Interview with Pedro López (VO) : "Tell me your life first, the Chinitos, uncles"
Peter: "Well, we maintain a familial tradition: My father, my uncle, they had a sextet.
I was not born when that happened. My name is Pedro López Rodríguez. The Chinitos - there are many - are "slanted," say The Chinitos since we were founders of the allocation in this area, Korea, here.
traditionally Then they met, the days of the mothers, the end of the year, at Easter, and formed their gateque there are his music, but then ended with rumba, just playing with the window in the cabinet, in a drawer ...
and that was developing between us, something inside that is internalized. And from there we kept that tradition there, every year, without any idea that this would be so valuable tomorrow, right?
Then apart from that, with time trancurso we created, in the decade of the seventies to the eighties - was from 75, 76, more or less the time - created a kind of polyrhythm. A friend who was one of the greatest rumba is in Cuba - was called "The Ranger", I think his last name is Martinez, who lives there now in the United States, by a form derogatory put to the rhythm that we Nostra name "guarapachangueo."
started this for a moment of spontaneous song, it was to be made with the idea that he would fuck so long. And is this the wall, "tikitin" and
the other "tukutum" ... And we start with a box that says ... a bedside table, my grandmother Grandma. That box turned it into fifth, and my uncle had a drawer, which he created from plywood, which had an engine with a propeller pa 'Take air, was a form of fan, and we started with the tumbao', sitting on the fan box and changed a lot since then, "I go there, get there." We started to make those directions, and when everyone gathered these days ... we play, was a typical day, and then the whole world "and, e!" my family, all my brother Joseph, and then out of all that what is said "guarapachangueo" The Lone Ranger put him in a derogatory way "guarapachangueo", "Look at that, the guarapachangueo they're playing!".
And from that we create our own style of drawers, which is the true guarapachangueo.
And then tapered the top drawer as was done in Cuba, was for a friend, Ifrain Friol Kofa, who said:
"I'll make a box that is tapered pa 'that not slip. "That was the first thing the drawer that. With the mediation of that, I worked a carpenter with him, and that gave me every facility for later if I create this.
After the time the children come . And Piri grew up with us here. And he played as a kid, from age four and played anything that was inclined to that. he grew up, came from the womb, had been listening to music: rumba and all that. Nostro saints do not practice anything that is religious: what to us was rumba, rumba, rumba.
Since then, yes. Already, we are inclined, when he took deep roots, to start the thing and Afro-Cuban, in 1980. And then he started fucking the force. I was fortunate and privileged to find one of the first great musicians of Cuba, Changuito (José Luis Quintana). There was an interview, but dyed a dialogue with respect to this new rhythm that had been created. And he Demosthenes something, and then he told me that I had included in his drums.
A Changuito really liked that. The force guarapachangueo was fucking and fucking hard.
Today, there are many groups doing many things with the guarapachangueo, because that is an array. The guarapachangueo is an array. But they have made a polyrhythm thereon. As Pancho Quinto, who was the first. Pancho Quinto, Maximino (Duquesne) ... After guarapachangueo made their creations. "Their trends", they told them it was with respect to the matrix this. But we dyed the fate that we share walked Yoruba. We participate to parties with them, the rumba with them. And then they always passed this. And they gave us the power, to support this,
and they also do things.
But that was born guarapachangueo matrix created by the Chinitos, that's us, with the blessing of them. And of all the great rumba: Juan de Dios (Ramos), (Richard Gomez) Santa Cruz, wire ... (Antonio Rivas?) Wire, one of the great rumba also here. We were lucky to find it even in Matanzas, Matanzas Muñequitos with, and even they are employing have changed a lot from your employer, and have one of his songs - I do not remember now - where veer "tukutum" for the guarapachangueo . That is
guarapachangueo then took a force that everybody is doing. There are many polyrhythms, many things I do not understand. Not that they're bad, but I do not understand. Because I believe that music should always make room, just for him that is percussive, or, for that is I do not know, the guitarist, because I do not know much about music, I know there is a black key and a are but I can not speak of staff and all that, of syncopation because I do not know about that. But
product thereof, are doing many things that I do not like, not that they are poorly made, but I do not like. Because I think we should have a dialogue between the music - singing, and spectator. For me playing polyrhythms rumba and all are good, but I like and some do not like me.
