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Also included is a set of four atmospheric interludes, featuring traditional music samples combined with improvised piano and soprano saxophone accompaniment. That has been Omar Sosa’s response to our proposal: to revisit , by Miles Davis, from his own (quite exceptional) aesthetic assumptions. The 41st Voll-Damm Barcelona International Jazz Festival had hired drummer Jimmy Cobb – the only surviving member of the group’s original line-up who created that record – and a tribute band committed to revive, in concert, the memory of that iconic jazz piece. Omar Sosa joined him for a Duo performance in Cagliari on July 9th (concert number 26)! So too, it seems, was the poet and novelist Langston Hughes, a seminal voice in the Harlem Renaissance, whose reading of "The Struggle" was sampled then woven into the narrative. The ensemble fuses the folkloric with the contemporary, the tribal with the urban - all with a Latin jazz heart. (OTA1007) , we find "Gracias Señor" and "Para Dos Parados", both featuring poignant string arrangements, and the later featuring the exquisite vocal styling of María Márquez.Overall, the compositional focus of the project is on ensemble playing. But , rather than a museum piece, is a mysterious record with an intimacy to be disclosed very slowly, generation after generation, beyond the commonplaces of history books. His call for racial consciousness and self-determination (No man wanted to be a slave) is the literary counterweight to this musical oblation. Downbeat recently commented that “Sosa stokes the African and Cuban fires: Each burns distinctly from the other while illuminating the place between them. Finally, from the groundbreaking CD, has a remarkable unity and organic quality, allowing the listener to let go into a magical, dream-like state.During the residency period, Omar used the state-of-the art facilities at EMPAC, including a magnificent Yamaha CFIII concert grand piano, to record solo piano. And a passionate desperation in the finale, as in records conceived the old way, like a narrative, followed by the final rest, grace in a religious sense, like an overflowing energy which at the end of the journey becomes pure togetherness. This live recording anticipates the release in October 2007 of Omar Sosa’s next studio album, entitled “Afreecanos”. Julio Barreto toured and recorded with Gonzalo Rubalcaba from 1991 to 1998 in Trio and Quartet, and is featured on the Rubalcaba recordings “Suite 4 y20”, “Rapsodia”, “Diz”, “Imagine” and “Antiguo”. Barreto has also toured and recorded with Roy Hargrove, David Sanchez, Chucho Valdes, Steve Coleman, Ravi Coltrane, Chico Freeman, José Luis Quintana, and Miguel “Anga” Diaz. In addition to the electric bass, Childo Tomas sings in his native language Mozambican language of Ronga, and plays m’bira. The dance-jazz vibe of these remixes features Omar Sosa piano and marimba riffs, funky clarinet riffs, as well as new vocal and flute elements... Omar Sosa searches out new sounds for a music that is simultaneously his own, and part of an Afro-Cuban culture. Muevete en D () Recorded live at Radio Bremen, Germany, in November 2003, Aleatoric EFX is Omar Sosa’s fourth solo piano recording.
They are both master musicians with illustrious careers, bent on expanding musical boundaries and exploring new cultures. It is a deep and consistent work, dedicated to the many facets and mysteries of love. The CD is comprised of 13 solo piano improvisations, fusing stylistic elements of jazz, classical new music, ambient, and electronica. Flautist Mark Weinstein’s groundbreaking Cuban Roots (1967) melded the influences of Mingus, Machito, Puente, Tjader, and Palmieri, carried forward into the present with his recent collaborations, Cuban Roots Revisited, Algo Más, and now, Tales From The Earth. What was not seen at the start,however,was the great drama unfolding before us, a backdrop for the making of this record - the ascendancy of Barack Obama to the presidency of the United States.Recorded at Radio France in Paris in front of a live, studio audience, Live à FIP offers new interpretations of many of the compositions from Mr. With the exception of Omar Sosa, the relation to Cuban music for these musicians is somewhat removed, though respectful and engaging. From the mysterious, ethereal beginnings of Follow My Shadow, with its bass string drone and yearning melodic figure, to the classical lyricism and haunting beauty of Impromptu in D Minor, the recording opens in a delicate, understated mood.Sosa’s 2006 GRAMMY-nominated CD, Mulatos, as well as a number of new pieces. Omar’s extraordinary abilities as a composer, pianist, marimba percussionist (new here to many of his followers) and his authoritative leadership threads this together beautifully to create a major development for a Cuban jazz artist. Mute Ostinato in C continues Omar’s fascination with the bass drone, as in Indian classical music, combined with a series of lilting rhythmic figures, and unique use of the coco shells inside the piano on the strings.A noteworthy dimension is Omar’s use of the Fender Rhodes electric piano in equal measure with the acoustic grand piano., was created at EMPAC, the Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute in Troy, NY, in February 2012. That’s why we asked two artists who are familiar with our festival to revisit from another perspective, following the artistic principles evoked by Bill Evans in his notes to the record signed by Davis: be yourself, be spontaneous, give all you have to give, everything you learned from those who came before and those you are sharing the road with. Which leads us to recognize the indomitable life force that faces unspeakable horrors yet somehow prevails a beacon penetrating the fog of oppression, its promise flooding across oceans, continents, centuries. Through a work of art or, less frequently, a presidential election. This is where Sosa pitches his musical camp and works his magic” (January 2007). Iyawo´n Bass () Following the success of Cuban pianist Omar Sosa's recent recording "Mulatos" (OTA1015), which received a 2006 GRAMMY nomination for Best Latin Jazz Album, and a 2006 BBC Radio 3 Award for World Music nomination, and which features the artistry of legendary Cuban reedman Paquito D'Rivera, Ot· Records is pleased to announce the release of a remix album of material from the award-winning recording. For those Omar Sosa fans who may have missed some of his early ensemble recordings and for those who have enjoyed the quieter, more introspective dimensions of this remarkable artist, How to be true to a music tradition and be part of the world at large?Omar was invited to an artist residency at EMPAC with Zimbabwean dancer / choreographer Nora Chipaumire to compose music for Nora's dance-theater piece, . We selected Chano Domínguez, from Andalucía, who contributed to find nothing else but the paradoxes of a never-ending search: love and indifference; exile and emigration; being here and now with the lessons of those who illuminated us; restless energy and deliberate contemplation; the uncanny twists and turns of our souls and the shades of our lives; the constant strain between grief and joy, contradictory and supplementary at the same time. The interludes, almost sacred invocations to the genius of Bill Evans. Recorded in front of a live audience at the NDR radio studios in Hamburg, Germany, “Promise” features the above Quartet, plus noted Italian trumpet player Paolo Fresu, and Cuban flute player Leandro Saint-Hill. Entitled "Mulatos Remix", the album features fresh and funky contributions by Paris-based drummer/producer, Doctor L; Brooklyn-based producer/remixer, DJ Spinna; live Drum & Bass pioneer/drummer, Marque Gilmore; Paris-based drummer/producer, Steve Arg¸elles (who produced "Mulatos" and whose mixes include some out-takes from the original "Mulatos" sessions); and new-to-the Paris scene, DJ basephunk. To be a modern artist (and consequently a traveler), without dismissing your roots?