Improvisation
“Although some basic parts have been written as a reference,
I also want to leave room for musicians to interpret and improvise.”
Sheet music became the document that paradoxically delegitimized the rich tradition and practice of instrumental and vocal improvisation, omnipresent in all musical manifestations of the people. Improvisation is an essential constructive and discursive element that has been present in musical practices throughout history. In the case of expressions related to oral tradition, it is an absolutely organic and natural empirical practice, therefore an element of indispensable consideration when approaching musical cultures of Afro heritage, as well as all music related to it (Monge 2017).
In an article, Patricia J. Trice notes:
“Music and dance were a functional part of work and play for West Africans.
Spontaneity, “feelingful expressiveness,” and a sense of community that depends on
interactive and metaphoric commentary prevailed, resulting in improvisational practices
that spawned altered scales, polyrhythms and heterophony” (1994).
Improvisation plays a pivotal role in the album recorded, which consists of six tracks, four of which are entirely improvised. This approach to music-making allowed for a dynamic and organic creation process, resulting in a unique and spontaneous sound that could not have been achieved through traditional composition methods alone. The lack of written music material pushed the musicians to rely on their instincts and skills, resulting in a raw and authentic sound. The result was a series of pieces that evolved naturally, shaped by the collective input, as in the “Duo Improvisation” takes.
Influences
Each person in the band comes from a distinct cultural background, enriching the musical experience with a wide array of influences. My goal for this project was not to create traditional music bound by long-established rules but to incorporate elements of this music as another influence in my musical practice as an artist. I aimed to make music that is not limited to a specific genre and has the space for exploration.
I remember during the early rehearsals, Julia and Nikolai, originally from Russia, asked me, "Why did you ask us to join this project if we are neither from Latin America nor Costa Rica?" My response was, "That's precisely why I invited you." I wanted each person to bring something unique to the project, which happened from the moment we started playing together.
By combining our diverse backgrounds and influences, we created a richer and more innovative musical experience. The blending of different cultural elements allowed us to break free from traditional genre constraints and explore new musical territories, resulting in a unique and dynamic sound.
I drew significant inspiration from numerous Latin American artists who seamlessly blend their folkloric roots with jazz, including David Virelles, Edward Simon, Guillermo Klein, Miguel Zenón, Edmar Castañeda, and Gonzalo Rubalcaba. Additionally, my interest in African rhythms was sparked by the influential work of drummers like Andrew Cyrille, Milford Graves, Max Roach, Ed Blackwell, Jeff Ballard, Francisco Mela, Henry Cole, and more recently, Mark Guilliana.
Performer
Rehearsal process
After the research and composition phases, it was time to start the rehearsal process with the band. A total of five rehearsals were scheduled, varying in format (trio, quartet, and quintet). The band members include Robert Wypasek on tenor saxophone, Julia Kasimova on piano, Nikolai Olshansky on double bass, Luis Diego Hernández on percussion, and myself on drums.
The first rehearsal was held as a trio (piano, double bass, and drums) to familiarize ourselves with the piece "Echo." During this initial stage, I provided some context about the project and explained the parrandera rhythm on the drums. We began by looping different sections to get a general feel for the piece. I played the congas for reference during this rehearsal. As we read through the piece, some questions arose about certain rhythms and the structure of the piece. The second rehearsal, also as a trio, followed the same method to reinforce the rhythms and complete the structure of the piece.
The third rehearsal expanded to a quartet: tenor saxophone, piano, double bass, and drums. In this session, we reviewed "Echo" and worked on "Caminos," which includes the tenor saxophone. We started by looping the bass ostinato to understand the groove and rhythmic displacement (as previously shown in the CAMINOS section, Excerpt 1 from p.19). We then defined some dynamics for parts A and B and the final vamp for the percussion solo.
Additionally, we explored duo improvisation, where I instructed Robert to follow the previously shown rhythm, Rhythmic idea in 13/8. Based on this, we began playing and experimenting with different versions, engaging in a collaborative process with a brainstorming of ideas to explore all possibilities.
The fourth and fifth rehearsals included the full band. We revisited "Echo" and "Caminos." It was fascinating to finally hear my compositions with the full ensemble. New ideas emerged, such as using a drumstick on the double bass and utilizing the piano strings to mimic the sound of the quijongo.
I also conducted a small sectional rehearsal with just the percussionist to practice and refine some details regarding the groove.
Repertoire
- Drum solo
Since the beginning of this project, I was determined to record a drum solo that would incorporate the diverse influences I have accumulated over the years. There was not any preconceived idea for its start, development, or conclusion, the solo emerged with a natural spontaneity during the recording session.
