WEBVTT 00:01.160 --> 00:19.130 align:start >> From the Library of Congress in Washington, D.C. 00:19.130 --> 00:20.430 align:start >> Talia Guzman-Gonzalez: Okay. 00:20.430 --> 00:21.730 align:start I'm going to start. 00:21.730 --> 00:23.080 align:start I was giving people a couple of minutes to find the room. 00:23.080 --> 00:25.560 align:start Good afternoon, everyone, 00:25.560 --> 00:27.580 align:start and welcome to the Library of Congress. 00:27.580 --> 00:31.530 align:start My name is Talia Guzman-Gonzalez and I am reference librarian 00:31.530 --> 00:33.400 align:start in the Hispanic Division. 00:33.400 --> 00:37.280 align:start On behalf of the Hispanic Division and our co-sponsors, 00:37.280 --> 00:40.610 align:start the Music Division and the Hispanic Cultural Society, 00:40.610 --> 00:42.520 align:start it is my immense pleasure 00:42.520 --> 00:46.030 align:start to welcome three outstanding musicians. 00:46.030 --> 00:49.700 align:start Eva and I have been working on this event for a month now 00:49.700 --> 00:52.170 align:start so it's very exciting to finally see it, 00:52.170 --> 00:55.260 align:start you know, come to fruition. 00:55.260 --> 00:58.650 align:start We have here with us Adonis Gonzalez, Yunior Terry, 00:58.650 --> 01:02.870 align:start and Yosvany Terry, three highly accomplished musicians 01:02.870 --> 01:05.990 align:start that will be talking about sounds and rhythms 01:05.990 --> 01:08.290 align:start of Cuban music, and their careers as musician 01:08.290 --> 01:10.970 align:start and educators in the United States. 01:10.970 --> 01:15.620 align:start I will talk a little bit about them in a little bit. 01:15.620 --> 01:17.350 align:start I want to say something first 01:17.350 --> 01:19.910 align:start about our collections at the library. 01:19.910 --> 01:21.650 align:start We have a small display in the back, 01:21.650 --> 01:22.950 align:start and you're welcome to browse. 01:22.950 --> 01:24.440 align:start They're books from the general collections 01:24.440 --> 01:26.950 align:start so please take a look at them. 01:26.950 --> 01:29.170 align:start The library has been collecting Cuban material 01:29.170 --> 01:31.600 align:start since the mid-nineteenth century. 01:31.600 --> 01:34.360 align:start And we have probably the largest collection here 01:34.360 --> 01:41.610 align:start in the U.S. The Hispanic Division is the gateway 01:41.610 --> 01:46.580 align:start to explore those collections but it is in every format 01:46.580 --> 01:51.240 align:start across the library, including, obviously, music. 01:51.240 --> 01:53.250 align:start Some resources that you can use 01:53.250 --> 01:57.090 align:start to explore those collections come from the work 01:57.090 --> 01:58.590 align:start of the Hispanic Division. 01:58.590 --> 02:02.530 align:start One of them is the Handbook of Latin American Studies and it's 02:02.530 --> 02:03.830 align:start in the Hispanic Division. 02:03.830 --> 02:06.900 align:start And also the Archive of Hispanic Literature and Tape 02:06.900 --> 02:10.760 align:start which has recorded nearly 30 authors, Cuban authors, 02:10.760 --> 02:13.670 align:start reading from their work. 02:13.670 --> 02:17.980 align:start The American Folk Life Center also recorded Cuban music 02:17.980 --> 02:20.530 align:start and culture from the 1920's onward. 02:20.530 --> 02:24.510 align:start And there you can find a set of long playing records titled 02:24.510 --> 02:28.150 align:start "[Foreign Language Spoken]", published in Havana and compiled 02:28.150 --> 02:30.360 align:start by the great anthropologist, Lydia Cabrera. 02:30.360 --> 02:34.940 align:start I could on and on about our resources and I hope you come 02:34.940 --> 02:37.970 align:start to the division and learn about them with us, but you're here 02:37.970 --> 02:40.480 align:start to hear our three guests today. 02:40.480 --> 02:42.900 align:start So I will introduce them in this order, 02:42.900 --> 02:45.230 align:start starting with Adonis Gonzalez. 02:45.230 --> 02:48.870 align:start Adonia is a pianist and composer. 02:48.870 --> 02:51.840 align:start And he's a graduate from the [Foreign Language Spoken] 02:51.840 --> 02:54.660 align:start and holds a Master's of Music Degree from the University 02:54.660 --> 02:57.240 align:start of Southern Mississippi, and a Doctorate Degree 02:57.240 --> 03:01.150 align:start in Piano Performance from Rutgers University. 03:01.150 --> 03:04.050 align:start He has performed as a soloist with many orchestras 03:04.050 --> 03:06.920 align:start around the world, including the Stuttgart Radio Symphony 03:06.920 --> 03:09.890 align:start Orchestra in Germany, the National Philharmonic 03:09.890 --> 03:13.150 align:start of Venezuela, the Master Awards Festival Orchestra 03:13.150 --> 03:16.470 align:start in Washington, D.C., the Cuban National Symphony, 03:16.470 --> 03:19.620 align:start and the New York City Opera Orchestra among many, 03:19.620 --> 03:20.920 align:start many, many others. 03:20.920 --> 03:24.990 align:start As a composer, Adonis has collaborated with the Works 03:24.990 --> 03:26.470 align:start and Process Series 03:26.470 --> 03:29.600 align:start at the prestigious Guggenheim Museum in New York City. 03:29.600 --> 03:32.710 align:start And his symphonic poem for piano and orchestra, 03:32.710 --> 03:34.310 align:start "[Foreign Language Spoken]", was premiered 03:34.310 --> 03:37.060 align:start by the National Symphony of Costa Rica. 03:37.060 --> 03:39.680 align:start He was a composer in residence 03:39.680 --> 03:41.210 align:start of the Rockefeller Brothers Fund. 03:41.210 --> 03:43.930 align:start And he's currently an artist in residence 03:43.930 --> 03:48.160 align:start of the Cuban Artists Fund in New York, and a professor of Music 03:48.160 --> 03:50.620 align:start at Alabama State University. 03:50.620 --> 03:51.920 align:start Adonis has a long list 03:51.920 --> 03:54.920 align:start of impressive collaborations including legendary artists 03:54.920 --> 03:57.700 align:start such as mezzo soprano Denyce Graves, 03:57.700 --> 04:00.280 align:start violinist Arnold Steinhardt, 04:00.280 --> 04:01.580 align:start and also 04:01.580 --> 04:04.460 align:start with clarinetist-saxophonist Paquito D'Rivera. 04:04.460 --> 04:05.970 align:start Gonzalez won the first prize 04:05.970 --> 04:08.510 align:start of the [Foreign Language Spoken] International Piano Competition 04:08.510 --> 04:11.160 align:start in Caracas, Venezuela, and the first prize 04:11.160 --> 04:14.380 align:start of the most important Cuba piano competition organized 04:14.380 --> 04:17.860 align:start by the National Association of Cuban Writers and Artists. 04:17.860 --> 04:21.130 align:start He's also a laureate of the International Piano Competition 04:21.130 --> 04:22.540 align:start of the Principality of Andorra, 04:22.540 --> 04:25.950 align:start and the Ernesto Lecuona International Competition 04:25.950 --> 04:27.720 align:start of Havana. 04:27.720 --> 04:30.290 align:start Adonis is a Latin Grammy nominee in the category 04:30.290 --> 04:34.240 align:start of Best Classical Album for his solo debut, "Adios a Cuba". 04:34.240 --> 04:41.410 align:start Our second guest, Yunior Terry is a clinical assistant 04:41.410 --> 04:44.530 align:start professor of music at New York University School of Music. 04:44.530 --> 04:48.600 align:start He is a graduate of the National School of Art in Havana, Cuba, 04:48.600 --> 04:50.750 align:start with a double major in violin and bass. 04:50.750 --> 04:54.930 align:start And he holds a bachelor's degree from CalArts and a master's 04:54.930 --> 04:57.140 align:start from Rutgers University. 04:57.140 --> 04:59.120 align:start While in Cuba, he performed and toured 04:59.120 --> 05:01.810 align:start with the Havana Symphony as a violinist. 05:01.810 --> 05:03.960 align:start Yunior Terry is an [foreign language spoken] 05:03.960 --> 05:07.330 align:start and cultural bearer of the African rhythms, chants, 05:07.330 --> 05:11.470 align:start and ceremonies that originated in the African [inaudible]. 05:11.470 --> 05:13.890 align:start He continues to research these 05:13.890 --> 05:18.170 align:start and other African diaspora based musical and cultural traditions. 05:18.170 --> 05:20.740 align:start In the United States, Yunior Terry has studied 05:20.740 --> 05:23.290 align:start under Charlie Hayden, Derrick Olds, 05:23.290 --> 05:26.750 align:start Peter Row from the Los Angeles Philharmonic, Porter Smith, 05:26.750 --> 05:29.060 align:start Alfonso Johnson, and Kenny Davis. 05:29.060 --> 05:32.300 align:start Since moving to New York he has deepened his understanding 05:32.300 --> 05:35.380 align:start of jazz traditions through performing with Steve Coleman, 05:35.380 --> 05:39.660 align:start Jerry Gonzalez, and the Fort Apache Band, Jeff Watts, 05:39.660 --> 05:41.560 align:start Daphne [Inaudible], Eddie Palmieri, [Inaudible], 05:41.560 --> 05:45.660 align:start Michelle Roseman, Andy Marrow, [Inaudible], 05:45.660 --> 05:48.190 align:start and Yosvany Terry, his brother. 05:48.190 --> 05:52.810 align:start He was part of the Latin Jazz All Stars Project 05:52.810 --> 05:55.010 align:start with [Foreign Language Spoken], and Steve Turr, 05:55.010 --> 05:56.490 align:start and [Foreign Language Spoken]. 05:56.490 --> 06:00.250 align:start Prior to joining NYU, Cabrera taught master classes 06:00.250 --> 06:04.360 align:start and workshops around the world. 06:04.360 --> 06:07.030 align:start Yosvany Terry is an internationally acclaimed 06:07.030 --> 06:09.380 align:start composer, saxophonist, percussionist, bandleader, 06:09.380 --> 06:13.000 align:start educator, and cultural bearer of the Afro-Cuban tradition. 06:13.000 --> 06:16.410 align:start In Cuba he studied at the prestigious National School 06:16.410 --> 06:18.480 align:start of the Arts in Havana, and the [Foreign Language Spoken]. 06:18.480 --> 06:22.100 align:start He has performed with major figures in every realm 06:22.100 --> 06:26.740 align:start of Cuban music, including celebrated [foreign language 06:26.740 --> 06:30.070 align:start spoken], pianist [Foreign Language Spoken], 06:30.070 --> 06:34.690 align:start and [Foreign Language Spoken], the band led by his father, 06:34.690 --> 06:36.520 align:start violinist and [inaudible] master [Foreign Language Spoken]. 06:36.520 --> 06:41.890 align:start Since arriving in New York, Terry has collaborated 06:41.890 --> 06:43.760 align:start with many important figures in the jazz 06:43.760 --> 06:45.970 align:start and contemporary music community, 06:45.970 --> 06:49.960 align:start playing along Branford Marsalis, Rufus Reed, Dave Douglas, 06:49.960 --> 06:53.310 align:start Steve Coleman, Roy Hargrove, and many others. 