Biography
LUCIA PULIDO is a Colombian singer with one of the richest voices on the international Latin American musical scene today. She has an experimental style marked by a distinct vocal sophistication, and has participated in various projects, ranging from traditional Colombian music to jazz and world music. The New York times says that, “Ms Pulido holds on to the rawness of the original melodies while giving them a sophisticated new context”. This richness can be seen in her different ensembles and repertoires.
Traditional genres such as cumbia and bullerengue from the Atlantic Coast, currulaos from the Pacific Coast as well as joropos from the Colombian Eastern Plains are the point of departure for her musical creativity. Lucía's vocal sophistication is enhanced in genres such as herding songs (cantos de vaquería), funeral laments (alabaos) and harvest chants (cantos de zafra), which give the singer the liberty to explore her voice fully.
She is currently working on several projects with musicians in New York City and in different countries in Latin America. Some of these include her New York based LUCIA PULIDO ENSEMBLE (Quintet and Trio), performing experimental arrangements of Colombian traditional music as well as newly composed songs written for her; the classic repertoire of Latin American songs of broken love ("despecho") performed with musicians based in New York; an experimental project based on Latin American traditional songs with Argentinean guitarist Fernando Tarrés; a project called "América Contemporánea – um Outro Centro" with Brazilian pianist Benjamim Taubkin and several musicians from different countries in Latin America; and New York cellist Erik Friedlander's "Colombiana" project. Her active career includes performances in Europe, Canada, United States, and Latin America.
Artist descriptions on Last.fm are editable by everyone. Feel free to contribute!
All user-contributed text on this page is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply.
