{"id":8195,"date":"2021-05-28T00:00:03","date_gmt":"2021-05-28T04:00:03","guid":{"rendered":"https:\/\/magazineampm.com\/?p=8195"},"modified":"2022-04-30T16:20:17","modified_gmt":"2022-04-30T20:20:17","slug":"dos-lenguajes-ruy-adrian-lopez-nussa","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/dos-lenguajes-ruy-adrian-lopez-nussa\/","title":{"rendered":"Two languages \/ Ruy Adri\u00e1n L\u00f3pez-Nussa"},"content":{"rendered":"

What is essential is invisible to our eyes - someone put it in the mouth of a little wise man - but for how long? Until the day his reveal is a surprise. I write about <\/span>two languages<\/span><\/i> (Bis Music, 2021), the debut \u2014phonographic and audiovisual\u2014 as a pianist, percussionist and composer, of Ruy Adri\u00e1n, Harold's brother, son of Ruy (the one from La Academia) and Ern\u00e1n's nephew. All of them with the surname L\u00f3pez-Nussa. Yes, because this is also a family affair. Remember that detail well.<\/span><\/p>\n

And it is that until now, the window to enjoy this young man's work more regularly was, fundamentally, his brother's concerts. That is why I insist that for me it is a surprise; a very pleasant one, for the record.<\/span><\/p>\n

On the other hand, it is commendable to assume that, with piano and percussion studies, in constant hustle and bustle of recording sessions and with a cosmopolitan look by dint of stepping on the most representative squares of the international jazz circuit, this artist ascends steps in his overcoming of the point of feeling that the time has come to publish their own material. This debut is about that passion, that double drive.<\/span><\/p>\n

\"Portada

Cover of the album B\u00e1sico, No B\u00e1sico y Dirigido<\/i> two languages<\/em>. Art: Mayo Bous.<\/p><\/div>\n

The phonogram\/DVD is preceded by a calm curatorship that can be seen in the generic diversity of the pieces and in the instrumental pitch that was obtained with the invited colleagues. Here are nine original compositions and the version of a Cuban classic like <\/span>The manisero<\/span><\/i>, interpreted in duet format. The guests invited by Ruy Adri\u00e1n to his debut feature boast a large list of winners. However, they appear here because they share a common path on the local and global scene; and by <\/span>that<\/span><\/i> matter of the brotherhood, of knowing how to speak the same musical language (again the language) that transcends jazz. There's no room for him <\/span>bling bling<\/span><\/i>. <\/span>Il n'y a pas de featuring ici.<\/span><\/i><\/p>\n

At the beginning of the album is <\/span>h and 25<\/span><\/i>, one of the three pieces in which Harold Lopez-Nussa takes a place at the piano; where the brothers offer a superb demonstration of Cuban jazz in tribute to the home as a nest of upbringing and teaching. More than mutual complementation, the decade and a half that these avatars have been sharing already allows them to sense each other on stage. And this is appreciated and enjoyed.<\/span><\/p>\n

Two Sounds<\/span><\/i>, in interaction with Ruly Herrera (<\/span>drums<\/span><\/i>), allows us to appreciate Ruy Adri\u00e1n's signature tics like in no other piece. Overlay multiple tracks with <\/span>loops<\/span><\/i>, creating a base on which Ruly conducts the song, while he improvises on keyboards to finally close with a dialogue of two <\/span>drums<\/span><\/i>, interweaving a rich harmonic-rhythmic skein. In <\/span>Guajira<\/span><\/i>, for her part, Daym\u00e9 Arocena lends her wealth of voice to <\/span>scat<\/span><\/i> a guajiro stitch motif in conversation with the percussion.<\/span><\/p>\n

I stop on a topic like <\/span>noisy<\/span><\/i>, <\/span>bonus track<\/span><\/i>\u00a0 unfilmed, which travels the paths of electric jazz fusion \u2014rescuing labels from the last century\u2014 with Elmer Ferrer's guitar as the propulsive protagonist. Just when he executes his distorted solo, dirty, in the purest style <\/span>shredded<\/span><\/i>, Ruy Adri\u00e1n, twists the rhythmic base, the shell as well, towards the Cuban key, combining two modes in one. Undoubtedly, a sample of balance in a repertoire where the acoustic prevails.<\/span><\/p>\n