When it comes to musicians, I'm like the daddy of musicians here in Cuba.

I don't sit in the corner waiting for death: death has to pursue me. I'm going strong. I hope to reach 100 and ask for an extension, just like my grandmother did.

Because people are very interested in my poetry, in what I say.

Towns are suffering from all these things, we should unite until we are all satisfied, man cannot be killing each other as if we were animals, as if we had no culture; that is a lack of culture.

Ry Cooder for me is a master, a great master that has a wonderful feel for Cuban music. He's also paid tribute my talent a bit, even though I don't know half of what he knows.

I've done a lot of things away from my homeland.

I play music the way it was played in yesteryear.

When it comes to musicians, I'm like the daddy of musicians here in Cuba.

I'll only stop singing when I'm in my grave.

Can you imagine that Cuba and Europe's youth, who had forgotten about traditional music, who only thought of rock music, are now looking back towards their grandparents? That is a phenomenon.

Cubans are frantic when it comes to appreciating music.

Everyone should have a philosophy for living better.

In order to grow old, you have to experience everything, but in moderation.

I am a scholar of life. Every night before I go to sleep, I analyze every detail of what I did that day. I evaluate things and people, which helps me avoid mistakes.

I'm still strong and in the best shape to continue living my life.

Young people don't want to be second to anyone. Everyone wants to be an overnight star. Look how many years I had to wait, how many roads I had to travel, how many songs I had to sing. And now I'm just beginning, never ending.

As long as your heart beats, one is never too old.

The music that I play and that I like is traditional music, maybe it's because of my age.

The roots of Cuban music are in my head.

My secret? A desire to work, years of dedication and loving what you do; I can't live without music.

When you here a conjunto and you hear another conjunto, you think it's like a continuation of the first. It's all the same, same, same. There's no variety, just the same music.

Every time I talk about this, I say: when the singer is singing, he must be respected, you must be able to hear what he's saying. You can't put a trombone and a drum up there, and a microphone on the drum, microphones on everybody. You can't hear what he's saying.

As far as pleasures, you've got to have limits. You shouldn't have too much of good things, so you'll always have a desire for more and you won't get bored.

I am still simple, just as if I were beginning.

That's Tommy, this great producer who comes in contact with people and must have a mental library of personnel who are great for this and great for that, and he brought this whole group of musicians to the project that I'd never worked with before.

Every musical movement that is big enough has to produce some good musicians who wouldn't have had the incentive to start playing without it.

For years the Trio did nothing but play for musicians and other hip people. We practically starved to death.

The kind of music or the kind of arrangements that I do, the kind of musicians I choose, is just what I like to hear.

When we started making electronic music I imagined that the reaction we got from the rock musicians must have been similar to the one the beat groups got from people like my dad.

We were brash young fellows'. I was always hanging with the older crowd anyway. The musicians were the Hip Cats, and I was hanging with them anyway. I Just started out real early.

You can have all sorts of relationships, but there's something with musicians working together where you can have relationship that can just continue to grow in a beautiful way.

Most musicians count at the beginning, and never count and talk to their musicians after that. They only talk to them at the end of the song. But I would count with them and talk.

It's my fault in many cases because I don't initiate the contact to talk with a lot of other musicians.

Musician jokes are a kind of joke that usually have to do with how much money someone makes. Musicians are always starving, so they're really mean to each other about who makes what.

What 'jazz' means to me is the worst kind of working conditions, the worst in cultural prejudice. The term 'jazz' has come to mean the abuse and exploitation of black musicians.

We wanted to guide the musicians, so we could create our own sound. We would never let the band just go in and play the chord sheets. We were very focused on what we had in mind for these productions.

I don't take compliments very easily. I think most musicians suffer from low self-esteem to some extent.

I'm always going to get more of a charge playing Chicago than I will Duluth or some place like that. Just because of the history and the people there are way more knowledgeable than a lot of other cities. It's an amazing music scene with some great bands and great musicians.

Watch MTV and you can see what the music scene is like in England. The Spice Girls? Not a lot of creativity in the commercial area. There are still great musicians in England, but not a lot being heard that much.

Success breeds volume, and it's just amazing how many young writers, artists, and musicians there are in town.

At the art college in Edinburgh someone arranged for some London groups to come up and play. I was in a supporting band, with Bernie Green I think. Derek Bailey was one of the visiting musicians. He seemed to like my playing and asked me to come down to London.

Out of doing all that experimentation with sound I decided I wanted to do it with live musicians. To take repetition, take music fragments and make it live. Musicians would be able to play it and create this kind of abstract fabric of sound.

But, I would be naive not to recognize the number of musicians who tell me they have been influenced by me and sight me - as well as Alex and Neil - as a musician who has been a positive influence on their playing.

We're not spokespeople, we're musicians.

I was afraid the other musicians might want to present themselves too much, though I see in the coverage I've received of the album that the musicians got wonderful reviews for their contributions and abilities. I think the four musicians played freely within my limits.

I only choose musicians who I think will emerge, can emerge, with their own character, while still going along with the tune in question.

If you're going to use standards as criteria for signing musicians, you can sign thousands. If you're going to use some sort of conceptual interpretation that's based on the tradition of those standards, but is trying to move away from it, you're down to about 10 people or so.

What I can say is that for may years jazz musicians had to go to Europe, for instance, to be respected and to be sort of treated not in a discriminatory way. I don't think there is anything controversial about me saying that. This is just a fact.

Rock musicians, and a vast array of popular-music musicians, due to their wealth, acquired through the mass of their notoriety, are able to be listened to and heard and thus are able to effect change on an international level.