Yuley Díaz: "The piano played me just because!"

The good thing about having good friends in other parts of the world is that they can surprise you at any time. That's what happened just a month ago when from Spain they started sending me via WhatsApp videos of the show musical and gastronomic Wah Madrid with the participation of a Cuban mulatto woman who dances, sings and applauds from the piano: she alone is a spectacle.

"Her name is Yuley Diaz", says my friend and emphasizes in the message: "It's a train and a head". When I start the "tracking" in some Internet and YouTube sites the pieces begin to fit, and immediately I jump from astonishment to obviousness for the following data: her father is the humorist and composer Jorge Díaz, niece of the renowned piano teacher Miriam Valdés (daughter of the great Bebo Valdés); cousin-sister of Cucurucho Valdés and a list that could be endless. The "caste comes to the greyhound" they say back in the mother country, but on our side: "he who is born to the violin, from the moment he is on the stick he plays".

Yuley Díaz (1984) made Spain her second home, developing as a pianist, composer, educator and I would like to add another facet that will explode at any moment: writer.

Was it the artistic strength of the Valdés family (Bebo, Miriam, Chucho...) that conditioned your path to piano playing or were there other influences? 

My aunt Miriam Valdés opened the doors to the world of music. I still remember today when she asked me: "Do you want to play the piano? I was about 6 years old and I automatically said: "Yes". I don't remember if I thought or felt anything special, but that event, apparently trivial, marked the path that would accompany me for the rest of my days.

My great-grandfather Absalón Pérez, was an outstanding pianist, arranger and orchestra conductor born in Holguín. In 1932 he moved to Mexico and settled there until the end of his days. Everardo Ordaz, my great-uncle, was another outstanding pianist who also settled in Mexico and achieved great popularity.

My grandmother Noemí (Absalón's daughter) studied piano up to the sixth year. In 1953 my grandmother met the great Bebo Valdés and they had two children: my aunt Miriam Valdés and Ramón Valdés. They were both pianists.

When Bebo left, my grandmother met my grandfather Ricardo Díaz: an outstanding composer, rumbero, and lover of life who also distinguished himself as a dancer and interpreter of the genre, with a very significant creative career. From this union my father Jorge Díaz, humorist and composer, was born. My aunt Miriam Valdés is the mother of my first cousin Cucurucho Valdés, another great piano virtuoso, what a coincidence! I definitely did not choose the piano. The piano chose me. Or as we would say in good Cuban: the piano played me for the notebook!

Photo: courtesy of the interviewee

It is striking that even though you are part of this "musical dynasty" you do not use your last name as anyone would have done in your place. Why?

The artistic influence of the Valdés family has been crucial in my development. They are renowned pianists with an impressive legacy. They have been my mentors, my favorite pianists and role models. The Valdés are the pillars of my training and development, as well as the foundation of my artistic path. In the music of my cousin Cucurucho Valdés, and his teaching, all the inspiration for my early compositions is centered, but "I am not Valdés".

I believe that this phrase, which could be a good title, is a fundamental element of my identity. While I share the blood and musical heritage that touches me, emphasizing this reality allows me to value my own path and distinguish my own place. This duality of belonging and at the same time being independent has enriched my artistic and personal journey.

The Valdes family is a vital part of my history, but my identity transcends that connection, allowing me to forge a path that will always be inspired by them, but is uniquely my own.

When do you decide to emigrate? 

Emigrating is a very complex decision, and emigrating from Cuba is even more so. I arrived in Madrid when I was 22 years old in November 2006.

What led you to that?

The "deep" motivation for this decision, in the midst of other circumstances, was to discover who I really was. At that time that motivation acted from the unconscious, but today I can explain it from a fuller consciousness. In Cuba I only lived my time as a student, and very close to graduating, I felt that I did not fit in the opportunities that were available to me at that time.

I didn't see myself as a classical concert pianist, or as a jazz player, or playing 'tumbaos' in a women's salsa group. So I was depressed. I graduated, closed the piano, and stopped playing. I couldn't.

The stories from the world of the classical piano conservatory career are often quite similar. In most cases you learn with rigidity, tension, and the fear of making mistakes is often stronger than the love of music. I don't remember enjoying playing in public once while I was studying, and as my career progressed, piano for me became an increasingly stressful experience. This lack of enjoyment, which is often a recurring theme, is something that not only affected my academic life, but also had long-term repercussions, as it greatly affected my overall emotional well-being.

