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From
Havana to Rio by Ernán López-Nussa
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 With
an amazing roster of recordings
involving multiple ways of learn about life, pianist Ernán
López-Nussa seems a restless warrior in its eternal crusade
to prove that in the world there's still a lot of unveiled music,
many cultures to discover.
Since 1977, from its foundation until our days, Ernán has been
part of multiples projects together with Bobby Carcasés and
Afrojazz, Síntesis,
Elena
Burke, Coda, NG Todos Estrellas, Alina Sánchez, Silvio
Rodríguez, Cuarto Espacio, Manaca and Otra Visión,
Tata
Güines, Angá, and Merceditas
Valdés...
Ernán López- Nussa participated in Amaury
Pérez`s ''Equilibrio'' and ''Solo
en Septiembre'' albums and in the homage CD to Emiliano
Salvador ''A
Puerto Padre'', winner of CUBADISCO 2001.
His previous projects are still revered: ''Figuraciones''
(CUBADISCO 2000 Prize) and his videos together with La
Camerata Romeu in the homage to Bach and Cervantes.
"From
Havana to Rio'' makes a new path in his habitual journey. He features
a positive and strong speech through nine pieces, presenting also
a group of friends from Cuba and Brazil eager for new substances,
new words, new images.
More than attempting to speak an individual language, Ernán
and his close collaborators enhance fusion converging in a common
strong root: to express influences of the Brazilian music in the Cuban
people, the nectars possessed by both nations due to their geographical
position within the African daily life.
Ernán includes new elements, making allusion to various adolescence
idols such as Tom Jobim and Sergio Mendes in the brilliant opening
"baiço de Lacan" by Brazilian guitarist Guinga. It
is a march Tipo Batucada supported by percussionists Ovidio Brito
and Marcelino Moreira.
It's quite similar to the Cuban Son
with typical melodies having greater tonalities, basic features of
the Brazilian music. It also offers Arabian, Oriental and Portuguese
influences, but he gave it the Cuban taste through solos transferable
to parallel eighths.
With José María Vitier`s ''Contradanza'', the sounds
coming from the Cuban salons of XVIII and XIX centuries are back,
dialoguing with "Bilongo'' (La Negra Tomasa) by Guillermo Rodríguez
Fife and Dr. Mario Bauzá`s ''Mambo Inn".
In the ''Dama Sofisticada'' by Duke Ellington, the Brazilian flutist
Carlos Mata takes the sounds of his flute-bass to transform them in
a tasteful danzón.
This ebullient community is enhanced with Ernán`s works as
rewarding parts of the record. In ''Isla'', there's a Brazilian accompaniment
made by the Trouppe Cuban: Tata
Güines, Emilito del Monte,
Don Pancho Terry, Oliver, El Sagua and Haidé Milanés.
Messages from the Brazilian Huica running little by little from a
contradanza to a contagious samba.
In ''Reencuentro'',
Ernán makes a beautiful introduction on a piano solo carring
the legacy of DON CHERRY.
Where would be the excitement for the new and unknown without such
artists, who permanently feed the restless philosophy of modern Jazz?
Written by Toni Basanta and Orlando Sánchez about the CD
From Havana to Rio by Ernán López-Nussa under Bis Music
label.
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