1843 to 48, but he was a spanish man of irish origin and irish ancestry, a descendant of the -- chieftan of the ticanelles. he is spanish and irish together. if we look at the history of the irish in cuba, most of the irish to went to cuba in the 18th and 19th centuries arrived from spain, some of them with the spanish royal armies; other irish influx arrived from the u.s. for the construction of railroads used to transport sugar cane to the sugar plantations. that was at the end of the 19th century. and then at the beginning of the 20th century, we're talking 1902, 1910, before odono that i mentioned before, this man who gave his name to -- he was very proud of this lighthouse. the cubans offer hospitality to general alexander alejandro o'reilly. he rose through the ranks of the spanish army. the spanish sent alexander o'reilly to cuba to form a militia. he was appointed governor of louisiana and head of the army later on. he arrived in august, 1769, and took formal possession of louisiana for spain. think of new orleans and cuba, in particular havana, governors there were also in cuba

to be able to record bridge across the blue, i was telling them i got this air, i got it off the chieftan's album, i'm going to do it on the electric base. he looked at me and said, you're nuts. people are going to go crazy but if you can do it, i'll help you. he gave me this book of airs and went, figure it out, figure it out. it never quite jelled on the base but when hillary called today, i started to think more about the cedar flute. i said, i wonder if this particular air can fit? well, here we go. (instrumental music). >> thank you very much. i guess what i want to say about an arrangement like that is that it's not meant to use the cedar flute as a bit of exotica, but what the panelists have been speaking about. it's the use of all of it together is a way of trying to address, hopefully not in a way that homogenizing anything, hopefully not in a way that takes anything away from any of the traditions incorporated within it. we all come from jazz backgrounds, which is inherently about mixing in and of itself. but if you let that start to become homogenized, if you let that start to be