In the midst of all this, the political and social reality of Cuba was not a minor issue. Cuba felt to me like a place with no future. An environment where personal and professional aspirations were constantly limited. I felt a sadness that, combined with hopelessness, only increased my lack of perspective.

In the midst of all this feeling, my cousin Cucurucho Valdés began to compose and he would call me to teach me everything he was doing, or to create with me by his side. Listening to and learning his music was the only thing that saved me, it was a different sound! But I didn't feel I was capable of composing, and I started to think that I didn't measure up to my family, or to family expectations. This caused me to create a distorted image of myself and my confidence was shattered. For many, many years, I felt great inadequacy and doubt about my abilities and I couldn't play. I could not.

Starting from scratch, alone, without the piano and without money, was undoubtedly very hard, but it has positively influenced all aspects of my life. In a new environment, with new pressures, but free from the pressures that marked my life in Cuba, I have been able to reencounter the piano from a freer and completely creative perspective.

The process of change has been neither easy nor fast, but emigrating has given me the necessary space to understand who I am. I have been able to discover my true vocation and build my own identity. This external and internal journey has been fundamental for my growth as an artist and as a person.

Was it in Madrid that the "classical pianist" began to expand her interests in other styles or did it come from much earlier? 

I think the interest came from much earlier. In Cuba I was unable to see a world beyond the walls of sheet music, I love classical music! But at the same time I longed for something different that I could not clearly identify.

I remember when I first discovered the soundtracks, especially to Ennio Morricone. Its melodies conveyed a very deep emotion to me. It was definitely a type of music that resonated with me in a way that the classical repertoire could not. However, that which I loved so much sounded 'classical', or concert-like. Tunes that sounded 'modern' but with a classical background were my favorite.

It was in Madrid where I discovered new genres and sonorities, and where when I returned to the piano, only what I had inside me came out. Very slowly I developed this, without forcing anything and from tranquility. In principle I did not show anything to anyone and of course there were no opinions from teachers, nor criticisms that sometimes undermine us with negative thoughts. This environment was free of pressures and so, from absolute freedom, a new world emerged: composition. In Madrid something very important happened: I began to trust my own artistic judgment.

How do you enter musical theater in a capital city that is so demanding in this type of genre? 

Well, it was another seemingly trivial event. I decided to get back to playing seriously and started going to a school to study piano in the mornings. There I was being listened to by a saxophone teacher in the class next door who one day came up to me and said, "Would you like to play in a musical? They're doing a musical...". castings!" I had absolutely no idea what it was all about, but my response was a resolute, "Yes!" It seemed to be an interesting opportunity, and it was so much so, that another world opened up to me that I can no longer do without, the theater.

In this new environment, I found a place where I felt very comfortable, musically speaking. The scores are usually very varied. And what I enjoy most is being able to combine the best of my classical training with freedom and creativity. The versatility required to play in a musical made me start to gain confidence, and grow as a musician, and as an artist.

It has given me a lot of knowledge in many ways! Not only did I discover a music that fascinates me and that has nurtured my creative process. The fact of interacting with musicians, singers, actors, dancers, sound technicians, lighting technicians, managers, producers, etc., made me learn a new dynamic of teamwork.

Being part of all that gear that happens live, where every element, no matter how small it may seem, is fundamental, is a very enriching and rewarding experience for me. The impact of theater in my career goes beyond music. It has opened my artistic horizons and I think it has transformed my career because now when I create, there is always the piano as a starting point, but there is also something more. Now I feel that I have a broader and more complex vision of the artistic process.

How many plays and shows are we talking about so far?

As a pianist I have worked in The Sound of Music , Cabaret, West Side Story and MatildaI have worked with SOM Produce, a Spanish musical theater production company, leader in the production of major international musicals, with which I have toured the main theaters in Spain. I have also been a pianist in Songs off Broadway, Golfus de Roma, The Addams Family, The Little White Rabbit, 24 Hours in the Life of a Woman, I Am Who I Am, Carmina Burana, and Cross of Navajas. I am currently working as a pianist in the show Wahlocated in Ifema.

