All language subtitles for A.Tuba.to.Cuba.2018.720p.WEB.H264-MEGABOX

WOMAN: Thank you again so much
for coming.

Without further ado,
we're proud to present

the legendary
Presentation Ha|| Jazz Band!

[cheering]

##

[applause]

[cheering]

##

BEN: New Orleans is magical.

lt's mystical.

It has stories.

It has a history.

And part of understanding
our history

is understanding
the elements that formed

who we are as a city
and as a people.

And part of that is
understanding Cuba

and the impact its culture
and its history

has had on our music.

If you're from New Orleans,

there's no question
in your mind

why this is the place
wherejazz was born.

| feel blessed to be
born and raised here.

##

[ship horn blows]

BEN: I got my start playing jazz
in New Orleans brass bands.

My father played tuba
in the Olympia Brass Band

with his very close friend,
Harold Dejean,

who was also my godfather.

##

Morning.

- How you doing?
- All right.

BEN: In New Orleans, the...

the tuba has always been
a part of jazz,

and one of the traditions
I grew up with

was decorating the bell
of your horn

with the name of your band.

It's an evolution
of this tradition

of painting and decorating
the bass drum.

This horn is beautiful.
lt's gorgeous.

You can just see
the years on it.

Can imagine all the notes
that came out of this horn,

all the music.

I can already see the distance
that the words need to be.

Ben Jaffe is
kind of a magical dude.

When you're very young
and hanging out

with people that are very old

and absorbing the stories
and the history,

it's like an extra
generation of information

and of history.

And connection.

To have a connection
with the past,

but moving towards
the future.

It's like a bridge
to another world

##

[cheering]

##

REPORTER: New Orleans people,
of course,

are aware their jazz heritage
is disappearing,

and some are trying
somehow to save

the only art form that is
strictly, entirely American.

One effort to save it
is here at Preservation Hall,

and a young couple named Allan
and Sandra Jaffe started this.

ALLAN: What we're
trying to do here

isjust present the music.

The people are sitting
on wooden benches,

sitting on the floor.

There's no drinks.

Pretty hot in there, too,
in the summer.

People come to hear
just the music.

I think the men
realize this.

And the men play it
the way they want to play it,

and people hear it.

Presentation Hall,

now that's where you'll find
all the greats.

And when l was a teenager,

the ones that's still alive,

that's where
they're playing now.

And that's where all the people
all over the world,

the minute
they hit New Orleans,

first place they want to know,
where the Presentation Hall is.

BEN: My parents arrived
in New Orleans at a...

at a very interesting time
in our history.

You know,
this was Vietnam,

the Cuban Embargo,

and the civil rights movement.

This was a segregated city,
you know.

This was a Jim Crow city.
This was the Jim Crow South.

They were from Philadelphia.

That was kind of
unbelievableto them.

That was something that they saw
in the evening news

and that they read about,
you know.

Suddenly, they found themselves
at the center of this issue,

this thing that was
tearing our country apart.

They discovered this incredible
musical tradition, you know,

performed by these pioneers
of New Orleansjazz.

It was the bridge
that connected everyone,

but it was illegal
for blacks and whites

to socialize openly
in New Orleans.

Somehow Presentation Hall
hovered above that.

And best of my knowledge,
Presentation Hall

was thefirst open venue
in the South.

#Ah, let us make a record #

# Oh, my Lord #

# Let us make a record #

# For my Lord #

# Come on
Let's make a record #

# For my Lord #

# Gonna make a record #

# For my Lord #

# Yes, the Lord #

BEN: My father broke
a lot of color barriers.

If you go back and look

at a lot of early photographs
of when my dad got here,

he was he was the lone white guy
out on the street,

and people respected that,
you know?

People took notice
on both sides.

That's, you know, why
Preservation Hall is here today.

## [serene]

BEN: l was ateenager
when my father passed away.

So many people relied on him
for many different reasons.

Musicians relied on him

to be the captain
and steer the ship,

to see things through.

