Omar possesses an incomparable capacity to bring the most diverse traditions into fruitful juxtaposition, moving through and far beyond his influences, from the folkloric to the classical, while sustaining a singular and joyous cosmopolitan voice.Omar is an artist who’s constantly seeking new combinations, and each of his projects is marked by a revelatory spirit of creative freedom.Tokyo-born, Paris-based koto player Mieko Miyazaki came to Omar’s attention via her recorded work with French jazz guitarist Nguyên Lê.When Omar finally had the chance to meet her, Mieko’s creative spirit utterly impressed him, and he enlisted her distinctive voice for is the latest example of Omar Sosa’s transcendent determination to seek new combinations, a manifestation of improvisatory freedom wherein the musical destination is subordinate to the extemporaneous joy of shared artistic expression.The album takes a polyphonic approach, the Duo curating sonic landscapes with great care and sensitivity – as we also find in their bright and extraordinary live performances.. () Alma is the new recording collaboration between six-time GRAMMY-nominated Cuban composer and pianist, Omar Sosa, and celebrated Italian trumpet and flugelhorn player, Paolo Fresu. I wanted to play from beginning to end without thinking – just feeling where each note would take me, following the voice of my soul. Rooted in the Quartet’s Afro-Cuban percussive traditions, Sosa’s finely textured compositions enable Morelenbaum to summon forth a broad palette of sounds, fully mobilizing the NDR Bigband’s sonic potential and its brilliant soloists, while leaving ample space for Sosa’s own luminous improvisations. Tales From The Earth weaves a musical narrative that can be read as a journey to the source of the human spirit with all the playfulness, celebration, contemplation, historical awareness, compassion, reverence, and gratitude manifest in a life consciously lived. The crystallizing element in assembling this narrative was rhythm, heard through a melding and mingling of cultures and manifesting the shared roots between Omar Sosa and Tim Eriksen. During the forced migration of slaves, a practice that spanned centuries and fed the triangulated economies of Europe, Africa, and the Americas,indigenous musics and performance traditions entered New World ports, among them Havana and Chesapeake Bay. Sosa uses a horn section, and Afreecanos features a variety of traditional and modern flute sounds.Since he emigrated from Cuba in 1993, Omar Sosa has forged a distinctive musical path, fusing an array of jazz, world music, hip-hop, and electronic elements with his Afro-Cuban roots. The CD features guest cello contributions on four tracks by the masterful Brazilian conductor, arranger, producer, and cellist, Jaques Morelenbaum. It’s possible that silence, yearning, hope, optimism, and sadness all travel hand-in-hand in many of the songs”. opens in sacramental veneration of Elegba, the divine messenger and guardian spirit, the all-powerful medium and diviner of human fate. Co-produced by Mark Weinstein, Omar Sosa, and Jean Paul Bourelly, Tales From The Earth embraces the radical challenge laid down by Monk long ago: “Jazz is freedom, so I play music. These strains of expression tookroot and became the basis for much popular culture. He is a global musician, attuned to the pulse of nature. The recording also features kora, ngoni, guitar-sitar, and a variety of folkloric percussion instruments, including batá, timbales, kongoman, m’bira, and talking drum.
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 observes that, as he did with —suggestive of translucence and flowing light—is a deeply spiritual recording that reveals its inspiration in the close and compassionate listening of artists engaged in a genial and captivating musical conversation, liberated from time itself, reaching across five continents to probe the collective spirit of the human condition.presents a continuation of Cuban pianist-composer Omar Sosa’s collaboration with Hamburg’s NDR (North German Radio—Norddeutscher Rundfunk) Bigband and Brazilian cellist-composer-arranger Jaques Morelenbaum, whose inaugural effort can be heard on Omar Sosa-NDR Bigband CD Sosa, Morelenbaum, and the NDR Bigband extend their many influences in a contemporary contribution to the expansive universe of world jazz, where Sosa resides as a generous, abundant, and ecstatically inspired creative spirit.Ilé means homeland in the Lucumí tradition of Cuba, derived from the Yoruba language of West Africa, and it is to the Latin Jazz roots of his native Cuba that Omar returns for inspiration on this new studio recording. The assignment: to compose and produce a tribute performance to Miles Davis’ classic recording, provides a medium for musical elements from Africa to shape and develop the music. Omar and Paolo toured together in Italy in July 2009, which further deepened the special musical chemistry between the artists, and inspired them to plan a Duo recording. Omar’s unorthodox harmonic sensibilities are evident throughout . In keeping with Yoruba tradition, exits with a final ritual salutation to Elegba. Theirs is a model marriage (one with rich historical roots), bearing offspring, new idioms,spiritually endowed. releasing these forms from the traditional Afro-Cuban clave... combining the fokloric with the contemporary, the ancestral with the urban.Joining him on the project are three musicians with whom Omar shares a close connection: fellow Camagüeyanos, Ernesto Simpson on drums, and Leandro Saint-Hill on alto saxophone, flute and clarinet, and Mozambican electric electic bassist Childo Tomas – collectively known as Quarteto Afro Cubano. The resulting jazz textures are further enhanced by the subtle and expressive use of electronic elements. Both admirers of Jaques Morelenbaum’s artistry, Omar and Paolo invited him to participate in the project. We hear surprising harmonic turns, with sonorities blending and resolving in unpredictable ways. Ceremony acknowledges the majesty of the legendary Afro-Cuban big bands of Frank “Machito” Grillo, Chico O’Farrill, and Dizzy Gillespie, while extending those revered traditions in a contemporary salute to the expansive universe of world jazz, wherein Sosa himself continues to reign as a joyous, generous, abundant, and essential creative spirit. The four vocals featured in Across The Divide are bound to the Eastern seaboard by tradition and development. Throughout the album we hear folkloric elements infusing a modern jazz idiom, including spirit vocals and percussion from Africa, Cuba, and Brazil. Afreecanos is produced by Paris-based drummer Steve Argüelles, who also produced Mr. Afreecanos was recorded at Fattoria Musica in Osnabrück, Germany, with additional recording in Paris and San Francisco.
The NDR Bigband, under principal conductor and arranger Jörg Achim Keller, is an ensemble of consummate soloists whose talents have been highlighted through the work of such noted arrangers as Michael Gibbs, Steve Gray, and Colin Towns.