06:53.310 --> 06:56.910 align:start In 2015, Terry was named a recipient 06:56.910 --> 06:59.890 align:start of the prestigious Doris Duke Artist Award and was hired 06:59.890 --> 07:03.310 align:start by Harvard University as Director of Jazz Ensembles 07:03.310 --> 07:05.400 align:start and Senior Lecturer of Music. 07:05.400 --> 07:07.290 align:start He has received recent commissions 07:07.290 --> 07:11.100 align:start from the San Francisco Yerba Buena Garden Festival, 07:11.100 --> 07:13.780 align:start the French American Jazz Exchange with support 07:13.780 --> 07:15.410 align:start from the Mid-Atlantic Arts Foundation 07:15.410 --> 07:18.160 align:start and the Doris Duke Charitable Foundation. 07:18.160 --> 07:22.240 align:start His album, "New Throned King", which features music based 07:22.240 --> 07:25.130 align:start on cantos and rhythms of the Arara people 07:25.130 --> 07:28.260 align:start of the western Cuban province of Mantanzas, was nominated 07:28.260 --> 07:31.380 align:start for a 2014 Grammy Award. 07:31.380 --> 07:36.250 align:start His previous album from 2012, "Today's Opinion", was selected 07:36.250 --> 07:38.490 align:start as one of the top ten albums of the year 07:38.490 --> 07:40.110 align:start by the "New York Times". 07:40.110 --> 07:45.060 align:start And last, but not least, is my colleague, Eva Reyes Cisnero, 07:45.060 --> 07:47.910 align:start who is here, and you don't know that she's also a musician. 07:47.910 --> 07:50.960 align:start Maybe you do, but maybe you don't. 07:50.960 --> 07:52.470 align:start Eva is my dear friend, colleague, 07:52.470 --> 07:56.670 align:start and partner in organizing this [inaudible] for you all. 07:56.670 --> 07:59.080 align:start She was born in Cuba, and, like our guests, 07:59.080 --> 08:00.690 align:start is a classically trained musician. 08:00.690 --> 08:02.590 align:start She studied guitar performance 08:02.590 --> 08:06.060 align:start at the [Foreign Language Spoken], and musicology 08:06.060 --> 08:07.480 align:start at the [Foreign Language Spoken] in Havana. 08:07.480 --> 08:12.100 align:start In the U.S. she received a bachelor's in Guitar Performance 08:12.100 --> 08:14.160 align:start from Florida International University, 08:14.160 --> 08:16.460 align:start and she did her graduate work in Latin American 08:16.460 --> 08:19.310 align:start and Caribbean Studies with a certificate in Cuban 08:19.310 --> 08:21.720 align:start and Cuban-American Studies. 08:21.720 --> 08:24.600 align:start Prior to coming to D.C., she worked at the University 08:24.600 --> 08:27.730 align:start of Miami Libraries and the Florida International 08:27.730 --> 08:29.550 align:start University Library. 08:29.550 --> 08:33.140 align:start Today she's a librarian in the [inaudible] section 08:33.140 --> 08:36.450 align:start of the Africa, Latin American, and Western European Division 08:36.450 --> 08:37.750 align:start of the Library of Congress. 08:37.750 --> 08:41.230 align:start Eva will lead this first part of the conversation 08:41.230 --> 08:43.050 align:start with some questions for our guests. 08:43.050 --> 08:44.350 align:start Then we're going to open the floor 08:44.350 --> 08:46.720 align:start for your questions to them. 08:46.720 --> 08:50.090 align:start And maybe we'll get to listen to something, I don't know. 08:50.090 --> 08:51.390 align:start We'll see. 08:51.390 --> 08:53.510 align:start So join me in welcoming our guests to the library. 08:53.510 --> 08:59.600 align:start [ Applause ] 08:59.600 --> 09:01.870 align:start >> Eva Reyes Cisnero: Thank you, everyone, for being here today. 09:01.870 --> 09:03.520 align:start And thank you, the three of you. 09:03.520 --> 09:04.820 align:start Oh, it's not on? 09:04.820 --> 09:06.120 align:start >> Adonis Gonzalez: It's not on. 09:06.120 --> 09:09.410 align:start >> Eva Reyes Cisnero: Can you hear me now? 09:09.410 --> 09:11.800 align:start [ Inaudible ] 09:11.800 --> 09:13.680 align:start Let me say that again. 09:13.680 --> 09:14.980 align:start Hello, everyone. 09:14.980 --> 09:16.280 align:start Good afternoon. 09:16.280 --> 09:17.580 align:start Thank you so much for being here today. 09:17.580 --> 09:21.410 align:start And thank you to our guests for coming. 09:21.410 --> 09:22.710 align:start It's a pleasure. 09:22.710 --> 09:28.210 align:start This is a long time friendship like a family, extended family, 09:28.210 --> 09:29.980 align:start more than three decades of studying together, 09:29.980 --> 09:33.180 align:start and going to school together, growing together. 09:33.180 --> 09:36.390 align:start So I have a few questions for them 09:36.390 --> 09:39.560 align:start to allow you to know them better. 09:39.560 --> 09:43.200 align:start And I'm going to start, using Yosvany first. 09:43.200 --> 09:46.680 align:start Yosvany, in a video about your visit to Cuba 09:46.680 --> 09:50.510 align:start with the Harvard Jazz Ensemble, we hear your mom, 09:50.510 --> 09:55.080 align:start who wasn't there before, saying that when you were little, 09:55.080 --> 09:59.510 align:start she wanted you to be a doctor because you were so serious. 09:59.510 --> 10:02.340 align:start [ Laughter ] 10:02.340 --> 10:05.330 align:start Instead you chose to be a musician like your father. 10:05.330 --> 10:08.150 align:start The same is true for your brother, Yunior, 10:08.150 --> 10:10.700 align:start also for the three of you. 10:10.700 --> 10:12.630 align:start To me the association of being serious 10:12.630 --> 10:15.370 align:start with medicine is very interesting since your training, 10:15.370 --> 10:17.910 align:start and this is true, is a leading testament 10:17.910 --> 10:20.940 align:start that studying music is a serious business. 10:20.940 --> 10:23.450 align:start Can you talk a bit about your schooling in Cuba 10:23.450 --> 10:25.190 align:start and how did it prepare you 10:25.190 --> 10:28.230 align:start for continuing your musical education in the U.S. 10:28.230 --> 10:30.640 align:start and succeed professionally as musicians, 10:30.640 --> 10:33.130 align:start composers, and also, educators? 10:33.130 --> 10:35.340 align:start I'm passing the microphone to you. 10:35.340 --> 10:36.640 align:start >> Adonis Gonzalez: That microphone. 10:36.640 --> 10:38.740 align:start Who wants to start? 10:38.740 --> 10:44.570 align:start >> Eva Reyes Cisnero: Who going to start? 10:44.570 --> 10:47.270 align:start >> Yosvany Terry: Well, music is serious, as we all know. 10:47.270 --> 10:54.180 align:start And it's such a rigorous discipline, I would say. 10:54.180 --> 11:00.320 align:start But I believe from my mother, since my father was a founder 11:00.320 --> 11:02.370 align:start of [Foreign Language Spoken], which is one 11:02.370 --> 11:06.520 align:start of the more important [inaudible] orchestras 11:06.520 --> 11:14.140 align:start in the interior, and she saw how much sacrifice he put 11:14.140 --> 11:18.010 align:start in behind his craft with the orchestra. 11:18.010 --> 11:22.720 align:start And besides that since she was a nurse, you know, specializing 11:22.720 --> 11:28.620 align:start in pediatrics, she has different ambitions for us. 11:28.620 --> 11:32.360 align:start But unpredictably we all decided for music. 11:32.360 --> 11:35.090 align:start You know, music played such an important role 11:35.090 --> 11:36.670 align:start in the house growing up. 11:36.670 --> 11:41.610 align:start And also it was one of the biggest sources of experience 11:41.610 --> 11:44.610 align:start because every time when my father would play in town 11:44.610 --> 11:50.180 align:start and we will go to his performances, that was clearly, 11:50.180 --> 11:52.100 align:start that's what we wanted to be. 11:52.100 --> 11:56.830 align:start So but my father was really adamant in instilling 11:56.830 --> 12:03.070 align:start in us the disciplines and the rigorous work 12:03.070 --> 12:04.370 align:start that was behind music. 12:04.370 --> 12:08.400 align:start And that's why at the beginning it was opposed for us 12:08.400 --> 12:11.720 align:start to be [inaudible] but then after we showed that we were serious 12:11.720 --> 12:14.800 align:start about it then that was the end of playing 12:14.800 --> 12:17.430 align:start with friends on the weekend. 12:17.430 --> 12:23.460 align:start So, yes, you know, because of that incredible role model 12:23.460 --> 12:25.310 align:start that we have at home, we had at home, 12:25.310 --> 12:32.910 align:start we went through the conservatory system [inaudible] right before. 12:32.910 --> 12:39.850 align:start And, yes, for me, it's like music is an art in general. 12:39.850 --> 12:43.370 align:start It's a serious [inaudible] discipline as we know. 12:43.370 --> 12:47.460 align:start And the time, the dedication, the discipline 12:47.460 --> 12:53.170 align:start that goes behind the incredible work that most people don't see 12:53.170 --> 12:55.780 align:start when they see you performing on stage. 12:55.780 --> 13:01.110 align:start It's a testament of like how hard musicians have to work 13:01.110 --> 13:05.650 align:start to polish and develop their craft. 13:05.650 --> 13:11.760 align:start So just because of that I would say and because 13:11.760 --> 13:15.020 align:start of the [inaudible] work that we put behind all the time, 13:15.020 --> 13:18.820 align:start we have been able to keep growing. 13:18.820 --> 13:20.780 align:start And this is something that doesn't finish. 13:20.780 --> 13:23.400 align:start It's like we still today, we're just working as hard 13:23.400 --> 13:26.220 align:start as we were working before in order to keep growing 13:26.220 --> 13:29.730 align:start and to keep doing different things. 13:29.730 --> 13:34.030 align:start And I think it's this hard work also that help us 13:34.030 --> 13:39.200 align:start to join a bigger community which is a community of New York, 13:39.200 --> 13:48.220 align:start and the community of where we live now also has I would say 13:48.220 --> 13:58.620 align:start allowed us to join the big educator community 13:58.620 --> 14:01.850 align:start which is something that we believe before leaving Cuba, 14:01.850 --> 14:04.550 align:start and even the time we were living in Cuba. 14:04.550 --> 14:08.540 align:start So I hope this answer the question. 14:08.540 --> 14:09.910 align:start I don't know if I, it was a long question. 14:09.910 --> 14:11.210 align:start >> Eva Reyes Cisnero: Yeah. 14:11.210 --> 14:12.510 align:start [ Laughter ] 14:12.510 --> 14:14.820 align:start Yeah. Let me give a chance to Adonis as well. 14:14.820 --> 14:17.590 align:start And talk - sorry -- if you can comment a little bit more 14:17.590 --> 14:20.660 align:start about the school of art system [inaudible]. 14:20.660 --> 14:21.960 align:start >> Adonis Gonzalez: Absolutely. 