's timbales on exhibit in the
Musical Instrument Museum of Phoenix
Origins and popularization Timpani were imported into Cuba in the 19th century and used by wind orchestras known as
orquestas típicas. These were the same general type of drum used in
military bands and in symphonic orchestras. They were, and are, played with mallets (sticks with large, soft, round heads). Timpani were replaced by pailas, which were made from the body of a commonly used metal pan (later, cans of lard were used to make
timbalitos). These new
timbales were originally designed to be used by street bands. Unlike classical timpani, these are always hit with straight batons (thinner than standard drumsticks, and not shaped: they are of uniform thickness along the length) that have no additional head. and to popularize the
abanico technique in the 1930s. In the 1950s, timbalero
Silvano "Chori" Shueg became a sensation in the nightclubs of Havana due to his skillful improvisations on timbales and other homemade percussion instruments, while
Walfredo de los Reyes and
Guillermo Barreto explored new idioms with the instrument in jam sessions known as
descargas; they were influenced by American jazz drummers such as
Max Roach and often doubled on the drum kit. Walfredo was an important influence on his student
Amadito Valdés, later a member of
Buena Vista Social Club, and his own sons
Walfredo Reyes Jr. and
Daniel de los Reyes. In the 1970s, innovations in timbales playing mostly came from
songo groups such as Orquesta Revé, directed by timbalero
Elio Revé, Orquesta Ritmo Oriental, featuring Daniel Díaz on timbales, and
Los Van Van, whose timbaleros, first Blas Egües and later
Changuito became masters of the instrument. In the 1990s, Changuito filmed a series of instructional videos on timbales, as well as
congas and drums, which were released on
VHS.
In the United States Ubaldo Nieto, timbalero in
Machito and his Afro-Cubans, was one of the first musicians to popularize the instrument in the United States. However, it was New York-born percussionist and bandleader
Tito Puente who became the leading figure for the rest of the 20th century, often being referred to as the "king of the timbales". He often acted as a bandleader in his studio recordings, leaving the timbales spot for up-and-coming artists such as
Willie Bobo and Monchito, son of bandleader Rafael Muñoz. Several other Puerto Rican timbaleros also rose to prominence during the 1950s, like Willie Rodríguez, Humberto Morales and
Rafael Cortijo. The former two often played in mambo and
Latin jazz bands, while Cortijo established one of Puerto Rico's most popular groups, Cortijo y su Combo. In the 1960s, the incipient New York
salsa scene saw the emergence of
Kako,
Manny Oquendo,
Jimmy Sabater,
Orestes Vilató and
Nicky Marrero. Timbales were also popular in
boogaloo bands such as
Pucho & His Latin Soul Brothers, whose leader was timbalero Henry "Pucho" Brown. In the 1970s, timbales began to be used in other genres such as
Latin rock and
reggae. Mexican-American percussionist
Pete Escovedo, his brother
Coke and his daughter
Sheila all became accomplished timbaleros in rock, jazz and funk. Later on, timbales were introduced in
hip hop by percussionists such as
Eric Bobo, the son of Willie Bobo. on timbales at the
Hard Rock Cafe,
Times Square ==Technique==