Michael Wimberly: Master Of Global Grooves
“When Michael Wimberly plays the djembe, the world vibrates!” says Guillermo “Memo” Acevedo. Whether teaching celebratory rhythms from West Africa, playing with drummer Mickey Hart, avant-garde saxophonist Charles Gayle, or Parliament Funkadelic, Michael Wimberly is a dynamic performer and clear, masterful educator, who creates videos and books promoting playing and “having fun” with hand drums. Wimberly is a seasoned percussionist (on both drum set and hand drums) as well as an endorser for TOCA Percussion and Evans Drumheads. Since 1982, he has been based in New York (where he was able to broaden his knowledge of hand drumming in Latin, African, Brazilian, and Haitian rhythmic styles after studying orchestral and contemporary percussion in school) while taking time for globetrotting tours around the world with a variety of innovative ensembles.
Wimberly is a passionate percussionist who sets his audience on fire in vastly different settings. He recently performed at an art opening with John McDowell, leader of the world music band Mamma Tongue, taught classes at Bennington College in Vermont, produced a CD for jazz singer Lila Ammons (granddaughter of boogie-woogie architect Albert Ammons) and played in the Winter Solstice concert at St. John The Divine Cathedral in New York City with the Grammy Award—winning Paul Winter Consort, who blends a wide range of musical experiences with the natural environments of the Earth, and the Forces Of Nature Dance Theater.
Paul Winter speaks of Michael Wimberly as a “big smile coming down the aisle,” with the Forces Of Nature dancers in his grand events at St. John The Divine. At the Paul Winter Consort Solstice Celebration, Paul Winter recalls seeing Michael “beaming ear-to-ear as he’s wailing away on his djembe. Then I know for sure the sun’s coming back,” says Winter, who has led his ensemble-in-residence at the Cathedral in New York for the past 30 years.
“Michael is one of the Renaissance men of percussion. He can do just about anything,” adds Winter, who has shared the stage with him many times while Wimberly holds forth on djembe, balaphone, gankogui (agogo), shekere, and assorted hand percussion as well as drum set.
When Jamey Haddad was unable to play drums with the Consort at their annual Earth Mass/Missa Gaia, Wimberly filled in. Now they sometimes play as a team, and Winter is pleased with the results. “When I commented after our recent Solstice event on how great they sounded together, Jamey replied, with a big grin, “Hey, man: we’re both from Cleveland!” While Winter is enamored with Wimberly’s technique, he is quick to add: “Above all, it’s Michael’s spirit that is his great music.”
Open Minds Mean Open Ears
No doubt, spirit is a key factor for this groove master. “For me there is a direct connection to the spirit of dance through hand drumming. If played with the right drum language and the right intention, you can evoke the spirit of the instrument. That will inspire you and the dancers to move beyond expectation,” says Wimberly.
He likens the relationship of dance and drumming and which preceded the other, to the more commonly asked question: What came first, the chicken or the egg? “The interesting thing about hand drumming from a global perspective is that historically it always accompanied dance,” says Wimberly.
A friend in college, who had several djembe drums in his dorm room, originally introduced Wimberly to hand drumming with a few traditional African rhythmic patterns. Years later, when Wimberly began playing for dance classes and an African dance company, he saw firsthand how the rhythmic patterns and dances were connected in an organic way. Since that time he has continued to work with dance companies and choreographers, sometimes composing works using hand percussion to build textures, rhythms, and momentum. He has written music for a variety of esteemed dance groups such as the Alvin Ailey Dance Theater, Philadanco! The Philadelphia Dance Company, Joffrey Ballet, Urban Bush Women, and aforementioned Forces Of Nature Dance Theater, an international touring company involved in the movement to heal our planet.
As an educator, Wimberly does many drumming clinics and is now on the faculty of Bennington College (along with colleague Susie Ibarra, they are replacing the legendary Milford Graves, dubbed a “jazz scientist” by New York Magazine) where he is constantly researching and refining what and how he presents his material. At Bennington, he teaches 20th century music and dance history as well as a new curriculum he created. It’s a course called Drumming: An Extension Of Language, in which students get hands-on experience learning traditional rhythms form Cuba, Brazil, and the Middle East, as well as West and East Africa. Instruments range from dumbek, djembe, and congas to frame drums, West African sangba, Mozambican, and Brazilian drums. This class also involves “research into the culture, politics, religion, and daily life of the people from where the rhythms originate,” explains Wimberly.
Drumming as an extension of language is an important concept. “There is a direct connection of the spoken word, where the tone, speed, and inflections of language can be translated into rhythm,” he says. “When you study the music of the world, you will see there are many rhythms that have been created over the centuries and there’s no realistic way to grasp them all. But there is something that connects them all: Every rhythm has a pulse, no matter how abstract! With that in mind, you must be patient while learning and applying these rhythms. I meet so many students who want to learn how to solo right away when they haven’t acquired the proper technique and rhythmic vocabulary.”
As the founder of Power Of Drum, in 2006, Wimberly has had drum clinic showcases paying tribute to the great drumming innovator Max Roach with musicians including conga virtuoso Giovanni Hidalgo; Grammy winner Terri Lyne Carrington; Will Calhoun of Living Color; acclaimed Latin jazz drummer Bobby Sanabria; Valerie Naranjo, who plays everything from West African drumming to percussion for Saturday Night Live; world drummer Jamey Haddad, who tours with Paul Simon; MacArthur Fellowship winner Dafnis Prieto; and Memo Acevedo, a director of the Afrocubanismo festival.
Educational events from the Power Of Drum have expanded beyond the shores of this country to Europe with workshops on Sao Miguel in the Azores Islands of Portugal and Barcelona, Spain. A project close to Wimberly’s heart focuses on drumming as an alternative method to engage children who have trouble learning. This generated a grassroots collaboration between artists, business owners, social workers, and community leaders supporting the work Wimberly is doing with local children from the Azores in a project called The Michael Wimberly Cooperative Together With Music. A three-week intensive is scheduled for this June. And Wimberly plans to create another Power Of Drum event in New York City. But for those who don’t have direct access to his classes, clinics, and workshops, he has educational materials offering many tips for improved hand drumming in his book/DVD packages published by Hudson Music.