Photo: courtesy of the interviewee

I saw you in some videos of Wah with a lot of dynamism and as a mutual friend of ours says: "it's another level". By the way, tell me how has been the reception of the public and the press in Spain. 

I think our friend is right. Wah is a unique and unforgettable musical, visual and sensory experience. It's not what they do, it's how they do it. It is a show that takes a journey through great themes in the history of music, combined with gastronomy, innovation, emotion, technology and an originality that manages to surprise and captivate the audience. It is one of the great current projects of the Spanish capital and they are leaders in differential branding.

The energy and excitement of the audience, enjoying and giving their all, mixed with our energy and excitement on stage, creates a very special atmosphere. The audience never hesitates to express their gratitude towards all the artists, highlighting how we made them feel during the performance. The truth is that our work there has a very positive effect, and so positive has been the reception from the press.

Wah is a place that demands constant improvement and change, where we are encouraged to believe, create, grow, risk, learn, improve and undertake. For me, this approach is a great source of inspiration and motivation. There I have been taught the importance of innovation in the creative process, the importance of a positive attitude and having a clear long-term vision, as well as the value of taking risks to achieve excellence. I have also learned a lot about stage attitude and about the business perspective in show business. For me it is a privilege to have the opportunity to be part of such an extraordinary and visionary project, above all.

Photo: courtesy of the interviewee

And right now what projects are you involved in, apart from this show?

I am in the beginning stages of creating my own production. A creative adventure that for me represents an enormous learning process, and at the same time a complex challenge. I am living a very significant moment because I believe that, unconsciously, everything I have learned so far is being reflected in this project.

However, the road is arduous and full of challenges. Every day I have to deal with a myriad of challenges and aspects to manage, which go far beyond the music as I continue to learn. For the moment, my gratification is in every obstacle overcome, and every idea that takes shape. This is something that brings me closer to the final vision, and reaffirms my strong desire to develop new forms of artistic expression.

With all the time that this kind of shows consume, I know that your work goes beyond that and I like to know that you dedicate a space to teaching. How is that experience?

Teaching is an integral part of my life. It is a passion that goes beyond my stage work. I love teaching because in reality, what I do is learning. This gives me a lot of joy. From my students I usually receive something very nice, and very valuable. Having the possibility of guiding, and seeing how they evolve (and I evolve) for me is a privilege that at the same time enriches me a lot.

Sharing knowledge, experiences, and often playing a role similar to that of a psychologist, is something that brings me a lot too. This work of empathy and understanding is fundamental and has taught me to be even more sensitive and receptive. It is a challenge that also helps me to evolve, improve and expand my own limits and abilities.

I am currently teaching Musical Theater at SOM Academy Drama School. It is a very creative job because each class is an opportunity to innovate, adapt and find new and spontaneous ways to respond to the needs and energies of the group.

This dynamic and adaptable approach not only keeps learning interesting, but also allows me to continue to evolve as an artist, and educator. In addition, teaching musical theater has allowed me to integrate all the elements I love about performing: piano, music, acting, dance, and production.

Another facet that seems to be hidden in the midst of so much movement is that of composer and here I want to get (literally) to Soledad 518How was this idea born and under which record label? 

Soledad 518 is the name that gives title to my first single and at the same time to a personal project that gathers my first compositions. A project that is full of nostalgia, because for me each song is like a capsule containing memories, images, sensations and subtleties.

It is a title that could have many subjective meanings, but it is nothing more than the address of my home in Cuba, where I was born, grew up, and among many other things, found music. Therefore, it brings much of my identity, my origins, and evokes a Cuba that today is my greatest nostalgia because I live it through Spain: my second home. Soledad 518 is my happiest nostalgia.

In principle Soledad 518 It was planned as an album and it will be, but this project has evolved, and I am considering the production of a concert with theatrical elements that pays tribute to my family: the most important thing I have in my life.

Yuley Díaz's music, as she defines it, is a fusion of her classical training combined with Cuban roots and a current harmony used within jazz concepts. The teachings of the theater, in particular, have been fundamental and she feels it is a great opportunity to apply everything she has absorbed so far in a project like this one. Soledad 518 which will connect with sensations and emotional atmospheres. As it is conceived (little by little, without haste), I have no doubt that it will be a success and another way for us to be known there, in the madriles.