If you say "90 miles" to any Cuban, they'll know exactly what it means. It's the stretch of water between Key West, which is the southernmost tip of the continental United States, and Cuba. And for any Cuban who cannot go back, it represents not just a physical distance, but a spiritual one. That's why in most of the songs there is the word "distancia." The idea was to take the nostalgia and the sounds that we started with on "Mi tierra,' which was meant to sound like it was made in a past era, and do the opposite. We moved forward to 2007, with the technological equipment we have today, and gave it a very vibrant sound.
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Latina Magazine (September, 2007)Gloria Estefan
» Gloria Estefan - all quotes »
Esperando (Cuando Cuba Sea Libre) is probably one of the most personal songs from the new [September, 2007] CD, "90 Millas" . . . as it really speaks about the celebration, nostalgia and emotion that will happen the day Cuba is free. If we're to move forward in Cuba, we really have to have a lot of forgiveness for each other and look towards the future.
Gloria Estefan
It is so important for me to keep authentic Cuban sounds alive. All of these great artists have changed the landscape of Latin music and it's an honor to have them on this album ["90 Millas," released in September of 2007]. I believe this album will expose a new generation to the richness of Cuban music.
Gloria Estefan
We started out in the middle ages creating music which had certain desirable physical properties (for example, a major chord sounds "nice" because the frequencies are in integer ratios to each other). And then as society evolved, we created these emotional contexts for certain instruments and progressions. Major-chord arpeggios sound "happy", minor chords sound "sad", chromatic scales can sound "scary", et cetera. In the 20th century, film soundtracks reinforced this point as people associated certain kinds of music with certain visual and emotional experiences. It's a giant feedback loop, really; once you grow up in a given culture, it leaves this musical fingerprint on you which colors your experiences.
Andrew Sega
His language had a special vocabulary — not just "the SF" [God] and "epsilon" [child] but also "bosses" (women), "slaves" (men), "captured" (married), "liberated" (divorced), "recaptured" (remarried), "noise" (music), "poison" (alcohol), "preaching" (giving a mathematics lecture), "Sam" (the United States), and "Joe" (the Soviet Union). When he said someone had "died," Erdős meant that the person had stopped doing mathematics. When he said someone had "left," the person had died.
Paul Erdos
Back around 1971, I was playing in a bar in Chicago one night, and after the show, I was packing up my guitar and stuff, and I was walking out the door, and a little guy stopped me. And he said, "Arlo, before you leave, I wanna sing you a song." I said "Come on man, I don't wanna hear no songs. I hate songs. I don't even like my songs! Why should I like your songs?" I was just tired, I wanted to get out of there, I was being a butt-head. He said, "Arlo, I just wanna sing you one song." I said, "Tell you what. Buy me beer. I'll sit here and drink it. As long as it lasts, you can do whatever you want." He said, "That sounds like a good deal. I said "It does?" It turned out to be one of the finer beers of my entire life.
Arlo Guthrie
Estefan, Gloria
Estienne, Henri
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