Gilles Alain Premel

Gilles Alain Premel
Genre : Cultural centre
Principal country concerned :
Tel. : 0664410254
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Gilles Premel


France 33800


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Additional Info:


2 rue françois rabelais

résidence descartes / château Raba


phone :00.33/0/664.41.02.54




Highlights of Qualifications: 25 years of extensive training in Afro-cuban and Brazilian traditional percussion and it's heritage from the dan homeyan pantheon.
Researcher of the Fon-Yoruba-Congo Culture and it's music influence

Strong practical and theoretical foundation in the following musical instruments:


berimbau, conga, bata, atabaque, djembé, cuica, repinique, timbales, timba, cajon cubano,cajon peruano, pandeiro, gan or agogo and tamborim and trapp drum's for drummer's who are seeking knowledge on how to play afro latin on the kit.

For the past ten years elaborating a technic called « TBF-LATERALIZATION »

wich is consisting in using only low frenquency drums for memory better synapsing.

This technic was used with brain traumas and autistic special needs public and children with HDA during the past 5 years .

Professional: 1995-98 C.I.A.M. (Centre d'Investigation et d'Animation Musicale) Bordeaux- France, as a Percussion Teacher specializing in Afro-brazilian and Afro-cuban percussion.

1998-2001 C.F.A.T.(Centre de Formation aux Arts
Traditionnelles) Bordeaux-France. Teacher in Afro- brazilian and Afro-cuban percussion and polyrythmic percussion ensembles.

2001-2002 Conservatorio Josafat Roel Pineda, Lima-
Peru. Taught a theoretical and applied West African
heritage drumming to students mastering in their own
african traditionnal drumming (lando, festejo, alcatraz,
zamacueca, etc.)

2002-2006 N.C.M.D.T/.G.F. of Angoulème "National Conservatory Gabriel Fauré of Dance and Music" (Specialized in Jazz and Afro-caribbean Music and its origins in west africa.)
opened the first latin jazz dept in the conservatory.

E.N.M.D. NERAC 2007-2008

2010- giving courses at the I.R.E.M. school of music

ear training,great american modern mudern music,afro latin heritage understanding class,and funk and and afro beat musical direction for afro latin jazz fusion ensembles.
-Poly-rythmes classes....

-Rythmical theory and technical application
of hand positionning, sound control

-training of independent
body mouvements, using tempo and onomathopea and re-enforcing tempo as a training bases.

Musical application and arrangements for percussion ensembles. Training
beginners to become professionals. Emphasizing in modern
rhythms such as timbalada, songo, timba, samba reggae, macuta with guarapachangeo,
mozambique, bata-rumba, (rumba-iyesa, rumba obatala,
chachalekpafon) with cajon (lando, agbaja, festejo and
flamenco). Also incorporating Mandingo percussion rythms
in the afro-brazilian and cuban music structures.

Currently playing with bands such as "Lanaya" (Traditionnal Mandingo mixted with bata and maracatu atomico chico science's Mange Beat fusion with funky-pop-rock and maracatu.

"Son del solar" (Traditionnal afro-caribbean south-american percussion and vocal ensemble),

"Timbalada Urbana" (Samba-reggae, rap, funk-fusion with mandingo and fon percussion and accappella vocals).

Experience: TUPI-NAGO SAMBA-REGGAE BAND - France 1992-95 Played all Afro-brazilian percussion instruments. The group took its musical sources from the region of Salvador da Bahia, Rio, and combined it with Western hemisphere
rythms. Toured Europe and recorded two CDs on Melody
Music Inc.



ILU-YENKORI - Paris, France 1987-91
Played tambor bata (okonkolo). This group played Afro-
cuban yoruba drumming, singing, and dancing dedicated
to the yoruba pantheon, and its Oru's (divinities from the
dahomeans better known as nigeria, togo, ghana, benin).

I.A.C.P. (Artistical Institute of Cultural Perception) - Paris,
France 1985-90 Recorded double LP with Allan Silva, musician and Musical Director of Celestial Communicarions Orchestra, and the founder of the first jazz school in Paris. Allan Silva's work emphasized on improvisation and its influence in the free jazz era in paris. During the years to follow this school will open new influences in the differents musical classes that were taught in the school such as Caribbean Percussion, Ear Training,
Scat, Contemporary Contact Dancing and Big Band Jazz
Rehersals, Painting, Poetry, etc.

1984-87 Trained in Brazilian percussion with Bira Almeida, founder of the World Capoeira Association in the United States, and founder of the group "Corpo Santos" in San Francisco, CA.
Following his training I became envolved in afro-brazilian
percussion and music in Santa Fé N.M putting together the
first "Bloco de Samba" in this city. From there on I led
Samba schools in France, such as "Macunaima";
"Sarava", "Axé".

Specialisation in the Reiki Music Thérapy mouvement in
Koln, Vancouver and Ibiza on family and rythm training as a theraputic Tool for self rehensing and group understanding and control .For the past several years, I have dedicated my teaching
towards traditionnal arts specializing in polyrythmical analysis concerning West African Drumming and its caribbean and south-american heritage for a bette understanding of the musical bridges that link into each other, from their african sources.

Education:Conservatory of Percussion - Paris 1980
New York drummers collective - NYC 1985
Naropa Institute - Boulder 1985
Diploma from the Conjunto Folklorico Nacional de la
Habana - La Habana 1988

Additional Specialisms:

Orchestral Playing, Session Work,workshops on afro latin heritage, Drum Kit, Improvisation and percussion as langage .



  • Arterial network
  • Media, Sports and Entertainment Group (MSE)
  • Gens de la Caraïbe
  • Groupe 30 Afrique
  • Alliance Française VANUATU
  • Zimbabwe : Culture Fund Of Zimbabwe Trust
  • RDC : Groupe TACCEMS
  • Rwanda : Positive Production
  • Togo : Kadam Kadam
  • Niger : ONG Culture Art Humanité
  • Collectif 2004 Images
  • Africultures Burkina-Faso
  • Bénincultures / Editions Plurielles
  • Africiné
  • Afrilivres

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