
• The tumba is typically 12 to 12.5 inches across (30.5 to 31.8 cm).
• The conga is typically 11.5 to 12 inches across (29.2 to 30.5 cm).
• The quinto is typically around 11 inches across (about 28 cm).
• The requinto can be smaller than 10 inches across (24.8 cm).
• The ricardo can be as small as 9 inches across (22.9 cm). Since this drum is typically played while hanging from a shoulder strap, it is considerably shorter and narrower than a traditional conga.

Tuning systems[link]

Congas, being percussive instruments, do not have to be tuned to any particular note in purely percussive settings. However, when playing with harmonic instruments, they may be tuned to specific notes. Congas are often tuned using the open tone (see above). In general, the particular note will depend on the make, model, and size of the conga drum. The drum should be tuned so that the bass tone resonates, the open tone rings, and the slap pierces through the musical mix. If the tuning is too loose, the bass and slap tones will sound "flabby"; too tight, and the drums will sound unnatural and "pinched." With a single drum, it is easy to tighten the drum until it makes a pleasing sound and then tighten a little more to reach a uniform desired pitch. It is very important to ensure that tuning is uniform around the drumhead, which can be checked by placing one finger pad in the center of the head and tapping the head near the edge above each lug location to detect any change, adjusting as necessary. Uniform tightness will help "let the drum speak."

Another important consideration is that head tension can greatly impact the ease or unease of the player, and generally a looser drumhead can lead to hand injury more than a tighter one, because a looser drumhead has less rebound and more muffling effect (hence potentially bruising joints and bones under spirited playing). Also, producing a crisp slap tone is nearly impossible on a loose head. During tuning it is suggested to "let the drum speak" and to conform tuning reasonably closely to the natural resonance (pitch) that the cavity of the drum interior presents. This resonance can be heard by singing or playing loud notes near the drum opening (this is true of tuning any drum) and noticing which pitch decays slowest (that will either be the fundamental [resonant] frequency or one of its simple overtones).

When two or more drums are used, there is a potential for more variation of which notes are chosen, however tuning between or during compositions is rare in live performance. With only two drums, it is common to find them tuned a perfect fourth apart (the same interval used in "Here Comes the Bride") as is the tradition in western classical music for the timpani. Having three drums (typically the tumba, conga, and quinto) invites experimentation and individual customization. Some congueros like using the intervals of a major chord (e.g. F, A, C). Some players use the second inversion of a major chord (e.g. G, C, E); and some prefer a major second between the quinto and conga, with a perfect 4th descending to the tumba. Raul Rekow of Santana often plays five conga drums and tunes them to the opening phrase of a Latin tune.

See also[link]

	Percussion portal
	Music portal

• Caribbean music
• List of conga players

Notes[link]

References[link]

• Dworsky, Alan; Betty Sansby (1995). Conga Drumming: A Beginner's Guide to Playing with Time. Dancing Hands. ISBN 0-9638801-0-1. 

• Sanchez, Poncho; Chuck Silverman (2002). Poncho Sanchez' Conga Cookbook. Cherry Lane Music. ISBN 1-57560-363-2. 

• Warden, Nolan (2005). "A History of the Conga Drum" (PDF). Percussive Notes 43 (1): 8–15. http://www.nolanwarden.com/Conga_Drum_History(Warden).pdf. Retrieved 2006-07-07. 

External links[link]

Wikimedia Commons has media related to: Congas

• Percussion Instruments.
• Introduction to the Conga Drum at the Drum Dojo.
• Plans to build your own conga drum.
• online community for conga and other world percussion
• http://www.nolanwarden.com/Conga_Drum_History(Warden).pdf - Information on the Origin of Congas and other facts.
• Percussion Conga Anatomy.

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (January 2011)

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Samuel Torres (born September 4, 1976) is a Colombian percussionist^[1] and composer. He was born in Bogotá, and started playing at age twelve and became involved with different bands in his hometown. Although, he received classical training, Torres was intrigued by the different styles and rhythms of the Latinamerican and jazz sounds. He graduated from the University of Javeriana in Music Composition.

In 1999, Grammy Award winner Arturo Sandoval contracted Torres and toured with him for four years. In 2000, Samuel Torres received the second place at the 2000 Thelonious Monk International Jazz Competition for Hand Percussion.

Throughout his career as a percussionist, Torres has performed with jazz artist Tito Puente, Chick Corea, Poncho Sanchez, Pete Escovedo, Dave Valentine, Michael Brecker, Don Byron, Claudio Roditi, Paquito D’Rivera, Caribbean Jazz Project, Jeff "Tain" Watts, Lila Downs, Candido Camero and Mike Stern among other great musicians.

