I listened to Telmarys for the first time fifteen years ago, in a collection titled Cuba 21. New Cuban Music, compiled by the renowned Mexican music supervisor Lynn Fainchtein (Amores perros, Babel, The Revenant). When I heard Montuno, a duet with William Vivanco, I was captivated. Several years passed by before I listened to her first solo album, A diario.
Telmarys was presented at the International Music Fair or Fimpro, at the recently inaugurated Centro de las Artes Escénicas (Performing Arts Center) of the University of Guadalajara.
Enrique Blanc, a Mexican music journalist, told me that Telmarys’s concert was one of the highlights of the fair: «Telmarys & Habana Sana’s presentation within the setting of Fimpro showed the portent of her live show: a band with ten musicians who reiterate the instrumental strength to which Cuban musicians have traditionally accustomed us. But, in addition, the show clearly showed the talent of this Caribbean artist when rapping, as well as the dynamism of a sound that combines hip hop, Cuban son and other accents, where tradition and avant-garde are fused with naturalness and ingenuity. In Cuban contemporary music, Telmarys is one of the voices that propose an evolution for it: an exemplary and joyful one».