♪ ♪ MICHAEL: We decided, no, no, we're not gonna cancel these concerts, we're gonna make the concerts, celebrations of Susana's life and career.

GABY: Every song, she just gives it 110%.

MICHAEL: And I looked in the back of the van and I wanted to take a photo and be like, you wanna know what number one looks like?

Bernard played such a big role in, in unifying people.

It's just made us focus more on beauty of making music and the beauty of forming community.

♪ [theme music plays].

♪ [overlapping chatter, instruments warming up].

-Little less JT... -You, you guys aren't reading, right?

You just kind of, you guys have learned it?

Great.

So there's this list that the vocals do.

-Did you record?

-Got it.

MICHAEL: Thanks [overlapping chatter].

-Yeah.

MICHAEL: Todavía no tengo el set list per se, pero tengo unas ideas.

La idea general es que todo el mundo esté juntos durante el concierto.

Todo el mundo en el escenario.

This project was born out of an idea to bring together three singers, um, who sing in Spanish, um, from three different continents and three different generations.

Y la idea es como compartir canciones.

Entonces.

Hacer rondas.

Silvana Estrada, Sylvia Perez Cruz, and Susana Baca, who is a Peruvian legend of Afro-Peruvian music.

En lugar de en frente la banda en una fila, como dentro de la banda.

-Me encanta.

MICHAEL: No?

Entre miembros.

Sí.

And then a couple of months ago, Susana fell very, very ill. Um, and it was clear she wouldn't be able to travel, so we were gonna cancel these concerts.

Y tenemos, como, alfombras y lámparas y como todo acogedor.

En teoría, no he visto nada.

And I know that she would be heartbroken to see us cancel the thing.

Um, and I also think it's such a pity that people wait until a musician has passed away before they celebrate them.

Like tribute concerts.

They always happen after the person has passed away and that person doesn't actually get to enjoy, um, a celebration of their legacy, you know?

So we talked about it a lot, and we decided, no, no, no, we're not gonna cancel these concerts.

We're gonna make the concerts celebrations of Susana's life and career.

Sobre coros, cada canción, casi, casi cada canción tiene coros.

So we enlisted two more singers, another very young Mexican singer named Fuensanta, and the incredible Guatemala singer Gabby Moreno, to create this kind of like dream team of four singers to celebrate the life and music of Susana Baca.

Sí en algunos.

Por ejemplo, el saber la canción de Gaby.

El coro es súper sencillo, se puede escucharlo una vez y cantar en armonía.

Y hay muchos casos así, creo.

Pero lo bueno es que no tenemos que decidir ni comprometernos a nada, porque todo el mundo tendrá micro ahí y todo el mundo estará en el escenario.

Entonces.

-Si se queda en blanco.

MICHAEL: Exactamente.

No tiene que hacer nada más.

- Sí, se puede jugar si a uno le viene.

-Espero que les guste.

Sobre sus canciones.

(laughing).

-Muy fuerte, no?

(clapping).

MICHAEL: One, two.

One, two.

One, two, three and!

♪ [EL MAYORAL].

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ Sing it!

♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ Hey!

(clapping).

♪ Qué dolor siento en mi pecho.

♪ ♪ Cuando está de madrugá.

♪ ♪ Qué dolor siento en mi pecho.

♪ ♪ Cuando está de madrugá.

♪ ♪ El mayoral con su reto.

♪ ♪ No no' deja descansar.

♪ ♪ El mayoral con su reto.

♪ ♪ No no' deja descansar.

♪ ♪ A las cuatro e' la mañana.

♪ ♪ Cuando el sol se va asoma.

♪ ♪ A las cuatro e' la mañana.

♪ ♪ Cuando el sol se va asoma.

♪ ♪ El mayoral con su reto.

♪ ♪ No no' deja descansar.

♪ ♪ El mayoral con su reto.

♪ ♪ No no' deja descansar.

♪ ♪ Ay!

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Saca tu machete Cipriano.

♪ ♪ (saca tu machete.)

♪ ♪ Afila tu lampa José.

♪ ♪ (afila tu lampa.)

♪ ♪ Saca tu machete Cipriano.