Many of his performances include his participation in the Florida International University big band, the 5 de Mayo Celebration 2001 with Nashville Symphony, the Hollywood Bowl Latin Festival 2001 with the L.A. Philharmonic, 2001 Newport Jazz Festival in Madarao, Japan and many more.

Discography[link]

• 1996 "Piez Descalzos", Shakira (1996)
• "Golpeando Fuerte", Noelia (2000)
• "Faltaba Yo", Olga Guillot (2001)
• "Golpeando Fuerte", Noelia (2000)
• "My Passion for the Piano", Arturo Sandoval (2001)
• "Piano Amarillo", Arturo Hanlon (2001)
• "Smooth Ride", Frankie V (2001)
• "Colección de Oro", Shakira (2002)
• "Thalía", Thalía (2002)
• "Thalía (English), Thalía (2003)
• "Amar Sin Mentiras", Marc Anthony (2004)
• "Concord Picante 25th Anniversary Collection " – Various Artists (2005)
• "Duende", Romero (2005)
• "Thalía [Bonus Tracks]", Thalía (2005)
• "Always Going West", Mishka Tsiganoff (2007)
• "Folk's Songs", Jeff "Tain" Watts Presents Tain & The Eb (2007)
• "Refugee", Hector Matignon (2007)
• "Small Blue Thing", Jack Donahue (2007)
• "Something Still cool", Elli Fordyce/Jim Malloy (2007)
• "Sungbird (After Albeniz), Helen Sung (2007)
• "Bona Makes You Sweat", Richard Bona (2008)

DVD[link]

"Drums Solo Revisited" (2004)

References[link]

Giovanni Hidalgo

Giovanni Hidalgo a.k.a. "Mañenguito" (born November 22, 1963) is an educator, percussionist and recording artist in the genre' of Latin jazz.

Early years[link]

Hidalgo was born in San Juan, Puerto Rico where he received his primary education. His grandfather had also been a musician, as well as his father José Manuel Hidalgo "Mañengue", who was a renowned conga player. Therefore, Hidalgo was raised in a household surrounded by drums, bongos, congas and timbales.^[1] He received a conga for his eighth birthday which had been handmade by his father. As a young child he practiced and developed his speed and playing skills on the conga and on the other instruments in his house. Hidalgo would drum a tune with sticks and then play the same tune with his hands.^[2]

Musical career[link]

External audio
	You may listen to Giovanni Hidalgo in Conga Virtuoso here.

Hidalgo auditioned and was hired by the Batacumbele Band in 1980. In 1981, he traveled with the band to Cuba where he met a musician by the name of José Luis Quintana "Changuito". Together they were able to create a unique style of rhythm and ushered in a new musical era in Latin music.^[1][2]

In 1985, Hidalgo was performing with Eddie Palmieri at The Village Gate in New York City, when the legendary jazz musician Dizzy Gillespie walked in and listened to Hidalgo play. He was so impressed with Hidalgo that he told him that someday in the future they must get together and play. In 1988 Hidalgo joined Gillespie's United Nation Orchestra.^[1]

In 1992, he was hired as an adjunct professor at the Berklee College of Music in Boston, Massachusetts. There he taught many types of rhythms; Puerto Rican, Cuban, Dominican, reggae, African and jazz. He held this academic position until 1996.

Awards[link]

In 1991 Hidalgo received a Grammy Award in the category of world music (the first year the category existed) as part of Mickey Hart's percussion ensemble Planet Drum for the album of the same name. He also performed on the 1993 Arturo Sandoval album Danzon (Dance On) which won the 1995 Grammy Award for Best Latin Jazz Performance, and received Grammy nominations in the same category for the albums Hands of Rhythm in 1997 and The Body Acoustic in 2005. In 2009 he collaborated with Hart again as part of the Global Drum Project, whose title album won the world music Grammy that year.

