There are musicians who, since the very moment of their debut, manage to turn more than one head within the arranged sounds reign. Just is the case of the multi-instrumentalist Lucía Huergo, who captured everyone`s attention when she made her bow at the Cuban musical scene around the 70s and immediately attracted not only the experts but also the local lovers of the Jazz made among us then........

I will never forget what I felt when I heard her playing a music close to the Afrojazz, penned by her and José Carlos Acosta, another notable Cuban musician.....

Around the 80`s, this outstanding saxophonist, flutist and keyboardist was a main element for the ethnic-rock combination made in Cuba, leaded by such luminaries as Síntesis and Mezcla, two ensembles in which her talent left her prints along the years. From this period, a couple of songs by her have been transformed in genuine classics of this style, ''Eyeleo'' and ''Mereguo'', still present as battle horses in the Juan Carlos Alfonso`s team. In this way, the name of Lucía Huergo has appeared as arranger and producer in CDs of diverse artists, such as Amaury Pérez, Ireno García, Liuba María Hevia or José Feliciano.

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According to the diverse interests she has been exhibiting in her work as a legacy, this musical gift is including without any prejudice, pieces running within the ethnic-rock parameters, some of them close to the light jazz, some others considered as an instrumental pop, including also songs from Nueva Trova.

In this phonogram, there's an alternation among pieces with a strong Afro presence (something that has been a permanent motivation in Lucía Huergo`s artistic labor) and some others showing a deep lyric taste. In the first case, it's noteworthy the presence of songs already known in previous versions. It`s even right to state that the new orchestral arrangements are similar to the preceding tendencies and general lines feature old figurations, substituting the old fragments sung by the soprano saxophone or the flute. In these cuts, the new taste is forged by the solos included in this set, as in ''Mereguo'', in which the Jorge Luis Valdés (Chicoy)`s guitar plays an important role. In this way, in the Afro-inflected compositions highlights Edgar Martínez Ochoa, who plays Batá in a very precise way, tight to previously-scheduled keyboards.

In the field of lyric tunes, in which Lucía rules the execution of wind instruments, particularly, the control over the sound of saxo-soprano, is necessary to mention the beautiful piece entitled ''Pasaje al cielo'', carrying a tremendous emotive strength. Likewise, the piece ''Mirando tus ojos'' seems very attractive to me too, above all due to the nice combination of the Haydeé Milanés`voice with the keyboard rhythm when they perform the melody at the same time.
... having a stylistic projection within an introspective atmosphere, we can also mention ''Bajo tu sombra'', with an excelent labor of Ransés Puentes at the violin.

From the CD untitled Lucía born under Bis Music label, two compositions captured my attention: ''Temas para Yusa'', conceived for a magnificent vocalization of the song/singer and multi-instrumentist Yusa, boasting the magic she imprints in her performances supported by the keyboardist and Edgar Martínez Ochoa in the batá and ''La rumba loca'' another clear example of exciting tendency popular among us where various musicians having different tendencies interact among them. In this case, Huergo invites the previously mentioned Yusa and the rapper Temari Díaz, recurring artist of different productions belonging to the scene of Cuban Alternative Music.

I just don't want to omit the song present in this album. "Entre el tal vez y el quizás", having lyrics and vocal contribution of Amaury Pérez Vidal. The song proves the Lucía`s accuracy when picking the best piece for Amaury and after a careful listening of its melodic line you can perfectly think the melody was made by the troubadour himself, who, by the way, as he usually does, wrote a beautiful text for the cut. Another sung piece is ''Mi vieja Habana'', a sort of Danzón already known in its instrumental version, boasting here the voices of Liuba María Hevia and Miriam Ramos, plus guest contributions of Enrique Plá in pailas and güiro.

In general, lucía is a record that allows us to be in contact with the creation of one of the most orchestral directors along the latest years...

Taken from Lucía article/Lucía Huergos/Bis Music, penned by Joaquín Borges-Triana and published at Caimán Barbudo 2004.