He left this enormous void
in the community.

When you lose someone
who plays that role,

it can be frightening.

The day he was buried

was one of the few days
I can remember

when the whole city shutdown.

The spectrum of people
whose lives he touched

was inspiring.

It was incredibly emotional
to see so many people

mourning the loss of my father

and celebrating his life.

## [serene]

What my parents created
and my dad carried out

was beautiful.

lt impacted so many people,
an entire community.

lt impacted the entire city.

[clicking]

[clapping continues]

[tapping, clapping continues]

[tapping]

BEN: One of my father's
lifelong dreams

was to goto Cuba.

The roots of our music
are firmly planted in Cuba.

It's what we have in common.

## [piano]

70, 80, 90 years
before the birth of jazz,

Cuban music
was already a part

of what people were listening to
in New Orleans.

## [piano]

Through music,

we'll be able to start
a conversation.

Cuba is one of the links.

It's one of the big questions.

And it's been closed to me
my entire life.

Thistrip to Cuba...

it's a dream my father had,

and now we have the chance
to make it happen.

You know, we're kinda
starting to open

our ties with Cuba again,
as a country.

I can't think of
a better dignitary to send

than the Presentation Hall
'cause it's...

It really is just starting
or picking up a conversation

where it left off.

And lfeel like
the Presentation Hall

is like out spreading the word.

They're like
spreading the gospel.

## [lively]

RONELL: Well, the Cuban bands
that I've seen,

it's something very spiritual
about their music

and their rhythm, in particular.

Man, it's gonna be exciting to
jam with some Cuban musicians.

WALTER: They have
a great spiritual culture

that I'm really looking
to dig into

because we have a spiritual
culture here as well.

BEN: You can hear this
very strong Cuban influence

on the music
that shaped New Orleans.

You know, Father God,
the gates of Cuba

have been closed to American
citizens for so very long,

but now this is an opportunity,
Father God,

to reach out and love.

And let them know,
Father God,

that they, too,
are children of God

just as we are children of God.

Help them to understand,
O Gracious God,

that we do have a connection
through music, Father God.

Music is the thing
that draws all men together,

regardless of race, creed,
or color, O Gracious God.

And we ask, Father God,
that you watch over these men

as they go to Cuba,
Father God.

Let no hurt, harm, or danger
befall them, Father God.

Help them, Father God,

to be able to intermingle
with the people,

and the people welcome and
embrace them, O Gracious God.

We just ask, Father God,
that you allow them

to return home safely from
theirjourney, Father God.

Father, we ask this
in Jesus's name.

Amen, amen, amen.

-Amen!
-All right.

## [conga]

## [Spanish]

BEN: From the moment
we stepped off the plane,

there was something
immediately familiar.

I had a sense of what
it must have been like

for my parents coming
to New Orleans in 1961

for the first time.

GREG: The outreach elements
of this trip,

where our band is interacting
with Cuban musicians,

is essential
not only for the Cubans,

but also for the musicians
in the band.

- Ernan!
- Oh!

We met Ernan in New Orleans.

He was visiting
and came to Presentation Hall.

[Spanish]

BEN: After dad passed away,

l was blessed to have these
father figures in my life.

And Charlie Gabriel
is one of those people.

When you've played so long,
you get that little--

See the little thing there?
Mm-hmm.

You see? See there?

That comes from...
that comes from the hole.

##

Make sure you get them rings
in your fingers, so you...

And then you get accustomed
to it being there, you know?

Yeah, yeah, yeah!
[laughing]

BEN: Charlie reminds me so much
of my dad.

They would have been
about the same age.

##

lthink that's why
I relate to Charlie so much.

CHARLIE: l have never thought of
nothing else but to play music

##

BEN: I heard about this place
just outside of Havana,

this social club,
almost like a shrine tojazz,

where people come every day
to dance and listen to music.

Recorded music is very hard
to come by in Cuba.

People who have
access to music share it

because it's so precious.

It's such a precious commodity.

