Indice - Table of contents
The Roots of Timba - Part II 
- Juan Formell y Los Van Van
- The Songo Enigma
- Changuito
- Los Van Van's First Album
- The Detroit & ChaChaCha Connection
- The Perfect Storm
- Ritmo Oriental
- Ritmo Oriental's Rhythm Section
- Ritmo Oriental's Answer to Songo
- The Art of the Bloque
- The Conga Marchas of the 70s
- ¡Encendiendo la candela!
- Batún-batá
- Los Van Van for Collectors
- Los Van Van: The Singles
- Another Lost Classic
- Into the Eye of the Storm
- Meanwhile, in another part of town ...
- Transition to Tránsito
- The Album (Los Van Van)
- Discographical Dementia
- Sigue aguajeando Manolo
- Y se baila así
- Ritmo Oriental's First Album of the 70s
-
LVV III - Un poco más lento
- La Ritmo 75: Bailando de todo
- Yo bailo de todo - The Tumbaos
- Yo bailo de todo - The Cuerpo
- Yo bailo de todo - The Bloques
- El Cuerpo Mamey
- Ahora sí, voy a gozar
- ¡Avísale a Teté que la Ritmo e...
- Los Van Van, Volume IV
- The Clave and the Backbeat
- January, 1977 - Tema de saludos amigos
- Compilation Consternation
- Juan Crespo Maza
- "Oye cómo suena mi bajo, qué rico"
- Qué rico bailo yo - cuerpo
New Stuff[hide]
Giras: Tirso Duarte
Reportes: Movimiento ... : Cubadisco 2...
Reportes: Movimiento en Miami
Reportes: Report From... : Nuestros Pr...
Reportes: Report From Chicago
Events: De La Habana A New York (Mega T...
Reportes: Movimiento ... : Programa de...
Reportes: We Love Timba con Feri DJ
Reportes: We Love Tim... : Archivo His...
Reportes: Report From... : Havana
Reportes: Report From... : Concerts, E...
Fotos: Patrick Hickey : About
Giras: Issac Delgado
Giras: Buena Fe
Photos of the Day [hide]
The Roots of Timba - Part II - Yo bailo de todo - The Cuerpo
transcription edited by Rob Holland
In 1975, this may have been the most sophisticated and sublime Cuban popular music bass performance ever recorded, and it was seldom if ever equalled by anyone other than Perera himself until the arrival of Feliciano Arango, Pedro Pablo and Alain Pérez in the 90s.
There are three audio clips: the actual recording, a MIDI transcription, at the original tempo, with a tempo map to approximate the two instances of con efecto, and a second MIDI excerpt which plays the transcription as written, in slow motion, without efecto.
Humberto deftly switches from accompanist to soloist and back as he weaves his way through the bloques and several tumbao ideas, playing each one with multiple variations.
Note the "clave license clave change" at bar 16 - if you play clave from the beginning, you'll have to play the 3-side twice in a row to stay in sync with the band.
