I t has been said by pop music experts that the future of latin caribbean music rests in finding the lost key that unlocks the unpenetrable barrier existing between the traditional african rhythms and modern afro-caribbean musical expressions. Raul Berrios has found that key which unlocks the door to a new world of Puerto Rican music, and the key is called Clave Tres. The birth of a captivating Puerto Rican musical spirit that unites the essence of the modern Puerto Rican reality with the tradtional rhythms of the african ancestors.
The konkolo pattern is an african way to learn and play traditional twelve pulse rhythms. One of these rhythms is: kon-kolon-kon-kon-kolo; another: lon-kon-kolon-kon-kon-ko; and yet another: kon-ko-lon-kolo-kon-kon-kolo. In Clave Tres these rhythms and others have been reborn to form the rhythmic skeleton of a new Puerto Rican beat (clave) in six-four time. This clave, with its peculiar onomatopoeia of ko-ki-ki-ko, is the fundamental rhythmic spirit that guides the pulse, the melodic flow, the time line and the rhythmic accents of what is essentially the Clave Tres.
According to the ancestors, dance music is only able to reach it's maximum level of perfection during the rhythmic conversation (call and response) produced between the musician and the dancer. Like a rhythmic voice answering the call of the lead drum, "go-do", the dance Konkolo Salsa is spontaneously born from the traditional rhythm of the gankoki bell. The rhythmic response of the steps of the dancer, "kon-ko-lo-eh", opens up another fascinating dimension to this new Puerto Rican world of music called Clave Tres.
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Tato Conrad
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