Tambolero

May 13, 2015 | News, Tambolero

Totó La Momposina y sus Tambores, 2015 – Tambolero

You don’t normally get the chance to go back in time and recreate an album. Building on a classic project that began 24 years ago is a challenge and a delight.

In 2009, the Swiss producer Michel Cleis released a house tune called La Mezcla, which featured two samples from Toto La Momposina’s album La Candela Viva. The track took off and his label, Cadenza, requested access to the multi-tracks so they could produce extra mixes. It was agreed and John Hollis (producer and now son-in-law of Toto) came to Real World Studios to seek out El Pescador and Curura, which meant locating the original 2 inch tapes from 1991 and 1992.

Hollis had been at those original sessions, and had often thought of one day revisiting them, but that summer day in 2009 when he listened to the recordings it was an experience that took him completely by surprise. “I was in the very room we had worked in during the 1992 sessions and when Greg, the engineer, pressed play and brought up the faders the sound was amazing. For me it was a deeply emotional moment; the presence of the musicians in performance was surreal, it felt like they were in the room, that the music had been made both just then and long ago. What’s more, I could now speak Spanish, understand their comments and laugh at their jokes. Apart from the album tracks selected at the time, we had all forgotten what had been recorded and I discovered a treasure trove of material.”

Marco V. Oyaga, Gilberto Martinez, Totó, Paulino Salgado (Batata), Julio Renteria

It was agreed at the time that it would be great to do something with the wealth of music sitting in the cupboard but at that point there was no clear idea what. Five years later, the moment arrived and a plan was formulated. The deeper everyone went into the project the more profound it became and the result is a reimagining of an album that was already special. It has also become a celebration of Totó’s career, which will soon reach a landmark 60 years – six decades dedicated to preserving, researching and developing an ancestral tradition, the identity of a people, passed down through the generations. La Candela Viva helped kick-start Totó’s international career and became a significant album for many, especially in Colombia, where she inspired a generation to embrace a culture long neglected by the mainstream.

Totó – Photo Kevin Clifford

The first job was to bake the tapes to remove any moisture that had accumulated on them, making them playable again so that the recordings could be digitised and worked on with modern technology. There were no track listings or notes, so Hollis ended up going through everything – some 20 tracks and 40 takes.

That process threw up some real gems. At this point it occurred to John Hollis that Totó’s granddaughters would add a nice texture to some of the chorus lines and Totó happily agreed: “Claro, ellos son mis coristas! [of course, they are my backing singers].” Shortly after, Maria del Mar and Oriana Melissa entered The Wood Room studio, the very same space in which Totó and her band performed their set live 23 years earlier. Maria was present, a toddler at the time, and Oriana hadn’t been born. It was the second surreal moment and they delivered their parts beautifully. “I couldn’t resist the opportunity to drop double-bass into the sexteto songs, so we sent the tracks to Colombia, where Totó’s son, Marco Vinicio, went into the studio with Nestor Vanegas, the band’s current bassist. They added some lovely bass parts and now those tunes groove and breathe with fresh flair.”

Oriana Melissa – Photo: York Tillyer

Maria del Mar – Photo: York Tillyer

Positive input from the original engineers, Dickie Chappell and Richard Blair, was invaluable and Peter Gabriel allowed the use of his personal studio for the work to be done in. Buoyed by this support, engineer Oli Jacobs and Hollis began mixing the recordings. The aim was to liberate the sound in a way not possible in 1992. The key to it all; unlocking the sound of Totó’s musicians’ drums. The beautiful tambores from the Caribbean coast of Colombia carry a rich range of frequencies, delivering an awesome sound. Hollis again “I wanted warm, bass-heavy colours from the heart of the wood and the crisp slap at the top edge of the skin. On these recordings the tambores are played by masters of the art and include the legendary drummer Batata. Hailing from an Afro-Colombian lineage, Batata was a key musician who worked alongside Totó and her family for many years. He has since passed and this album is imbued with the wonderful feel of his performance and presence. In tribute to him and the tradition championed by Totó for so long and in such an inspiring way, we renamed the album “Tambolero.”

David Bottrill, John Hollis, Richard Balir and Totó – Photo: Jeremy Andrews