Trova singer Liuba María Hevia recently presented her latest record production Puertas [Doors] (2010). The CD includes 13 tracks she composed between 2002 and 2008 with reggae, guajira, and cha-cha-cha, blues, and jazz fusion with strains of samba and tango. Here are excerpts from Ariadna Ruiz Almanza’s interview with the artist:
Doors are very suggestive, graphic, and the song after which this CD is named, is highly symbolic. Seemingly, it tells a story, but actually it only provides the signs for us to choose the direction we want to go. Mysterious songs captivate me. Truth has many angles and that was precisely what sparked off the song dealing with the loneliness of human beings, with doors right before us that we do not dare push open, with doors we are incapable of throwing down when needed, with doors we are forced to close down, with doors we leave half-open.
[. . .] I had not produced an album with my songs since Ilumíname in 2002, and although I began to prepare Puertas before Secretos cantados (2007), I left the first album aside and decided to carry on with the second one using the themes that arrived from Spain and that almost no one sings anymore. I believe in the utility of things, and my mother, a master on the matter, was one of the persons that induced me to give priority to Secretos… at the time. It took me three years before I did Puertas, because among other things, my mother fell ill and taking care of her was of utmost importance to me. Thus, I postponed it until eventually it was recorded during three long sessions, interrupted by national and international tours, to finally be completed in May this year.
[. . .] “In this CD some of my musicians participated along with many invited artists, most of them jazz players, like Ramsés Rodríguez at the drums and Miguelito Nüñez at the piano. Also accompanying me were Asturian bagpiper José Ángel Hevia; Lucía Huergo in the flute, Felipa Moncada in the cello; and trumpet player Alexander Abreu, among other renowned Cuban musicians. I was honored to count on the performance of Ana Belén [in “Tristeza” . . .].
[I sing] to the family, to friends, to life in general; it’s a bit nostalgic, autobiographic, with a retrospective look as if expressing thankfulness; but it also touches the future, it questions and is concerned about certain things. One of my songs is dedicated to my mother (“Se busca,” 2008), to my Asturian grandfather (“Con los hilos de la luna,” 2004), to grandmother Verónica (“Theme for Verónica,” 2003), to the Uruguayan poet Mario Benedetti (“Cautivo,” 2004), and to Fernando Pérez and his film Suite Habana (“Tristeza,” 2003). In Puertas, the songs are balanced, and there seems to be a stronger bond among them.
For full article, see http://www.cubanow.net/pages/articulo.php?sec=4&t=2&item=8997