A Quote by Ned Sublette
In 1942 Cachao wrote a tune for Arcao, 'Rareza de Melitn,' with a memorable catchy tumbao. In 1957 Arcao recorded a reworking of it under the name 'Chanchullo'; and in 1962 Tito Puente reworked that into 'Oye como va,' still with that same groove. In this form, audibly the same, it powered Carlos Santana's multiplatinum 1970 cover version, close to three decades after Cachao first played it.
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Cachao is obviously Cuban. He's known for traditional Cuban music and that's the music that I'm most passionate about. Cachao is one of the greatest innovators and visionaries. At the base of the tree, the roots, there is Cachao. So I was blessed to have had that time to learn from him and to give him an opportunity and a space where he can create. Everybody always wants to play with Cachao, because he's the guy.
I knew a gentleman that I had worked with over the years, who is no longer with us, and was a great influence in my life named Cachao - a Cuban musician, composer, arranger, and creator of the Mambo. The integrity of the journey is what's important - how you conduct yourself in the process. That's what Cachao was always about. He had great integrity, great dignity, was very humble, and dedicated to his art.
Being a New Yorker, I used to dance to Latin music. There was a place called the Palladium on Broadway. And Tito Puente and Tito Rodriguez used to play. So I still have that in my blood.
Washington Attorney General Bob Ferguson says he believes that same ruling that stopped the first version of the ban should still apply to the second version of the ban because it is basically the same ban. It is basically the same policy.
So if we cover [Donald Trump] the same way, let's say "The Kelly File," we cover him the same way we cover Barack Obama, the same amount, the same skeptical eye, he's going to be fine with that.
I grew up in the sixties watching B.B. King and Tito Puente and Miles Davis and Coltrane, everybody, Marvin Gaye, Jimi. And at the same time, with my left eye I was watching Dolores Huerta, Cesar Chavez, Martin Luther King, Malcolm X, Mother Teresa.
I remember the first time I fought somebody with a name and that was Tito Ortiz. I didn't start fighting until like the second round because I was like, 'Oh my God, that's Tito Ortiz. That's Tito Ortiz from TV. Look how big his head is, damn.'
I'm never gonna be a Carlos Santana - an instrumentalist. I just like songs. It's three minutes of something that can be very powerful.
It's funny, you know - time does travel pretty quickly, and I do have good friends, and the further away I go from them in location, it matters that I keep on the same line and the same groove that I had and preserve that groove with people who I see seldom.
The tune 'All My Friends,' we recorded because our friend who wrote the song, Scott Boyer, passed way, and Gregg Allman had passed and he had recorded the song on his first solo record.
I was kind of like the Tito Santana of my era.
Tito Santana was one of the hardest working guys in the business. When Tito used to make that comeback, the people went crazy because he had so much fire. He had so much damn energy. He could just go and go and go.
Jazz flute's funny. And I'm a big Latin music fan, Tito Puente, Tina Cruz, all that stuff.
Hassan and I fed from the same breasts. We took our first steps on the same lawn in the same yard. And, under the same roof, we spoke our first words. Mine was Baba. His was Amir. My name. Looking back on it now, I think the foundation for what happened in the winter of 1975 —and all that followed— was already laid in those first words.
At 14 and 15, I used to listen to Tito Puente, Dave Valentine and everything that was happening with American jazz. I love it.
The nature of the task needs to be renewed so people just don't feel that all the hard work is in the same groove all the time, under the same circumstances and in the same environment.
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