♪ ♪ (saca tu machete.)

♪ ♪ Afila tu lampa José.

♪ ♪ (afila tu lampa.)

♪ ♪ Saca tu machete Cipriano.

♪ ♪ (saca tu machete.)

♪ ♪ Afila tu lampa José.

♪ ♪ (afila tu lampa.)

♪ ♪ Saca tu machete Cipriano.

♪ ♪ (saca tu machete.)

♪ ♪ Afila tu lampa José.

♪ ♪ (afila tu lampa.)

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (applause).

♪ ♪ MICHAEL: Verse!

♪ Qué dolor siento en mi pecho.

♪ ♪ Cuando está de madrugá.

♪ ♪ Qué dolor siento en mi pecho.

♪ ♪ Cuando está de madrugá.

♪ ♪ El mayoral con su reto.

♪ ♪ No no' deja descansar.

♪ ♪ El mayoral con su reto.

♪ ♪ No no' deja descansar.

♪ ♪ A las cuatro e' la mañana.

♪ ♪ Cuando el sol se va asoma.

♪ ♪ A las cuatro e' la mañana.

♪ ♪ Cuando el sol se va asoma'.

♪ ♪ El mayoral con su reto.

♪ ♪ No no' deja descansar.

♪ ♪ El mayoral con su reto.

♪ ♪ No no' deja descansar.

♪ ♪ Ay!

♪ ♪ ♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Saca tu machete Cipriano.

♪ ♪ (saca tu machete.)

♪ ♪ Afila tu lampa José.

♪ ♪ (afila tu lampa.)

♪ ♪ Saca tu machete Cipriano.

♪ ♪ (saca tu machete.)

♪ ♪ Afila tu lampa José.

♪ ♪ (afila tu lampa.)

♪ ♪ Saca tu machete Cipriano.

♪ ♪ (saca tu machete.)

♪ ♪ Afila tu lampa José.

♪ ♪ (afila tu lampa.)

♪ ♪ Saca tu machete Cipriano.

♪ ♪ (saca tu machete.)

♪ ♪ Afila tu lampa José.

♪ ♪ (afila tu lampa.)

♪ ♪ ♪ ♪ ♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ Sing it!

♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ One more time!

♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

Mayoral.

♪ ♪ Ay!

♪ ♪ Mayoral.

♪ ♪ ♪ (song ends).

(applause).

(harmonizing in Spanish).

MICHAEL: The way that these world-class singers respond emotionally to Susana's music, actually, they're all unbelievable composers in their own right and so different from each other, and so unique.

And that part is so beautiful.

It's like here, but it's so special to see these people that you respect so much as artists have so much respect for another person.

For this legend of Black, um, Peruvian music.

You know, the lyrics are so deep and so painful in so many cases.

And, and like, it's just beautiful to watch heroes have a hero, I think.

I love that.

Just watching the, the dynamic between those four singers, like how much they respect each other, and how much they're fans of each other in this industry, it's not so easy to find people with no ego and people who are secure, and don't feel threatened by talent.

You know, it's beautiful to be on a stage where, where you just have 0% ego, where just everyone is in love with music and trying to do something beautiful together.

GABY: I heard Susana and, and uh, just fell in love, fell in love with her voice, with her delivery, with her passion.

Uh, you know, with every song, she just gives it 110%.

And it's just, I I really love that.

FUENSANTA: Her songs were some of the first ones I learned actually, when I started doing singing lessons.

So it's in a very dear place of like, the root days of singing for me.

Um, and I love her dearly for that.

SILVIA: Yo creo que Susana está cantando aquí con nosotros porque la estamos nombrando y pensando y yo la noto presente aunque no esté estos días aquí.

SILVANA: I'm so grateful for, you know, music allowed us to do so many things.

To cry, to heal, to laugh, to dance, to feel.

And I wanna thank Susana and so many women in the, in the industry, in the music, in the world, who has been doing so much work, so much effort.

So we can just come here and sing and say whatever we wanna say while they have been working and fighting her whole life.

And that's insane.

(applause).

And I wanna thank Susana so much.

And, and now I'm super emotional, and I'm also gonna sing my favorite Susana song, so I'm super nervous.