How many years have you been
here in the Casa De Jazz?

[Spanish]

lt's older than
Presentation Hall.

70 years you've had jazz here.

Jazz. Onlyjazz.

[speaking Spanish]

You have music.

Yeah!

[speaking Spanish]

That's the Olympia Brass Band.
That's my godfather's band.

Right there.

- Charlie!
- Huh?

- Isn't that something?
- Yeah, man, that's wonderful.

- Where did they get this?
- Down the street.

Man, it go to show you.

This is my godfather.

Ooh la la.

The Olympia Brass Band.

- My godfather Harold Dejean.
- Yeah?

Playing saxophone.

And the tuba's his father.

BEN: And my father played tuba.

ln Nuevo Orleans.

Wow, wow, wow.

[Spanish]

All family.

[Spanish]

[laughing]

## ["Tea For Two"]

[laughing]

##

BEN: My parents
paved the road early on

for this journey
to happen today.

They brought New Orleans
beyond New Orleans, you know.

That's an incredible thing.

It brought to prominence
these musicians

that were unknown
to the world at large, you know.

They gained
international acclaim

and were able to experience,

in the twilight years
of their lives,

the recognition
that they always desented.

[applause]

It's important to have an older
generation of culture bearers

to ensure the survival
of a tradition.

They're the ones that pass it
down to the next generation.

Rickie's a great example
of someone

who understands
the importance of his role.

It's a pleasure for me to
hand it down to these students,

just as it was handed down
to me by the older guys.

I learned from older people,

and now I'm the old man
that's teaching younger people.

##

Sit down.

Let's play a little second line.

Okay, let's have a little fun.

##

BEN: Not only are you
responsible

and have an obligation

to pass your knowledge on
to the next generation,

you also have
a responsibility to yourself

to continue your own education.

## [piano]

[Spanish]

Yes.

Yes, yes.

- Right?
- Mm-hmm.

- Hey.
- It's a lot going on.

The mix, the mix. Music.

##

Ah!
[laughing]

Next time | see you,

I will learn it
the way you play it,

and I want to play it
correctly.

[Spanish]

In your music, you play...

##

In New Orleans,
our music...

- Yeah.
- [vocalizing]

Uh-huh.

Same. lt'sthe same.

Oh, wonderful.

[laughing]

## [piano]

BEN: When you meet someone
like Pancho Terry,

you are reminded
of how close

the Cuban musical tradition
is to Africa.

You can physically see Africa

manifest itself in
the instruments and the music,

in the personality of people.

[Spanish]

[laughs]

[rattling]

[singing]

[laughing]

BEN: After being in Havana
for a few days,

this young trombone player,
Yohandri,

started coming by.

We all felt an instant
connection to Yohandri.

He started telling us about
the traditions he grew up with.

[Spanish]

BEN: Spirituality and faith are
embedded in the music of Cuba.

Yohandri said something
very interesting

that we all could relate to.

Music is a way for us
to connect with our past

and to give our ancestors
a voice.

I've been on the stage,

and I felt the presence
of my father, my teachers,

the ones who stood
in those shoes before me.

I've felt them guiding me.

##

BEN: Those moments
when you are connected

in this spiritual way

to your history
and to your past,

are this reminder
of what you will be someday.

##

We celebrate with music.
We mourn with music.

The music of New Orleans is
respected all around the world.

These are some of
my musical heroes:

Paul Barbarin on drums,

my all-time favorite trombonist,
Frog Joseph,

playing trombone there,

the great Willie Humphrey,

and that's my great-uncle,
Lester Santiago, right there.

This is a live recording
of Lester Santiago's funeral,

and honored so much
by so many.

This is a great tribute to him.

##

BEN: "Presentation"
means so much more than

taking a historical item

and putting it on a shelf.

ln Havana,
the leaders of Piquete Tipico,

they make pilgrimages
to the national archives,

and they copy by hand,
note for note,

these old compositions,

and they bring them home
for their band to perform

and their students to learn.