14:21.960 --> 14:26.850 align:start The music education in Cuba is very well organized 14:26.850 --> 14:31.320 align:start that you have to study certain instruments at a certain age. 14:31.320 --> 14:37.080 align:start So I wanted to play the piano but he didn't know [inaudible]. 14:37.080 --> 14:40.630 align:start And because piano and violin you start earlier 14:40.630 --> 14:44.490 align:start than other instruments like from the third grade on. 14:44.490 --> 14:46.390 align:start When all my courses were [inaudible] I finally had 14:46.390 --> 14:47.690 align:start to put some hours. 14:47.690 --> 14:49.090 align:start And my mom was very strict about that 14:49.090 --> 14:51.600 align:start and I'm very grateful because of that. 14:51.600 --> 14:55.860 align:start But that discipline, you know, carry on all through your life 14:55.860 --> 14:58.930 align:start and that's, just expanding on what he was saying, 14:58.930 --> 15:01.760 align:start that has helped me, has helped me to keep growing 15:01.760 --> 15:05.060 align:start as I became a professional, so to speak. 15:05.060 --> 15:08.960 align:start But I also wanted to say there is a similarity 15:08.960 --> 15:11.860 align:start between being a doctor and a musician 15:11.860 --> 15:15.080 align:start because I know the doctor had to constantly be updating 15:15.080 --> 15:16.680 align:start so we have to do exactly the same. 15:16.680 --> 15:19.280 align:start This never ends like Yosvany said. 15:19.280 --> 15:20.590 align:start But it's a great thing, 15:20.590 --> 15:27.790 align:start especially when you played a long [inaudible] ready to teach, 15:27.790 --> 15:30.380 align:start you are teaching but at the same time you are learning so it's 15:30.380 --> 15:33.960 align:start so enriching for our lives 15:33.960 --> 15:35.370 align:start as a [inaudible] musician [inaudible]. 15:35.370 --> 15:38.540 align:start >> Eva Reyes Cisnero: What about you, Yunior. 15:38.540 --> 15:39.840 align:start I have a microphone here. 15:39.840 --> 15:41.140 align:start >> Yunior Terry: Oh. 15:41.140 --> 15:42.440 align:start Okay. 15:42.440 --> 15:43.740 align:start >> Eva Reyes Cisnero: You can use this one. 15:43.740 --> 15:45.040 align:start >> Yunior Terry: I'll go stereo. 15:45.040 --> 15:46.340 align:start [Laughs]. Hello, everyone. 15:46.340 --> 15:49.560 align:start I just want to add a little bit what they said. 15:49.560 --> 15:52.320 align:start Yes, we have the, in Cuba, the system, 15:52.320 --> 15:55.930 align:start it's like a conservator based on the Russian standards. 15:55.930 --> 16:00.540 align:start So like at a certain age, what Adonis said, violin, piano, 16:00.540 --> 16:04.020 align:start cello, dancers like ballet dancers, 16:04.020 --> 16:05.750 align:start start at seven years old. 16:05.750 --> 16:10.200 align:start So all the instrument like the saxophone, percussion, 16:10.200 --> 16:11.500 align:start start when you're like ten, 16:11.500 --> 16:16.950 align:start eleven when you're already in fifth grade. 16:16.950 --> 16:20.360 align:start So for us, we have to make a decision really quick. 16:20.360 --> 16:24.690 align:start Actually I didn't, I knew from the start I was going to be a, 16:24.690 --> 16:27.030 align:start that I wanted to be a musician and a violinist 16:27.030 --> 16:28.370 align:start because my father plays a violin. 16:28.370 --> 16:32.650 align:start And that was real important for us growing 16:32.650 --> 16:38.530 align:start up that we already knew so how, like I already, 16:38.530 --> 16:41.180 align:start my mom has like a story of me already saving soap 16:41.180 --> 16:43.560 align:start to go it's a boarding school. 16:43.560 --> 16:45.040 align:start So you have to be in the boarding school 16:45.040 --> 16:47.360 align:start so I was saving soap when I was five years old. 16:47.360 --> 16:48.660 align:start This is coming for when I go. 16:48.660 --> 16:49.960 align:start [ Laugher ] 16:49.960 --> 16:51.260 align:start At the boarding school. 16:51.260 --> 16:55.410 align:start And all the other kids I remember, she always said 16:55.410 --> 16:57.210 align:start that all the other kids were like crying 16:57.210 --> 17:00.500 align:start or their parents were crying because imagine taking your kid 17:00.500 --> 17:01.800 align:start at seven years old to a school 17:01.800 --> 17:03.930 align:start and only see him in the weekends. 17:03.930 --> 17:07.390 align:start From Sundays to Friday and on Friday you come back home 17:07.390 --> 17:09.250 align:start and you go back again on Sunday night. 17:09.250 --> 17:12.030 align:start So a lot of moms kind of like in the middle 17:12.030 --> 17:14.740 align:start of the week they would cry and bring sandwiches 17:14.740 --> 17:16.310 align:start and I said to her, "Don't come. 17:16.310 --> 17:18.050 align:start I'm good here." 17:18.050 --> 17:20.090 align:start [ Laughter ] 17:20.090 --> 17:23.010 align:start "I'm enjoying it here." 17:23.010 --> 17:29.830 align:start But, yeah, so based in that system we had our first teacher 17:29.830 --> 17:31.130 align:start was Russian. 17:31.130 --> 17:32.430 align:start I don't know for you guys? 17:32.430 --> 17:33.840 align:start My first teacher was a Russian, [Foreign Language Spoken]. 17:33.840 --> 17:40.020 align:start And I just remember that we couldn't understand a word he 17:40.020 --> 17:43.000 align:start said and we had a translator. 17:43.000 --> 17:49.130 align:start And all of us came out of the room crying 17:49.130 --> 17:50.770 align:start because [inaudible] brought napkins 17:50.770 --> 17:52.200 align:start for us like, "Oh, you going? 17:52.200 --> 17:53.500 align:start Okay. Can you not [inaudible]?" 17:53.500 --> 17:58.820 align:start He couldn't talk but he wanted to say so much, you know, 17:58.820 --> 18:04.550 align:start and be so specific about it to [inaudible] 18:04.550 --> 18:07.550 align:start that at certain times it was too much 18:07.550 --> 18:09.070 align:start and he was kind of [inaudible]. 18:09.070 --> 18:15.870 align:start But he was really, he provided a really strong foundation 18:15.870 --> 18:19.270 align:start for all of us. 18:19.270 --> 18:22.160 align:start Since we grew up in Cuba, you know, a lot the books, 18:22.160 --> 18:26.670 align:start a lot of the information was, you know, Russian information 18:26.670 --> 18:31.900 align:start and the way of approaching the music was from Russia, 18:31.900 --> 18:34.310 align:start either directly from Russia or some of the professors 18:34.310 --> 18:35.610 align:start that went on study [inaudible]. 18:35.610 --> 18:39.250 align:start That was like one thing you look forward to, 18:39.250 --> 18:45.620 align:start to like be really good to get a scholarship to study in Moscow. 18:45.620 --> 18:46.990 align:start So that was something to look forward 18:46.990 --> 18:48.360 align:start at that time [inaudible]. 18:48.360 --> 18:52.770 align:start So based on that I just wanted to add a little bit 18:52.770 --> 18:56.320 align:start about the education because that's something 18:56.320 --> 18:59.250 align:start that maybe wasn't clear because here it's completely different. 18:59.250 --> 19:01.770 align:start I've been here in the system here. 19:01.770 --> 19:04.980 align:start I did my bachelor in California. 19:04.980 --> 19:10.480 align:start And when I came in, the levels are completely different here, 19:10.480 --> 19:12.540 align:start the levels of knowledge [inaudible] 19:12.540 --> 19:13.840 align:start completely different. 19:13.840 --> 19:16.340 align:start In Cuba you sort of, you can track like everybody sort 19:16.340 --> 19:19.540 align:start of at the same level because studied like the same roots and, 19:19.540 --> 19:22.790 align:start you know, here you maybe have like a private teacher 19:22.790 --> 19:29.940 align:start until when you get to school you have, you arrive 19:29.940 --> 19:31.240 align:start and maybe you [inaudible]. 19:31.240 --> 19:34.480 align:start It's completely different way of studying here. 19:34.480 --> 19:35.900 align:start I don't know where I'm going. 19:35.900 --> 19:38.310 align:start I could say many things. 19:38.310 --> 19:40.070 align:start >> Adonis Gonzalez: But, yeah. 19:40.070 --> 19:43.680 align:start I also wanted to add that for me has been like a full circle 19:43.680 --> 19:47.030 align:start because of what you said about the Russian teachers. 19:47.030 --> 19:49.070 align:start My theory teachers and my [inaudible] teachers 19:49.070 --> 19:50.370 align:start from early on were Russians. 19:50.370 --> 19:55.680 align:start And I didn't understand them, but I make fun of the accent. 19:55.680 --> 20:00.810 align:start So now I'm on the other side. 20:00.810 --> 20:04.780 align:start They say [inaudible] the accent is so different [inaudible]. 20:04.780 --> 20:06.080 align:start >> Yunior Terry: Yeah. 20:06.080 --> 20:07.380 align:start It's like -- . 20:07.380 --> 20:08.680 align:start >> Eva Reyes Cisnero: That is great 20:08.680 --> 20:09.980 align:start that you bring those stories right now 20:09.980 --> 20:11.280 align:start because part of that I forgot. 20:11.280 --> 20:14.970 align:start [Laughs]. It's also [inaudible] to mention that in the school 20:14.970 --> 20:18.110 align:start of art, that system, that is a boarding school, 20:18.110 --> 20:23.160 align:start is not only the music students living in, it's all dancers, 20:23.160 --> 20:26.880 align:start classical ballet students, the fine arts. 20:26.880 --> 20:28.180 align:start >> Yunior Terry: Painters, too. 20:28.180 --> 20:29.480 align:start >> Eva Reyes Cisnero: Later on the actors 20:29.480 --> 20:31.360 align:start and actresses join the school. 20:31.360 --> 20:34.310 align:start So you can, basically you build a family that's going 20:34.310 --> 20:35.610 align:start to continue with you. 20:35.610 --> 20:37.350 align:start It's not just like, you can track the students, 20:37.350 --> 20:40.000 align:start but every one at that year are going to be playing something, 20:40.000 --> 20:43.100 align:start at the same level, but it's also you can track the group 20:43.100 --> 20:44.400 align:start of the family. 20:44.400 --> 20:45.990 align:start You go back three decades so. 20:45.990 --> 20:47.970 align:start [Inaudible] we played together since second grade 20:47.970 --> 20:49.290 align:start so it's very interesting. 20:49.290 --> 20:51.590 align:start And finishing with that, let me just move on to something 20:51.590 --> 20:53.690 align:start that is very important because that is what you're doing 20:53.690 --> 20:54.990 align:start right now. 20:54.990 --> 20:57.550 align:start And there is a long tradition with musical exchange 20:57.550 --> 20:59.580 align:start between Cuba and the United States. 