And from that since then the Piri small next to us here, and played a Konkola, and, in the base drum, which are to Amador in the drum of Pancho Quinto, were with Roman (Diaz ), then enter the essence of Peter Aspirin, but Paul Addé, because Peter Paul was the founder of the drums with Paul Roche. Paul began as a child with Roche. And then, we were lucky that we have assimilated, our character, our way, our corrections. Peter was an honorable man, a very serious man. And then, we were lucky to start with him, and there I picked up many hits, there was the essence of what the bata drum, as Angarica, as Jesus Perez, he (Peter?) Was a drummer with Jesus Perez, and Jesus Perez was a student of Pablo Roche.
So you have to say that we and Piri had little luck when he fell "in the Mafia" with them, I can say that, in large part Añá's music, drum. And there began, there was fire now. And then everybody on the ear ... eg Aspirin Mario, Mario Jauregui, the Aspirin themselves, who are all family, that we admired very much, and all went to ... "I'm here, look at this and Come over here '... "is to help us, and Piri and was already burning, and playing a second, I knew every shot, and stuff. He was a prodigy, admired him so, and that was how lucky we were Nostra. That everything has traditionally
us, but none of Yoruba, ours was rumba. That is a thesis that is mine, the rumba is the most perfect popular of all popular music in Cuba is the most perfect is the rumba. They say the popular is the Son. Of course, the Son is the first along with the Yambú, and the Changüí. I think it first came out Yambú. But after all those years ago I can not aprofundizar because I can not say ... but it started with "tukutum-kutum" and that with the marímbula increasing, then the Son, with septetos all that, but all that from a inizio, ie the first is the rumba and all came back after that. From folk to folk. I do not know, there are scientific explanations to deal with it, because they study. But for my thesis, I pa'mi, I think music is more popular in the Cuban rumba.
Note: you go to a party, any party. And when the party is over people they sit and pick a can, a stick and start playing. After the party ends when the music started another music, and ends at rumba. Is a thesis of mine. (...)
Thus began, is a family tradition. Then we had the luck to Irian, who was the youngest of us, but small, and Irian caught a lot. And after that it grew and Irian Piri, and hitting would, Irian gave him a lot, have a fresh mind, no problem, they had everything. And they were easily to use your trainer about it, in Anna. They always have a duo. In Abbilona, venieron other to play the bata, and Irian told them: "no, no ... - Piri, you come pa 'to be done well." And the second he did Piri. Piri aurífonos first became a head, and recorded everything, in the first time. (...) The drawer guarapachangueo
, pa 'you know, there are people who say they created "Areíto." No. The first thing that was left here for Pancho Quinto. Kofa Ifrain Friol did, he left the country. He lived here, and it was then for the United States to live, and killed him there, that was one of the biggest cock-(to combat roosters) was in Cuba as well. He played for the roosters in the Havana Club to go beyond 16 years was difficult, and he entered. Because he was one of the best spurs and spur here in Cuba was the problem of roosters. And I was also in the carpentry. He said: "I'm going to make a tapered non-slip drawer." And that box was left in a museum here in Cuba, Irian left him after an activity. Then the drawer was he inizio cone, and no one else here in Cuba. (...) However
remains Yoruba walked with my brother Bertico, the more of us who went to work for them, and the founder of Yoruba walked with Pancho Quinto (1981?). And he who wore the "kinpakin-pakin-patokotón" was Bertico. Chori, Julio Gordo is maintained. Others are things I do not understand. Then the drawer Guarapachanguero was Berto who kept that tradition, with Pancho Quinto and inizio with the spoon and the three bata, a very special wave. That was Pancho Quinto, yes and already has lost the Guarapachangueo format, which was a thing of Pancho Quinto. But you see, they guarapachangueo comes here in Korea. "
Antoine," I said there was a rumba here every weekend, on the block, no? "
Pedro : "Here every Sunday ... we were at one time in the decade of 70, until 1980 he left the scum ... as they say:" scum ", which was the country's people. here until 1980 here every Sunday bearings. But we also traditionally the day of mothers and the early days of January, these are the perfect days ... We were fortunate that many rumberos came here, just that Marianao Guanabacoa. .. everything. Because this is a rock, then Juan de Dios Ramos, the director of Deep Roots, which was the start we Nostra in the arts. He came for us, because we happened to en una rumba en Santos Suárez... Pasó y "¡Vienen ustedes pa'cá!", y nos vino a buscar aquí y empezamos a rumbear, y Juan de Dios venía con todos los rumberos por aquí. Era tradicionalmente todos los domingos aquí.