[Spanish]

##

[Spanish]

- Okay.
- Hola.

MARK: How long has the group
been together?

54 years.

- 54 years.
- Yes.

[SPANISH]

MARK: Presentation Hall Band has
been around for over 50 years.

##

##

Bravo.

##

MARK: The spirit of the music
is so similar,

so we werejust ableto
go in there and fall right in,

and they were so welcoming
just like we are in New Orleans.

We welcome people
to come in andjam

and have fun playing music

'cause that's what our music
is all about.

[laughter]

REPORTER: By his own account,

Allan Jaffe istoo young,
too white.

But it was his idea in 1961 to
open up a club in New Orleans.

He called it
"Presentation Hall."

I really thought that
what someone has to do is...

have a place where musicians
could play and people would come

because the music was
strong enough to save itself.

The rest is,
as they say, history,

or in this case,
living history.

Clint embodies all of
what it means to be an artist

in New Orleans.

He's able to take the entire
history of New Orleans music,

and out comes this
incredibly beautiful sound.

## [Chinese]

Oh, just about everything
to New Orleans,

on an artistic level,

it's so inspiring to me.

The soundscapes.

The calliope coming off of the
river this afternoon isjust--

how it interacts with
the fire truck going by,

and the horse and buggies

cutting the rhythm
with their hooves,

that's all music.

[whirring]

[Spanish]

[horn honking]

## [Spanish]

- Hey!
- [horn honks]

[rooster crows]

[horns honking]

BEN: Daily life in Cuba

comes with a tremendous amount
of struggle and obstacles.

In spite of
all of these hardships,

music has brought so much joy
to so many people.

It's a country that
continues to give

this beautiful gift of music,

## [flute]

[Spanish]

##

[laughs]

##

BEN: It was incredible
to see musicians

who had to share instruments
with one another

or had to catch a bus
to another part of the city

so that they could
practice on a piano,

or someone whose family
gives up basic human needs

so that they can
purchase an instrument.

These are incredible
expressions of passion.

And that's a powerful statement.

That's a very powerful
statement.

GREG: All these instruments

are going to
the Amadeo Roldan Middle School

outside of Central Havana,

and we're working with a group
called "Horns to Havana"

that has been doing
instrument drives

for the last,
I think, ten years.

Can you guys get that?

[rhythmic clapping]

Hey!

Hey!

Hey!

Whoo!

BEN: They have such
a deep appreciation

for their percussion tradition,
their dance tradition,

their singing tradition.

lt inspired usto find a way

to introduce this into
our own school system.

[buzzing]

[continues buzzing]

[Spanish]

I've been playing the trumpet
the way I play it all my life.

I've never heard a sound
like that from buzzing.

I want to get that technique
under my belt.

It's really impressive.

We worked for one entire year
to raise the funds

to bring the
Presentation Hall Band to Cuba,

but we've really been
working a lifetime.

On behalf of Preservation Hall,

on behalf of
the city of New Orleans,

we'd love to present you
with these instruments,

and we know that they
will be in good hands.

[Spanish]

BEN: Mark and I went to a school
just like this in New Orleans.

We see ourselves
in each one of them.

Beautiful.

BEN: It's beautiful to see

how, in Cuba,
artists are revered.

Artists are
champions of culture...

##

whether it's a paintbrush
or words on a paper

or a musical instrument
in their hands.

And we have this
responsibility as artists

to make things whole.

## [serene]

[Spanish]

[applause]

##

[applause]

Everybody, get up!

Everybody, get up!

##

I'm happy to be able to see
those sort of people

get to hear
a New Orleans ban loud.

That's the way it should be.

[applause]

BEN: After being in Havana
for a few days,

we could feel
we werejust beginning

to scratch the surface.

[Spanish]

Musicians kept telling us
about this mythical place,

Santiago de Cuba.

Problem is that
Santiago de Cuba

is another country
in the same country.

The kind of musicthey do there
in Santiago de Cuba

is completely different,
but it's amazing.

