For this January 20, the 37th edition of the Jazz Plaza Festival has in its program the delivery in the Sala Covarrubias, of the National Theater of Cuba, of the first album starring Oliver Valdés, well named considering him part of the new generation of the battery in our country.
mask gives title to the phonogram from which his interests reverberate, embedded among all the abundance of legacies and own references, allowing him to express himself through the instrument and the composition to account for his style.
Present in the credits of numerous record productions, Oliver Valdés adds endorsements to his debut album that well sustain his well-earned ascendancy in the different fields of music, through which he has achieved a sustained impact over the last decade.
About twenty all stars will accompany him in the presentation of Nasobuco, most of the total involved in the album produced by NuCubMusic Project (which he leads) and Four Wives, with the support of the National Center for Popular Music and RTV Comercial.
Along with the well-known percussionist, those close to his generation will be Tony Rodríguez, Rolando Luna, Eme Alfonso, Yaroldy Abreu, Adonis Panter and Jamil Schery, as well as Roberto Carcassés, Julito Padrón, Gastón Joya, Juan Carlos Marín and Alejandro Delgado, Ramón Tamayo and Erdwin Vichot, Ele Valdés and Carlos Alfonso, as well as Germán Velazco and Jorge Reyes, referents at the same time for their imprint.
Allusive in its title to the period of confinement to which the global pandemic of COVID-19 led, Nasobuco bears witness in such a way to the concretions of Oliver Valdés, who has said that he finds in the battery a gratifying way of expressing the heterogeneous flow of his interests. musical, both between forms of jazz, pop or trova.
Acknowledging himself “open in terms of genres”, his first phonogram ensures that it summarizes different ways of playing the drums according to the genres and instruments that make up each format, vindicating the scope of Oliver Valdés’ achievements and his commitment to «a different search », which identifies him well.
New pieces make up the entirety of Nasobuco, which also includes Barbarito Torres, Yosvany Terry and his father Jorge Luis Valdés Chicoy, whom he considers primarily responsible for his attachment to jazz “in which an artist can free himself more and in a way of life”, in the words of Oliver Valdés.
In this way, he finalized for the album his own version of El Necio, by Silvio Rodríguez, whom he has been accompanying for almost two decades; or others like Maní and the one that gives the album its title, co-authored with Julito Padrón and Alejandro Delgado, respectively.
With the recording by Olimpia Calderón at the Ojalá studios, mixed and mastered in Los Angeles by Jimmy Branly, Nasobuco is accompanied by two audiovisuals that document the work process and the delivery of Fool.
