Milestones in Music: From Rock Band Drummer to Electroacoustic Solo Artist

Music has always been an integral part of my life. From my childhood, when I played and experimented with different instruments, to my involvement with bands in 1986 as a drummer in rock bands, and finally to 1990, when I began my career as a solo artist in electroacoustic music.

My early days and my history with bands

1986

My first experience in a band was with singer, guitarist, and childhood friend Luis Orlando Delgado (who later became known as Luis Palma). That was also when I bought my first drum set and began a brief period of lessons with a great teacher, Armando García, with whom I later developed a close friendship. This band didn’t last very long. After it broke up, I returned home with my instrument and continued practicing on my own.

During this period, I gradually stopped relying on sheet music and focused on what we called “copying” or imitating what other drummers played. Apparently, it was the right method for me, because in a very short time I noticed I was making progress. But these good results weren’t just the fruit of my own effort, but also of the indescribable and selfless support of friends like Alberto and Omar Gómez. Throughout this time, they provided me with the best references for “copying” after a careful selection process. Among them: Emerson, Lake & Palmer, Led Zeppelin, Deep Purple, Kiss, and many more. But it wasn’t until I discovered the Canadian band Rush and their drummer Neil Peart that I found something so special—something I identified with so deeply—that from that moment on, my goal was not only to “copy” every Rush album but also to try to set up my drum kit in the same way. That seemed crazy, not only because of the number of components, but also because we were in Cuba. Thanks to a mechanism built by Alberto, I was able to use a double pedal to simulate two bass drums. For my part, with the help of friends, I also built some components such as: a sound tree, a cowbell, small and large toms, and even a tubular bell made from cannonball casings. In the end, the goal was achieved! Not only in terms of the setup, but it was also very satisfying to cover songs like “Tom Sawyer,” “Red Barchetta,” and even “YYZ,” in both their studio and live versions (the “Descarga”).

1988

I was contacted by the band Paisaje con Río. At the time, the band consisted of: Otto Caballero (piano), Iván Domenech (guitar), Ernesto Romero (bass and lyrics), and Julio (rhythm guitar). After a short while, we all agreed that my style didn’t fit with the band’s, so I left, though I stayed in touch with the members—especially Otto and Iván—and kept up with the band’s performances and rehearsals. I even participated many times as an assistant and guest musician at their Peña at the Casa de los Escritores on 10 de Octubre Street in Havana.

1988 a 1989

I was contacted by a symphonic rock band from Santiago de las Vegas. Unfortunately, my time with them was even shorter; after a few rehearsals, the band’s leader had serious health issues, and that was the end of it.

1989

I joined the rock band Océano, which was affiliated with the Casa de Cultura in 10 de Octubre (the municipality where I was born). At the time, the band consisted of Juan Carlos Ayón (guitar), Carlos (bass), and José Manuel (keyboards). We played our own songs, and I even got to include one of my own. We also played classic rock songs, the most notable being “Hijos de Caín” by Barón Rojo. We performed several concerts in various towns, in addition to those scheduled by the Casa de la Cultura.

1988 - 1990

I played as a guest drummer in the rock band Trébol, performing what we called “guerrilla” concerts. The band’s guitarist, someone I met in Paisaje con Río, was Iván Domenech—in my opinion, one of the best rock guitarists on the island (perhaps that’s why they called him Iván the Terrible). They played well-known songs by bands like Van Halen, Deep Purple, Led Zeppelin, and, when I was invited to join, songs by Rush.

It was a period of great experiences, hard work, and teamwork that gradually came to an end—especially for me, since it had become very difficult to transport a drum set with so many components. Perhaps it was the first sign from fate pushing me to become a solo artist.

Soloist in electroacoustic music

First and foremost, I must mention that my start in this phase and my subsequent growth would not have been possible without the unconditional support of my good friend Otto Caballero, who was always there for me, providing me with both valuable guidance and the tools that allowed me to give shape to my musical ideas.

1990 - Microorganisms

It was my first piece of music created with synthesizers: a Kawai K1, a Kawai Q-80 sequencer, and a lot of patience on Otto’s part. This piece was never performed in public, and in fact, it might even be considered lost, although I still have the Q-80 floppy disk with the MIDI files on it.

1990 - Man Through the Ages

An opportunity arose for a multimedia exhibition at the Casa Museo de los Árabes in Old Havana. To compose and record the ambient music track, in addition to Otto’s usual support, I was able to count on Armando García’s assistance in designing and recording the traditional percussion. This recording took place at the Radio Progreso studios, under the direction of Ángel Larramendi and his assistant. On the day of the recording, I also had the support of Eudaldo Antúnez (from the band Monte de Espuma), who provided me with another synthesizer (DX7) that worked very well for the format and conditions of the recording. This moment was captured by my friend and photographer Angelito.