20:59.580 --> 21:06.430 align:start Starting in the nineteenth century with, for example, 21:06.430 --> 21:08.360 align:start the [inaudible], even through the frequency 21:08.360 --> 21:11.060 align:start of the social exchange it was many times dictated 21:11.060 --> 21:13.740 align:start for a long time, especially in the twentieth century, 21:13.740 --> 21:15.650 align:start I have been dictated by the political climate 21:15.650 --> 21:17.560 align:start between the two countries. 21:17.560 --> 21:20.970 align:start During your years as musicians in Cuba, 21:20.970 --> 21:24.860 align:start could you mention any musician from the United States 21:24.860 --> 21:29.210 align:start that inspire you, that you were looking forward to playing with, 21:29.210 --> 21:33.070 align:start that you were trying to copy in the style of the performance, 21:33.070 --> 21:35.180 align:start that you were I imagine at a certain point 21:35.180 --> 21:38.320 align:start that you would come to the U.S. and study here 21:38.320 --> 21:41.150 align:start because you were listening to them in Cuba and there was kind 21:41.150 --> 21:42.450 align:start of like a goal to go to -- . 21:42.450 --> 21:43.750 align:start >> Yunior Terry: Mm-hmm. 21:43.750 --> 21:45.100 align:start Mm-hmm. 21:45.100 --> 21:46.400 align:start >> Yosvany Terry: Yes. 21:46.400 --> 21:48.970 align:start Well, the saxophone is different than piano and violin 21:48.970 --> 21:52.710 align:start because it's like the saxophone school was developed in France 21:52.710 --> 21:54.660 align:start so all of the saxophone teacher, 21:54.660 --> 21:57.390 align:start at least that's the information that they had. 21:57.390 --> 22:00.380 align:start There was a strong French school. 22:00.380 --> 22:05.790 align:start But looking up to American artists, yes, something happened 22:05.790 --> 22:09.680 align:start to me at the age of thirteen, 22:09.680 --> 22:12.040 align:start fourteen years old I discovered jazz. 22:12.040 --> 22:18.190 align:start And jazz became for me an obsession. 22:18.190 --> 22:21.050 align:start It was an obsession but at the same time I loved classical 22:21.050 --> 22:26.510 align:start music for sure so you have to really work harder 22:26.510 --> 22:28.380 align:start in order to practice both. 22:28.380 --> 22:31.090 align:start But, yes, some of the biggest inspiration for me 22:31.090 --> 22:33.990 align:start from the U.S. came from the jazz [inaudible], 22:33.990 --> 22:38.530 align:start looking up to Miles Davis, to John Coltrane, 22:38.530 --> 22:42.060 align:start to Charlie Parker, Thelonious Monk, Bud Powell, 22:42.060 --> 22:46.280 align:start Sonny Rollins, Clifford Brown. 22:46.280 --> 22:49.160 align:start I mean the list is on and on 22:49.160 --> 22:55.820 align:start which is basically they biggest contributors 22:55.820 --> 22:57.190 align:start to these musical traditions. 22:57.190 --> 23:02.380 align:start So, yes, I remember growing up and finding what jazz was about 23:02.380 --> 23:05.120 align:start and then finding great stations and then -- . 23:05.120 --> 23:08.740 align:start There were two radio stations that broadcast jazz in Cuba 23:08.740 --> 23:14.840 align:start so that became, we knew exactly when the jazz shows started. 23:14.840 --> 23:21.970 align:start So they had a really white programming I would say, 23:21.970 --> 23:25.550 align:start going from the 40's all the way 23:25.550 --> 23:30.120 align:start to the most contemporary art parts of jazz, 23:30.120 --> 23:33.400 align:start including Ornette Coleman, and everything that was happening 23:33.400 --> 23:36.020 align:start with what then was called new music. 23:36.020 --> 23:41.830 align:start So that's in my imagination, you know, the biggest influence 23:41.830 --> 23:45.400 align:start that I would say from jazz from the same time I, 23:45.400 --> 23:48.970 align:start so that I noticed that there was always a collaboration 23:48.970 --> 23:55.350 align:start between Cuban and American artists, not only going back 23:55.350 --> 23:58.640 align:start to [foreign language spoken] which was like the, you know, 23:58.640 --> 23:59.940 align:start the great [foreign language spoken]. 23:59.940 --> 24:06.880 align:start They were the architects of what is called African [inaudible] 24:06.880 --> 24:10.090 align:start but also even going back in history, you know, 24:10.090 --> 24:14.090 align:start when the word [inaudible] between bands from Cuba 24:14.090 --> 24:16.140 align:start that would interpret [inaudible], 24:16.140 --> 24:20.550 align:start that would visit New Orleans, would visit Mexico and Haiti. 24:20.550 --> 24:23.190 align:start And there was a lot of exchange in the Caribbean. 24:23.190 --> 24:29.360 align:start So it's always been a great exchange between Cuba 24:29.360 --> 24:31.500 align:start and the U.S. and the central Caribbean. 24:31.500 --> 24:37.970 align:start You want to say something? 24:37.970 --> 24:40.230 align:start >> Adonis Gonzalez: Honestly, because of the times 24:40.230 --> 24:43.160 align:start when I was student, we didn't have that much exchange 24:43.160 --> 24:45.690 align:start of American classical musicians coming to Cuba. 24:45.690 --> 24:49.750 align:start So for me it wasn't an inspiration at that time. 24:49.750 --> 24:53.610 align:start I did have the opportunity to see many American artists 24:53.610 --> 24:55.520 align:start at the jazz festival in Cuba. 24:55.520 --> 24:56.900 align:start Dizzy Gillespie, I remember 24:56.900 --> 24:59.740 align:start when I saw Carmen McRae it was really -- . 24:59.740 --> 25:01.040 align:start >> Yosvany Terry: Max Roach. 25:01.040 --> 25:03.270 align:start >> Adonis Gonzalez: Oh, yes. 25:03.270 --> 25:07.530 align:start But unfortunately not even the recordings 25:07.530 --> 25:13.340 align:start of the first biggest stars of the American pianist tradition 25:13.340 --> 25:18.240 align:start like Van Cliburn, [Inaudible], we didn't get any of that. 25:18.240 --> 25:23.140 align:start We got a whole bunch of Russian recordings [inaudible]. 25:23.140 --> 25:26.880 align:start But I do want to mention that before that happened, 25:26.880 --> 25:30.140 align:start a century before that, there was [inaudible] 25:30.140 --> 25:31.750 align:start and we was constantly [inaudible]. 25:31.750 --> 25:33.370 align:start It was like his backyard. 25:33.370 --> 25:36.260 align:start Because when there he toured the whole island 25:36.260 --> 25:41.660 align:start and I did the research on him and [inaudible] for piano. 25:41.660 --> 25:44.120 align:start And I considered him, even though he was born 25:44.120 --> 25:48.400 align:start in the United States, the first Afro-Cuban musician. 25:48.400 --> 25:51.680 align:start He wrote more, probably almost more Cuban dances than any 25:51.680 --> 25:52.980 align:start of the other composers. 25:52.980 --> 25:56.210 align:start He was especially supported music from the Caribbean. 25:56.210 --> 25:59.790 align:start They called that kind of music Caribbean freedoms. 25:59.790 --> 26:02.970 align:start His symphony, one his symphony [inaudible] is called 26:02.970 --> 26:04.540 align:start "A Night in the Tropics". 26:04.540 --> 26:06.150 align:start He goes at first to [inaudible] to bring a group 26:06.150 --> 26:11.330 align:start of Black musicians playing their drums, amazing classical music 26:11.330 --> 26:12.630 align:start that had not been done. 26:12.630 --> 26:20.240 align:start The popular music of Cuba was the influenced 26:20.240 --> 26:23.420 align:start by the country dance and for the European dances. 26:23.420 --> 26:25.590 align:start But it has its place. 26:25.590 --> 26:28.550 align:start It was at the ballroom, but not in the concert hall. 26:28.550 --> 26:32.760 align:start So the first one that dared to do that was him 26:32.760 --> 26:37.620 align:start and [inaudible] what we call today crossover. 26:37.620 --> 26:43.220 align:start But that exchange of culture and traditions between the Americans 26:43.220 --> 26:46.600 align:start and the Cubans goes a long time, 26:46.600 --> 26:52.040 align:start even before the jazz is started doing the same thing. 26:52.040 --> 26:53.900 align:start >> Yunior Terry: No, I just, yeah, I would just want 26:53.900 --> 26:56.690 align:start to add a little bit of what you were saying. 26:56.690 --> 26:58.540 align:start [Inaudible] was really ahead of his time 26:58.540 --> 27:01.610 align:start because he was really traveling, and picking up information 27:01.610 --> 27:03.040 align:start and tradition from different places, 27:03.040 --> 27:05.430 align:start and including it in his music. 27:05.430 --> 27:10.090 align:start And even the titles [inaudible] so it's 27:10.090 --> 27:17.620 align:start like a real important composer and actually influence 27:17.620 --> 27:21.730 align:start at the time what was [inaudible] influenced like [inaudible]. 27:21.730 --> 27:24.340 align:start He met at the time [inaudible]. 27:24.340 --> 27:25.750 align:start But he influence, he was, 27:25.750 --> 27:30.260 align:start he had like a this [inaudible] he was just compiling 27:30.260 --> 27:33.090 align:start and then was able to put it in his music 27:33.090 --> 27:36.000 align:start so he was really ahead of his time. 27:36.000 --> 27:38.510 align:start So let's just keep it as a [inaudible]. 27:38.510 --> 27:42.050 align:start [ Laughter ] 27:42.050 --> 27:43.350 align:start >> Adonis Gonzalez: [Inaudible] the culture. 27:43.350 --> 27:44.650 align:start >> Yunior Terry: Yeah. 27:44.650 --> 27:45.950 align:start Yeah. Yeah. 27:45.950 --> 27:47.250 align:start >> Adonis Gonzalez: Even the [inaudible] 27:47.250 --> 27:51.870 align:start which is a very specific things [inaudible] not many know he 27:51.870 --> 27:55.510 align:start wrote one of the biggest fantasies for piano based 27:55.510 --> 27:56.810 align:start on the greatness of that. 27:56.810 --> 27:58.110 align:start >> Yunior Terry: And brought musicians to Havana 27:58.110 --> 28:02.530 align:start from Santiago and made one of the biggest concert, 28:02.530 --> 28:05.300 align:start he put one of the biggest concert at the time 28:05.300 --> 28:06.600 align:start with [inaudible] musicians. 28:06.600 --> 28:09.890 align:start So it never happened before. 28:09.890 --> 28:13.370 align:start I would say that I came, I'm younger than him. 28:13.370 --> 28:14.670 align:start We're brothers. 28:14.670 --> 28:18.000 align:start So he was already listening to jazz and he got me into it. 28:18.000 --> 28:22.500 align:start I was first started with the violin and after that switched 28:22.500 --> 28:25.080 align:start to bass because somehow he was playing the piano. 28:25.080 --> 28:26.610 align:start He was like, "Oh, can you find the notes on the bass?" 28:26.610 --> 28:29.050 align:start And so how little by little I started. 