I'm about as Nordic and Germanic looking as they come. It doesn't matter whther I'm skinny or fat. I'm just that way. So, there have been dates: for … - Clare Fischer

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I'm about as Nordic and Germanic looking as they come. It doesn't matter whther I'm skinny or fat. I'm just that way. So, there have been dates: for instance, the date that I first met Alex Acuna, Luis Conte, Alfredo Rey, Sr., Alfredo Rey, Jr., Cachao, the Cuban bass player. I mean, all of these people. The night I met them, on a recording date, I was there with a bunch of Cubans and I walked in, and at first, before we recorded the music, they were all standing around, hanging out. And of course I wanted to join, so I went over and started joining in. Now my Spanish certainly is not street Spanish, it's book-learned Spanish. And Cubans speak a patois all their own, and I could tell, when I first was speaking there, you know, they kept saying, "Well, he's speaking our language, but he certainly doesn't sound like us; he's still an outsider. Maybe not as much an outsider as he was before." And yet, what really happens is that, by the time we start playing, then I felt like somebody gives my visa a stamp. You know, on the passport. Because at that point, suddenly I start getting smiles from people, and different things, and that's an experience which happens over and over and over.

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About Clare Fischer

Douglas Clare Fischer (October 22, 1928 – January 26, 2012) was an American keyboardist, composer, arranger, and bandleader, best known for his innovations in the fields of Latin jazz and vocal arranging (as well as his integration of the two), and for his preeminent position among late 20th-century orchestral arrangers of popular music. TOC

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Birth Name: Douglas Clare Fischer

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Additional quotes by Clare Fischer

Playing that music delivered me from the pressures of my life. I played with my eyes closed and found that my backaches ceased and my headaches would go. The response to that rhythm was "My God, this makes me feel good." I never really remembered having that much fun with it before or thought about jazz making me feel good. But, at 46, it suddenly dawned on me that my body had priorities that my mind didn't allow, and I decided to (play Latin/jazz)<sup>✱</sup> for myself and started having a helluva fine time.

The subtlety of Brazilian rhythms comes from the type of instruments used. Afro-Cuban music has a scraper called the güiro which is played with a solid stick producing a loud scraping noise. This same instrument is paralleled in Braziliam music with the reco-reco, the difference being that the reco-reco is much smaller, less resonant, and played with something like a brush. The cabasa is a gourd wrapped in beads that is incapable of extremely loud noise. The same is true of the chocalho or cylinder, and the tambourine. A regular set of drums contrasts this. The result is a light rhythm that, unlike the conga, bongos and timbales of Afro-Cuban music, does not engulf the listener but permeates him. To this is usually added the guitar (unamplified) played finger-style, which completes the subtlety.

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