{"id":7872,"date":"2024-02-22T21:02:51","date_gmt":"2024-02-23T03:02:51","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=7872"},"modified":"2024-02-25T20:35:42","modified_gmt":"2024-02-26T02:35:42","slug":"language-lenny-white-ii","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/language-lenny-white-ii\/","title":{"rendered":"Translating the Language: A Conversation with Lenny White (Part Two)"},"content":{"rendered":"\n

We continue our conversation with Lenny White (read part one here<\/a>), with a discussion of his work with Santana, Azteca, Gato Barbieri, Return to Forever, Jaco Pastorious, and much more.<\/p>\n\n\n\n

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PostGenre: A lot of your music has Latin influences. You worked with Santana on Caravanserai<\/em> (Columbia, 1972). Around that time, you also performed and recorded with Azteca. Where does your interest in Latin music come from?<\/strong><\/p>\n\n\n\n

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Lenny White: Well, you gotta understand that growing up in New York City in the 70s gave you a very interesting perspective. Hip hop started in the Bronx. And in Harlem, Latin music was being played – especially salsa – all the time. I played with many Latin bands in New York City before moving out to San Francisco. <\/p>\n\n\n\n

I was out in the Bay Area playing Latin music at the same time Tower of Power was playing. Mike Clark was also out there. So were Dave Garibaldi and Michael Shrieve. Also, Greg Errico, who was with Sly [and the Family Stone]. All kinds of music were being morphed together. Coming from New York I had some Latin influences, and that’s why it worked when I got to San Francisco and played with Santana and Azteca. All kinds of different musical ideas were morphing together in San Francisco at the time, including the counterculture in Haight-Ashbury. I was influenced by all of that stuff.<\/p>\n<\/blockquote>\n\n\n\n

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