Recordings with other musicians[link]

Among the musicians with which Hidalgo has either performed or recorded with are:

• Bola Abimbola
• Sikiru Adepoju
• Art Blakey
• Muruga Booker
• Jack Bruce
• Don Byron
• Michel Camilo
• Dizzy Gillespie
• Sammy Hagar
• Kip Hanrahan
• Mickey Hart
• Zakir Hussain
• Cassius Khan
• Charlie Palmieri
• Phish
• Tito Puente
• Hilton Ruiz
• Paul Simon
• D'angelo

On October 31, 2010, Giovanni performed with the legendary jam rock band Phish during their special Halloween 'musical costume' concert. The band learned Little Feat's "Waiting for Columbus" and performed it in its entirety along with Giovanni Hidalgo on percussion and Aaron Johnson, Stuart Bogie, Ian Hendrickson, Michael Leonhart, and Eric Biondo on brass during set two of three for the evening. He also returned along with the horn section to perform "Julius" the encore for the evening.^[3]

Discography[link]

• 1992 - Villa Hidalgo (CD) Pimienta
• 1993 - Worldwide (CD) RMM
• 1995 - Time Shifter (CD) RMM
• 1997 - Hands Of Rhythm (CD) RMM
• 1998 - The Best of Giovanni Hidalgo (CD) RMM

With other artists[link]

