“The good Thing is ThaT The music is going To lasT forever, ThaT’s someThing ThaT’s impossible To erase.”

J M: I think every drummer works for a
Fidel at some point.

Live & Learn - In The Studio JM: How about working in the studio. One of the things I see at Skyline is that most of the jazz and Latin guys who come in to record, are one or two takes, done, move on. A record - done and mixed in a few days. The rock and pop guys are far removed from that. What was it that prepared you for that type of work in the studio? HH: I was very fortunate in that sense, because my first recording was done when I was 16-years old, and it was in the main studio in Havana. I did it with the team of musicians who became the main recording team of Cuba. I was brought in by the singer who was a very nice friend, but more than being a friend I think he was in love with the way I was playing his music. So he asked to substitute the studio drummer with me. I walked into the studio and there are all these 40-year old guys looking at me. I’m this skinny 16-year old kid and they looked at the singer and said, “Who’s playing drums?” He said, “This kid,” and they all started bitching. They said, “No way, you need experience for this work” and blah blah blah. But since I was a little kid, I started very well on the drumset. I had a great teacher who taught me how to read music, and he told me about the ins and outs of being a musician, not just a drummer. He prepared me to play my instrument well, but

always looking and thinking that: this is not the only thing, not the only instrument, it’s a part and a function of the big picture. I did that first recording and that was it, I stayed in the studio, and that became my gig for about five years. I did more than 300 records.

 

JM: So you became Cuba’s main studio drummer. HH: Yes, I was the main studio drummer for years. I used to have a bed in the studio,

so in between records I could crash for a few hours. And, you know better than anybody, there’s no better place to learn more than in a recording studio. Every single time you have the chance to listen to yourself, it’s precious. Mostly because you know what is wrong, so you learn to clean your ass.

 

JM: That’s so important, but sadly, with everyone having their own Pro Tools rig at home, using loops and samples, so few drummers now get the opportunity to experience that. HH: Yeah, we were lucky to have that. I would say the first step is to learn to read music very well, and then, learn to listen. Listening is the most important aspect of playing any instrument.

A New Beginning

JM: You’ve seen and learned so much. If you could pinpoint one major life lesson or experience that had the greatest and most profound effect on you, what would it be? HH: Definitely that trip to Africa. For me it was the greatest musical experience I have ever had.

JM: Don’t take this the wrong way, but
having already had a pretty full and
successful career, I’d say you’re very lucky
to have had this experience later on,
giving you a whole new place to go to
from here.

HH: Exactly. It gave me the inspiration to work for many years to come.