I love that music.

BEN: The more we heard,
the more we realized

the musical road
was leading us to Santiago.

GREG: 19 hours on a bus,

across a mountain range,
one-lane bridges.

The cholera reports really
has me a little bit nervous.

BEN: It wasn't until
we were in Cuba

that I fully understood
this must have been like

thejourney my parents took
to understand New Orleans.

RONELL: Seems like the closer
we were getting to Santiago,

man, you couldjust feel
something in the air.

BEN: lfeel something
very familiar here.

The presence
of something very old.

WALTER: I'm hearing so much
about the African culture

and knowing that's where
the essence of it is.

I can't wait to go see what's
going on over here in Santiago.

## [guitar]

## [guitar]

## [Spanish]

When we arrived in Santiago,

immediately,
you sense that the conga

was the soul of Santiago.

The conga tradition
is very similar

to our second-line tradition
in New Orleans.

As soon as the conga
comes out,

the whole neighborhood
comes out.

Each neighborhood
has a conga organization.

The most well-known
is San Augustln.

[whistles]

[rattling]

##

## [Spanish]

Whoo!

##

Oh, man, that was beautiful.

This what I come to Cuba for.
Whoo!

##

##

[Spanish]

BEN: Meeting Almenares, for me,
was like meaning Stradivarius.

He's one of the most important
luthiers in Cuba.

[laughing]

[Spanish]

His genius is matched
only by his humility.

You could see he's lived
a difficult,

a very hard,
butjoyful life.

When my parents came
to New Orleans in the 1960s,

they befriended many of these
forgotten, older jazz pioneers

that we're living in poverty.

And like them, you can feel
that same joy Almenares receives

from making music.

lt radiates.

lt inspires.

##

- The greatestjoy in my life...
- Daddy.

is | get to raise my child
in this tradition,

the way I was raised.

It's important to have
the respect for our elders,

and the respect
for our traditions,

and the importance of community.

She'll have those values

no matter what she chooses
to do in life.

She'll carry those with her
everywhere she goes.

It'll be a part of her
the way it's a part of me,

and the way it's been
a part of my father's history.

[Spanish]

## [Spanish]

The rum comes out,
the party starts.

[chuckles]

I mean, rinse and repeat.

##

lfeel like I should've been
training for this better.

lt's unbelievable.

RONELL: I've only seen that in
one other place: New Orleans.

[laughing]

It's hard not to like Ronell,

so he wins people over
everywhere he goes.

Lots of times
at Preservation Hall,

l have to fight for him
amongst many women.

They try to sit on his lap,
and I'll come sit.

But that's when I know
how much he loves me

'cause he'll say,
"You have to ask my wife."

RONELL: Yeah, get permission
from my wife. That's right.

BEN: Ronell and his whole family
are all musicians.

His great-uncle was
Joseph Butler,

who was one of the first
bass players

to play at Preservation Hall.

Ronell and his brother,

they had a band
when he was in high school

called the Coolbone Brass Band

that had a record contract.

And Ronell was 16 years old
and traveling around the world.

Oh, man, this hat.
In New Orleans brass bands,

we have a wonderful tradition
of wearing--

We call them parade caps,
but they're brass band hats.

And the older guys,

they don't do it
as much anymore these days,

but the older
brass band musicians

to have their hats
loaded up with pins all over.

And as you can see
I even started going on top

'cause I'm running
out of space.

Here's a pin. This one's
from somewhere in France.

Barcelona.
The Umbria Festival in Italy.

I definitely gotta
get one from Cuba.

That's gonna set it off.

When the tuba came out,
everybody lit up.

For sure.

##

These little kidsjust tube!

Tubin' the tuba!

##

I wanna try! I wanna try!

[Spanish]

RONELL: Oh, it was so funny.

It was an amazing moment.

##

Big smiles!

[laughter]

##

Their first time ever trying
those instruments:

the tuba, the trombone,
the saxophone.

[laughter]

- Yeah, baby!
- I've seen everything.

