Last performance presentation at WOMB, Mexico City, 07/25/25
A percupo(ï)etic conversation among eight African American Avant-Garde Jazz Drum Masters, moderated by profound statements from "imaginary voice" of Cecil Taylor. The poem, is a percusivist fiction, conceived in 2005 as a drumming thesis it became an extended 90 minute tour-de-force for solo jazz drum-set. The 90 minute piece unfolds as a total deconstruction of the voices behind the Story of avant-jazz percussive wizards pioneered during the 1960´s emergence of Free Jazz and Creative Music (AACM Chicago). It is a strong manifest and a meaningful argument against all kinds of slavery, domination, segregation of classes and gender discrimination, between cultures and within societies.
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2010 performance at Centro de las Artes de Monterrey.
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2018 performance at Jazzatlán Mexico City
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2018 recording session at El Desierto Estudios, Mexico City
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2024 performance at Café Jazzorca, Mexico City
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THE POEM
A poetic jazz drumming manifesto on self-slavery
This piece is a 90-minute tour-de-force jazz drum solo, conceived as both a jazz poem and a thesis on freestyle avant-garde drumming. It is crafted through a process of deconstructing drumming language and is organized into four major sections, an introduction-invocation, and a BEAT MANTRA parade which closes the piece. The work draws inspiration from the avant-garde and free jazz movements of the 1960s, shaped by the pioneering contributions of African American masters. The materials for this composition are derived from the legacies of eight significant figures in jazz drumming history: Max Roach, Rashied Ali, Milford Graves, Andrew Cyrille, Famoudou Don Moye, Sunny Murray, Beaver Harris, and Ronald Shannon Jackson.
At its core, the composition serves as a manifesto against self-slavery, voicing a powerful protest against injustices rooted in racial differentiation and critiquing White Supremacy. The BEAT MANTRA, which culminates the piece, evolves into a spiritual mantra that poetically embodies the freedom of humanity through the repetition of a singular rhythmic cycle. This cycle begins as a soft, quiet murmur, gradually building in intensity and speed until it reaches a climactic crescendo of force and power, concluding abruptly with one single hit as a striking resolution.
This piece is a 90-minute tour-de-force jazz drum solo, conceived as both a jazz poem and a thesis on freestyle avant-garde drumming. It is crafted through a process of deconstructing drumming language and is organized into four major sections, an introduction-invocation, and a BEAT MANTRA parade which closes the piece. The work draws inspiration from the avant-garde and free jazz movements of the 1960s, shaped by the pioneering contributions of African American masters. The materials for this composition are derived from the legacies of eight significant figures in jazz drumming history: Max Roach, Rashied Ali, Milford Graves, Andrew Cyrille, Famoudou Don Moye, Sunny Murray, Beaver Harris, and Ronald Shannon Jackson.
At its core, the composition serves as a manifesto against self-slavery, voicing a powerful protest against injustices rooted in racial differentiation and critiquing White Supremacy. The BEAT MANTRA, which culminates the piece, evolves into a spiritual mantra that poetically embodies the freedom of humanity through the repetition of a singular rhythmic cycle. This cycle begins as a soft, quiet murmur, gradually building in intensity and speed until it reaches a climactic crescendo of force and power, concluding abruptly with one single hit as a striking resolution.
Diálogo ficcional percupoiético (breve extracto)
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