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Those who have always had faith in its final success can do no less than rejoice as if it was our own triumph after five years of daily struggle to impose Cuban music on the European continent.

When we decided to go to Cuba to perform, we did it because we just wanted to build a bridge, you know, between Cuba and the rest of the community. And we just wanted to prove that music and art need to be over all ideology or way to think life, and we just wanted to go in there and play just because of love.

I won't perform in Cuba until there's no more Castro and there's a free Cuba. To me, Cuba's the biggest prison in the world, and I would be very hypocritical were I to perform there.

The roots of Cuban music are in my head.

Cubans are frantic when it comes to appreciating music.

I don't think of investing in Cuba after all the hardships of the people there as a profit-making thing for us. I have thought of it as revitalizing the island.

I think that I've tried many times to get Cuba in my writings, especially Havana, which was once a great and fascinating city.

What is interesting in this is the exchange of music that occurred between New Orleans and Cuba, I mean, they had ferries that would go from one port to another.

Cuba is such a beautiful country, and everywhere you go, there's music and people dancing - especially in Havana.

Fifty years of isolating Cuba had failed to promote democracy, setting us back in Latin America. That's why we restored diplomatic relations, opened the door to travel and commerce, and positioned ourselves to improve the lives of the Cuban people.