28:29.050 --> 28:31.490 align:start And after that went to school and really studied. 28:31.490 --> 28:35.110 align:start But there were some recordings of artists that we grew 28:35.110 --> 28:39.010 align:start up listening to like Coltrane, as he was saying, 28:39.010 --> 28:43.620 align:start but also some more contemporary like Branford Marsalis, 28:43.620 --> 28:48.420 align:start Jeff "Tains" Watts, Charlie Hayden that we got, 28:48.420 --> 28:50.030 align:start that we've been here and since we've been here, 28:50.030 --> 28:52.070 align:start we've been able to work with them. 28:52.070 --> 28:57.750 align:start And that's been really an experience for us and an honor, 28:57.750 --> 29:00.770 align:start actually, to being able to be friends with them 29:00.770 --> 29:02.400 align:start and actually to work with them. 29:02.400 --> 29:05.120 align:start I was able to study with Charlie Hayden, as I said earlier, 29:05.120 --> 29:07.960 align:start which I listened to when I was a kid. 29:07.960 --> 29:09.590 align:start I just never imagined my life 29:09.590 --> 29:12.360 align:start that I would be able to study with him. 29:12.360 --> 29:15.120 align:start And with Jeff "Tain" Watts, one of the living legends, 29:15.120 --> 29:19.570 align:start drummers these days, that I never imagined to be working 29:19.570 --> 29:23.780 align:start with him and to be, you know, to call my friend, you know, 29:23.780 --> 29:25.990 align:start that's just been really an amazing experience for us. 29:25.990 --> 29:30.290 align:start And it's something that we both always keep -- . 29:30.290 --> 29:33.580 align:start One time I was in a tour with Tain. 29:33.580 --> 29:35.020 align:start That's an interesting story. 29:35.020 --> 29:38.570 align:start One time I was in a tour with Tain and we went in Europe. 29:38.570 --> 29:43.770 align:start And I felt, when I started working with him, 29:43.770 --> 29:45.410 align:start we had a couple of drinks at the time. 29:45.410 --> 29:48.190 align:start And I asked him, "Why did you call me?" 29:48.190 --> 29:51.840 align:start Because there's a lot of other bassists, young bassists, 29:51.840 --> 29:55.760 align:start anybody from here that already grew up playing jazz. 29:55.760 --> 29:58.360 align:start And he said, "Because you have something different. 29:58.360 --> 30:00.470 align:start You have something interesting that is different. 30:00.470 --> 30:02.540 align:start You have another way of looking at it." 30:02.540 --> 30:07.010 align:start And that broke open the gate for me to be even more wild. 30:07.010 --> 30:08.590 align:start [ Laughter ] 30:08.590 --> 30:12.260 align:start Now I knew he was really interested 30:12.260 --> 30:16.100 align:start of me not really imitating while they're recording 30:16.100 --> 30:18.380 align:start that I have to play. 30:18.380 --> 30:20.560 align:start I could be more myself. 30:20.560 --> 30:24.890 align:start And that was something, that was some kind of illumination for me 30:24.890 --> 30:30.070 align:start to appreciate and to believe in my knowledge 30:30.070 --> 30:32.860 align:start and my roots even more because I know that's something 30:32.860 --> 30:35.780 align:start that he's interested about and that's the same thing 30:35.780 --> 30:37.080 align:start that I'm interested about him. 30:37.080 --> 30:38.380 align:start He's interested to learn from me. 30:38.380 --> 30:39.680 align:start I'm interested to learn from him. 30:39.680 --> 30:42.010 align:start And that's how we both keep growing, right. 30:42.010 --> 30:45.250 align:start So that was an experience. 30:45.250 --> 30:46.550 align:start >> Eva Reyes Cisnero: Great. 30:46.550 --> 30:48.720 align:start Thank you. 30:48.720 --> 30:52.360 align:start Talking a lot about Cuban music and the influence 30:52.360 --> 30:56.730 align:start of the American music in Cuba, vice versa. 30:56.730 --> 31:00.120 align:start I would like to for maybe people that are not so familiar 31:00.120 --> 31:05.160 align:start with the Cuban music roots, if you could explain, 31:05.160 --> 31:09.040 align:start if you're going to dissect the Cuban musical landscape, 31:09.040 --> 31:10.950 align:start what is it made out of? 31:10.950 --> 31:12.770 align:start What the foundation of that? 31:12.770 --> 31:14.180 align:start What we call Cuban music, 31:14.180 --> 31:15.690 align:start for some people it could be a stereotype 31:15.690 --> 31:18.010 align:start of the conga line, or Carmen Miranda. 31:18.010 --> 31:19.310 align:start >> Yunior Terry: Ricky Ricardo. 31:19.310 --> 31:20.610 align:start >> Eva Reyes Cisnero: Ricky Ricardo. 31:20.610 --> 31:21.910 align:start [ Laughter ] 31:21.910 --> 31:23.540 align:start Exactly. But that the Cuban music is a lot 31:23.540 --> 31:24.840 align:start of different things. 31:24.840 --> 31:26.530 align:start And what are the roots of that music? 31:26.530 --> 31:29.370 align:start What is the musical landscapes made of ? 31:29.370 --> 31:30.850 align:start If you could dissect that? 31:30.850 --> 31:32.150 align:start >> Adonis Gonzalez: Do you want to start? 31:32.150 --> 31:33.450 align:start >> Yosvany Terry: Do you want to -- ? 31:33.450 --> 31:34.750 align:start You can start. 31:34.750 --> 31:36.050 align:start [ Laughter ] 31:36.050 --> 31:37.350 align:start I guess I'll say something, yeah. 31:37.350 --> 31:38.650 align:start >> Yunior Terry: Go ahead. 31:38.650 --> 31:39.950 align:start >> Yosvany Terry: Go ahead. 31:39.950 --> 31:42.130 align:start >> Adonis Gonzalez: Well, obviously it started 31:42.130 --> 31:44.190 align:start with the mixing of the European traditions 31:44.190 --> 31:47.090 align:start and African traditions, but not only for the sense 31:47.090 --> 31:49.820 align:start of what happened in Cuba, but the sense that what happened 31:49.820 --> 31:53.470 align:start in the Caribbean in general. 31:53.470 --> 31:55.050 align:start So what we call the [foreign language spoken] is something 31:55.050 --> 31:56.850 align:start that sounds very Haitian to me. 31:56.850 --> 32:00.950 align:start Sounds like from Haiti. 32:00.950 --> 32:02.250 align:start >> Yosvany Terry: Mm-hmm. 32:02.250 --> 32:05.330 align:start >> Adonis Gonzalez: And just before [inaudible] our musical 32:05.330 --> 32:07.570 align:start roots is like a rainbow. 32:07.570 --> 32:09.530 align:start We have French influence. 32:09.530 --> 32:11.450 align:start We have Chinese influence. 32:11.450 --> 32:15.430 align:start It's not only the Spanish and the African traditions. 32:15.430 --> 32:19.560 align:start There is English even because the [inaudible] 32:19.560 --> 32:25.180 align:start at one point became for us the first national kind of dance 32:25.180 --> 32:27.450 align:start that we're calling the [foreign language spoken] came 32:27.450 --> 32:30.230 align:start from the country dance that was something that was danced 32:30.230 --> 32:36.020 align:start in England and then it went to France, changed name 32:36.020 --> 32:38.340 align:start to [foreign language spoken] like the games. 32:38.340 --> 32:41.260 align:start Once was country but it got lost in translation. 32:41.260 --> 32:43.510 align:start [ Laughter ] 32:43.510 --> 32:47.050 align:start And then I guess in Cuba got again the translation got 32:47.050 --> 32:48.350 align:start to [inaudible]. 32:48.350 --> 32:51.290 align:start So we say we feel so many things. 32:51.290 --> 32:53.510 align:start But I will Yosvany expand that. 32:53.510 --> 32:58.170 align:start [ Inaudible ] 32:58.170 --> 33:02.370 align:start >> Yunior Terry: Responding all that is all that plus a lot 33:02.370 --> 33:05.040 align:start of different tradition from West Africa. 33:05.040 --> 33:09.790 align:start It's not just anywhere in Africa. 33:09.790 --> 33:14.760 align:start We're talking about West Africa. 33:14.760 --> 33:17.120 align:start We're talking about [inaudible] tradition. 33:17.120 --> 33:18.420 align:start We're talking about [inaudible]. 33:18.420 --> 33:25.030 align:start We're talking about tradition that came also from the Congo. 33:25.030 --> 33:30.950 align:start So it's a vast area that accounts for a lot 33:30.950 --> 33:35.360 align:start of different traditions and how all those traditions, 33:35.360 --> 33:39.500 align:start at one time they have to coincide in one place in Cuba 33:39.500 --> 33:43.620 align:start and kind of melt because there's a lot of things that in Cuba 33:43.620 --> 33:45.190 align:start and you see that in Africa. 33:45.190 --> 33:47.450 align:start They are separate, you know, if you are from [inaudible], 33:47.450 --> 33:49.480 align:start you just practice, you know, [inaudible]. 33:49.480 --> 33:53.580 align:start You are from [inaudible] you practice just one [inaudible] 33:53.580 --> 33:56.900 align:start in Cuba. 33:56.900 --> 34:01.510 align:start They all have to coexist in one place and they have 34:01.510 --> 34:07.610 align:start to bring all the traditions together and, you know, 34:07.610 --> 34:15.470 align:start sort of form this big palate of freedoms, and knowledge, 34:15.470 --> 34:20.820 align:start and traditions that's what we have in our music. 34:20.820 --> 34:23.620 align:start >> Yosvany Terry: And also I will add 34:23.620 --> 34:26.370 align:start because most have been said, 34:26.370 --> 34:28.830 align:start that [inaudible] Cuba is an island. 34:28.830 --> 34:32.670 align:start It's a big island so sometimes you could be traveling 34:32.670 --> 34:38.460 align:start from the most western side of Cuba to the most eastern side 34:38.460 --> 34:40.880 align:start and there [inaudible] that these people didn't know 34:40.880 --> 34:46.630 align:start from are practiced in the other side of the island. 34:46.630 --> 34:48.330 align:start There's a lot of musical traditions, I mean [inaudible] 34:48.330 --> 34:51.240 align:start that are different than the one practiced 34:51.240 --> 34:53.990 align:start in my province [inaudible] that has nothing to do 34:53.990 --> 34:57.820 align:start with what's practiced in Matanzas and then [inaudible]. 34:57.820 --> 35:03.500 align:start But different set of drums played in different places, 35:03.500 --> 35:04.800 align:start different [inaudible]. 35:04.800 --> 35:08.270 align:start Even from Spain they're like influences from different side 35:08.270 --> 35:10.090 align:start of Spain in difference parts of [inaudible]. 35:10.090 --> 35:16.180 align:start Like Eva said, we cannot just say Spain, 35:16.180 --> 35:21.740 align:start but we have to open it to a lot of different countries, 35:21.740 --> 35:24.020 align:start even from the northern, 35:24.020 --> 35:28.020 align:start from Morocco there were influences in Cuba, too. 35:28.020 --> 35:34.090 align:start So it's like a huge, huge hybrid that somewhere, 35:34.090 --> 35:40.750 align:start somehow found way to create an identity 35:40.750 --> 35:44.920 align:start that at the same time defines Cuba music. 