In 1985 my friend Jerry had found out about a special artists cultural tour expedition to a jazz fest in Veradero Cuba. In those days people had not yet started traveling to Cuba to study. A few had gone but not many.

 I did not have the money to go and I knew this was what appeared to be a golden lifetime opportunity  so I sold my only form of transportation, my treasured motorcycle to go on the trip. I had enough left over to buy a first generation small high 8 video camcorder as well. There were not small portable home cameras yet so this was going to be another first.

We had to get special permission from the US government. to go. We went through Miami on a small propeller plane with few windows and even less ventilation. There was 7 or 8 of us, all musicians and drummers to some degree or another.

The trip started officially as us going to an international Jazz festival but in the lobby of the hotel the first day we were there sat the legendary inventor and composer of the Mozambique drum and dance craze of the 60’s, Pello El Afrokan. Two of our members (Rob and Bret) spoke enough Spanish to make an introduction.  We all hit it off with him and we made a plan to meet for lessons.

We told him we would like to study with him and in exchange for a VHS machine and a few other items he became our folkloric and cultural ambassador taking us everywhere to meet everyone.

When we first arrived there had been a bad storm and no food other then canned ham and jam was available. However, once the hotel got food we were able to eat well and sneak food out to the Cuban friends who were not eating so well. The food was great in the hotel but hard to find places to eat outside.

Pello would pick us up first thing in the morning and bringing us to meet writers, poets and cultural statemen. We met and played bata with the elders and rumbas at Pello’s apartment with rumba vocalist Carlos Embale. It was a dream come true !

Los Papines members came by with Louis dressed completely in red riding up on  a new red Russian motorcycle. He was completely enamored with one of the female members of our entourage not realizing or caring that she was gay.

Our days were packed with one event after the next. Throw in Cuban rum and cigars and we would be so tired when we got home at night that I remember Jerry and I both falling asleep flat on our faces on our twin beds with our clothes on, only to get up and having to rush out again.

Wherever we went, whoever we met had great curiosity in us. I had worried Cuban people would not like us (Cuban missile crises, our government, etc., etc) but everyone was exceptionally friendly and accepting.

When they asked me what I did and I told them I was conga player and percussionist, they were happily surprised in a positive way. This was very strange to me because when I would tell that to someone in my own country there would be a comment about Ricky Ricardo or something derogatory.

On a bright and hot Saturday morning Pello took us to the Saturday Rumba with the Conjunto Folklorico National de Cuba where he signed Jerry and I up to sit in and play. You wait until your name is called, then you go play.

It was 1985 anI think it safe to say that none of the drummers or audience had ever seen two young white Americans play rumba before. I was 28 at the time. This was no internet and there was not even home video yet.

When they called our names Pello urged us out. I  was put on quinto and Jerry was put on segundo. I was able to hold my own I think but poor Jerry could not get it together. I forgot to thank the drummers so Pello sent me back out to thank everyone which was my first lesson in thanking all the players around you.

Always thank all the players around you!

One magical evening Pello took us to the famous Tropicana night club. I had never and have never had an experience like this before or after. It was one of the most magical nights of my life. When we came in, we were brought to the front of the stage and a table cleared for us almost like we were top mafia guys in the 60’s. Havana Club rum was brought out as well as Cuban cigars. Keep in mind I don’t drink or smoke but I was there and then.

While one of amazing warm up dance bands was playing one of  the most beautiful women I have ever laid eyes on came up and asked me to dance.  She asked me! It was just an amazing experience all the way around. And then the show started. Scantly clad dancers  in very tight and ornate costumes of all denominations started swarming seductively  up and down all the isles, onto the stage and on the walls.  where there was some kind of netting and platforms for them to hang onto or dance on. The sheer number of dancers and lack of clothing was mind boggling.

Everyone at our table and in the place had huge smiles.

At breaktime Estrella Cubano was playing and we went back stage. I was on the corner of the stage and Pello told me to go play. He wanted me to walk out on stage and just take over. I thought he was out of his mind. That was the last thing I wanted to do. So he litteraly shoved me out on stage in front of a packed house. I stumbled forward. As I approached the conguerro (where else could I go?), the drummer smiled and backed away from his drums allowing me access.

I started to play and i am not sure what I played. Anyone who has played in Cuba knows the following. The clave, the underlying principle all else is built on in Cuban music is so strong in Cuba that everything else, the bass, the vocals the horns is just icing on the cake. Everyone has clave. Te music was so intensely pulsating and rhythmic.  So I had this experience where I just floated through it.

If things were not fantastic enough, Pello borught back stage to meet the dancers for the show.

They were very friendly in amazing shape and drop dead beautiful. I fell in love at once. We were also able to film our bata classes and rumbas in the street.

While at the actual Veradero Jazz Fest my friend Rob told me to take my camera and go behind a short man playing timblales with Los Van Van. It turned out to be none other then the legendary and incredible Changuito, who rising to the occasion played a 22 minute timbale solo, possibly one of the longest ever filmed at east in 1985.

To be continued….