FB: We took a quick break, and during that break Mili brought up the notion of the need for meaning and content in the singer's repitoire. -Not just reiterating old tin pan alley tunes that are irrelevant to today's life and issues ..something much more.- MB: Yes, and this.. is not a philosophy, but .. and need in me, because I grew up in that period of-First of all, before the sixties, I was exposed to the voices of the time. For instance with the Alas, and the Sarahs and the people that created the language knew what they wanted to say, and it was genuine, amazing, deep, and in the moment, and it was grandiose.- I grew up with the latin voices like that, in those years, the Tango was as meaninful as possible. It was romantic, and tragic, and then the Mexican is the same, and all the countries there.- So I was exposed to the real singers.. the real artists all the time. -In my own house, because they were visitors. You know, pals of my parents. Then when the political part happens in my teens and twenties, because of what's happening in the whole contenient, the need to express yourself, the need to transform music into some vehicle of expression, eh we called themselves, and the cuban started calling themselves and Marcel Sosa. The singer -the musician- is a messenger too. We need to adopt a role of witness of our time. Which I think is a beautiful way of saying I see the world. I live in the world presently, and my art is not about me. It's about looking and expressing the best you can. FB: A reflection of what you see around you. MB: Exactly, and it doesn't have to be political or cheaply done. It's just that in that moment, we couldn't escape. The world was upside down and we were living in it every day. We were sharing lives with people who had been tortured or incacerated and they were now with us sharing these stories.- and so we had to. We had to integrate poetry on it. You see the situation out there-you go home and write a song about what you just saw, and then communicate it back, and the other part is that there was a moment of renaissance of all the latin elemnts. So all the latin elements of the country, we started rennovating. We took the repango back, the 6/8, -and made it in a modern way. The Peruvians is when the Afro Peruvian movement starts in the 60/70's -the mestisos and everything FB: The shining path was going on at the same time.. MB: and everybody is trying to reincorporate our elements, forcloric elements, our black elements, into our music. So it is a very explosive time, and a lot of incredible music artists. FB: You mean literally, and figuratively? MB: Yes, all latin america, -no no.. black-African conteniental American, well all had africans brought to our countries, and we both had those influences of the african, mixing with the indigenous, and the spaniards.- So we all have this explosive African grooves and African elements in our music. Even in mexico, to a lesser degree, because, remember that the Spaniards came, we had a lot of indians that would do the work. So they brought less African slaves to Mexico, but they brought a lot Columbia, Venezuala, Argentina, and Urugay, the essential music from Uruguay, Candombe, is African. As African as the Batucala.- FB: UmmHmm.. MB: You know so, at this point in the sixites, the political thing, the rennovating and finding our roots, contenientally was happening, and then-fine poetry. A finer way of protesting after the protest song song -came this other rennovation of "How do I describe my world?" -"How do I communicate what I see?"-"How do I?--"- because I'm moved by a situation in the street, I have to put it in words, and give it back to you..so you can be moved by it. FB: and it can be ...not with a hammer but with a feather, or a little ... MB: a little poetic thing. FB: Yeah, MB: So ... that is embedded in me. I had to after I learned all my jazz chops that allowed me to start manipulating, I started going back to my Latin. - Of course.- and started writing from a differnt point of view as a composer.- I consider myself a composer. I do repeat things and I recreate musics that I love and I love to have my own way of going. With my harmony-my jazz harmony, I started writing differntly, so my songs are never too catchy pop, never too jazzy pop, but they have all the elements of Harmony form and predictable places, and -like that. FB:UhHuh. MB: -and still preserve a great need as a person, as an individual, to be part of this world actively.- FB: You know I hear something even more complex that that even in your early jazz work, and even more in your classical training comes out in your melodic line and your sustains... MB: Line..- FB: So you got the whole thing there. It's very complex- ITs ah.. MB:Thank you. FB: The jazz is your vehicle- your ... MB: My language.- My tool. - Yeah you just said it- and thank you Fred.- I feel it .. but that's admition.. I mean- It's not exceptional for me cause that's how I grew up. - You got to take care of your melody, your harmony, and your rhythm. FB: Or you sat in the corner with your dunce cap. MB: and to me a lot of what happens to me in the newer interperations of jazz is that it is alot about style.- The line gets lost. When you even go to people like Eliz Reginia, and even her daughters are producers as very well, but um.. there is line, they are singing pop, but there is no interuption of the line by many many differnt embelishments you know. So, I find that the approach is sometimes, way too stylistic and not enough about what..what do I need to say?- So FB: Is this also the problem with say Babel following Joao-To some extent. MB: Ah .maybe... We cannot generalize you know?- But this is where I come from, and this is what I like to maintain. - That kind of asthetic in what I do.I change, I like myself, in change- being influenced and writing differntly. Nowaday's I'm even using a little bit of spoken word on stage, meaning- murmuring or doing other sounds in between the the texts and the percussion...or like that but..I see it all as a life adventure that never ends you know.