Echoes - An exploration of the African rhythmic  influence in Costa Rican folk music

Nelson Briceño Peraza

This exposition presents my final project for the Master of Arts in Jazz Performance, Drumset, undertaken from autumn 2022 to spring 2024. The project was motivated by my exposure to diverse African rhythms, which revealed potential connections with the traditional music of my Costa Rican heritage. Growing up surrounded by Costa Rican folk music, including African-origin instruments such as the marimba, quijongo, as well as cimarronas (street bands), deeply influenced my musical identity. This project aims to explore and integrate these rhythms, tracing their African roots and merging them with contemporary musical forms. Inspired by Henry Cole's perspective on folklore as the essence and life of music, this research emphasizes the importance of connecting academic knowledge with folk traditions. Throughout my career, I have engaged with various musical traditions, always seeking to blend them with folk music. This project builds on my previous work, which examined the introduction and adaptation of Costa Rican folk rhythms on the modern drumset. In this continuation, I focus on the historical and rhythmic connections between Latin American and African traditions, using artistic research to deepen the understanding and appreciation of these intertwined musical heritages.

Recording session

The music was recorded in one day at the Jazzcampus on the 28th of June, 2024. Before the recording session, we had a total of five rehearsals to prepare.

Room set up

To have various setup possibilities, I booked rooms A16, A14, and C19. Recording engineer Joel Studler suggested several options for the recording setup, but we encountered issues with visibility across multiple rooms. Additionally, I realized I wanted to avoid using headphones to achieve a more “natural” setting. Consequently, the most convenient solution was to record the entire band in the same room (A16) while ensuring proper separation using small walls.

Artist-engineer communication

In the days leading up to the session, I sent Joel a reference recording to illustrate the sound I was aiming for. This carefully selected recording captured the nuances and tonal qualities that I envisioned for the project. This reference was instrumental when it came to preparing for the session and editing the rough mixes later on.

On the day of the recording, the environment was one of focused collaboration. Communication between the musicians and the recording engineer was consistently clear and effective. From the initial setup to the final take, every instruction and feedback loop was managed seamlessly. This open and precise exchange of information allowed for quick adjustments and minimized downtime, contributing to a smooth and productive session.

We were able to perform without unnecessary interruptions, knowing that any technical concerns would be promptly addressed. This fluid interaction fostered an atmosphere of trust and mutual respect, where creative energies could flow freely. As a result, the session was not only efficient but also creatively fulfilling, culminating in recordings that faithfully captured the essence of our musical expression.

Drum and percussion setup:

The percussion setup for the session included four congas and a bongo. The tuning of the congas was meticulously adjusted, and the resulting sound was exceptional particularly the lowest tone. This deep resonance blended seamlessly with the double bass, creating a rich and cohesive bass foundation for the ensemble.

The bass drum was tuned to be less resonant. By reducing the resonance of the bass drum, I avoided an overwhelming low end and maintained clarity in the overall mix. This careful attention to the tuning and interaction of each component of the rhythm section resulted in a well-blended, harmonious sound that supported the band’s musical expression effectively.

Pictures of the recording session

Tracklist:

Drum solo
Duo Improvisation Take 1 - “Start”
Echo
Duo Improvisation Take 2 - “Small Steps”
Caminos
Duo Improvisation Take 3 - “But How?”

Recorded at Jazzcampus Basel

Recording and rough mix by Joel Studler

Room set up in A16

Designed and provided by Joel Studler

Personnel:

Nelson Briceño Peraza: drums, composition

Robert Wypasek: tenor saxophone

Julia Kasimova: piano

Nikolai Olshansky: double bass

Luis Diego Hernández Mejía: percussion

(congas and bongo)

To Sources, Discography

To Conclusion

Home

Listening back to the recordings in between takes was a crucial part of the process, as we were able to adjust specific details such as dynamic and cross-talk and ultimately choose the best takes. Additionally, it helped me decide which brushes projected a better sound, whether wire or plastic.

Miking setup

Piano

Piano Hammers LRE20

Piano Hammers RRE20

Piano Main L Brauner VM1

Piano Main R Brauner VM1

Piano Wide LDPA 4006

Piano Wide RDPA 4006

Double bass

Bass MainFlea 49

Bass TopFlea 47 FET

Bass DIRadial Pro D2

Saxophone

Sax CloseFlea 49

Drumset

KickFlea 47 FET

KickRE20

Snare DynMD 441

Snare CondSoyuz 017 FET

Tom1MD 421

Tom2MD 421

OH LSoyuz 017 Tube

OH RSoyuz 017 Tube

Percussion

Percussion LNeumann TLM 103

Percussion RNeumann TLM 103

dr/perc Room LColes 4038

dr/perc Room RColes 4038

Room sound

Room LDS BM1 RBB 48V

Room RDS BM1 RBB 48V

Tip

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