So, thank you so much for being here.

♪ [Negra Presuntuosa].

♪ ♪ ♪ ♪ Algo de mí se ha escondido.

♪ ♪ Entre tu casa y mi casa.

♪ ♪ Será el calor que no abraza.

♪ ♪ No es de gozo, no es de ira.

♪ ♪ Como tampoco es mentira.

♪ ♪ Que algo de ti se ha escondido.

♪ ♪ Entre tu calle y mi alma.

♪ ♪ Será tal vez la esperanza.

♪ ♪ De un cariño adormecido.

♪ ♪ Yo sabré reír.

♪ ♪ Yo sabré llorar.

♪ ♪ Yo sabré entregarte mi cariño.

♪ ♪ ¡Negra!

♪ ♪ Negra que te quiero.

♪ ♪ ¡Goza!

♪ ♪ Negra presuntuosa.

♪ ♪ ¡Mira!

♪ ♪ Que me estoy muriendo.

♪ ♪ ¡Dame!

♪ ♪ Vida de tu boca.

♪ ♪ ¡Bota!

♪ ♪ Que me esta pisando.

♪ ♪ Los talones de la libertad.

♪ ♪ ¡Negra!

♪ ♪ Negra que te quiero.

♪ ♪ ¡Goza!

♪ ♪ Negra presuntuosa.

♪ ♪ ¡Mira!

♪ ♪ Que me estoy muriendo.

♪ ♪ ¡Dame!

♪ ♪ Vida de tu boca.

♪ ♪ ¡Bota!

♪ ♪ Que me esta pisando.

♪ ♪ Los talones de la libertad.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Será tal vez la esperanza.

♪ ♪ De un cariño adormecido.

♪ ♪ Yo sabré reír.

♪ ♪ Yo sabré llorar.

♪ ♪ Yo sabré entregarte mi cariño.

♪ ♪ ¡Negra!

♪ ♪ Negra que te quiero.

♪ ♪ ¡Goza!

♪ ♪ Negra presuntuosa.

♪ ♪ ¡Mira!

♪ ♪ Que me estoy muriendo.

♪ ♪ ¡Dame!

♪ ♪ Vida de tu boca.

♪ ♪ ¡Bota!

♪ ♪ Que me esta pisando.

♪ ♪ Los talones de la ♪ ♪ libertad.

♪ ♪ ¡Negra!

♪ ♪ Negra que te quiero.

♪ ♪ ¡Goza!

♪ ♪ Negra presuntuosa.

♪ ♪ ¡Mira!

♪ ♪ Que me estoy muriendo.

♪ ♪ ¡Dame!

♪ ♪ Vida de tu boca.

♪ ♪ ¡Bota!

♪ ♪ Que me esta pisando.

♪ ♪ Los talones de la ♪ ♪ libertad... ♪ ♪ ♪ (song ends) (applause).

SILVANA: Muchas gracias.

Thank you so much.

MICHAEL: I was born in Long Beach and grew up on a, an army base there.

And we moved to Montgomery, Alabama to, uh, an Air Force base.

And we went in our two cars.

We had like a Monte Carlo, a sky-blue Monte Carlo, and a little red Datsun.

Um, and I rode in the Datsun with my dad.

My brother rode in the Monte Carlo with my mom.

And, uh, it's basically like the first time in my life where I just listened to music all day.

I grew up on military bases.

We moved around a lot.

And, um, five or six years later I was doing homework in Virginia.

I put in a cassette Beatles ‘62 through ‘66, like a compilation of their kind of, first six records or something.

And it like immediately took me back to that trip.

Like I, I could feel the air, like the Texas air when we had stopped to get gas once.

And like, it was, it was crazy.

Like the, the kind of fusing of senses, you know, and how music can glue memories to your brain, I guess.

So I think that was kind of the first moment where I, uh, maybe recognized the, the power of music.

But now, when I look back on it, I guess it is a little strange moving around so much and having to make friends and then like having to say bye to them and never see them again, and then making new friends.

And I mean, to be honest, it's not really that different from touring.

I feel like, like, my life as a military brat was just kind of like a really great boot camp for a life of touring as a musician.

