The new dunduns

I can't believe I haven't posted to this blog since coming back from Mali in January. I can't believe I started a blog post with the most boring first line in the history of blogging.

So, in a nutshell:

Trip was amazing. I will post pictures and more details soon.

I came back with a new set of dunduns. They are made of a much lighter wood, and are quite a bit smaller than the old behemoth I was playing. I have a small dununba and a kenkeni. I brought them back in duffel bags through the checked baggage on the airplane and they made it here safe and sound. (You should have seen me trying to wrangle all that luggage through Port Authority in NYC, though. It was hilarious. Luckily I had two unsuspecting teens with me who could help out.

It was great fun seeing my new drums go from carved shells to finished products. On the last day in Mali, Madou Jean was over at the house pulling the skins.

The advantage of the smaller drums is that they weigh much less and are easier to carry around. I have rigged up a miniature carabiner on both ends of the dununba so that I can attach the kenkeni to whichever end sounds best on that day. Then I strap it tight with a bungie cord. That way I can easily separate the drums for transport. Madou Jean even fashioned a carrying strap out of the extra tuning rope for the kenkeni, so I can toss it over my shoulder. All in all it is a very portable setup.

And the drums sound delicious.

The kenkeni, especially, has a gorgeous tone. The two drums are tuned to each other and just sound great together.

A good teacher

Here's the thing about playing with a great djembe player. It forces you to play better than you would otherwise. I have noticed, lately, that while practicing I am not able to hold the rhythm as well as when I play in class or with my teacher. Something happens when playing with others that sort of forces me to hold up my end of the djembe conversation.

I think part of it is that my teacher uses my rhythm to create a structure for his solos. He plays in and out and around my accompaniment. He is good enough that he could do this even if I completely bomb. But when I don't bomb, it is incredibly thrilling to play together in that way.

It has helped to record myself playing. Then I can hear just how wobbly I sound and work to correct it. But that still doesn't substitute for playing with a good teacher.