As I mentioned in the introduction section, as I grew up and studied music I became more aware of the connection between Costa Rican traditional rhythms and other countries all across Latin America, but never beyond that, until a few years later. In January of 2018, while I was a student at the National University of Costa Rica, I attended a masterclass by Israeli drummer Yogev Shetrit. He taught and played rhythms inspired by Moroccan and Andalusian music. I immediately felt a connection to the rhythms I heard and felt curious to learn more about them, this was a defining moment because, for the first time, I heard similar rhythms from my folk musical background coming from other parts of the world. Another thing I found very interesting is how he adapted the traditional rhythms (normally played on several traditional instruments) on the drumset and in a jazz trio setting. By this time I was starting to learn and explore jazz drumming.
At this point of my research process, I came across two articles by multi-percussionist and educator Pete Lockett about music from the Maghreb region9 and another one about Moroccan grooves. One particular rhythm that caught my attention is Moroccan chaabi.10
I first listened to this groove (without even knowing its name) by listening to Algerian drummer Karim Ziad’s album called Ifrikya. By the time I first listened to it, I was not aware that it was the same rhythm introduced to me by Yogev Shetrit. Last year, I was suggested by Lionel Loueke to check him [Karim Ziad] out, and so did I!
The next pattern is found in some variations in Costa Rican parrandera, playing the pattern with a hi-hat (high note) and bass drum (lower note), in which the note in parenthesis is often omitted.
More connections: Moroccan and Latin American rhythms
The connection between Moroccan and Latin American rhythms has also been noticed by Peruvian drummer Hector Morales. In his book The Afro-Peruvian Percussion Ensemble, he talks about his experience of playing Afro-Peruvian festejo with Moroccan drummers:
“It sounds like Moroccan music, they told me when I played for them some festejo rhythms on my cajon. “Moroccan music?” I said. “Yes, Moroccan music,” they would answer, and then almost immediately proceed to play rhythms that sounded just like festejos on their phrame drums and darbukas.” - (Morales 2011, 26)
According to Morales (2011), Moroccan drummer Brahim Fibgane said:
“…even before slaves were brought to the Americas, slaves and all sorts of commercial traffic between Europe and Africa had always passed through Morocco, For this reason Morocco is the place where all cultures from Africa (Arab Africa and Sub-Saharan Africa, especially West Africa) meet and meld together…” p.28
Keeping all these connections in mind and recognizing the diversity of African rhythms, I found myself deeply influenced by African drumming as a whole. While many of the rhythms I encountered were not directly similar to those found in Costa Rican parrandera, the rich and varied tapestry of African drumming traditions provided a profound source of inspiration. This broad exposure encouraged me to experiment extensively in the practice room.