The solo starts with a drum roll on the snare, but what is the importance of a drum roll and why does it start like this? This choice is significant for several reasons. In Costa Rican cimarronas, it is common for pieces to start with a drum roll, followed by a cymbal crash and then one bass drum stroke. This traditional “call” signals the commencement of the song and symbolizes the process of lighting a firework or fuse: the snare drum roll represents the fuse being lit, the cymbal crash signifies the launch, and the bass drum stroke marks the explosion.
When I think of a drum roll, it is a percussive way to extend the value of a note, but its significance goes beyond mere technicalities. It connects deeply to the musical tradition in which I was raised. In Guanacaste and across Costa Rica, many drummers are self-taught and play drum rolls with varying balances between their hands. I aimed to reflect this in my solo by starting the roll in a more even manner and then emphasizing one hand more than the other. While some might view an uneven roll as less polished, others see it as an authentic expression in this particular context. I chose to incorporate both approaches.
Throughout the solo, I navigate a journey that begins with a folkloric foundation, transitions through a rudimental style influenced by my experience in marching percussion and iconic drummers like Tony Williams and Steve Gadd, and eventually evolves into rhythms also inspired by parrandera and African traditions.
2. Duo Improvisation, Take 1 - “Start”
This version begins directly with the pattern written in 13/8 on drums. The effects played by the tenor saxophone between minutes 00:08 - 00:36 reminds me of a muted sound from a marimba or even a quijongo. Throughout the whole piece, there is a level of musical interaction that is not limited to the rhythmic pattern. In fact, the rhythm in 13/8 does not need to be consistent or explicit throughout. We can deviate from it and return to it later, or even stretch the pattern itself, and vary the orchestration and dynamics. The key is to maintain a constant, dynamic interaction with each other.
3. Echo
"In the music of Asia and Africa, especially in ritual music, time is not divided but stretched elastically. These are pieces in which a single musical idea is developed through simple or enriched variations..." (Palmer 1986)
The beginning of this piece is marked by the double bass line played with a drumstick, and some effects played using the strings of the piano with the hands. The idea of this introduction is to represent the quijongo. For this, I showed Julia (piano) and Nikolai (double bass) an image and a video of what this traditional instrument sounds like.
Quijongo
Costa Rican traditional instrument
Image by: Adriana Méndez González
The introduction lasts 1:48 minutes, leading into Theme A at 1:49. Gradually, drums, percussion, and other instruments join in. By 2:45, the tempo starts to increase, adding energy and transitioning to the first section (starting at 3:12), which features a collective solo with a “free improvisation” approach. During this segment, time is open, allowing for rhythmic exchanges and intimate communication among the musicians. At 4:27, the initial bass ostinato reappears, and throughout the piece, there is a balance between defined and undefined tempos. The tempo becomes free again during the first half of the double bass solo, after this, the tempo remains steady until the end. Many of these elements evolved naturally during rehearsals and are also evident in the final recording.
“Echo” was recorded in full as a third take.
4. Duo Improvisation, Take 2 - “Small Steps”
The second version of duo improvisation features more extended techniques, and effects, starting from less to more and eventually implementing the 13/8 established pattern. Playing as a duo requires a deep level of communication between the musicians. Both players need to be highly responsive to each other's cues and ideas. This can lead to spontaneous performances where the direction of the music can shift instantly. With only two instruments, there’s more room for each player to explore different textures and use silence effectively.
5. Caminos
"Caminos" was the first piece we recorded. Initially, it was interesting because each of us felt the beat differently. However, every time we played the piece, it began to take shape and worked very well. The structure is quite simple (A-B), which makes it very comfortable for improvisation and interaction. Over time, we found a cohesive groove that allowed us to explore various nuances and dynamics within the piece. This simplicity in form provided a solid foundation, enabling each musician to experiment and contribute, ultimately enhancing our collective performance. The evolution of "Caminos" from its initial stage to a well-integrated composition was a rewarding process, which highlighted the synergy and creativity of the band.
6. Duo Improvisation, Take 3 - “But How?”
A third version of duo improvisation was recorded, exploring different ways to build melodies while comping each other, leaving space for only one musician, and trying to play “what the music needs” instead of just playing by reflex. This approach encouraged a more thoughtful and deliberate interaction, aiming to respond organically to the evolving musical landscape and to enhance the overall cohesion and expressiveness of the improvisation.
During the recording session, there was minimal reliance on pre-written sheet music (except for “Echo” and “Caminos”). Instead, thematic guidelines or rhythmic motifs were given to serve as a general framework.
