Mozambique (pron.: mo.sam.'βi.ke) is a vigorous style of Cuban music and dance derived, like the conga, from music of Cuban street carnivals or comparsas. It was invented or developed by Pello el Afrokan (Pedro Izquierdo) in 1963.[1] Below: Cuban-style mozambique bell pattern with rumba clave in 2-3 clave (rhythm) sequence.
Mozambique features many African instruments, including many different types of drum, as well as the traditional Cuban conga drums and trombones.
The style made its début in 1963, in Havana, on the television programme Ritmos de Juventud, with the presenter surrounded by drummers so in tune with each other that they created a piano-like sound, while simultaneously performing the mozambique dance, which consists of bending the knee and lowering the body at the same time as lifting up a foot while returning the body to its normal upright position, continuing to bend the knees, lowering the body and lifting alternate feet as quickly and vigorously as possible. The mozambique peaked in 1965, when Pello took a group to the Olympics in Paris, then was quickly discarded. Apparently, it needed 16 drums to work properly...[3]
Pello's composition, "María Caracoles" was recorded by Carlos Santana and sold hugely.
In New York City during the 1960s Eddie Palmieri created a rhythm called mozambique that was inspired by Pello's creation of the same name. While both rhythms are based on conga de comparsa, they are in fact, two separate distinct rhythms that do not share any common parts. The bell pattern used in Palmieri's rhythm was first played by his timbalero Julito Collazo and later by Manny Oquendo, who came to be closely associated with the timbales part.[4] The NY mozambique bell was later adopted by drumset players in North American jazz and popular music. For example, drummer Steve Gadd can be heard playing the NY mozambique bell part on drumset (cymbal) during Paul Simon's song "Late in the Evening".[5]