RONELL: Then the guys came out
and picked up these drums,

and the next day, you know,
we got a little beat going.

##

Really, it was our American jazz
mixed in with their Cuban style.

##

## [piano]

##

# Keep it, keep it
Keep your #

# Keep your head up high #

##

##

BEN: ln Santiago, we experienced

this whole magical
spectrum of music.

This one gigantic root
has given birth

to all of these musical
traditions and masters.

We learned about
a legendary percussionist,

Tata Guines.

[drumming]

[drumming]

##

He had spent some time
in New York,

performing with Dizzy Gillespie
and so forth,

but he never felt at home
in the US.

and felt sort of this
institutional racism,

and he went back to Cuba.

When Tata died,

he left behind
a musical legacy

that will live on
for generations.

And today his house
is a school,

where people gather
and are taught

this incredible
percussion tradition.

And his grandson is
the director of this place.

[Spanish]

Tata Guines
was a spiritual person.

He was very religious
and devout.

The music and their percussion

was their connection
to a higher being.

And that's how Walter grew up.

My dad, who lived in the house
with me, was a musician.

My mom was a singer,
so! always had music.

| always had music around me
all thetime,

but these Mardi Gras lndians
that lived around the corner,

that had this all this
African rhythm going, man,

all these syncopations.

And I heard the chanting
going on.

[chanting]

Once again,
it was them lndians, you know?

Big Chief Rudy,
Spy Boy Tim.

Yes, indeed.

In the same beautiful
neighborhood

that l was raised in,

we wound up being hit
with a crack epidemic,

and I kinda fell in
that wreck as well,

till I wound up
landing a sentence.

I wound up doing four years.

In that prison gym,
they had a set of drums.

That was the only moment I was
able to escape from prison,

when I got on those drums.

I often laid on my bunk,
looking at the ceiling,

imagining myself
playing on stage.

I got out of prison,
and I kept clean.

Drums pretty much
saved my life, man.

Yeah, drums,
drums saved my life.

[clucking]

[Spanish]

I remember
something like that one

being in my grandmother's house.

I don't--
I'm not sure what it is

#1? [African]

Africa.

Wow.

Thank you for sharing that
with me, bro.

Yeah, brother.

[sobbing]

#1? [African]

The longer we've been here,
and the more people we've met,

it becomes
more apparent to us...

this is African.

[singing continues]

The same Africans that
were sold into slavery.

You know, that's something
that's important.

We have to acknowledge that
this is part of who we are,

and this is part of our history.

There is something beautiful
that emerged from it,

and that beautiful thing
was practiced in New Orleans

for hundreds of years
in Congo Square.

And people of color
were allowed to congregate

and were allowed to practice

religious traditions,
musical traditions

blocksfrom Preservation Hall.

That's the root ofjazz.

New Orleansjazz
is a very special music.

It's the music of the people
of New Orleans.

It was created here
to serve their needs,

their very special needs.

A song that can be played
at church in the morning,

for people to pray to,

it can be used at afuneral
for people to be sad,

or it can be used
coming home from a funeral

for them to rejoice to.

There we go.

We're gonna head to Cienfuegos

and meet up with the rest
of the band for our last show.

Cienfuegos was founded by
families from Louisiana.

I believe they were
from New Orleans.

Yeah, I'm not looking forward
to the ride.

Bus ride might be
a little rough.

- But, um...
- But totally worth it.

## [Spanish]

After the Louisiana Purchase,

people from New Orleans
who were disaffected,

decided to move south,

and they found
this beautiful deepwater bay,

which they named "Cienfuegos."

Cienfuegos was
a stronghold for Fidel.

Bautista's people
shot up the city.

And I remember walking
with my mom, holding her hand

and looking at the bullet holes
at the Terry Theater.

ADOLFO: When I was a kid,

my mother always talked to me
about the Teatro Terry.

She saw Enrico Caruso there
in 1920.

##

## [Enrico Caruso]

ADOLFO: It's all
made out of wood.

