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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.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?Rooted in Afro-Cuban spiritual and percussive traditions, and intimately versed in a range of contemporary world musics, Omar’s finely textured compositions present Morelenbaum with the foundation to summon forth an expansive palette of sounds, inspiring the NDR Bidband’s brilliant soloists, maximizing the ensemble’s sonic potential, and providing ample latitude for Sosa’s own luminous keyboard improvisations.pays tribute to the majestic figures of Afro-Cuban big-band jazz—Frank “Machito” Grillo, Chico O’Farrill, Cachao, Mario Bauzá, Dizzy Gillespie, and Chano Pozo—while also drawing inspiration from Cuban luminaries such as Armando de Sequeira Romeu, Peruchín, Pancho Quinto, Lázaro Ros, Lili Martínez, Benny Moré, Arsenio Rodríguez, Rubén González, Frank Emilio Flynn, Bebo Valdés, and a succeeding generation of artists including Chucho Valdés, Paquito D’Rivera, and the revolutionary This project grew from Omar’s conversation some years ago with Hamburg producer Stefan Gerdes of NDR, who facilitated the connection with Morelenbaum, a celebrated arranger known for his trailblazing work with Antonio Carlos Jobim, Caetano Veloso, Gilberto Gil, Gal Costa, Cesária Evora, and Mariza, among many others.

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.Tokyo-born, Paris-based koto player Mieko Miyazaki came to Omar’s attention via her recorded work with French jazz guitarist Nguyên Lê.

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