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To all those people wanting to play percussion

want to share with you this comment meant to be constructive. This happening a fact that now, at this point, I interpret it as a special phenomenon exclusive to those who want to play the percussion, is very common for a newcomer go to a house of tools and bought a bongo or conga, bring it home and start giving, in their ignorance, the "sixteenth with an accent on 1 and stays there day after day without moving from there or, at best, with very drumming rhythms on the drums . Muchaaaaachos!, That can not dance to anyone. The first concept that we should be clear is that the particularity of these instruments is that they must make a clear basis in the sonorous and rhythmical walking distance for people to dance. If people do not dance your rhythm you're in a problem.

Consider a fundamental instrument such as the congas, the basic instrument par excellence. We consider first the sounds and worked hard to be very clean. Basically we started with 4 basic sounds, but knowing that eventually we will, at least 10 distinct sounds from each other. With them, plus a highly developed, we will enjoy a very exquisite tonal range and enjoyment that it gives us is infinite. Why then left with 1 or 2 stereo product the lack of information can learn everything? Then with the passage of days, sounds and technology it incorporates traditional rhythms from different countries such as the Rumba and the Lying, Songo and Mozambique, Pilon, the Guaguancó, the Bembe, the pump, the Plena, Merengue, to name just a few rhythms from Cuba, Puerto Rico, Santo Domingo. Or the Feast and the Peruvian Lando, Candombe and Murga Uruguay, as well as the Argentine Zamba Chacarera and that while each played in their traditional regional instruments, the study's focus is the same.

short, must look for a good teacher can convey all the knowledge you form as a musician, so that one day playing in a band, to accompany an artist, record albums, etc. If you do not do so, everything is uphill, and is as exciting and rewarding when the instrument sounds like what you mean by that is like singing with drums. But do not forget, there are a lot of studying to do, as a medical student or a great athlete who trains many hours to run the 100 meter sprint. Nothing comes up, you need to sit your ass on the sidewalk and practice. Without going through this step, no further enjoyment ... It should be dancing
people hear you and if you stay in the "walker walker" can hardly do so.

Hugs, Juan Carlos Marras

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Juan Carlos Marras began his musical studies at age 8 with piano accordion, an instrument that was dedicated to 17 years. He then travels to Italy where he stayed there 6 months and studied flute. Later travels to South America for 6 months, studying Latin American folk sources and incorporates the aerophones as Sikus, Quenas, Moxenos, pipe, etc. Playing in different groups in Peru and Argentina.
At age 20 he started studying Afro-Cuban Percussion, which seduces him in a way that it only works in depth, leaving the above. Take classes of Candombe in Montevideo and percussion in Buenos Aires with various teachers, including Ricardo Olarte, Hugo Buchard, Luis Morandi, Hector Rosado (percussionist of Celia Cruz, David Byrne, etc.), Mark Lopez (percussionist José Alberto "El Canario, Celia Cruz , etc.)
In his occupation is and integrates different bands Salsa, Latin Jazz and Latin American Folklore. Salsa accompanies some singers on their way to Buenos Aires as Oscar D'Leon and Jose Alberto "El Canario" and the Latin-Pop duo Donato and Stefano doing TV and radio programs. Integra groups Mianovich artists like Sandra, Patricia Sosa, Blusera Memphis, Marc Cohn with whom he worked 8 years by toured the country and abroad (Chile, Paraguay, Uruguay, Bolivia, Peru, Colombia, Mexico, Puerto Rico, Spain, where they share a tour with Flamenco-pop group Ketama, and Italy, where he met the great Puerto Rican percussionist Giovanni Hidalgo, who plays a guest on the show of the artist with the jazz flutist Dave Valentin-).
works as a session recording in different albums of artists and groups in the country as Roxana Carbajal, Tulips, Emanuel Ortega, Axel, Manuel Wirtz, Operación Triunfo, Erreway, Memphis Blusera, Patricia Sosa, Marc Cohn, etc.. Integra percussion quintet that played music in the play "Native" Diego Romay, presented at the Teatro Nacional. 20 years is dedicated to teaching as one of its main activities.