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Libre de pecado (“Sin Free,”) the new album by Beatriz Márquez, recently won the Grand Prize at the Cubadisco International Fair. With it, it becomes obvious, in a clear and profound way that artistic creation is not dead. The desire to do for Cuban music at the level it demands does not stop: without commercial concessions that plunge it into an overwhelming tide of childish sonorities, without the purest desire to make a mark or make history.
Beatriz Márquez, silent and analytic, belongs to that group of musicians who wait patiently, like an Asian monk, for a project to take life, develop and be set in motion with ease. Márquez is not keen on speed, neither for her songs, nor upon selecting them, nor on achieving fame. You know, because her artistic life is now half a century old, and that what is so famous today may become useless tomorrow: that is why what she does is eternally guaranteed.