35:44.920 --> 35:46.520 align:start For us, even for us it's really hard 35:46.520 --> 35:49.320 align:start to define what Cuban music is. 35:49.320 --> 35:51.930 align:start But and also at the same time happens something 35:51.930 --> 35:53.710 align:start which is really interesting and it's 35:53.710 --> 35:57.770 align:start like the Caribbean being one of the centers in which a lot 35:57.770 --> 36:01.170 align:start of places, a lot of countries from the world came. 36:01.170 --> 36:08.150 align:start Turned the Caribbean into like something, for me, 36:08.150 --> 36:12.090 align:start [inaudible] at some point became like the center of the universe. 36:12.090 --> 36:16.660 align:start And it was interesting when [inaudible] I will explain why. 36:16.660 --> 36:23.410 align:start There was an exhibition in New York four years ago 36:23.410 --> 36:25.760 align:start that was about Caribbean art. 36:25.760 --> 36:28.260 align:start And this exhibition that was 36:28.260 --> 36:31.140 align:start like in different museums across New York. 36:31.140 --> 36:37.580 align:start And the studio museum in [inaudible], in the museum 36:37.580 --> 36:40.610 align:start in [inaudible], and there was another museum in Queens 36:40.610 --> 36:43.240 align:start and I'm forgetting the name. 36:43.240 --> 36:46.300 align:start You could go to the museum and they, 36:46.300 --> 36:48.890 align:start the curator of the exhibition were really smart 36:48.890 --> 36:57.180 align:start because they selected pieces from artists from the 1700's, 36:57.180 --> 37:00.900 align:start 1800's, 1900's, up to the present. 37:00.900 --> 37:04.580 align:start So when you would visit that exhibition it was really hard 37:04.580 --> 37:08.940 align:start to define or to accept that this is a Caribbean artist. 37:08.940 --> 37:11.520 align:start It looks like it could be a French artist. 37:11.520 --> 37:15.880 align:start It looks like it could be a Velasco, it could be a Rubens. 37:15.880 --> 37:19.090 align:start It could be any artist. 37:19.090 --> 37:22.670 align:start So after visit that exhibition for me it was a big revelation 37:22.670 --> 37:27.130 align:start because even though we were born in places 37:27.130 --> 37:32.730 align:start that you can [inaudible] history by just seeing a building 37:32.730 --> 37:36.960 align:start that was built in the 1600's, but at the same time, 37:36.960 --> 37:41.260 align:start you really understand the centrality of this geography 37:41.260 --> 37:42.820 align:start for the culture of the world. 37:42.820 --> 37:46.560 align:start And you really understand how hard it is 37:46.560 --> 37:51.910 align:start to define what the Caribbean is, what Cuban is because, I mean, 37:51.910 --> 37:53.210 align:start the concept of the art, 37:53.210 --> 37:57.400 align:start the concept of the music defies any given concept 37:57.400 --> 38:00.020 align:start that you could have of the geography. 38:00.020 --> 38:05.270 align:start So it can bring an artist from the 1700's, 38:05.270 --> 38:08.360 align:start it's could be a European artist, could be a Chinese art. 38:08.360 --> 38:10.860 align:start It could be an artist from anywhere in the world. 38:10.860 --> 38:14.570 align:start So as you can see that nowadays, you can either see 38:14.570 --> 38:15.870 align:start that through the music, you can see 38:15.870 --> 38:19.440 align:start that through the visual arts, through the films. 38:19.440 --> 38:24.010 align:start You can see through, I mean, most of the art forms. 38:24.010 --> 38:25.310 align:start [ Inaudible ] 38:25.310 --> 38:28.240 align:start >> Adonis Gonzalez: I just want to add so when we talk 38:28.240 --> 38:33.550 align:start about Cuban music especially now, there is mixture of purity 38:33.550 --> 38:37.080 align:start and impurity in terms of African music. 38:37.080 --> 38:38.380 align:start In many other countries 38:38.380 --> 38:40.170 align:start where the slaves were brought [inaudible] us 38:40.170 --> 38:42.700 align:start on how they managed 38:42.700 --> 38:49.620 align:start to be disguised especially the religious traditions 38:49.620 --> 38:51.860 align:start because they were allowed 38:51.860 --> 38:58.140 align:start to [inaudible] do what they celebrated in Africa 38:58.140 --> 39:01.410 align:start but using the saints that the Europeans wanted them 39:01.410 --> 39:04.650 align:start to worship. 39:04.650 --> 39:08.640 align:start Those [inaudible] with a great sense of purity. 39:08.640 --> 39:10.520 align:start You can go to all the islands 39:10.520 --> 39:15.160 align:start and you see there is still a sense of Africa, 39:15.160 --> 39:17.870 align:start of African traditions [inaudible] so pure. 39:17.870 --> 39:22.490 align:start But I say purity and impurity because what Terry said 39:22.490 --> 39:25.460 align:start that it got mixed with that music 39:25.460 --> 39:27.940 align:start from so many places and it got mixed. 39:27.940 --> 39:31.490 align:start So it's hard to find something purely 39:31.490 --> 39:35.410 align:start from the Congo or from Nigeria. 39:35.410 --> 39:36.750 align:start It's all mixed. 39:36.750 --> 39:40.500 align:start But not, when you listen to any music now, 39:40.500 --> 39:44.520 align:start whether it's a jazz number, or something for the masses, 39:44.520 --> 39:46.700 align:start something like to dance in a party, 39:46.700 --> 39:48.420 align:start there will always be a section 39:48.420 --> 39:51.810 align:start that is totally Afroid [inaudible]. 39:51.810 --> 39:58.030 align:start And if it doesn't have that, something is lacking in the mix. 39:58.030 --> 40:00.430 align:start So I just wanted to add that part. 40:00.430 --> 40:01.820 align:start >> Eva Reyes Gonzalez: thank you. 40:01.820 --> 40:04.110 align:start Before we go on to the next questions 40:04.110 --> 40:06.820 align:start and turn the microphone to the audience, 40:06.820 --> 40:10.740 align:start I would like to ask you, make a comment first 40:10.740 --> 40:13.460 align:start and then the question will come up from there. 40:13.460 --> 40:16.960 align:start About art as an instrument of transformation 40:16.960 --> 40:20.150 align:start because I think the three of you believe on that. 40:20.150 --> 40:23.380 align:start The power of the music as a instrument of transformation 40:23.380 --> 40:26.810 align:start on so many different levels and the power of the music 40:26.810 --> 40:30.610 align:start that goes beyond walls and different barriers. 40:30.610 --> 40:35.050 align:start So if you can expand in that sense and [inaudible] 40:35.050 --> 40:42.250 align:start and a cultural ambassador because I will say that. 40:42.250 --> 40:47.320 align:start How do you manifest that, how you work on that? 40:47.320 --> 40:50.150 align:start >> Yosvany Terry: Well, this is something with, 40:50.150 --> 40:54.130 align:start that is really relevant and important to artists in general 40:54.130 --> 40:57.810 align:start and especially given the nature of music, 40:57.810 --> 41:00.690 align:start and even when you go back to the first musicians, 41:00.690 --> 41:06.630 align:start you can see how [inaudible], how important was [inaudible] 41:06.630 --> 41:12.000 align:start and also was because of work opportunities they have 41:12.000 --> 41:13.750 align:start to be moving in between countries, 41:13.750 --> 41:16.830 align:start they have to start traveling [inaudible] 41:16.830 --> 41:18.860 align:start different geographies. 41:18.860 --> 41:24.060 align:start When they have to learn how to communicate in different parts 41:24.060 --> 41:25.600 align:start of the world where they are. 41:25.600 --> 41:28.400 align:start You can go back to Mozart, so once he go to Italy, 41:28.400 --> 41:30.070 align:start he learns the Italian opera. 41:30.070 --> 41:34.770 align:start He needs to learn how to write that opera in the Italian style. 41:34.770 --> 41:38.710 align:start But then he goes to France, he learned how to treat it 41:38.710 --> 41:41.500 align:start as a French, and as German. 41:41.500 --> 41:45.670 align:start But also you can see it here in cases like Duke Ellington 41:45.670 --> 41:50.150 align:start and Louis Armstrong who were ambassadors of, 41:50.150 --> 41:52.930 align:start you know, jazz in the world. 41:52.930 --> 41:57.140 align:start So I think that was really important for me growing up. 41:57.140 --> 42:00.050 align:start It was the teaching of my own father, being a musician, 42:00.050 --> 42:03.590 align:start and also having the opportunity, especially the opportunity 42:03.590 --> 42:08.700 align:start to play in places where Cuban didn't even have political 42:08.700 --> 42:10.890 align:start relationship with those country at the time. 42:10.890 --> 42:15.900 align:start And music was the way in which Cuba established relationship 42:15.900 --> 42:17.200 align:start with those country. 42:17.200 --> 42:21.950 align:start So he instilled in us, again, at very early age, the importance 42:21.950 --> 42:26.190 align:start to understand art and music as an ambassador and also 42:26.190 --> 42:36.230 align:start to understand the mission that we have as an artist to erase 42:36.230 --> 42:39.690 align:start and also, not only erase barriers and barriers 42:39.690 --> 42:44.780 align:start that can make us, can create differences, 42:44.780 --> 42:49.370 align:start but at the same time to see ourselves as someone 42:49.370 --> 42:52.020 align:start that is unmuzzled, that has to reestablish connections, 42:52.020 --> 42:55.050 align:start that has to really foster relationship that's, 42:55.050 --> 42:57.610 align:start we need to foster collaboration. 42:57.610 --> 43:01.830 align:start So it's with that idea that and that, you know, 43:01.830 --> 43:06.920 align:start we grew up in my house because it was practice from my father 43:06.920 --> 43:10.250 align:start and actually the house. 43:10.250 --> 43:11.550 align:start >> Yunior Terry: Mm-hmm. 43:11.550 --> 43:12.850 align:start >> Adonis Gonzalez: I haven't had the fortunate 43:12.850 --> 43:17.680 align:start to enter students to Cuba, but that's something that will be 43:17.680 --> 43:20.970 align:start so [inaudible] for them to see, 43:20.970 --> 43:23.630 align:start and to [inaudible] I don't see any reason why should 43:23.630 --> 43:25.560 align:start that barrier be there. 43:25.560 --> 43:28.770 align:start So I'm very, I'm not going to talk a lot about that. 43:28.770 --> 43:32.930 align:start But I'm glad that now there is this legal opportunity 43:32.930 --> 43:35.810 align:start for the exchange between both cultures, 43:35.810 --> 43:38.040 align:start to have them with more freedom. 