The conjunction of machines and acoustic instruments, the harmonic sophistication, mix of candombe, electronic music, jazz and tango, its international sound with strong Uruguayan roots, made Estados De Ánimo a milestone for much of the music that followed in its wake. Estados De Ánimo was the only album released under his name.

There were two dance performances and then the show was never put on again. The album was released on vinyl with a single pressing of 300 copies. The same year that the dance piece with choreography by Graciela Martínez was premiered by a group of dancers from the National Ballet. Drum machines and Yamaha DX7 and Roland D50 synthesizers command the timbre of the album that was released at the end of 1990. A deep bench of national talent, as Eduardo Mateo (with whom Jasa went on the make the wonderful album La Mosca), Hugo Fattoruso, Jorge Galemire, or Mariana Ingold, took part in these sessions. He also sought to merge the glamor of the '80s with Uruguayan Afro-candombe sound in his songs. In the brief intervals the studio was available, Jasa started to experiment with musical ideas that he imagined for a dance piece. Some of the most interesting Uruguayan records released in the '80s were recorded in La Batuta studio, co-owned by Henry Jasa, Hugo's father.

Hugo Jasa was at the center of this new music scene.

It was a time of social and cultural effervescence, Uruguayan music lived a particularly brilliant moment, marked by the emergence of a generation of artists who open-mindedly mixed the new global sounds that started to resonate across the country with their local and regional musical roots. After over a decade of dictatorship, a process of democratic openness began in Uruguay in the early '80s. Vampisoul present a first-time reissue of Hugo Jasa's Estados De Ánimo, originally released in 1990.

Making It by Jasa