Betto
Arcos: Ry, can
you talk about
the project,
about the
recording
process...
Ry
Cooder: To me,
the essence of
the music is the
most important
thing. You can
get notes on
tape, you can
put a microphone
up and somebody
plays and you
can get notes on
tape anywhere in
the world, and
you can bring
musicians here
or go there. But
unless you get
the true
atmosphere...
The essence is
in the
atmosphere, it's
in the place,
and the people
and the place.
Especially in
this room [Egrem
Studios,
Havana.] Because
this room has
seen the
greatest Cuban
musicians,
including
Arsenio
Rodriguez. Since
1940, they've
all played in
this room;
they've lived in
this room. The
piano is the
same piano
Ruben
Gonzalez played
when he recorded
"Guaguanco
a Todos los
Barrios" in
the late 70s.
And if you go
down to the
vault downstairs,
you see the
tapes in the
shelves, it says
"Arsenio
Rodríguez,
1950". All
these guys, Beny
Moré, they've
all been there.
They walked
through, they
had their coffee
and their
cigarettes. So,
what we tried to
do, the
essential point
is, to make you
sense what we
sensed. The
surround sound,
the circle. They
set up in a
circle, they sit
around the bass
player. And
everybody is
gathered there,
focusing into
the middle. And
for me this is
the whole. And I
want to make
sure this record
has that to say.
Otherwise it's
flat,
one-dimensional,
it could have
been in New
York, Canada,
anywhere. This
is what I think
is one of the
great things
about this
record. You put
in on and you
feel that you
can see it. You
can imagine the
space, you can
feel the
interaction.
That's not easy
to do either.
Two mics do it
and then a
couple of close
mics for the
voice and that's
it.
BA: There's
something very
special about
the recording.
At the end of
every tune, you
hear someone
making a
remark...
RC: Yeah, a
comment on
something. And
they went on at
length in their
comments. In
fact, we had to
say to them,
"try not to
talk for just a
little".
And there was
this explosion
of language,
this and that,
you got to
change chords,
play this note,
that's the
wrong,
incorrecto bass
part or
whatever. And
that would go on
for another hour
before you could
get Take 2. So
many of these
aren't Take 2 or
Take 3, they're
Take 1. It's
like 'there it
is'. They do it
and they do it
right.
BA:
Originally, you
were supposed to
be in Havana to
record with
High-life
musicians from
Africa. And Nick
Gold, of World
Circuit, invited
you to come to
Havana to record
with Cuban and
High-Life
musicians. As it
turned out, the
musicians from
Africa did not
get their
visas...
RC: At the
last minute,
they just didn't
show up. By the
time we got down
there ready to
start, Nick Gold
said,
"Well, the
Africans can't
come".
They're lost in
transit, we
don't know where
they are. So we
said, all right,
we'll dig in
here. We'll just
go for it. We'll
make a 'Son'
album. Everybody
is here, they
had found Rubén
González, like
a miracle.
Compay was in
town. And it
just sort of
began to take
shape and within
three days, we
had our room
set. Everybody
was there; they
were happy to be
there. It was
sounding good.
It was just
blessed. You
could've easily
gone down there
and got nothing.
Or just
something
generic, or
whatever. You
know, you worry
sometimes these
people are going
to say,
"Here come
the
carpetbaggers,
let's just give
them what they
want and send
them on their
way." But
in this case,
everybody seemed
to feel that
this was worth
digging down
into. And
they're a bunch
of open-hearted
people. They
share whatever
they have.
BA: Talk
about the energy
that you felt
during the
recording
process. It was
sort of an unusual
experience for
you, in terms of
how musicians
relate to one
another, how
they go about
creating, making
music. How was
it special or
different from
what you've done
in the past?
RC: Well,
different and
the same.
Although I would
say different in
a heightened
way. What I look
forward is the
interaction
between
players. Because
you want to find
where the
psychic level
between the
people is. How
they relate to
each other, how
they think and
talk and work in
the music. So,
when you find
that there's a
group, a group
energy is very
important here.
In any record or
any experience
that you have. I
have had some
experiences. So,
you want to make
sure that
everybody is in
it, in the game,
helping out, so
you can get
where you want
to be. And in
Cuba, this is
what life is for
these people.
They don't do
anything else.
They don't drive
on freeways,
they don't talk
on cellular
phones, or go
rent videos.
They have
nothing else
that occupies
their entire
being. So we
realized right
away, this is
happening here.
This is very
juicy. And they
love the music,
and of course
with total
respect. This is
their life, so
what you get is
everything they
have, really.
There's nothing
more you can ask
for.
BA: How did
you manage to
talk about the
music with the
group?
RC: Musicians
understand each
other through
means other that
speaking. We had
an interpreter.
Oddly enough,
you come up with
words and
pictures that
you both
understand and
so on. For
instance, you
might say,
"What is
this song
about?" And
these songs are
very
complicated,
highly complex,
multi-tiered
songs and you
want to know.
What are we
doing here?
What's the
story? And I
began to realize
the stories of
these songs are
like microcosmic
little epics,
miniature epics.
There was some
disappointment
for me because
these guys speak
almost an
archaic regional
Spanish, very
poetically
inflected. So,
you have a lot
of imagery. The
poor young
interpreter, he
admitted,
"I don't
understand a lot
of what these
guys are
saying."
But it's fun to
try.
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