I went to the University of North Texas, but as a person who'd been playing bass for like six months, and everyone else that was in my bass class had been playing for ten years.

I arrived at UNT as by far the least advanced bassist in the department to be very kind to myself.

And I was working my butt off to get technique on the instrument, and I was doing everything that my teachers wanted me to do, but I was still composing, you know.

I think I never had a vision to be a straight ahead jazz bass player.

I played in many churches when I was in Texas.

I, I, at one point, I was playing in three churches every Sunday.

And I got hired to play at a church in Halton City, Texas near Fort Worth, with essentially Roy Hargrove's RH Factor, which was a band that I grew up worshiping.

And one of those members was Bernard Wright, who grew up in Jamaica Queens with Marcus Miller and Lenny White and made his first record at 14.

And then, of course, toured and recorded with Miles Davis and Chaka Khan.

And you know, he took me under his wing, he just kind of adopted me and took me to jam sessions, introduced me to the whole scene in Dallas, which is like Erika Badu's band, Kirk Franklin's band, Fred Hammond's band at that time, Snoop Dogg's band, you know, everyone was just in Dallas.

I've spent three years playing almost exclusively in Black churches and, and R&B clubs and hip-hop clubs.

And so, of course, I brought Snarky Puppy with me, you know, and we were in Denton, a bunch of White kids living 45 minutes away and in love with this music without knowing how close we were really to like an authentic pillar living pillar of the music.

And, and so yeah, I mean, this is actually a big moment, I think, for Dallas when these scenes integrated, they were very separate.

Um, and this was a really special moment, you know, that's all Bernard's fault basically, you know.

And still, when you go to Dallas now, it's crazy.

You go to the jam session that Erika Badu's, music director RC Williams has been hosting for 20 years now, um, or 15 or something.

You go there, and you see students from North Texas there.

Like half, half of the audience is Black and half of the audience is White.

And it wasn't like that before.

And I think that Bernard played such a big role in, in unifying people.

So Bernard became a member of the band, recorded with us, played gigs with us for a while, and just above all, he was just like our musical guide.

We definitely had the “What would Bernard Wright do?” bracelets on, you know, and still do.

I think every time we're improvising, every time we're grooving, every time we're playing, what he passed on to us is, is, um, present in everything we do.

I feel like everything we do, right is 'cause we listen to him and everything we do wrong is because we didn't.

And then he came back to play with us on this last record we made, "Empire Central" two years ago.

He played on the record, he guested it on one song and, and two months afterwards, he very suddenly and tragically died.

Um, very unexpectedly.

Uh, but I think the band has really taken it on as a collective mission to spread his gospel in a sense.

♪ [EL AGUA].

♪ ♪ Mal que te amé.

♪ ♪ Ay, María promesas sin fe.

♪ ♪ Dejar correr.

♪ ♪ La real para volverte a creer.

♪ ♪ Guardo tu nombre.

♪ ♪ Bajo la piel.

♪ ♪ Quién va a entender.

♪ ♪ La distancia entre el agua y la miel.

♪ ♪ La distancia entre el agua y la miel.

♪ ♪ La distancia entre el agua y la miel.

♪ ♪ ♪ (guitar solo) ♪ De luna se cubre mi alma.

♪ ♪ Por que ya no vuelves más.

♪ ♪ Y el cielo se ha vuelto esta carta.

♪ ♪ Que ya no te puedo enviar.

♪ ♪ Milagro sería.

♪ ♪ Milagro.

♪ ♪ Milagro sería.

♪ ♪ Milagro.

♪ ♪ Ahh.

♪ ♪ Ahh.

♪ (vocalizing).

♪ ♪ (vocalizing).

(vocalizing).

(guitar solo) (vocalizing) ♪ De luna se ♪ ♪ cubre mi alma.

♪ ♪ Porque ya no puedo amar.

♪ (vocalizing) (song ends) (applause) SILVANA: Thank you so much.

Thank you so, so much.

You're so kind.

Of course.

This is Snarky Puppy, everybody.

Of course, we should be all kind and loving.

(applause).

♪ [PLANETES].

