The Nigerian Talking Drum is closely tied to the Yoruba
language of South Western Nigeria.
Dabi,an internationally recognised percussionist ,singer,dancer,a true Griot ,born in Nigeria, West Africa,comes from a family of Master Drummers of the Yoruba tribe The Aare Ilu Household of Iseyin ,a town in Oyo State ,Nigeria .
From an early age dancing and drumming formed an intrinsic part of his life. He was raised in the Yoruba tribal culture, one that works, worships, lives and breathes to the beat of the drum, which has been primarily used to transmit traditional knowledge.
At home in Nigeria,he is known for his expertise in every genre from gangan to bata,akuba.gudugudu, Ogido,ashiko,bembe,kongaa sakara, agidigbo.
Between 1990 to 2002 Dabi has toured internationally performing in dozens of high-profile festivals and independent tours of USA,Germany,Italy,Spain,France, Canada,India,Austria Scadinavian,Japan, South Korea ,Poland,Jamaica,Holland and United Kingdom.
Apart from being steeped in Yoruba tradition as a ritual drummer, a flexible and experimental virtuoso of international calibre
":Debo Dabi Kanyinsola, a rare talent of his kind, an all -round master drummer and who is accomplished in an array of Yoruba traditions and drumming styles. He has emerged over a decade as the most revered gangan drummer in Nigeria and perhaps the most famous gangan drummer in the world."-- Africa Today"
.............................................................................................................................................
"My father (May God rest his soul) was a legendary drummer,and my grandfather too. All my ancestors,ever since we can remember . dedicated to this noble work."
Scholars have deduced that while melody and harmony are
preeminent in traditional European music (and the West
generally speaking) in African music (more so in West
Africa) rhythm is king.
The drum is the greatest purveyor
of rhythm. And rhythm is arguably the most definitive of
musical style in popular contemporary music. Although we
use the drums in our music, mostly to create grooves and
stimulate dance, in traditional Yoruba music the drum
plays more diverse roles. They do much more than stimulate
dance, especially in the sacred worship of Yoruba deities.
In my band, we use the four major families of Yoruba
drums. Each family consists of drums of different sizes
playing generally slave/master, support/lead roles. In
each instance, the mother drum (iya ilu) plays the lead
role. The four families are Dundun/Gangan, Bata, Sakara,
Ogido/Gbedu. Traditionally, each family has a complete
ensemble. Oftentimes we use different drums from different
families together, and other times, we play the drums as
complete ensembles as they are used traditionally.
Although the Yorubas utilise the flute, agidigbo and goje
just as there are lots of melodic and harmonic instruments
in other African cultures- kora, marimba, mbira, oja (ibo
flute), kalimba, etc. their music is predominantly driven
by drums and other percussion instruments. Drums, drums
and more drums.
Dundun ensemble
IYA-ILU ................................................................................................................Atele
Omele.........Isaju.........................................................Gudugudu
The Yoruba language is a tonal language that speaks in proverbs where a word alone will
not suffice.
The Talking Drum speaks in tones that are adjusted with
leather cords that run the length of the drums body.
As it is played it's tones have the ability to mimic the
spoken word, hence it is actually a Talking Drum.
Several other cultures play beautiful instruments
visually resembling the Talking Drum yet the range of tones is not achieved.
A master of the Nigerian Talking Drum conveys a litany through the power
of it's "spoken word."
The Talking drums have an important presence in all aspects of African life,especially the Yorubas.
The drums are used at birth, in ancestor worship, rites of passage, healing, storytelling, warrior rites and initiation, at the time of death, and as an an important means of communication over long distances
The Talking drums have an important presence in all aspects of African life,especially the Yorubas.
The drums are used at birth, in ancestor worship, rites of passage, healing, storytelling, warrior rites and initiation, at the time of death, and as an an important means of communication over long distances
Dabi,an internationally recognised percussionist ,singer,dancer,a true Griot ,born in Nigeria, West Africa,comes from a family of Master Drummers of the Yoruba tribe The Aare Ilu Household of Iseyin ,a town in Oyo State ,Nigeria .
From an early age dancing and drumming formed an intrinsic part of his life. He was raised in the Yoruba tribal culture, one that works, worships, lives and breathes to the beat of the drum, which has been primarily used to transmit traditional knowledge.
At home in Nigeria,he is known for his expertise in every genre from gangan to bata,akuba.gudugudu, Ogido,ashiko,bembe,kongaa sakara, agidigbo.
Between 1990 to 2002 Dabi has toured internationally performing in dozens of high-profile festivals and independent tours of USA,Germany,Italy,Spain,France, Canada,India,Austria Scadinavian,Japan, South Korea ,Poland,Jamaica,Holland and United Kingdom.
Apart from being steeped in Yoruba tradition as a ritual drummer, a flexible and experimental virtuoso of international calibre
":Debo Dabi Kanyinsola, a rare talent of his kind, an all -round master drummer and who is accomplished in an array of Yoruba traditions and drumming styles. He has emerged over a decade as the most revered gangan drummer in Nigeria and perhaps the most famous gangan drummer in the world."-- Africa Today"
.............................................................................................................................................
"My father (May God rest his soul) was a legendary drummer,and my grandfather too. All my ancestors,ever since we can remember . dedicated to this noble work."
Scholars have deduced that while melody and harmony are
preeminent in traditional European music (and the West
generally speaking) in African music (more so in West
Africa) rhythm is king.
The drum is the greatest purveyor
of rhythm. And rhythm is arguably the most definitive of
musical style in popular contemporary music. Although we
use the drums in our music, mostly to create grooves and
stimulate dance, in traditional Yoruba music the drum
plays more diverse roles. They do much more than stimulate
dance, especially in the sacred worship of Yoruba deities.