43:38.040 --> 43:42.060 align:start I just hope that it remains that way for a long time. 43:42.060 --> 43:48.730 align:start It's very, it is very limited for the people to not be able 43:48.730 --> 43:53.070 align:start to share their traditions and empower their roots 43:53.070 --> 43:56.360 align:start by learning what is [inaudible] more similarities 43:56.360 --> 44:01.700 align:start than there are differences so I'm totally for that. 44:01.700 --> 44:03.000 align:start >> Yunior Terry: Yeah. 44:03.000 --> 44:07.140 align:start I want to add that I've been [inaudible] we're brothers, 44:07.140 --> 44:08.440 align:start as Yosvany said. 44:08.440 --> 44:13.960 align:start One of the reason I wanted to take music as a profession 44:13.960 --> 44:17.350 align:start from the beginning was because all the tales of my dad 44:17.350 --> 44:22.290 align:start of traveling and how he saw the world through the music. 44:22.290 --> 44:25.450 align:start He was able to visit many places in Africa, 44:25.450 --> 44:34.360 align:start in the eastern European places, the way he went out before. 44:34.360 --> 44:37.120 align:start And I've been able to see, with the music I've been able 44:37.120 --> 44:39.070 align:start to see a lot of the world, 44:39.070 --> 44:42.100 align:start and I've been able to teach also abroad. 44:42.100 --> 44:47.090 align:start I was teaching in India for six weeks 44:47.090 --> 44:49.250 align:start in a university over there. 44:49.250 --> 44:53.740 align:start And it's really enriching to see how the students over there were 44:53.740 --> 44:56.230 align:start so eager to learn the music. 44:56.230 --> 44:59.690 align:start And at the same time I was learning with them, 44:59.690 --> 45:01.930 align:start trying to learn a little bit of their culture. 45:01.930 --> 45:05.400 align:start And that's information and that's a way 45:05.400 --> 45:07.610 align:start of like really getting to know each other 45:07.610 --> 45:15.740 align:start and what's really important, not just for itself but also 45:15.740 --> 45:18.480 align:start for everyone involved in that change. 45:18.480 --> 45:20.870 align:start I was talking about my culture, 45:20.870 --> 45:23.440 align:start about how who plays certain things because it's related 45:23.440 --> 45:27.590 align:start to certain dynamic in our culture. 45:27.590 --> 45:29.300 align:start And they explaining to me, 45:29.300 --> 45:31.730 align:start [inaudible] to me something similar how, you know, 45:31.730 --> 45:34.560 align:start in the music these had to deal 45:34.560 --> 45:38.660 align:start with this other aspect of the culture. 45:38.660 --> 45:46.760 align:start And also how the music is loved by many people 45:46.760 --> 45:49.660 align:start and like the [inaudible] style, for example, in Africa, 45:49.660 --> 45:51.930 align:start when you go to Africa playing [inaudible], I don't know 45:51.930 --> 45:54.680 align:start if you guys heard of [inaudible] style music with violins, 45:54.680 --> 46:00.060 align:start and piano, flute, and was really prevalent 40's, 46:00.060 --> 46:02.170 align:start 50's, 30's, 40's, 50's. 46:02.170 --> 46:03.890 align:start That's a tradition that it kind 46:03.890 --> 46:06.390 align:start of stay frozen over there in Africa. 46:06.390 --> 46:08.780 align:start You go to Senegal, you go to some of those places 46:08.780 --> 46:12.280 align:start like they revere you playing their music. 46:12.280 --> 46:15.190 align:start The same with when you go to Columbia as well. 46:15.190 --> 46:20.640 align:start I think it brings down the barriers as they said, 46:20.640 --> 46:24.810 align:start brings us closer to each other and it's real important for all 46:24.810 --> 46:29.280 align:start of us to feel that [inaudible], to have that serious. 46:29.280 --> 46:30.580 align:start >> Eva Reyes Gonzalez: Okay. 46:30.580 --> 46:34.810 align:start >> Yosvany Terry: I also wanted to give you an anecdote. 46:34.810 --> 46:37.880 align:start Last year I had an opportunity to take the Harvard Jazz Band 46:37.880 --> 46:42.560 align:start on a trip to Cuba and we stayed there one week. 46:42.560 --> 46:45.160 align:start And during that week I organized all 46:45.160 --> 46:47.220 align:start of the activities for the tour. 46:47.220 --> 46:50.120 align:start We visited three music conservatories 46:50.120 --> 46:51.850 align:start and we [inaudible] them. 46:51.850 --> 46:53.150 align:start They played for us. 46:53.150 --> 46:54.450 align:start We played for them. 46:54.450 --> 46:59.360 align:start I arranged to have one of the important music coach 46:59.360 --> 47:01.090 align:start to work with the band. 47:01.090 --> 47:04.480 align:start I took them mostly to Matanzas to visit even 47:04.480 --> 47:06.980 align:start like [inaudible] museums where they have a lot 47:06.980 --> 47:09.450 align:start of remnants of the slavery. 47:09.450 --> 47:15.850 align:start They saw [inaudible] one of the big authorities in some 47:15.850 --> 47:20.630 align:start of the Africa communities [inaudible]. 47:20.630 --> 47:25.010 align:start And we did a concert with special guests 47:25.010 --> 47:31.160 align:start and professional musicians from Cuba Casa de las Americas. 47:31.160 --> 47:35.540 align:start And the most amazing part of the trip it was at the end, 47:35.540 --> 47:40.390 align:start to see the power of transformation that music 47:40.390 --> 47:43.410 align:start and art has in all the students. 47:43.410 --> 47:47.790 align:start So they went to Cuba, not even 47:47.790 --> 47:49.570 align:start with the concept of what Cuba was. 47:49.570 --> 47:51.630 align:start And I made sure before we went on tour 47:51.630 --> 47:54.030 align:start to bring different professors of the university to lecture them 47:54.030 --> 47:55.780 align:start about where they were going. 47:55.780 --> 47:57.080 align:start They'd talk about politics. 47:57.080 --> 47:58.380 align:start They'd talk about history. 47:58.380 --> 47:59.680 align:start They talked about everything. 47:59.680 --> 48:01.150 align:start But nothing that they, 48:01.150 --> 48:05.630 align:start I mean none of those lectures prepared them to the reality 48:05.630 --> 48:07.850 align:start of being [inaudible] the culture. 48:07.850 --> 48:13.480 align:start And so that was a truly transformative experience 48:13.480 --> 48:14.780 align:start for those students. 48:14.780 --> 48:16.920 align:start I mean they were changed I believe 48:16.920 --> 48:18.450 align:start for the rest of their life. 48:18.450 --> 48:24.580 align:start So, again, this is just like a little anecdote the power 48:24.580 --> 48:27.750 align:start of transformation that music and art have. 48:27.750 --> 48:29.050 align:start Yeah. 48:29.050 --> 48:31.510 align:start >> Eva Reyes Gonzalez: Thank you very much. 48:31.510 --> 48:32.810 align:start Thank you. 48:32.810 --> 48:35.010 align:start So we're going to take [inaudible] someone 48:35.010 --> 48:36.310 align:start from the audience. 48:36.310 --> 48:38.300 align:start Before that, thank you very much. 48:38.300 --> 48:40.100 align:start Please join me to -- . 48:40.100 --> 48:46.580 align:start [ Applause ] 48:46.580 --> 48:49.160 align:start Yes. We'll be able to take some questions. 48:49.160 --> 48:51.400 align:start >> Yes. So my question is [inaudible]. 48:51.400 --> 48:57.090 align:start The first part of the question is I know that like 48:57.090 --> 49:01.530 align:start in Afro-Cuban religions certain rhythms are sacred. 49:01.530 --> 49:06.280 align:start Can you incorporate those sacred rhythms into jazz or something 49:06.280 --> 49:07.580 align:start if you are not a [inaudible]? 49:07.580 --> 49:09.590 align:start And the second part of my question is 49:09.590 --> 49:12.170 align:start in two weeks I'll be in Havana. 49:12.170 --> 49:13.470 align:start I'm very excited. 49:13.470 --> 49:14.770 align:start I've been waiting five years in Miami 49:14.770 --> 49:17.530 align:start and [inaudible] that Havana. 49:17.530 --> 49:22.100 align:start Is there one place that you could recommend that I would go 49:22.100 --> 49:24.510 align:start to hear the best [inaudible] jazz? 49:24.510 --> 49:27.610 align:start [ Inaudible ] 49:27.610 --> 49:29.920 align:start >> Adonis Gonzalez: Okay. 49:29.920 --> 49:33.980 align:start There are many sacred things 49:33.980 --> 49:36.770 align:start about the Afro-Cuban religions but, 49:36.770 --> 49:44.530 align:start not I think the rhythms are used I think what they pray 49:44.530 --> 49:50.550 align:start [inaudible] but the rhythm itself we can't be using 49:50.550 --> 49:54.720 align:start [inaudible] it cannot be used but we don't [inaudible]. 49:54.720 --> 49:57.050 align:start They permeate everything. 49:57.050 --> 49:58.980 align:start Yeah. Mm-hmm. 49:58.980 --> 50:00.280 align:start >> Yosvany Terry: No, no. 50:00.280 --> 50:05.920 align:start It's important to understand that life is not separated 50:05.920 --> 50:09.490 align:start from the daily spirits, meaning 50:09.490 --> 50:13.050 align:start like the practitioners are also the musicians that are part 50:13.050 --> 50:16.080 align:start of the popular band and there also are musicians that went 50:16.080 --> 50:17.840 align:start to the classical music conservatory, 50:17.840 --> 50:21.070 align:start or the composers, or everyone. 50:21.070 --> 50:28.090 align:start So it's impossible that if I'm a practitioner that I'm not going 50:28.090 --> 50:31.240 align:start to use something that for me has a lot of importance. 50:31.240 --> 50:32.960 align:start So like, as just he's commenting, 50:32.960 --> 50:38.280 align:start what Adonis said, you can't use it. 50:38.280 --> 50:41.840 align:start Of course there is that it also happens. 50:41.840 --> 50:44.850 align:start I'm looking in the other side of the spectrum. 50:44.850 --> 50:46.400 align:start Appropriation happen also there. 50:46.400 --> 50:47.700 align:start People that aren't the practitioner 50:47.700 --> 50:51.520 align:start that also use those musical tradition 50:51.520 --> 50:55.130 align:start for different purposes, you know. 50:55.130 --> 51:00.420 align:start But, yeah, there's no I would say limitation, and especially 51:00.420 --> 51:03.290 align:start because when you're, it all depends on the mission 51:03.290 --> 51:09.350 align:start and what the result of what you're using it for. 51:09.350 --> 51:14.600 align:start I could give you an example of there was a CD that I created 51:14.600 --> 51:16.060 align:start that the name is "New Throned King" 51:16.060 --> 51:21.770 align:start in which the entire CD is based on the musical traditions 51:21.770 --> 51:26.800 align:start that came from the [inaudible] which is now in [inaudible]. 