When there's a performance
going on,

it's like being
inside of a guitar.

It's like being inside
an actual instrument.

## [Caruso]

ADOLFO: It's got a water feature

that's used
for tuning the theater.

There's a pool
under the stage.

You can fill it or empty it,

depending on the music
that's gonna be played there.

This theater means
a lot to me personally,

and I'm so happy to have been
able to bring Presentation Hall

to play here.

##

- Man!
- Wow!

BEN: When we were in Santiago,
we met some wonderful people

who are presenting
a tradition there,

Tumba Francesa.

And we began to play with them
on the streets.

And it was as if,
from the heavens,

a song came out of our horns.

[applause continues]

## [percussion]

##

## [Spanish]

# Keep your head up high #

# Keep your head up high #

# Keep your head up high #

# Keep your head up high #

[applause]

BEN: They caught a bus
all the way from Santiago

to be here tonight with us.

lt's unbelievable.

We're just separated by
a body of water,

but it's like we've known them
for several lifetimes already,

you know?

But we're all
from the same thing.

We came here
on this musical journey,

and we discovered a piece of us

that's been missing
for over 60 years.

## [saxophone]

REPORTER: Allan Jaffe is the one
who brought the musicians

and the idea of presenting
the music together

in New Orleans
25 years ago.

l was working in a department
store in Philadelphia,

and I thought there had to be a
better life than that somewhere.

| always enjoyed
New Orleansjazz.

I thought the food down there
was something very special.

I thought that any city
that had such good music

and such good food
had to be a good place to live.

##

ALLAN: The music was a lot
harder to find and to listen to

than I imagined.

But eventually,
through a group of people,

we got Preservation Hall
started,

and now | get to hear it
every night.

BEN: It's been
an incredible two weeks.

We've made new friends.
Friends for life.

And we want to say thank you

and show our appreciation
the only way we really know how,

and that's through music.

And we're gonna do it
New Orleans-style.

##

[cheering]

##

[cheering]

[distant singing]

## [clarinet]

BEN: One of the important things
we took away

from our experience in Cuba

was we've decided,
as a band,

to grow with the world
around us,

to grow from
the experiences we have,

to grow from the people
that we meet,

to grow from the knowledge
that we share,

that we give,
and that we receive.

Something I've learned
from Charlie Gabriel

is that musical conversation
cancels out complication.

You really sense that in Cuba

it's important
to engage in a dialogue.

You get more out of life

when, at your core,

you believe in the value
of building bridges.

And it's something
we can all do.

That's it.
That's the last one.

There's an incredible parallel
in these two journeys--

thejourney my parents
took to New Orleans in 1961,

and thejourney the Presentation
Hall Band took to Cuba.

My dad would be
very proud of us today.

## [clarinet]

##

# Come with me #

# To New Orleans #

#I show you a great time #

#All your dreams
will come true #

# A-with me #

# By your side, so #

# Come with me #

# To New Orleans #

# What a city you will see #

#All your dreams
will come true #

# In New Orleans#

##

When you come back to Cuba,

you'll need to teach her
how to dance.

lwill, lwill.

[laughs]

##

Come back.

# Come with me #

# To New Orleans #

#I show you a great time #

#All your dreams
will come true #

# With me #

# By your side #

# So come with me #

# To New Orleans #

# What a city you will see #

#All your dreams
will come true #

# In New Orleans#

Oh, yeah, you're right.

[dog barking]

## [tuba]

##

[laughter]

[Spanish]

Whew!

##

# Come on, keep your head up #

# Come on, keep your head up #

# Come on, keep your head up #

# Come on, keep your head up #

# Come on, come on #

# Come on, keep your head up #

# Come on, keep your head up #

# Come on, keep your head up #

#Come on
Keep your head up high #

# Keep your head up high #

# Keep your head up high #

# Keep your head up high #

# Keep your head up high #

# Keep your head up high #

# Keep your head up high #

# Keep your head up high #

##