In my band, we use the four major families of Yoruba
drums. Each family consists of drums of different sizes
playing generally slave/master, support/lead roles. In
each instance, the mother drum (iya ilu) plays the lead
role. The four families are Dundun/Gangan, Bata, Sakara,
Ogido/Gbedu. Traditionally, each family has a complete
ensemble. Oftentimes we use different drums from different
families together, and other times, we play the drums as
complete ensembles as they are used traditionally.
Although the Yorubas utilise the flute, agidigbo and goje
just as there are lots of melodic and harmonic instruments
in other African cultures- kora, marimba, mbira, oja (ibo
flute), kalimba, etc. their music is predominantly driven
by drums and other percussion instruments. Drums, drums
and more drums.
Dundun ensemble
This is the hour glass drum commonly referred to as the talking
drum. Actually, most Yoruba drums mimic speech (talk)
The iya ilu leads the whole ensemble. It leads
the talk, dictates the pace, determines the song etc.
The Omele genus comprises
(i) Isaju (fixed high pitched dundun) Its pitch is fixed to a high tone by tying the tension strings.
(ii) Atele (fixed low pitched dundun) By tying its tension strings, its pitch is fixed to a lower tone than the isaju.
The Omele genus comprises
(i) Isaju (fixed high pitched dundun) Its pitch is fixed to a high tone by tying the tension strings.
(ii) Atele (fixed low pitched dundun) By tying its tension strings, its pitch is fixed to a lower tone than the isaju.
Each of these two drums plays a different rhythm. Their
combined groove is the foundation on which the bigger mum drums build their own
rhythms. The isaju literarily means 鍍he one that leads in front・while atele
means 鍍he one that follows the lead・
This basic 斗eader & follower・principle is common to the
other Yoruba drum ensembles used in my music. The drums may bear different names
but the same roles hold for each of these families. Although some omele lead
while others follow, they are still all subject to the overall leadership of the
iya ilu (the mother drums)
The dundun family usually includes one gudugudu which is shaped
like a bowl. It is beaten with two leather beaters while all the other drums are
played with one bent wooden stick while the other hand is used directly on the
drum.
The Dundun Family
The Dundun Family
IYA-ILU ................................................................................................................Atele
Omele.........Isaju.........................................................Gudugudu
A more portable version of the dundun is more popularly used in urban social
music. This is called the gangan. It also has a complete family of iya ilu and
omele just like the dundun family. It is common to mix drums from these two size
categories. The dundun has a bigger and deeper sound than the gangan.
This basic nuclear family is usually extended by multiplying
the drums and players. So an extended dundun family could include 1 gudugudu, 6
isaju, 6 atele, and 6 iya ilu. There are often many more in a large
ensemble.
Robert "Bob" Zildjian, founder of the Sabian Cymbal Company and a
prominent figure in the global percussion industry for six decades, died
on March 27 at his home in Brunswick, Maine after a brief battle with
cancer. He was 89 years old.
You may not be familiar with the name "Sakae," but this Japanese drum
company has been the mastermind behind all Yamaha high-end drums for 40
years. After developing percussion instruments for the Japanese school
market, Sakae's success caught the attention of Yamaha, who asked
company to join forces with them in the late 1960s. 
Are you ready for Silverfox Percussion's Ridiculous Stick Tricks
contest? Whether you’re playing a custom kit at Madison Square Garden or
a gourd on the streets of Ghana, Silverfox wants everybody who's
anybody to show what they've got in the stick trick department. With a
grandprize of $650 worth of drumming merch, all contestants need to do
is submit a video of themselves doing the most ridiculous tricks they
can conjure up to wow the judges. The contest opens today and ends on
April 30th. Visit the contest page for more details 
On
a gorgeous Halloween night in Texas, Hall 5 in the Austin Convention
Center was transformed into a showcase for exciting drumming and
edge-of-your-seat competition. Held on the eve of the annual Percussive
Arts Society International Convention (PASIC), the U.S. finals for the
2012 V-Drums® World Championship exposed stellar drumming talent and the
power and versatility of Roland drums and percussion to an audience of
players, educators, students, and general drumming enthusiasts.
Co-sponsored by DRUM!
magazine, Drum Workshop, Remo, and Vic Firth, the national finals was
the culmination of over four months of exciting drumming competitions in
the U.S. The annual V-Drums World Championship gives drummers around
the globe a unique opportunity to explore the flexibility and creative
options of electronic percussion by competing for Roland percussion
products and other prizes.
In Austin on October 31, each of the talented finalists played an original drum performance using the 
“It
was an honor to participate in the V-Drums national competition,”
Patrick reflected on the experience afterwards. “I had an amazing time
getting to hang out and talk with Thomas Lang and Johnny Rabb, as well
as all of the other contestants. Also, performing for such a tremendous
panel of judges in front of a hometown crowd was completely
exhilarating. It's exciting to be blessed with the opportunity to bring
the title of Roland V-Drums World Champion home to the United States of
America!” Patrick was very gracious to acknowledge the support of
teachers and professors from his high school and university years, and
saluted the local school district for their support and emphasis on
music education.
The
contestants performed in front of a lively onsite audience of over 250,
while a large, worldwide audience of web viewers watched the live event
stream as it was broadcast on the Roland U.S. website.
The
three celebrity judges included veteran drummer and renowned author
Mike Dolbear; 2010 V-Drums U.S. National Finals runner-up Robin Lopez;
and the incomparable drummer and educator Johnny Rabb.
