This time, I went with Livan Castro, a Cuban-born artist now based in Toronto, who had an exhibition in Cuba. Compared to the Russian tour, the Cuban tour was both more work and musically a more eye-opening experience for me. In Russia, we just played the blues, as we do here. In Cuba, I played some blues, both solo and with some very good Cuban musicians, but I also sat in with several Cuban bands on traditional Cuban songs. This was new for me, hence the need for some last-minute cramming, but the combination went surprisingly well, I think.

In the course of six days, I met and played with about 25 Cuban musicians, many of them classically trained, although some were self-taught. All of them were very good. As is customary in Cuban music, there were lots of acoustic nylon-string guitars, tres and percussion instruments, although there was also an electric bass player and a very good trombonist on one of the gigs.

I started off with a gig at Arenas Blancas, which is a 5-star, all-inclusive tourist resort. My partners were Los Hurricanes, a very experienced and versatile trio who play there regularly. They had me start the night off with a set of solo piano numbers and then joined me on stage. We alternated songs for the rest of the evening, with me switching between piano and guitar. The audience's response was quite favourable. A Cuban rap group, which happened to be at the hotel because some of its members work there, was especially complimentary. This concert was videotaped, but I haven't seen the result.

The bulk of the tour took place inland, away from the beaches and the tourists, in Camajuani and Santa Clara. Camajuani was then in the midst of an annual festival, which has been taking place for at least 105 years. The town is naturally divided by a main street, and each side has its own team, complete with its own patron saint: the Chivos (or Goats) and the Sappos (or Frogs). The festival consists of a week of public revelry, culminating in a grand display at which each team unveils an impressive, hand-made float. These floats are several stories high and comprise astounding array of hand-painted and sculpted decorations, light-shows, etc., accompanied by fireworks displays and music. Each team labours in secrecy until virtually the last moment. Each tries to create the most impressive spectacle, although there is no formal jury and no formal decision on the winner. Both floats were remarkable, one depicting a scene from 17th century European palace life, the other depicting the glories of the Roman Empire.

In the course of this revelry, I played with several groups at several locations, including a spot in a concert at the Casa Cultura of Camajuani. I did some solo numbers on keyboard and guitar and was accompanied on some others by a local guitarist and bass player. The audience seemed to respond best to 'Highway 61', an adaptation of an old Sunnyland Slim number (which he, in turn, adapted from an older tradition), and to a slow, minor original, 'When My Mother Died'. I was asked to play that song again a few days later. An artist --of whom there are many, highly gifted ones - told me it inspired him to make a painting especially for me, which he will send me. I can hardly wait.

In Santa Clara, one of the highlights was playing with an assortment of young musicians. We played together several times, but the climax was a late-night concert at an old, open-air amphitheatre, which seems to be a local cultural hot-spot. The programme included several bands, including the group Sacramonte, which boasts an excellent vocalist, a consummate dancer and an array of fine guitarists and percussionists. They performed some traditional Cuban salsa and some Cubanized versions of Spanish Flamenco. I sat in with them for a few numbers, switching between piano and guitar, trying my best not to disrupt their beautiful rhythms. I then played several solo numbers, some on guitar and some on piano, and several blues numbers with a Cuban back-up band, consisting of bass, guitar, percussion and the aforementioned excellent trombonist, who is a member of the Symphony Orchestra of Camajuani and is all of 24 years old.

For the finale, Sacramonte and the other bands on the evening's bill, including yours truly, all jammed together on a Cuban theme - a bolero, if I'm not mistaken. The proceedings were taped by a cameraman from local Cuban television.

All in all, it was a memorable experience and a musical eye-opener for me. The musicians were, without exception, highly gifted and very warm and approachable. I'd had some trepidations about what they would think of the home-brewed barrelhouse blues I play, but the reception was warm and positive.

Let's face it: Cuban music has no need of the likes of me. They have a very rich, varied musical tradition of their own. That they nevertheless permitted me to join them with such patience and evident pleasure at experimenting with a complete novice to Cuban music was a privilege I won't forget. After the concert was over, characteristically, the musicians were not ready to quit, so we all trooped off to a nearby park and continued to play until the wee hours of the morning, fortified by excellent Cuban rum. I didn't do much sleeping in Cuba. But I was already missing it on the way to the airport. I have rarely - no, make that never - been exposed to so many creative people (artists, writers, dancers, musicians) in such a short time. I'm looking forward to going back.

Website: www.julianfauth.com

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