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Album Review

With every passing year, pianist Omar Sosa continues to define what contemporary world music can be. Each effort is quite different than the previous one, while the bright colors, timbres, and elements of his Cuban-based music are elevated higher and higher. In his restlessness to find further truth and beauty, there's a calm serenity and unabashed confidence in his vision and personal musicianship. For Afreecanos, Sosa uses artists from every portion of the globe except Australia and Canada, though some have lived there, too. They include fellow Cubans Orestes Vilató on timbales and flutist/saxophonist Leandro Saint-Hill; trumpeters Bill Ortiz (U.S.A.) and Stephane Belmondo (France); Africans Mola Sylla, Fanta and Baba Sissoko, and (from Morocco) violinist Mohamed Soulimane — as well as Brazilian vocalists and the American-based bata player Michael Spiro. As you can imagine, this melting pot of rhythmic, vocal, and instrumental sound blends into a potpourri that makes refreshingly new music within ritual and traditional frameworks. There are many highlights: the heavy staccato-laden worldbeat groove blues of "Ollú," the jazz-oriented horn charts and singsong or harder-edged but lighthearted "D'Son" and "Tres Negroes," the effortless and funky African-derived "Tumborum," the flute-fronted oceanic-cum-Yoruban "Light in the Sky," and the sorrowful, more question than answer-oriented "Why Anga?," for the late conga player Miguel "Angá" Diaz, who played with Sosa up until his untimely passing. You'll hear straight African chants, spirit songs, and a ballad or two, the 21-stringed kora featured on the entirely beautiful "Iyade," and an occasional piano interlude from Sosa. As time goes by, with his music featuring fully developed progress-oriented themes, you notice less of Sosa as an individual voice and more in an image as a team player or village chieftain. In fact, the group singing is more prevalent than his individual playing. Omar Sosa continues to make brilliant music where the natural and spiritual meet the contemporary. He continues to set the bar further up into the stratosphere, and one can only imagine how far he's going to reach. This is a major artist on the international scene who all should be paying close attention to. ~ Michael G. Nastos, Rovi

Customer Reviews

Extraordinary Recording A Must!

Folks, I breathe music, I am eclectic, educated by choice in muscial eclecticism. My jaw is still dropping at the perfection of this album! Hermano Sosa mucho Axe pra Voce! Perfect explorations and blend of african, congo, jazz, bomba and salsa. I feel this well be a forever cherised album. Please spread the word and buy this gem. Support this musical genius. Sit back and feel Mama Africa con el Son del Caribe!

I agree completely!

I join the previous reviewers in applauding this material. This is a fantastic combinations of rhythms, styles, sounds, and musical synergy. If you have an ecclectic taste in music, this CD will be right up your alley!

the chills

I saw Sosa in concert last summer at the Rochester Jazz Fest (NY) and his music gave me the chills and took my breath away. It's a splendid fusion of African beats, western instruments (the piano), and Cuban sensibilities. If only the different worlds could come together as gloriously as Sosa's music.


Born: April 10, 1965 in Camagüey, Cuba

Genre: Jazz

Years Active: '80s, '90s, '00s

Multi-instrumentalist Omar Sosa was born on April 10, 1965, in Camaguey, Cuba. At the age of five, Sosa began studying music at the Escuela Provincial de Musica in Camaguey, which led to his intense study of drums and percussion at two other schools during the late '70s/early '80s: Cuba's Escuela Nacional de Musica and Instituto Superior de Arte. Sosa then began to teach percussion to children before he created the group Tributo in 1986, for which Sosa penned and oversaw the material for two of their...
Full Bio
Afreecanos, Omar Sosa
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Customer Ratings