I had been a student of my heritage and traditions, so I knew about that kind of music before I went to Senegal, which was my first time in Africa, in 1980. I knew the things that were important in that music, how it influenced the music that evolved in America. The fact that it’s a communal music, that I don’t play to you. I play with you. For the music to be really successful, emotionally, you are a part of the music. You are patting your foot. You are clapping your hands. Sometimes that happens automatically. Other times, somebody is saying, “Let’s clap.” You don’t see the conductor in a symphony orchestra turn around from his podium and say, “Okay, people, let’s put our hands together and let’s clap.” That doesn’t happen. So this is all part of the African retentions that happened when the music came from Africa to South America, the Caribbean, and later into North America.