♪ ♪ ♪ ♪ Fa uns dies que va néixer el meu amic.

♪ ♪ al vell mig de Badalona, ♪ ♪ al centre d'aquell món.

♪ ♪ Que vaig pintar de ben petitona.

♪ ♪ Passeja, passeja.

♪ ♪ descalç per entre els boscos de Tiana.

♪ ♪ Abraçat als xiprers com ses germanes.

♪ ♪ Maria i Anna.

♪ ♪ Maria i Anna.

♪ ♪ Jugant amb marietes i escarabats.

♪ ♪ Els homes de la terra sent companys ♪ ♪ I ell em cuida fa tants anys.

♪ ♪ Ell batega arran de pit.

♪ ♪ Arran de vent.

♪ ♪ Arran de molsa, arran de molsa.

♪ ♪ Fins a plorar.

♪ ♪ De riure.

♪ ♪ O de sentir tan mal.

♪ ♪ I el sento protegit pels planetes.

♪ ♪ I el vol d'una oreneta.

♪ (vocalizing).

♪ La la ya la ya.

♪ ♪ La la ya la ya.

♪ ♪ La la la, ya la ya.

♪ ♪ La la ya la ya.

♪ ♪ La la ya ya ya.

♪ ♪ Ya ya.

♪ ♪ ♪ ♪ A la vora d'un riu.

♪ ♪ Amb un cistell.

♪ ♪ Ple de mores d'un estiu.

♪ ♪ On ens vam conèixer fa tants anys.

♪ ♪ Tota cuca viu.

♪ ♪ Navega, navega.

♪ ♪ Entre peixos i balenes.

♪ ♪ Les sirenes es fan trenes.

♪ ♪ Traçant la geometria de les flors.

♪ ♪ Dels lliris, les carxofes i els voltors.

♪ ♪ Dels mapes dels antics exploradors.

♪ ♪ I ell em cuida fa tants anys.

♪ ♪ Ell batega arran de pell.

♪ ♪ Arran de pit.

♪ ♪ Arran de vent.

♪ ♪ Arran de molsa ♪ ♪ Fins a plorar.

♪ ♪ De riure.

♪ ♪ O de sentir tan mal.

♪ ♪ I el sento protegit pels planetes.

♪ ♪ I el vol d'una oreneta.

♪ (vocalizing).

♪ La la ya la ya.

♪ ♪ La la ya la ya.

♪ ♪ La la la, ya la ya.

♪ ♪ La la ya la ya.

♪ ♪ La la ya ya ya.

♪ ♪ La la la, ya la ya.

♪ ♪ La la ya la ya.

♪ ♪ La la ya ya ya.

♪ ♪ La la la, ya la ya.

♪ ♪ La la ya la ya.

♪ ♪ La la ya ya ya.

♪ ♪ La la la, ya la ya.

♪ ♪ La la ya la ya.

♪ ♪ La la la, ya la ya.

♪ ♪ La la ya la ya.

♪ ♪ La la ya ya ya.

♪ ♪ La la ya ya ya.

♪ ♪ Ya ya.

♪ ♪ Mmmmm.

♪ ♪ Dímelo tú morenita.

♪ ♪ Dímelo tú que lo entiendes.

♪ ♪ La corriente.

♪ ♪ La cadena del amor.

♪ ♪ Cuántos aldabones tiene?

♪ ♪ Dímelo tú morenita.

♪ ♪ Dímelo tú que lo entiendes.

♪ ♪ La cadena del amor.

♪ ♪ Cuántos aldabones tiene?

♪ ♪ Síguela majo que... ♪ ♪ Ca a por agua.

♪ (song ends) (applause).

SILVIA: Thank you.

Woo.

Thank you.

MICHAEL: Silvia Perez Cruz!

SILVIA: Thank you, muchas gracias.

MICHAEL: We started a music series in New York called Family Dinner, where we were given the late slot at a club called Rockwood Music Hall; from 1:00 AM to 3:00 AM or something.

So we thought, well, okay, who's gonna come to see us at 1:00 AM, probably like musicians who've just gotten off their gigs.

So we thought, well, what kind of fun little party can we throw every Friday night, or one Friday a month for this kind of audience?