1990 - The "Peña de 13 y 8" in Vedado, Havana

This club was the venue where I performed several of my solo electroacoustic music pieces. I also collaborated and shared the stage here with other artists such as Fernándo Rodríguez (the composer of the famous song “Ese Hombre Está Loco,” which Tanya sang in *Monte de Espuma*); Vanito (now known as Vanito Brown); and Athanai.

1992 - Geometric Experience

This work consisted of tracks that clearly reflected my influence from Jean-Michel Jarre and Vangelis, and to a lesser extent from Kitaro, complemented by powerful, intricate percussion that was undoubtedly influenced by Neil Peart, the drummer for Rush.

This work was presented as part of the International Festival of Electroacoustic Music in 1993, sponsored by Cuban laboratories such as those of Juan Blanco and Carlos Fariñas at the Palacio de la Computación. On this occasion, I shared the stage with Paisaje con Río (once again playing their instruments), Música de Repuesto, Athanai, and Edesio Alejandro y su Banda de Máquinas, among others.

This performance paved the way for a new concert at the Palacio de la Computación in 1994.

1994 - The Hole

This work marked a turning point in my musical career. It was influenced by electronic music and the composers mentioned from the ’93 era, but this time it also incorporated my experiences with Zen Buddhism, my study of Eastern philosophies, and psychology. All of these elements combined gave rise to: The Hole (El Agujero).

This work was composed and presented at the Palacio de la Computación. This time I used the well-known Cubase sequencer and the Kawai K4 from their studio. The electronic sound was complemented by the bamboo flute, played by Ernesto García, who, in addition to being a great friend, was a Tai Chi teacher.

That experience, presented in an unconventional concert format, featured the Isa Contemporary Dance Group and lectures by Father Marciano García of the OCD, who spoke on spirituality; Dr. Juan Enrique Guerrero, who spoke on music therapy; and Professor Gabriel Calaforra, with his lecture on Eastern Art.

1997 - Man's Landscapes

I never imagined that this would be my last composition and performance in Cuba. Thanks to the collaboration of Iván Soca, I was able to record the tracks that provided the soundtrack for the multimedia exhibition *Los Paisajes del Hombre* using the Yamaha SY-77 synthesizer and Cakewalk as a sequencer. I created this exhibition together with fellow painter Eduardo Valladares on April 21, 1997, at the International Press Center in Vedado, Havana.

Collaborations

December 1995/96 - POIESIS.

Background music for the exhibition by painter Eduardo Valladares at Casa Guayasamín in Old Havana. 3 background music tracks.
Genre: electronic music.
Instruments: Yamaha SY-77 and Cakewalk sequencer.

These tracks brought back the rhythmic power and electronic sound in the timbres and atmospheres, to which I added the influence of rock from bygone eras.

Year 1991 - JUNGLE.

Incidental music for the exhibition by painter Pablo Hernández (Pablo H).
Tracks:
1- The Indians' Clock
2- The Observer
Instruments: Kawai K1, Kawai XD-5 percussion synthesizer, and Kawai Q80 sequencer.

The tracks recreate the images and situations depicted in his paintings. There is even an influence of Cuban rhythms and a touch of humor in the sounds.

Year 1991 – NINE YOUNG ARTISTS.

Music for the opening of this exhibition as part of the 4th Havana Biennial. Ambient music with a touch of Cuban rhythm.
Instruments: Kawai K1, Kawai XD-5 percussion synthesizer, and Kawai Q80 sequencer.

Music creation in Spain to date

As soon as my personal and financial stability allowed, I made a small investment to continue giving free rein to my musical ideas. From the moment I got a computer, I started experimenting with virtual synthesizers and creating very simple things. Later, I made a larger investment that included a MIDI keyboard, Presonus’s Studio One virtual studio, and an impressive virtual synthesizer from Spectrasonic: the Omnisphere.

So I started experimenting, creating individual tracks, which I used as background music in the videos I filmed and edited for companies. At other times, the track was composed specifically for the video, which reminded me of that period in Cuba when I did the same thing for exhibitions or events. As for performances or social life as a musician, there really wasn’t anything comparable at the time to what I did in Cuba. I was lucky enough to meet, shortly after arriving, two Spaniards who are now among my closest friends: Aníbal, a guitarist, and Antonio, a trumpeter. They were my link to the world of bands (rock and jazz), concerts, learning about the history of rock and the importance Vallekas played in it, and meeting like-minded people. Thanks to them, after twenty years without playing the drums, I was able to start playing again at one of the venues bands rent for rehearsals called Ritmo y Compás. Also, thanks to Antonio, I was able to participate as a bassist in rehearsals with his ska band, Jur Jur.

For my part, I continue to create music and experiment as much as I can, trying to create or find an opportunity to get back on this path, just as I did in Cuba.

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