Lucía Pulido
Do political issues interest you?
It is unavoidable that they be linked. Colombia is a country with a history of human rights violations and a great degree of violence. But I never, on principle, belonged to any political party. This closed some doors for us. If we were not part of the Communist, or any other Party, then people did not call us to sing. And we decided in favor of independence. There was a time, in the late 80s, when we did participate in “Concierto Miedo” (pun in Spanish simultaneously meaning “Concert Fear” and “with certain fear”), which involved different artists during a time in which, due to drug trafficking, there were numerous bomb threats and such things.
Was it a constitutional government?
It was… but the threats came from the drug trafficking…
Did that prompt you to leave?
No, it didn´t. That was a previous situation.
Because you left in 94…
Yes, that´s right. The situation had calmed down a little; since 97 there has been a new outbreak that causes large migrations from the field to the city, and from the city to other countries. Some musicians with whom I had worked began to leave.
And why New York and not… Barcelona?
I had looked for Barcelona. With Iván we had already gone several times to Europe and I always thought it was an interesting place. But New York is very particular, and… it was an accident…
Something like an Aleph…
It could be… but it happened more due to a personal situation.
Do they make you feel Colombian in New York?
The advantage New York has, and the reason why I never felt excluded, is that this city is absolutely cosmopolitan, there are people from all over the world. And when I tell you “from all over the world” I mean exactly that: “from all over the world.” There, the possibility of finding many cultures is part of its charm. It is a point of encounter. There, I met Fernando and I met Iván again, for example. But it also represented a turning point.
Do you feel homesick and rootless?
About three years ago I had a crisis, but… well… (smiles), I overcame it…
As Les Luthiers say “let me go, past!” (laughs).
That´s right… My essential bond with Colombia is my family and those ties allow me not to feel distant. I could live forever in New York… but I could also leave tomorrow. That is to say… NY doesn’t generate any ties or restrictions for me, neither does Colombia.
And does that bother you?
Not at all…
Turning a little bit more to the musical area; about the project with Fernando (Tarrés), the third volume of the “Songbooks” is still to be published. Was this previously agreed on or did it turn out this way naturally?
There was a potential to do many things, and also a willingness, because of Fernando’s tremendous productive capacity. Different paths started appearing. It was not premeditated, nor was there a plan to produce a trilogy; when we recorded the first CD we realized there was much more material to explore.
You have several parallel projects. I would like you to talk to me of the two in which Sebastián Cruz plays a part: “Palenque” and “Despecho”.
“Palenque” has been constantly changing and a lot of people have taken part in it. “Palenque” began with (percussionist) Satoshi Takeishi and changed according to the availability of the musicians. Since I recorded with Satoshi, several things have happened. He is no longer part of the group but his brother is (Stomu, bass player). This format remained until last year when I decided to reduce the quantity of musicians. We have a CD ready and we are looking for a label. The other project is “Despecho”; it is the one I dedicate less time to although it is very entertaining…
And why are you so despechada (broken-hearted) with “Despecho” (laughs)?
It is such a simple work and so little pretentious… that it is the way it is.
But a CD was recorded…
Yes… but I refer to the type of work, in contrast to the one I do with Fernando (Tarrés) or with “Palenque”. These generate another type of proposal; it is necessary to elaborate them more… and they both imply a lot of effort.
What does a musician need to play with you?
(Quickly) Nothing… (she thinks) Everything! (laughters) It depends more on the musical moment.
Do you consider how the person is?
I think everything counts, but the musical impression is first; and then, of course… the rest.
Have you ever had to say no to somebody due to personal differences?
No.
And why do you think it hasn’t happened to you… do you choose well?
I think so… (laughs).
Do you prioritize one of your projects above others?
That is complicated to say, because at present, here, the priority is my work with Fernando (Tarrés). And certainly, in New York, the priority could be “Palenque.” Things are gradually developing.
With “Songbooks” you have already played in different places. Do you notice a difference in the reception according to the places?
It is difficult to say now because truly we have not played much. The reception is always warm. There is like a feedback with people; I, at least, feel this way.
What do you see from the stage when you sing?
I don’t open my eyes onstage.
(Incredulously) Why?
I would lose concentration (laughs). I think I could not… it comes out this way and it has always been like this. It is a little bit my shyness. I found it difficult to stand up in front of the public. I love to sing, and this defeats the fright of standing up in front of the public. For me to sing (she thinks) is very visceral. I am not singing thinking “what a good voice I have”. More than that, I surprise myself that people like what I do. And it is good for it to be this way, because I love to sing… it comes out from inside… but I always surprise myself… I don’t sing for myself; I sing so that people can feel what I am singing. If I open my eyes and I see you, I could end up forgetting where I was. And I prefer not to run the risk.
And do you like to listen to yourself?
No… I rarely listen to myself… After recording, yes…
And there, yes, you say “whoa… what a voice I have…!” (laughs).
Not really… I find it very strange… It is like when you listen to your recorded voice, that is always strange. I don’t mean that I cannot see my voice from outside… I know how far I can go and what territories I cannot transit. I try to recognize my own limitations.
When a concert finishes, how do you feel?
Always very affected emotionally and it depends on how well it went. I have sometimes felt great empathy with the musicians and simultaneously, on occasions, perceived that everything crumbles and that I have to save the situation by myself… And later on you find people that tell you “it was the best concert that I have witnessed in my life ” and… (long laughter), well… those things happen.
Before I asked you about the musicians, now let’s talk about the songs; what do they need to have for you to sing them?
That I like them a lot; and that they generate in me an interpretive challenge; that, essentially. I try not to engage with themes that have been played too much.
What does it happen when you listen to other singers, do you enjoy them as part of the public do or do you look at them as a singer?
Well… it is unavoidable… I listen to any singer more than the usual. I am not only enjoying the song; I am hearing where the singer is placing the voice to do what she or he is doing. Either I enjoy it a lot or I do not… It happens often that I recognize that somebody has a voice to die for, but that somehow, the version doesn’t help; or vice versa.