• 1981 - Con Un Poco De Songo - Batacumbele (CD) Disco Hit
• 1985 - Few Short Notes From the End Run - Kip Hanrahan (EP - CD) Justin Time
• 1986 - Aqui Se Puede - Airto Moreira (CD) Montuno
• 1986 - Word Up! - Cameo (CD) Mercury Records
• 1987 - Mind Time - Dave Valentin (CD) GRP Records
• 1987 - Afro Caribbean Jazz - Batacumbele (CD) Montuno
• 1987 - Celebration - Paquito D'Rivera (CD) Columbia Records
• 1988 - In Concert: Live At The University Of Puerto Rico - Batacumbele (CD) Montuno
• 1988 - Live At The Blue Note - Dave Valentin (CD) GRP Records
• 1989 - Live at the Royal Festival Hall (Enja) - Dizzy Gillespie & The United Nations Orchestra
• 1989 - Samba De Flora - Airto Moreira (CD) Montuno
• 1990 - Tenderness - Kip Hanrahan (CD) Yellowbird
• 1990 - Reunion - Paquito D'Rivera (CD) Termidor Universal Special Imports
• 1990 - Abriendo Puertas - Jerry Rivera (CD) Discos CBS
• 1991 - Planet Drum - Mickey Hart (CD) Rykodisc
• 1991 - Bolivia - Freddie Hubbard (CD) Musicmasters
• 1992 - Pintando Lunas - Domingo Quinones (CD) RMM Records
• 1992 - Jazz Project - Humberto Ramirez (CD) Tropi Jazz Records
• 1992 - Queen Of The Night - Flora Purim (CD) Sound Wave
• 1992 - Manhattan Mambo Soundtrack – Hilton Ruiz (CD) Telarc Distribution
• 1992 - Live At Birdland - Hilton Ruiz (CD) Candid
• 1992 - Live At The Village Gate - Tito Puente (CD) Tropi Jazz
• 1993 - Golden Latin Jazz All Stars In Session - Tito Puente's Golden Jazz All Stars (CD) RMM
• 1993 - Heroes - Hilton Ruiz (CD) Telarc Distribution
• 1993 - Paul Simon 1964-1993 - Paul Simon (CD) Warner Bros.
• 1993 - Danzon (Dance On) - Arturo Sandoval (CD) GRP (USA)
• 1993 - Aspects - Humberto Ramirez (CD) RMM
• 1994 - Speed Of Light - Flora Purim (CD) Meltdown/B&W Music
• 1994 - One More Once - Michel Camilo (CD) Columbia Records
• 1995 - All Roads Are Made Of The Flesh - Kip Hanrahan (CD) American Clave
• 1995 - Hands On Percussion - Hilton Ruiz (CD) RMM
• 1995 - Encounters Of The Fourth World - Fourth World (CD) Black & White Records
• 1996 - Evolucionando - Johnny Almendra (CD) RMM
• 1996 - Mickey Hart's Mystery Box - Mickey Hart (CD) Rykodisc
• 1997 - Marching To Mars - Sammy Hagar (CD) Universal Special Products
• 1997 - Tropijazz All-Stars Volume 2 - TropiJazz All-Stars (CD) Tropi Jazz
• 1997 - 50 Years Of Swing - Tito Puente (CD box set) RMM
• 1998 - Larry Harlow's Latin Legend Band - Larry Harlow (CD) Sony Discos
• 1998 - Antiguo - Gonzalo Rubalcaba (CD) Blue Note Records
• 1998 - Havana Blues - Armando Rodriguez (CD) Palmetto
• 1998 - Supralingua - Mickey Hart (CD) Ryko
• 1998 - Mi Forma De Sentir - Yanko (CD) RMM
• 1998 - God Bless The Child - Freddie Hubbard (CD) Musicmasters
• 1999 - Last Journey - Fourth World (CD) M.E.L.T. 2000 (Zeit)
• 1999 - McCoy Tyner & The Latin All-Stars - McCoy Tyner (CD) Telarc Distribution
• 1999 - Best Friends - Humberto Ramirez (CD) Sony Discos
• 2000 - Rhythms For A New Millennium - Alex Acuna (CD) Tonga Productions Inc.
• 2000 - Best Kept Secret - Ralph Irizarry (CD) Shanachie
• 2000 - Conga Kings - Candido Camero (CD) Chesky
• 2000 - Galeria Caribe - Ricardo Arjona (CD) Sony Music
• 2000 - Imprint - John Patitucci (CD) Concord Jazz
• 2000 - Homeless - Airto Moreira (CD) Melt 2000 (Zeit)
• 2001 - Drawn From Memory: Best Of Kip Hanrahan - Kip Hanrahan (CD) IN AK
• 2001 - Yo Por Ti - Olga Tanon (CD) Warner Bros.
• 2001 - TNT (Trombone-N-Tenor) - Steve Turre (CD) Telarc Distribution
• 2001 - Jazz Descargas - Conga Kings (CD) Chesky
• 2002 - Flora Purim Sings Milton Nascimento - Flora Purim (CD) Narada
• 2002 - Mondo Head - Kodo (CD) Red Ink
• 2002 - Together Again - Juan Pablo Torres (CD) MusicHaus
• 2002 - Over The Edge And Back: The Best Of Mickey Hart - Mickey Hart (CD) Rykodisc
• 2002 - Live At The Playboy Jazz Festival - Tito Puente (CD) Playboy Jazz
• 2002 - Lo Bueno De La Vida - Orlando Poleo (CD) Sony International
• 2003 - Life After That - Airto Moreira (CD) Narada
• 2004 - Studio Recordings 1972-2000 - Paul Simon (CD) Rhino Records
• 2004 - Body Acoustic - Body Acoustic (CD) Chesky
• 2004 - Desahogo - Vico-C (CD) EMI Music Distribution
• 2004 - My Music, My Friends, My Time - Oskar Cartaya (CD) O.Y.E.
• 2004 - Como Nunca...Como Siempre - Limi-T 21 (CD) EMI Latin
• 2005 - Sabor Cubano - Alina Izquierdo (CD) Pimienta
• 2005 - Flora's Song - Flora Purim (CD) Narada
• 2005 - Con Mucho Ritmo!: The Very Best Of Tropijazz (CD) Verve Records
• 2005 - Listen Here! - Eddie Palmieri (CD) Concord
• 2006 - Descarga En California - Rebeca Mauleon (CD) Pimienta
• 2006 - Masa Con Masa - Millo Torres (CD) Machete Music
• 2006 - Codes - Ignacio Berroa (CD) Blue Note
• 2006 - Telegrafia Sin Hilo - Changuito (CD) Cacao Musica
• 2007 - De Corazon A Corazon - Team Vip (CD) Union Music Group
• 2007 - Live At The Jazz Plaza Festival 1985 - Dizzy Gillespie (CD) MVD
• 2007 - Jazz, Baby! - Doug Beavers (CD) Origin Records
• 2007 - En Primera Plana - Isaac Delgado (CD) La Calle
• 2007 - 90 Millas - Gloria Estefan (CD) Solar Music Group
• 2007 - Afro Blue - McCoy Tyner (CD) Telarc Distribution
• 2008 - Canto A America Latina - Andres Jimenez (CD) Cuatro Menguante
• 2008 - RMM 20th Anniversary Collection Vol. 9 (CD) Universal Music Latino
• 2009 - Global Drum Project – Mickey Hart (CD) Shout! Factory
• 2009 - DOS Clasicos - Jerry Rivera (CD) Sony Music
• 2009 - Moving Forward - Bernie Williams (CD) Reform
• 2009 - Omar Garcia - Omar Garcia (CD) Warner Bros.
• 2012 - Mysterium Tremendum - Mickey Hart Band (CD) 360° Productions

Filmography[link]

• 1995 - Conga Virtuoso (DVD) Warner Bros.
• 1996 - In The Tradition (DVD) Warner Bros.
• 2004 - Traveling Through Time (with Horacio Hernandez) (DVD) Music Video Distributors

See also[link]

	Puerto Rico portal
	Percussion portal

• List of famous Puerto Ricans

References[link]