I asked Lazaro Morúa with play a blues with his harmonica in the style of those of New Orleans. I thought I would challenge hi, , but the artist, so used to these challenges, let out the most sensitive chords I had ever heard.
“From a young age I’m very attached to this instrument, which is easy to learn and play. It is a common instrument. I have a method on this regard that I have not yet submitted for publication “, Morúa told OnCuba, this morning we agreed to unveil much of that half century he has been linked to music.
When I confessed him that I was surprised about that his connection to American music, Lazaro blushed as he recalled those days in his native Sabanilla del Comendador, a town in Matanzas. There his father, a doctor and also musician of a jazz band, showed those roads to him and his seven siblings.
“We used to listen to our parents sing for us. Each of us had to perform a song of time. That set us up for the future. This happened with my brother Kiki (Leoncio Morúa), who created Los Safiros and set up the voices of the famous musical group. ”
Lazaro began in the visual arts, but also writes, “especially fairy tales that I have not published, but have them there,” he said, adding that he comes from a family of artists, as Maite and Alberto Vera are his cousins.
But music was a passion that today, half a century after they started in this world, he feels close, alive within him.
His academic training has a good time at the School of Modern Music. He remembers that “Formell was a bass teacher there, Oscar Valdés too, of Cuban percussion; and Fausto Rivero García, a renowned Cuban drummer of the musical, was very knowledgeable with state of drums in the world, thanks to its connection with important exponents of this specialty in the international arena. This formed me and helped me a lot in my life. ”
Then came enriching experiences as his participation in an artistic brigade in Luyanó (Havana); The groups Los Afros which “was the first who made a circumnavigation of Cuba, and we performed from the fishing boats” -; and Los Dadas, and the quartet Los Nova.
It is very interesting that detail of your life in popular dance music. ¿Irakere and Van Van?
I was about two years with Chucho Valdes. In Irakere I did jazz improvisations, Cuban incursions of the genre. It happened with songs such as Bacalao con pan and things that we enjoyed very much. I remember there was a known number, Danza Ñañiga, Oscar Valdés sang and after I did all inspirations. Over time, that single was retaken by Mayra Caridad Valdés.
“With Chucho my experience was excellent as well with top musicians who formed the band at that time. There was an interest that I was there and already I played the harmonica.
“I remember when I left Irakere, Elio Reve Matos came to me to my sister Gisela´s house, to become part of an orchestra called the 440, in which Oderquis Reve was. I had other proposals, but I knew how to choose what I wanted and my desire was to be with Juan Formell and Los Van Van.
“I had a good relationship with Juan. I reminded him, upon entering the orchestra, what genres I was used to: jazz, American and Cuban music. The leader of the ‘train’ told me, ‘Morúa, no problems. I do not want to lose our way, because we would be of chracter. We will work in your case, 50 percent of popular dance music and 50 of what you do. I will make arrangements for you. ‘
“It was consensual and it worked. I remember some of the numbers I played with the orchestra: Y lloré (a version of a song by the American band Chicago), Elisa -a bolero by Formell dedicated to his daughter, and El tren de Jagüey; while A una mamita, Pedrito Calvo and I sang it. All were hit parade on the radio. This was a very comfortable work and I perceived it from the first rehearsal with the group at the Tropicana cabaret “.
Versatile musician, Morúa consideres himself a lucky man because he has been able to venture into different genres and that has “enriched” him as an artist. He has collaborated with new artists such as singer David Blanco and trumpeter Yasek Manzano.
“I like more the intersection of musical currents then fusion. It’s like a bag of yarey, each edge has to go in and you see that extend at one point and where they meet. There is an important detail, I always tend to help. This makes young people have confidence and faith in one. “
