Cliff Brooks

Clifford Brooks has been drumming ever since he was 6 years old. It all started when he was standing at “ParadeRest” during a monthly battalion ceremony at Harding Military Academy. Feeling quite alone and homesick hewondered how he would cope in this very unforgiving environment. Suddenly he heard a profound sound, it wasthe musical attack of the marching snare drum pounding out the most beautiful sound he had ever heard. Themarching band was drawing closer and closer, and Cliff could hardly contain his emotions. Something awesomewas about to reveal itself that would change his life forever. When he laid his eyes upon the instrument that producedsuch a euphoric sound, he knew he would have to learn to play it one day.A few years later Cliff found himself focused in the art of trap drumming, and every time he would hear someoneplaying a trap set in the neighborhood, he would peek into the windows of the house where the drummerwas playing. Just looking at any “Trap Drums” was an overwhelmingly joyful experience. As a child, Cliff wasgreatly influenced by Motown and later on by “funk music”. Eventually he learned to read music enough to bea snare drummer in two high school marching bands. In 1966 he discovered conga drums and enjoyed playingwith the park drummers during the famous Griffith Park “love–ins”. It was not until 1973 that he developed areal interest in playing Latin percussion.In 1982 Cliff met Rolito Soto, the premier Bongosero of the Cuban music group, Rumbavana. Rolito taught conceptsfor playing bongo, Thanks to his constant support and friendship, Cliff learned to play with “sabor”.In 1985 Cliff moved to San Francisco where he met his wife of 15 years to date, Judith Justiz. Judith broughtAfro–Cuban folkloric dance to the Bay Area in 1982. Cliff and Judith have been working together as a team since1987 doing performances, dance classes and workshops. In 1989 Judith and Cliff formed the Afro–Cuban dancegroup, Raices Afrocubanas. They currently teach in Berkeley California.Cliff started an intensive study of the Cuban box drum called “Cajon”, using the actual licks from some of themost exceptional quinteros in Cuba. Since 1988 he has studied privately with many master drummers in Cubaincluding Mario Jauregui, Windo, Ventura, and “El Mellizo”. Master drummer Regino Jimenez has also beenexceptional in his generous teaching and support. Jesus Alfonso, Pancho Quinto, windo, and Pedro Orta haveinfluenced Cliff’s mastery of the Quinto and Cajon Drums. He has studied Rumba, Changüí, Bongo, Bata, Palo,Yuka, Makuta, Bembe, Yesa, Comparsa, Gaga, Conga de Santiago, Vodu, Paca, Dengue, Guiro, Evo, Congolaje,Guiro, Afrekete, Ebioso, and others.