51:26.800 --> 51:32.800 align:start Yes, I used everything from the, that I've learned 51:32.800 --> 51:35.360 align:start from this type of, from this culture. 51:35.360 --> 51:39.790 align:start But at the same time, to me it's not a religious record. 51:39.790 --> 51:41.460 align:start It's a cultural record. 51:41.460 --> 51:44.990 align:start So therefore it isn't one that context that we working with all 51:44.990 --> 51:47.700 align:start of this, this is this vast heritage that came 51:47.700 --> 51:51.530 align:start from West Africa, yeah. 51:51.530 --> 51:53.800 align:start >> Yunior Terry: Responding to that, of course, 51:53.800 --> 51:56.130 align:start you could also find some close minded people that might say, 51:56.130 --> 51:57.900 align:start "Oh, you shouldn't really use that." 51:57.900 --> 52:00.100 align:start But your using it out of [inaudible]. 52:00.100 --> 52:02.290 align:start You don't use it at [inaudible], you know, 52:02.290 --> 52:04.650 align:start the religious aspect of it. 52:04.650 --> 52:12.270 align:start So it would definitely have completely different 52:12.270 --> 52:16.550 align:start like if you listen to the recording of [Inaudible] 52:16.550 --> 52:19.900 align:start when he was [inaudible] nobody hardly ever [inaudible] 52:19.900 --> 52:21.200 align:start the society. 52:21.200 --> 52:23.150 align:start But, you know, we're using a [inaudible] 52:23.150 --> 52:28.610 align:start that is complete world now to be able to use [inaudible] 52:28.610 --> 52:30.980 align:start at the time when he was doing it, 52:30.980 --> 52:32.860 align:start it was something completely new. 52:32.860 --> 52:35.270 align:start But he was doing it so out of context, he was doing, 52:35.270 --> 52:37.680 align:start playing with Dizzy, he was at Carnegie Hall, 52:37.680 --> 52:41.010 align:start was a completely different, you know, it's one thing to do, 52:41.010 --> 52:45.410 align:start you know, so it's accepted to use it. 52:45.410 --> 52:47.510 align:start And talking about -- . 52:47.510 --> 53:00.660 align:start [ Inaudible ] 53:00.660 --> 53:08.190 align:start And that would be one of them to go and see live music. 53:08.190 --> 53:11.410 align:start I will say if you're there with somebody [inaudible] experience 53:11.410 --> 53:15.230 align:start on the street that is every, every Sunday 53:15.230 --> 53:16.920 align:start and it's really the neighborhood people, 53:16.920 --> 53:18.740 align:start and the neighborhood playing. 53:18.740 --> 53:22.670 align:start And it's an amazing experience that I will say something not 53:22.670 --> 53:24.510 align:start to miss if you go there. 53:24.510 --> 53:28.740 align:start [ Laughter ] 53:28.740 --> 53:31.510 align:start >> Eva Reyes Gonzalez: Any other question from the audience? 53:31.510 --> 54:03.560 align:start [ Inaudible ] 54:03.560 --> 54:06.650 align:start >> Yunior Terry: I think it's, we talking about two things 54:06.650 --> 54:08.610 align:start that are really interesting because music 54:08.610 --> 54:11.420 align:start at one point here was pop music here. 54:11.420 --> 54:12.720 align:start Jazz was pop. 54:12.720 --> 54:18.950 align:start I always made the comparison like Ella Fitzgerald was 54:18.950 --> 54:23.840 align:start like Beyonce or something at the time. 54:23.840 --> 54:27.910 align:start You know, was [inaudible] was on TV was like really popular. 54:27.910 --> 54:29.260 align:start So -- . 54:29.260 --> 54:30.560 align:start >> Nat King Cole. 54:30.560 --> 54:31.860 align:start >> Yunior Terry: Nat King Cole. 54:31.860 --> 54:33.160 align:start Nat King Cole. 54:33.160 --> 54:34.460 align:start One of them two was 54:34.460 --> 54:35.760 align:start on television all the time performing 54:35.760 --> 54:37.060 align:start and influenced many people. 54:37.060 --> 54:38.420 align:start We don't have that anymore here. 54:38.420 --> 54:40.270 align:start It's different. 54:40.270 --> 54:42.690 align:start For a certain degree it's harder to see. 54:42.690 --> 54:43.990 align:start It's a little more expensive 54:43.990 --> 54:47.180 align:start for the younger [inaudible] to have access to it. 54:47.180 --> 54:53.380 align:start I think that that makes it a little more far to, 54:53.380 --> 54:58.830 align:start a little sad, for to find a way for them to have a opportunity 54:58.830 --> 55:01.590 align:start for they don't see it closely every day. 55:01.590 --> 55:07.230 align:start We can talk about many other things. 55:07.230 --> 55:14.020 align:start I could say Cuba jazz still is like anything. 55:14.020 --> 55:17.410 align:start Now we're [inaudible] we've been here for a few years now. 55:17.410 --> 55:22.290 align:start There's a generation of people now that it's more 55:22.290 --> 55:25.900 align:start into like whatever is really popular right now there's people 55:25.900 --> 55:27.750 align:start doing reggae tune that for me it's 55:27.750 --> 55:34.980 align:start like completely different music and maybe I'm not 55:34.980 --> 55:36.280 align:start into it at the moment. 55:36.280 --> 55:37.580 align:start But maybe. 55:37.580 --> 55:38.880 align:start [Inaudible]. 55:38.880 --> 55:41.180 align:start That's what popular over there. 55:41.180 --> 55:43.820 align:start There's so more people doing it because it's maybe catchy 55:43.820 --> 55:47.620 align:start because a sort of somehow people make money quick. 55:47.620 --> 55:49.760 align:start I remember we had the time when we were over there. 55:49.760 --> 55:52.630 align:start We were listening to more jazz because there was groups 55:52.630 --> 55:54.190 align:start that were included in their music 55:54.190 --> 55:55.640 align:start and it was more prominent like [inaudible]. 55:55.640 --> 56:00.410 align:start There were more groups that were really like the top group 56:00.410 --> 56:03.290 align:start at the time that were infusing it more. 56:03.290 --> 56:07.640 align:start So we grew up in a generation in Cuba that had more jazz. 56:07.640 --> 56:09.230 align:start We're like every day seeing it. 56:09.230 --> 56:12.330 align:start And maybe they, like I said, the kids now, they see it less 56:12.330 --> 56:16.120 align:start because some of the [inaudible] hit the country so strongly 56:16.120 --> 56:18.910 align:start that they just wanted whatever is popular at the moment. 56:18.910 --> 56:20.450 align:start They still, but still if you go there, 56:20.450 --> 56:23.570 align:start there's some amazing players over there, young players. 56:23.570 --> 56:24.880 align:start I don't think it's died off. 56:24.880 --> 56:26.180 align:start I think -- . 56:26.180 --> 56:27.480 align:start >> Eva Reyes Gonzalez: Different times. 56:27.480 --> 56:28.990 align:start >> Yunior Terry: Different, just different. 56:28.990 --> 56:30.590 align:start But it's a lot of the great players. 56:30.590 --> 56:33.940 align:start When you go over there, Jazz Festival is in sometime 56:33.940 --> 56:36.590 align:start in December, sometime in January. 56:36.590 --> 56:38.190 align:start [Inaudible] a lot of music and a lot 56:38.190 --> 56:40.760 align:start of great players you get to see. 56:40.760 --> 56:42.060 align:start >> Yosvany Terry: There's a question. 56:42.060 --> 56:44.550 align:start >> I have so many questions for you but I'd dearly love 56:44.550 --> 56:46.410 align:start to hear what you're talking about. 56:46.410 --> 56:48.590 align:start So if you could play something -- . 56:48.590 --> 56:50.390 align:start >> Yosvany Terry: Right here. 56:50.390 --> 57:00.380 align:start [ Inaudible ] 57:00.380 --> 57:02.010 align:start >> Adonis Gonzalez: We're trying to figure out what. 57:02.010 --> 57:04.510 align:start [ Laughter ] 57:04.510 --> 57:07.510 align:start [ Inaudible ] 57:07.510 --> 57:14.510 align:start [ Applause ] 57:14.510 --> 57:20.740 align:start [ Inaudible ] 57:20.740 --> 57:22.220 align:start >> Yosvany Terry: It was too early to bring to wake 57:22.220 --> 57:26.510 align:start up the saxophone and the bass. 57:26.510 --> 57:29.030 align:start [ Music ] 57:29.030 --> 57:31.780 align:start So instead I brought the [inaudible]. 57:31.780 --> 57:34.650 align:start >> Eva Reyes Gonzalez: Yosvany, could you tell us 57:34.650 --> 57:37.980 align:start about the [inaudible] quickly? 57:37.980 --> 57:39.280 align:start >> Yosvany Terry: Yeah. 57:39.280 --> 57:41.630 align:start Yeah. This instrument is named [inaudible]. 57:41.630 --> 57:47.450 align:start And the tradition that my father learned it from is come 57:47.450 --> 57:50.880 align:start from the [inaudible] from Nigeria. 57:50.880 --> 57:56.170 align:start He learned with his uncle 57:56.170 --> 58:00.830 align:start but then he developed his own technique. 58:00.830 --> 58:07.130 align:start And he's now considered like the king of this instrument in Cuba. 58:07.130 --> 58:14.190 align:start He's even, he had even traveled back to Nigeria and went 58:14.190 --> 58:17.020 align:start to different [inaudible]. 58:17.020 --> 58:18.320 align:start And, yeah, [inaudible]. 58:18.320 --> 58:25.370 align:start And it's just a gourd that is pressed with a net of beads 58:25.370 --> 58:31.100 align:start and outside this and it make a change depending 58:31.100 --> 58:33.440 align:start on where you get it. 58:33.440 --> 58:40.870 align:start If you, in Africa they sell it dressed with curry shells. 58:40.870 --> 58:47.380 align:start In Cuba it's different [foreign language spoken], a nice red 58:47.380 --> 58:51.250 align:start or black and that's how you use it, that how you dress it. 58:51.250 --> 58:54.990 align:start And now these [inaudible] are using beads, plastic beads, 58:54.990 --> 58:59.140 align:start or even sometimes glass beads. 58:59.140 --> 59:06.620 align:start So, as I said, the gourd grows in many different places. 59:06.620 --> 59:10.130 align:start This gourd is actually from North Carolina or South Carolina 59:10.130 --> 59:13.650 align:start because it grows here in the United States as well. 59:13.650 --> 59:14.950 align:start And [inaudible]. 59:14.950 --> 59:20.060 align:start It's like I can give it to you and [inaudible] it will be hard 59:20.060 --> 59:22.490 align:start to get something out of it. 59:22.490 --> 59:24.510 align:start But, yes, let's listen to it -- . 59:24.510 --> 59:42.510 align:start [ Inaudible ] 59:42.510 --> 59:45.350 align:start [ Laughter ] 59:45.350 --> 59:47.510 align:start It's an improvised concert. 59:47.510 --> 01:00:03.510 align:start [ Inaudible ] 01:00:03.510 --> 01:02:10.510 align:start [ Music ] 01:02:10.510 --> 01:02:26.600 align:start [ Applause ] 01:02:26.600 --> 01:02:30.280 align:start >> This has been a presentation of the Library of Congress. 01:02:30.280 --> 01:02:32.640 align:start Visit us at loc.gov.