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La Nuu perform medieval songs and develope them through jazz, indian music, improvisation and multiple elements taken from apparently immiscible backgrounds.

The result of this mixture was initially surprising even for the performers themselves.:
-  Those sounds were incredibly beautiful, delicate   delicious !!

The show is called Beyond space and time...

It joins past and present following eastern and western musical traditions.


 Ramon Rodríguez                                            Patricia Mora                                           Josep-Manel Vega     

 Indian tabla and percussion                                            Harpsichord, organ and singing                                                   Electric guitar            


La Nuu is a newborn project, although it is made by musicians with a long career.

The idea was conceived in early 2017 and materialized in a private concert at the Monastery of Les Avellanes (Spain) which was recorded in order to show the proposal.

The initial cast was focused on the medieval harp, an instrument whose limitations were inadequate to satisfy the claims of the show. The recruit of the harpsichord dimensioned the proposal extraordinarily. In addition to the melodic, harmonic and contrapuntal possibilities of the instrument, music started flowing almost by itself as Patricia’s improvising ability on it is amazing.

In the concert that we offered in the aforementioned Monastery of Les Avellanes we also experimented playing some of the pieces on the organ of the church. A sample of this successful attempt was reflected in the video recordings of the concert and, since then, it is a possibility that we offer.

Apart from receiving a solid academic training in classical and ancient music, Patricia has been main member of spanish pop band Lagarto Amarillo with which she has toured Spain in several concert tours and massive shows. In this context she trained as a singer, a quality that now looks charmingly in La Nuu.

The development of each composition has been done avoiding most of the usual topics in this type of proposals and respecting the essence of the compositions both in the harmonizations and in the improvised passages. Josep-Manel’s self-taught character becomes clear at this point, since his way of harmonizing and improvising does not respond to the standards of a particular style.

Moreover, one of the main peculiaritys of La Nuu’s repertoire is the preferential choice of burdon music. Because of that, instrumental exploration easily leads to hypnotic environments which have an exquisite beauty. The modal character of burdon music, based on simple monophonic melodies without chord progressions, has many similarities to Indian classical music, based on raagas.

Ramón explains that the concious listening to the tabla touched such a deep part of himself that he not only embarked on a path to meet the instrument but everything surrounding. In the sacred city of Rishikesh he learned the basics of the instrument, but also the basics of Indian classical music and philosophy. Long stays in Rishikesh with walks along the banks of the Ganges, yoga practices at Shivanda Ashram, and hours and hours of classes and tabla practice helped him growing as an artist, but also as a person.

The tabla transmits all this bakground and when it is put at the service of the beautiful songs of the repertoire of La Nuu the result is real poetry.

With the kanjeera, an instrument that must be played using quite a complex technique used in carnatic music (classical music of South India) Ramon also provides a powerful sound that impacts on the most rhythmic and amalgamated medieval themes of the repertoire of La Nuu.