On their first release they stated:
"The aim of Grupo Los Santos is to interpret music which ordinarily has many more elements (piano, percussion, etc.) using the reduced instrumentation of a quartet.
The sounds of the drum kit, the guitar and bass, and the saxophone participate equally in conversations usually heard in the drums of rumba, or the call and response of Cuban "Son".
But always with the feeling of jazz: open music, where each voice has its proper space and importance."
Grupo Los Santos are back with their second official offering of original folkloric jazz, Lo que somos lo que sea [What We Are... Whatever]. GLS has continued researching the incredibly rich Cuban and Brazilian traditions that drew them together almost ten years ago, while exploring new avenues of musical expression.
Paul’s continuing love affair with Brazil yielded “Dança dos Santos” and the samba “Manna.” From Cuba, el son, son-guajira, la rumba, y la descarga are all represented, although with a Santos’ twist. GLS were fortunate to go to la Habana, Cuba as a part of Max Pollak’s Rumba Tap in late 2001. “Clave 66” was inspired by performing with folkloric rumba groups like Clave y Guaguancó and a local Timba band. Max Pollak also participated in the recording process, dancing on two cuts (“Rumba in the Bronx” and “Toreja Kulo”).
Beaver’s vacation in Barcelona sparked some Flamenco investigations, which bore fruit in “Toreja Kulo” and “Absurdities & Atrocities.” Paul wrote “Boogie Down Broder” as a farewell to the late Cuban trombonist Juan Pablo Torres, with whom GLS had played in the late 90s.