And so we decided to invite three different artists to come as featured guests with Snarky Puppy as their backing band, um, with no rehearsal, just the artists sending us two songs each, we learn them during the week, we show up on stage, and we count it off, and see what happens.

And it was so fun.

And we started building this really beautiful community.

And then it just seemed obvious that we needed to make a record.

We performed with the incredible vocalist, Lalah Hathaway.

She did like a multiphonic thing in a certain moment where she was improvising with Corey Henry, our organist, and she sang like three notes at the same time.

It was a very, very special moment.

And, and, and we filmed the whole thing.

So this moment kind of became somewhat viral in the musician community and, and the Recording Academy, you know, nominated us and, and we won somehow, miraculously, won a Grammy.

And we, yeah, had this kind of big, big moment.

I think it's very easy in any profession to idealize the experience of being someone in a, in a greater position of fame or power or success.

And then when you realize that people are looking up to you, dreaming of being you and dreaming of what you're doing, and then you look around, and you're still in a Chevy 15 passenger van that breaks down every two weeks and still loading your equipment into gigs and tearing it down and driving eight hours in the middle of the night.

I think it shakes your world a little bit about how things work.

When I was in college, I thought my jazz heroes had penthouses, and were taking baths in tubs full of $100 bills, you know.

And then you realize you moved to New York and you play a gig with one of your heroes, and you realize that is not their experience, you know, and maybe without a teaching gig, they don't actually have the ability to pay rent or something, you know.

I remember when the first time we had a record that was number one on any chart, we found out about it at 6:00 AM in the middle of a 10-hour drive in a van that I was driving, that had no working air conditioning.

And everybody in the band was asleep on the benches, and on the floor of the 15-passenger van in their underwear because it was so hot.

And then I got a text saying, “Congratulations, your, your album is number one on iTunes”, you know, and I looked in the back of the van, and I wanted to take a photo and be like, “You wanna know what number one looks like?

Looks like this, Ten smelly guys in a van in their underwear, like sweating and sleeping on the floor”.

You know, I mean, that's, uh, a kind of a harsh reality to swallow.

But I think those moments also just make you realize, like, what are we doing, and why are we doing it?

Is the objective caviar and helicopters and mansions?

It's like, no, of course.

It's just about making good music and being able to afford that.

It's just not always what you think it is.

Um, and in our case, I think that was positive, realizing that, because it's just made us focus more on the beauty of, of making music and the beauty of forming community.

♪ [El Saber] ♪ ♪ ♪ ♪ ♪ ♪ Como llama que agita el viento.

♪ ♪ Es la arena que va subiendo.

♪ ♪ La dolencia que cura el tiempo.

♪ ♪ El saber.

♪ ♪ (Saber.)

♪ ♪ Saber.

♪ ♪ (Saber.)

♪ ♪ Saber.

♪ ♪ (Saber.)

♪ ♪ Saber.

♪ ♪ Que el sol saldrá, al amanecer.

♪ (vocalizing).

♪ Como el ángel del destino.

♪ ♪ Pone piedras en el camino.

♪ ♪ Es mi voz, mi luz, mi latido.

♪ ♪ Y el saber.

♪ ♪ (Saber.)

♪ ♪ Saber.

♪ ♪ (Saber.)

♪ ♪ Saber.

♪ ♪ (Saber.)

♪ ♪ Saber.

♪ ♪ Que el sol saldrá al amanecer.

♪ ♪ La risa que endulza la vida.

♪ ♪ La lucha que abrazo cada nuevo día.

♪ ♪ Todas esas perlas están escondidas.

♪ ♪ En la penumbra seguirán.... ♪ ♪ Ya, ya, ya.

♪ ♪ Ooo.

♪ ♪ Vamos empujando contra la corriente.

♪ ♪ Por mares y ríos, que olas revienten.

♪ ♪ Un fuerte estallido de fe, es suficiente.

♪ ♪ Qué rumbo tendrá?

♪ ♪ La, la, la, la.

♪ ♪ La, la, la, la.

♪ ♪ Ohh.

♪ ♪ ¿Qué rumbo tendrán?

