{"id":7224,"date":"2020-12-02T00:00:31","date_gmt":"2020-12-02T05:00:31","guid":{"rendered":"https:\/\/magazineampm.com\/?p=7224"},"modified":"2022-03-22T19:34:34","modified_gmt":"2022-03-22T23:34:34","slug":"dando-la-nota-yusa","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/dando-la-nota-yusa\/","title":{"rendered":"Yusa"},"content":{"rendered":"<p class=\"translation-block\">Yusa is the confirmation that not everyone in Cuba only makes the music of their grandparents. Sure, in her work there are urban echoes of the songs of the traditional trova, but it is its ramifications such as the bolero \u2014and most notably\u2014 the filin, which influence this authentic voice of the Cuban XXI century, whose songs do not fit.<\/p>\n<p><span style=\"font-weight: 400;\">As a modern singer-songwriter, she is influenced by Spanish and North American pop and jazz as she is by nueva trova and son. In any case, it is evident that Yusa has grown up with an ear stimulated both by what her own land has to offer her, as well as by an entire legion of musicians that includes Miles Davis and Sting, Peter Gabriel and Stevie Wonder, Chick Corea and Jaco Pastorius. And she is part of a very attentive generation that is aware of the work of her Brazilian contemporaries (Lenine, Chico Science, Chico C\u00e9sar, Carlinhos Brown) as well as the work of any good \"house\" musician.<\/span><\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/qH9jVURZBLY\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><span style=\"font-weight: 400;\">She was born in the Havana neighborhood of Buena Vista and grew up in the Alamar community of buildings, on the northeast coast of Havana. Between those waters and music, she spent her childhood and adolescence, living with her economist mother who adores her and her sailor father who only knows how to tell her his love with eyes of looking at the sea.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Yusa began with the guitar, continued with the study of tres, while developing her natural aptitudes for piano and bass. What essentially inspires this first album are those years of pure creativity, playing and sharing with his classmates in the classrooms and corridors of the \u201cAmadeo Rold\u00e1n\u201d music conservatory, exchanging musical ideas and youth parties with students who today are musicians of immense value in the Cuban scene, like Roberto Carcass\u00e9s, arranger of most of the songs on the album. Then, here is also the period of staying up late to improvise in the Quasi-Jazz female quintet, sharing the nights at the mythical and central Havana club La Zorra y el Cuervo, with what is best and shines from the national jazz scene.\u00a0<\/span><\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/OUIJovfXFrA\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><span style=\"font-weight: 400;\">A key phenomenon of the 1990s in Cuba was the emergence of contemporary duos that revitalized in a totally unforeseen way the old way of singing with two voices and guitar. As years ago Tosca and Xiomara began to do, Marta Campos and Jos\u00e9 Antonio Quesada or Gema and P\u00e1vel, Yusa and Domingo also left a trail in the urban panorama of Havana.<\/span><\/p>\n<p class=\"translation-block\">This woman and her accomplices (all excellent musicians) recorded at dawn during the sweltering summer of 2001, in a beautiful mansion on 11th Street in El Vedado. There, in the intimate setting of singer-songwriter Pablo Milan\u00e9s' studio (except for a couple of songs recorded at the Amadeo Rold\u00e1n Theater) they gave birth to an album that breaks all the schemes. The producer, P\u00e1vel Urquiza, also spiced it up with \u201cspontaneous sounds\u201d, from the percussive traffic to the trains, from the clicks of cameras to the crying of children, from the melody of a music box to the noise of the waves of the sea responding to Yusa's call to Yemay\u00e1, orisha of the waters.<\/p>\n<p><span style=\"font-weight: 400;\">The enigma of Yusa's bittersweet lyrics has the precise setting in a music that is simple and sophisticated at the same time, at the same time Cuban and universal, which could well (finally!) Be classified as new Cuban music.<\/span><\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/6uvuqlcpyYyMLN9Vvk6FX9\" width=\"300\" height=\"380\" frameborder=\"0\"><\/iframe><\/p>\n<div class=\"su-note\"  style=\"border-color:#e5e54c;border-radius:3px;-moz-border-radius:3px;-webkit-border-radius:3px;\"><div class=\"su-note-inner su-u-clearfix su-u-trim\" style=\"background-color:#FFFF66;border-color:#ffffff;color:#333333;border-radius:3px;-moz-border-radius:3px;-webkit-border-radius:3px;\">\n<ol>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">taking center <\/span> <span style=\"font-weight: 400;\">2&#039;32<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">At twelve <\/span> <span style=\"font-weight: 400;\">5&#039;04<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">The fable<\/span> <span style=\"font-weight: 400;\">3&#039;35<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">grope walls<\/span> <span style=\"font-weight: 400;\">3&#039;59<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">angle question<\/span> <span style=\"font-weight: 400;\">6&#039;22<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">The match<\/span> <span style=\"font-weight: 400;\">3&#039;20<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">the number 2<\/span> <span style=\"font-weight: 400;\">4&#039;14<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">seas of innocence<\/span> <span style=\"font-weight: 400;\">3&#039;39<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">All or almost nothing <\/span> <span style=\"font-weight: 400;\">3&#039;35<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">Song in Cuba for Freya<\/span> <span