PURA BULLA
Research of the traditional Colombian music “Bullerengue” and compositions based
on the traditional rhythms

Nicolás Guererro Avendano

Master of Music in Jazz Performance
Boston, MA
2019

Colombia

Cartagena
• Slavery
• Syncretism: Merging of African,
Spanish and Indigenous Cultures

San Basilio de Palenque

RESEARCH

INSTRUMENTATION

Tambor Alegre – Tambor Llamador

Maracas or claps

• Voice (Call and Response)
• Percussion
• Strong relation with Dance

“RITUAL”
Ø Instrumentation
Vasilis Kostas-Laouto
Jacob Jezioro-Bass
Nicolás Guerrero-Drums
Giorgio Albanese-Accordion
Tareq Rantisi-Darbuka
Ø Rhythm
• Bullerengue Sentao
• Inspired by Death Ritual “Lumbalú”
• Melancholic

“FANDANGO DE LUNA”
Ø Instrumentation
Erini Tornesaki-Voice
Giorgio Albanese-Accordion
Tareq Rantisi-Udu
Jacob Jezioro-Bass
Nicolás Guerrero-Drums
Ø Rhythm
• Fandango de Lengua
• Inspired by the moon and the sunset
• Connection with African rhythm
Abakwa
• Sublime

“WELL YOU NEEDN’T”
Ø Instrumentation
Jacob Means-Mandolin
Jacob Jezioro-Bass
Nicolás Guerrero-Drums

Ø Rhythm
Fandango de Lengua 15/8

• Composed by Thelonious Monk
• Freedom

“MACACO”
Ø Instrumentation
Jireh Calo-Voice
Tareq Rantisi-Djembe
Jacob Means-Mandolin
Fares Ishaq-Nai
Jacob Jezioro-Bass
Nicolás Guerrero-Drums
Ø Rhythm
• Chalupa

• Based on the melody of a traditional song called
“Macaco Mata el Toro”
• Call and response elements

• I believe these musical traditions, and their multicultural properties, can help build a more aware
society where we can understand each other.

THANK YOU
•

SPONSORS

•

MUSICIANS

•

PRODUCTION TEAM

Javier Guerrero

Fares Ishaq

George Kramarski

Martha Avendaño

Giorgio Albanese

Connor Kent

Tareq Rantisi

Patricia Blyde

Jacob Means

Daniel Babai

Vasilis Kostas

Danny Corredor

Erini Tornesaki

Ricky Matute

Jireh Calo

Nicolle Horbath

• BERKLEE GLOBAL JAZZ
INSTITUTE FACULTY
Danilo Pérez
Marco Pignataro
Terri Lyne Carrington
Bruno Raberg
Edmar Colón

Jacob Jeriozo

BIBLIOGRAPHY
• Blacking, J.,“How musical is man?, University of Washington Press, 1974.
• Perez, H., El Bullerengue la génesis de la música de la Costa Caribe colombiana, University of
Colombia, 2014,http://www.redalyc.org/pdf/874/87432695002.pdf.
• Garcia, M., De Música Marginada a Producto Cultural de Exportación: Perspectiva Histórica de
Petrona Martínez y el Bullerengue, 2016, https://www.bullerengue.com/perspectiva-historica.