“El Viaje (The Journey),” the title track of Cuban pianist and composer Harold López-Nussa’s debut release on Mack Avenue Records, seems to sway gently like a boat in the water–as if rea... More
“El Viaje (The Journey),” the title track of Cuban pianist and composer Harold López-Nussa’s debut release on Mack Avenue Records, seems to sway gently like a boat in the water–as if readying for a voyage or returning to port after arrival-trumpet and voices whispering memories. This scene aptly describes López-Nussa’s experiences of traveling throughout the world, yet always finding his way back to his hometown of Havana, Cuba. This journey of body and spirit has led simultaneously to a musical exploration where he visits various genres and ideas while staying true to his foundational roots.
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The talented Cuban pianist Harold Lopez-Nussa has just released his latest album, EL VIAJE, under the American label Mack Avenue. This album was influ ... More >
Harold López-Nussa, the famous jazz pianist, will be in a unique concert on November 30, 2016 at the New Morning in Paris. He will introduces us to h ... More >
This meeting between the brilliant nomad of Senegalese music (Alune Wade) and the Cuban piano prodigy (Harold Lopez Nussa) is an exciting adventure. T ... More >
By nature, musicians are individuals who do not stay in one place. Always quick to seize an opportunity, when in the short-lived space of a meeting, they anticipate a stimulating musical adventure to... More
By nature, musicians are individuals who do not stay in one place. Always quick to seize an opportunity, when in the short-lived space of a meeting, they anticipate a stimulating musical adventure to come. Alune Wade and Harold Lopez Nussa met yesterday and swore to find each other again, when they’d get something together -someday
They kept their word ! And the album “Havana-Paris-Dakar“, is the result of that promise, born out of a true need, to meet again. The solar and swinging links between Africa and Cuba, as heard on their album together, delight as much the piano jazz buffs as those aficionados of African music.
Alune Wade is Senegalese but his star is everywhere. He knows what he owes his own kind, but has a fundamentally nomadic spirit. If he has set himself in Paris, it was so his bass could meet up with the world. His music sparkles with his desires to open up and carries in it the echo of his beautiful collaborations in Dakar, Paris or everywhere else. Welcoming and warm, flowing and radiant, his music is a testimony to his difference. After “Mbolo” (released in 2006 on Tinkisso – Stendhal road), his first solo album, then “Ayo Nene”, his second offering finalised in 2011but still unreleased , he had another idea in mind. It stuck with him throughout his various collaborations that helped build his reputation along the years as he played alongside Ismaël Lô, Oumou Sangaré, Josef Zawinul, the band Deep Forest and more recently Marcus Miller for his project “Afrodeezia”.
The idea germinated thanks to his meeting with the Cuban pianist Harold Lopez Nussa, in Germany, where he was requested to replace the bass player, in a jazz club, in April, 2012. “I remember that in this concert, without having hardly rehearsed, it all flowed so smoothly, as if we had already performed together before” said Harold. The human and musical bond was so natural that, eight months later, Alune packed his bags for Cuba with the idea of recreating standards of the African sound track. To take and arrange certain Latin sounding tracks or to put a drop of Cubanity, with the rhythm of Rumba as a recurring theme, in compositions which related to him and had accompanied him at a certain moment of his life, in Senegal or Paris.
Of “Independence Cha Cha”, the “hit” from the independence years, written by Joseph Kabasele, to “Petit Pays”, one of the most successful songs of Cesaria Evora (for which he suggested inviting Sara Tavares to sing the duet with him) to “Ya Rayah”, the standard of the Chaâbi or “Aminata”, one of the heroic deeds of his fellow countrymen Labah Sosseh (who was one of the biggest vocalists of the salsa made in Dakar) we find musicians or Cuban singers of the highest level (Orquesta Aragon, on harmonies). Alune and Harold recorded these unforgettable pearls in the studio Abdala, in Havana, adding some unreleased songs. Guitars (some of Hervé Samb’s, the fellow traveler of Alune, within the University of Gwana, Aziz Sahmaoui’s little ensemble), were to be added in Paris.
Harold Lopez Nussa, the dazzling Latin jazz pianist, discovered in 2005 in Montreux, of whom Chucho Valdes said “ he is part of the avant-garde of a new generation of musicians” and “possesses a subtle sound, brilliant ideas and unique musical style”, says that Alune, by offering his services ”offered him the possibility of opening up and discovering a panorama of African music, regrettably little of which is listened to in Cuba” despite what Cuban music owes to Africa.
With this delicate weave of colors, “Havana Paris Dakar” magnificently reminds us of the strong link that connects those two musically dominant cultures.