Amaury and Ceruto, much more than less › Culture › Granma

Amaury and Ceruto, much more than less › Culture › Granma
Amaury and Ceruto, much more than less › Culture › Granma

Since The Beatles recorded, for the album Abbey Road, the last verse of their last song, baptized as The End, it is often remembered for that philosophical sentence in which it is stated that “the love you take is the same as the one you give.” ».

If we approached the artistic universe of Amaury Pérez Vidal, it would be difficult to find out the names of all those from whom he has received something during these long years. Yes, I could say that I have been aware of everything he has offered us.

Carrier of a personal creative code that he reiterates in each project undertaken, we know of his ability to reconcile such essences. In this incessant vocation of his to perform from multiple platforms, let us not forget that Amaury is a singer-songwriter with deep roots, who was already being missed by the absence of a new record production.

For those who have followed each and every one of his albums published for more than four decades, the phonogram that recently appeared on social networks, with the suggestive name of + or –, symbolizes a sum of precepts that penetrate deeply, due to the marked recollection of a nostalgia that is not frequent in his work as a whole.

Precisely from the song that gives its name to the album, we enjoy his renowned ability to choose the necessary words, when saying how those of us who are already part of this age group (seniors) see ourselves.

There is a reason why Amaury has renewed his professional ties with an experienced producer like Juan Manuel Ceruto, in the confidence of being able to carry out a balanced work, whose dynamic moves between the joviality and freshness that distinguishes him as a performer, at the same time as other moments serenely reflective.

There they are Hallelujah, a piece that brings back the vigorous pulse of the young singer-songwriter; or the song Verónica, in which the intensity of Dayron Ortiz’s electric guitar provides an unusual resonance in the musical context of the popular troubadour. To save a kiss is feasible as part of that group of songs by the best Amaury, although the jewel of the album is Plegaria by Alberto Cortez. As the title of the song announces, it is a sober artistic manifesto about the high level of loyalty that he values ​​among great friends.

This whole imitation of appointments with yesterday invites you to visit the past. It can’t be any other way. Its author is one of those who knows how to deliver, when it comes to creating.

 
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