Omar Sosa: A Week At The Blue Note And Across America
The impressionistic, universal sound of Omar Sosa comes to America for three weeks with his Afreecanos Quartet, beginning on April 27, 2011 at Dakota Jazz Club, Minneapolis and ending on May 18 at Yoshi's in San Francisco, the place where it all started for the Cuban-born world jazz creator in the late '90s. During the tour, over May 3-8, Sosa's Afri-Lectric Quintet, joined by revolutionary guitarist Lionel Loueke, will play a week-long residency at the Blue Note in New York City.Pianist Sosa set out in his pre-San Francisco days to fuse all the music of the African diaspora into one, and added the improvisation of jazz on his arrival in the Bay City in 1997. Now, with twenty-two breath-taking albums recorded for San Francisco label Ota Records, Sosa has created a folkloric and impressionistic picture of uplifting music that includes effects and samples triggered by the pianist while playing (with also occasional bass support from the Fender Rhodes positioned at his left), and his soloists and percussionists. On this tour, Sosa is accompanied by his long-time bassist and vocalist from Mozambique, Childo Tomas, who sometime favors a twin-necked electric bass, the saxophone and flute of San Franciscan Peter Apfelbaum and percussion from Marque Gilmore. In New York, he will also be joined by trumpeter Joo Kraus, and Loueke.
Sosa's superlative blend of sounds is both a revelation and the future. He began with Afro-Cuban music and spoken word vocals, as well as neo-classical and artful solo piano albums (including influences from composers Bach, Satie and Chopin), then added the sounds of Africa itself and other world musics. He has also played inside the piano to add texture and emotion (he is a fan of John Cage!).
In 2004, Sosa released a brilliant album entitled Mulatos (Ota Records, 2004), which is for many an indispensable recording.
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The impressionistic, universal sound of Omar Sosa comes to America for three weeks with his Afreecanos Quartet, beginning on April 27, 2011 at Dakota Jazz Club, Minneapolis and ending on May 18 at Yoshi's in San Francisco, the place where it all
There seems to be some universal quality to this sound. "There's a Brazilian community that comes to shows in New York and swears it's samba fused with Punjabi," he says. "And people come up and say it sounds like West Indies music or Jamaican music or
Since their reformation, the band has often mentioned playing together again feels like they didn't miss a beat, and it shows. However, there's a key ingredient missing to this album: tracks with the same immediate universal appeal as their most
I think one thing we've been able to do is stay the same band with the same values, whether we're on (indie label) Fat Wreck Chords or Universal." Principe never imagined himself on a major label, let alone being part of a band that is currently on a
The core of the band, Lotus (vocals, guitar) and Kris (bass), have been performing and honing their sound together for years: a significant effort, now yielding big-impact results, and a lot of excitement. Liquid Me is influenced, and inspired,
nyctaper » Blog Archive » Buffalo Tom: April 28, 2011 Bowery ...
Tracks were interwoven with the band’s most classic tracks in a strong well-paced ninety-minute set. The band even reserved “Don’t Forget Me” for the first encore slot. Bill Janovitz has also never shied away from difficult covers — the band played a Gun Club song at the Mercury Lounge show in November . At the Bowery, the Van Morrisson classic “Into The Mystic” flowed naturally from the Tom’s “Larry”, and we’re streaming that set highlight below.
I recorded this set with the four microphone rig from our standard balcony location in this venue and the sound quality is superb. Enjoy!
Stream “Larry - Into The Mystic” (Van Morrison):
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