♪ ♪ La, la, la, la.

♪ ♪ ♪ (piano solo) (piano solo) ♪ ♪ (applause).

♪ La luz nos mira serena.

♪ ♪ Inquieta al despertar.

♪ ♪ Un canto que vive y resuena.

♪ ♪ Y el saber.

♪ ♪ (Saber.)

♪ ♪ Saber.

♪ ♪ (Saber.)

♪ ♪ Saber.

♪ ♪ (Saber.)

♪ ♪ Saber.

♪ ♪ Que el sol saldrá, al amanecer.

♪ ♪ Saber.

♪ ♪ (Saber.)

♪ ♪ Saber.

♪ ♪ Saber.

♪ ♪ Saber.

♪ ♪ Que el sol saldrá... ♪ ♪ al amanece... ♪ (song ends) (applause).

GABY: Gracias!

MICHAEL: Gaby Moreno.

(applause).

♪ [Heces] ♪ ♪ ♪ ♪ Esta tarde llueve.

♪ ♪ Como nunca.

♪ ♪ Y no tengo ganas ♪ ♪ de vivir, corazón.

♪ ♪ Esta tarde es dulce.

♪ ♪ Por qué no ha de ser?

♪ ♪ Viste gracia y pena; ♪ ♪ viste de mujer.

♪ ♪ Esta tarde en lima llueve.

♪ ♪ Y yo recuerdo.

♪ ♪ Las cavernas crueles ♪ ♪ de mi ingratitud.

♪ ♪ Mi bloque de hielo ♪ ♪ sobre su amapola, ♪ ♪ Más fuerte que su ♪ ♪ “no seas así!” ♪ ♪ Mis violentas ♪ ♪ flores negras, y bárbara.

♪ ♪ Y enorme pedrada; y el trecho glacial.

♪ ♪ Y pondrá el silencio ♪ ♪ de su dignidad.

♪ ♪ Con óleos quemantes ♪ ♪ el punto final.

♪ ♪ Por eso esta tarde, ♪ ♪ como nunca.

♪ ♪ Voy con este búho, ♪ ♪ con este corazón.

♪ ♪ Y otras pasan; ♪ ♪ y viéndome tan triste.

♪ ♪ Toman un poquito de ti.

♪ ♪ En la abrupta arruga.

♪ ♪ De mi hondo dolor.

♪ ♪ Esta tarde llueve, llueve mucho.

♪ ♪ ¡Y no tengo ganas ♪ ♪ de vivir, corazón!

♪ ♪ Y no tengo ganas ♪ ♪ de vivir.

♪ ♪ Corazón.

♪ ♪ ♪ (song ends) (applause).

FUENSANTA: Gracias.

Thank you.

MICHAEL: Fuensanta!

I think I've always had an interest in taking things from certain places and combining them, um, and trying to do it hopefully in a tasteful and respectful way.

You know, we have a Greek background, our family, um, and I think largely because of my brother, there's always been music from around the world in my ears.

But also, I think that's kind of a part of being someone from the US.

One of the beautiful things that we have as a culture is that we're not like a monoculture, you know, our culture is multicultural.

And my brother, who's five years older than me, Panayotis, he was always kind of like my dealer for music.

And I was listening to, like, Toad the Wet Sprocket, or Nirvana or something.

He'd be like, check out this Folkloric Greek album from Crete, or whatever, you know?

And that was really like the main driver I, I would say for my musical curiosity, I think younger brothers always look up to older brothers, but definitely, I had a lot to, to look up to.

So I was just looking for a name, and my brother was gonna name this band, Snarky Puppy when I was a kid.

But then he chose another name.

And I always just remember that name as being kind of silly and, and, um, at least memorable in some sense.

And I really thought that this project was just going to be one gig or two gigs, or three gigs, or something for a couple months.

Our first gig was in the basement of a pizza place in our college town, Denton, Texas.

J&J's Pizza on the Square.

We played in the basement.

So I just called it Snarky Puppy, and made a poster that I found a photo with ten puppies.

Put the names of the band members on top of each puppy.

And you know, many of those people are still in the band 20 years later.

So that's very special that they've hung in there so long with me.