style=\"font-weight: 400;\">3&#039;33<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">in all the corners<\/span> <span style=\"font-weight: 400;\">1&#039;54<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">Involution<\/span> <span style=\"font-weight: 400;\">4&#039;27<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">moments<\/span> <span style=\"font-weight: 400;\">4&#039;51<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">Chiquichaca<\/span> <span style=\"font-weight: 400;\">3&#039;32<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">Flash<\/span> <span style=\"font-weight: 400;\">1&#039;33<\/span><\/li>\n<\/ol>\n<p><b>Musicians:<\/b><\/p>\n<p><b>Yusa<\/b><span style=\"font-weight: 400;\">: Voice on all tracks; Spanish guitar on 1, 2, 3, 4, 5, 6, 7, 9, 13 and 14; electroacoustic guitar on 4 and 13; piano in 8; electric bass on 15; choirs in 1, 2, 6, 12, 13; fingers at 14.<\/span><\/p>\n<p><b>Roberto Carcass\u00e9s<\/b><span style=\"font-weight: 400;\">: Fender Rhodes in 2, 3, 4, 5 11, 12 and 13; piano in 2, 7, 10; rainstick at 6 and 9; fingers at 13.<\/span><\/p>\n<p><b>Oliver Valdes<\/b><span style=\"font-weight: 400;\">: <\/span><i><span style=\"font-weight: 400;\">drums<\/span><\/i><span style=\"font-weight: 400;\"> at 1, 2, 4, 6, 7, 8, 13 and 14; keys at 6; drawer at 9; fingers in 10; tambourine on 13.<\/span><\/p>\n<p><b>Jorge Alexander Perez (El Sagua)<\/b><span style=\"font-weight: 400;\">: acoustic bass in 2, 3, 5, 911, 12 and 13.<\/span><\/p>\n<p><b>P\u00e1vel Urquiza<\/b><span style=\"font-weight: 400;\">: Spanish and acoustic guitar in 12; choirs in 2, 5, 6, 12 and 13; fingers at 14, camera at 14.<\/span><\/p>\n<p><b>daniel stable<\/b><span style=\"font-weight: 400;\">: electric bass in 6.<\/span><\/p>\n<p><b>elmer ferrer<\/b><span style=\"font-weight: 400;\">: electroacoustic guitar on 1 and 11.<\/span><\/p>\n<p><b>Lucia Huergo<\/b><span style=\"font-weight: 400;\">: soprano sax on 2, 3, 6, 8 and 12; keyboards in 6.<\/span><\/p>\n<p><b>Mario Felix Fernandez (El Indio):<\/b><span style=\"font-weight: 400;\"> Flugelhorn in 3.<\/span><\/p>\n<p><b>Maria Victoria Calero<\/b><span style=\"font-weight: 400;\">: Flute in 3.<\/span><\/p>\n<p><b>Alejandro Aparicio (The Rogue):<\/b><span style=\"font-weight: 400;\"> congas on 2, 3, 5 and 7.<\/span><\/p>\n<p><b>Octavio Rodriguez<\/b><span style=\"font-weight: 400;\">: bat\u00e1 drums in 6.<\/span><\/p>\n<p><b>Elizabeth Regina Ramos<\/b><span style=\"font-weight: 400;\">: cello in 8 and 10.<\/span><\/p>\n<p><b>Ramses Bridge<\/b><span style=\"font-weight: 400;\">: first violin in 7 and 12.<\/span><\/p>\n<p><b>Jessie de Armas<\/b><span style=\"font-weight: 400;\">: second violin on 7 and 12.<\/span><\/p>\n<p><b>Jenny Padron<\/b><span style=\"font-weight: 400;\">: viola on 7 and 12.<\/span><\/p>\n<p><b>Martin Melendez<\/b><span style=\"font-weight: 400;\">: cello in 7 and 12.<\/span><\/p>\n<p><b>Norberto Valdes<\/b><span style=\"font-weight: 400;\">: double bass in 7.<\/span><\/p>\n<p><b>Candlemas Sunday:<\/b><span style=\"font-weight: 400;\"> voice in 14.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Recorded at Estudio PM Records, except 5 and 12, recorded at Sala Caturla of the Amadeo Rold\u00e1n Theater by Alfonso Pe\u00f1a.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Mixed by David Revuelta and P\u00e1vel Urquiza at Peermusic Estudio, Madrid, Spain.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Mastered by Luca Germini at Studio D-Ley, Madrid, Spain.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Musical producer: Pavel Urquiza.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Coordination and Production: Darsi Fern\u00e1ndez.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Executive Production: Mo Fini.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Production assistants: Niurka S\u00e1nchez, Iran Hern\u00e1ndez, Sandra Hern\u00e1ndez.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Photographs: Jeannie Ellis; Mo Fini.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">(P) Tumi Music, 2002.\u00a0<\/span><\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>As a modern singer-songwriter, she is as influenced by Spanish and North American pop and jazz as she is by Nueva Trova and Son. In any case, it is clear that Yusa has grown up with an ear stimulated both by what his own land has to offer, and by a whole legion of musicians that includes Miles Davis and Sting, Peter Gabriel and Stevie Wonder, among others. <\/p>","protected":false},"author":1505,"featured_media":7226,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1039,8906],"tags":[1100,881,481],"coauthors":[7988],"class_list":["post-7224","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-dando-la-nota","category-variaciones","tag-pavel-urquiza","tag-pm-records","tag-yusa"],"acf":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/magazineampm.com\/wp-content\/uploads\/2020\/12\/Yusa-dando-la-nota.jpg?fit=1520%2C690&ssl=1","_links":{"self":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/7224","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/users\/1505"}],"replies":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/comments?post=7224"}],"version-history":[{"count":3,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/7224\/revisions"}],"predecessor-version":[{"id":10492,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/7224\/revisions\/10492"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/media\/7226"}],"wp:attachment":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/media?parent=7224"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/categories?post=7224"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/tags?post=7224"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/coauthors?post=7224"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}