Antes no se permitía rumbear - porque el problema es que en la rumba sí hay problemas de piques, intrigas, cosas... porque la rumba es del bajo mundo. Ya hoy por la Revolución las cosas cambiaron, ya todo es un problema cultural, la gente estan instruidos, la rumba no es un piñazo... la rumba es otra cosa. Gracias a nuestro proceso que tenemos aquí. Por este lado hay que admirar porque hubo mucho apoyo a todas estas cosas tradicionales... Que antes la rumba era una galleta, un tiro... siempre había problema. Pero hoy en día con el proceso que tenemos no hay problema... todo ha cambiado. Entonces mantuvimos esta tradición y se mantiene los días de las madres y los días primero de enero. Por cierto hay veces que nosotros estábamos complicados por problemas de tambores, de ir a tocar, religiosamente con lo usuario, que nos contratan para un tambor para X santo, o X deidad.
Y a veces vienen el día primero, como este año que paso ahora, Mario "Chavalonga" Dreke, que es un señor para respetar también en la rumba cubana... vino todo "jodido" con 80 y pico años que tiene ya... "Chinitos, vengo a estar un rato con you to partying here. "We had to please him, he had to compromise, we were exhausted, and formed tremendous rumba.
But sharing this, you know who is estranged, and very uncomfortable to get here. If we were more central. .. the first to have sounded throughout Cuba here I have been to
Chinitos ... And today, look, will make a "Buena Vista Social Club", will do it in January now, and came to get me there and want me to touch "the guarapachangueo." Vino (Argeliers?) Leo (n?) and said, "Look, Peter, you are one who has to go because they want to gather all artists ... Some guys who come from nose to country, culture and stuff ... want to do what they did with Buena Vista Social Club to bring together all soneros, all large ... It came the other day to here ... Ojala! If I can not, control Piri.
And even there, well, there are many things to tell ... but hey I have not much ... That's the truth: guarapachangueo is here, Piri was born here, and besides he always taught me that as my son was born I always taught me to be very modest in this, everyone here knows ... Then
Piri was with "Aspirin in Guaguanco," a group of fans there, the same Aspirin. The group was strong, a strong group started but then I do not know what the problem was, I do not know what happened, and disbanded the group. These people traveled to France and all, after then I do not know what the problem was, I dunno. Well, after John of God sent for Piri to Deep Roots. It was he who introduced the call was to John of God said: "I need Piri here," and Piri entered, and is a staff in Deep Roots with Eduardo (?), Cushite (Jesús Lorenzo Peñalver) with all the great good out there. But Piri promises much in this, and I hope it will be great too. Because it touches many things: not only bata, it's rumba, touch wood, touch a pile of popular demonstrations, still has many fields for planting. The rest is time and be very modest, so there is very modest in this. Look, I do this to heart and I will demonstrate who I am, with my hands, but what I have in here I'm going to show. That's what gets the viewer, what comes to people, do you understand me? Is better. "
recuellis Propos par Antoine Miniconi
Manley "Pirí" López Herrera 