And I also wasn't imagining that that music would still be played 20 years later at the Kennedy Center or something.

I mean, that was inconceivable.

I want to work with people who deserve to be better known but aren't, you know, because I know how painful that is and I know how it's, how easy it is to just pull the plug and say, “I quit.” Then, I don't want people to go through what we went through.

It's not, it's not nice.

I love where this band is.

I love who we work with.

I love our whole environment and community.

It's 100% artistically focused.

I think there's an infinite number of ways to relate to music and an infinite number of things to gain from music.

I just think all of us need to find our people and work with them.

On the behalf of the band, I just wanna say thank you to the four of you.

It's, it's such a joy.

Thank you.

And I think there is no better way to end a gig anywhere in the world than with a cumbia.

♪ [Tenías Que Ser Tú] ♪ ♪ ♪ SILVANA: Are you ready for a cumbia?

(cheering).

Like ready-ready?

Like you're gonna scream?

(cheering).

SILVANA: Si?

This is for la Mama de Miguel.

♪ ♪ Quiero ver las palmas, bien arriba!

Y lo te la vea.

♪ Entre tanta gente.

♪ ♪ Sin ir a buscarte.

♪ ♪ No sé qué me hiciste.

♪ ♪ Pero vivo diferente.

♪ ♪ No sé qué me hiciste.

♪ ♪ Pero vivo diferente.

♪ ♪ De casualidades.

♪ ♪ Se emborracha el mundo.

♪ ♪ Pa' decir que te amo.

♪ ♪ Aunque a veces me confundo.

♪ ♪ Pa' decir que te amo.

♪ ♪ Aunque a veces me confundo.

♪ ♪ ¿Qué voy a hacer sin el negro de tus ojos?

♪ ♪ Que hasta la noche ya no quiere oscurecer.

♪ ♪ Y para bien.

♪ ♪ Estas manos que te habitan.

♪ ♪ Y para mal.

♪ ♪ Hoy te extraño más que ayer.

♪ ♪ Ay, ay.

♪ ♪ Ay, ay, ay, tenías que ser tú.

♪ ♪ Para bien o para mal, tenías que ser tú.

♪ ♪ Hey!

♪ ♪ Ay, ay, ay, tenías que ser tú.

♪ ♪ Para bien o para mal, tenías que ser tú.

♪ (vocalizing).

(vocalizing).

♪ ¿Qué voy a hacer sin el negro de tus ojos?

♪ ♪ Que hasta la noche se resiste a oscurecer.

♪ ♪ Y para bien.

♪ ♪ Estas manos que te habitan.

♪ ♪ Y para mal.

♪ ♪ Hoy te extraño más que ayer.

♪ ♪ Ay, ay, ay, tenías que ser tú.

♪ ♪ Para bien o para mal, tenías que ser tú.

♪ ♪ Ay, ay, ay, tenías que ser tú.

♪ ♪ Para bien o para mal, tenías que ser tú.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Ay, ay, ay, tenías que ser tú.

♪ ♪ Para bien o para mal, tenías que ser tú.

♪ ♪ Ay, ay, ay, tenías que ser tú.

♪ ♪ Para bien o para mal, tenías que ser tú.

♪ ♪ Ay, ay, ay, tenías que ser tú.

♪ ♪ Para bien o para mal, tenías que ser tú.

♪ ♪ Ay, ay, ay, tenías que ser tú.

♪ ♪ Para bien o para mal, tenías que ser tú.

♪ (vocalizing) (vocalizing) (applause).

(song ends).

(applause).

(applause).

MICHAEL: My brother connected me with this incredible guitarist who became my teacher named, Dan Leonard.

And I came in, and I said, “Look, I know you're a jazz guitar player.

I don't wanna learn how to solo”" He was like, “This kid's gonna learn how to solo."

He said, “Okay, well, now we're gonna play a jazz blues."

He taught me the chords.

It was like going from seeing the whole world in black and white to suddenly seeing it in full color.

I just felt suddenly addicted to harmony.

So then he kind of tricked me into learning how to solo.

He was incredible.

He was so patient with me.

And he's still one of the baddest guitar players on the East Coast.