Liner notes from LP. It begins simply. The rhythm mounts, gradually becoming more complex. Enter the darting, graceful flute. Moments later, the piano and guitar make the pickup simultaneously. Now the pace is torrid. The performance frantic. It's JAZZ HEAT–BONGO BEAT! This is an exciting cohesion of authentic Latin music and American jazz… an unusual and profitable partnership into new and modern sounds. The rhythm section: Larry Bunker is the drummer; Tony Reyes, the bassist; on bongos, Carlos Mejia; and the conga drummer, Darias.
This 1998 release by Brazilian percussion god Dom Um Ramao marks his first solo recording in more than 30 years. Romao has been an in-demand session player since the mid-'60s and was one of the founding members of Weather Report. His own albums on the late, great Muse label, one named eponymously and the other entitled Spirit of the Times, were rhythm orgies that pasted together all of the traditions he'd worked in up until that time: from Sergio Mendes and Sinatra to Flora, Airto, and Weather Report. Rhythm Traveler is a return, of sorts, in that it is an engagement with Brazilian song forms from both folk musics and popular song, all translated through a jazzman's manner of hearing.
The history behind the Cajon and Bongo is actually one of darkness and despair. The Slaves of West and Central African origin are considered to be the origin of the Cajon drum, which is essentially a wooden box with a thin sheet of wood nailed on as the sixth side acting as the striking surface. The Cajon is a highly featured instrument in Cuban music, which also traditionally contains the bongo. The Bongo was also brought from Africa to Cuba by the slaves and both are often featured in salsa, rumba, changui and other traditional styles. The modern adaptation of the Cajon is often found in Spanish flamenco music, however this is a relatively new introduction. The Cajon was introduced by the flamenco master, Paco De Lucia during the 1970s and is now a common instrument in Spanish guitar music.
"Bongo Bong" is the first solo single by Manu Chao from his first album, Clandestino. It is his most successful and recognisable song—a remake of Mano Negra's song, "King of Bongo" (1991), which has its roots from a 1939 recording of "King of the Bongo Bong" by the trumpeter Roy Eldridge.