Posts Tagged ‘SF Weekly’
Omar Sosa’s exploration of the shared roots of the musics of the Black Atlantic is documented in an impressive body of work. A number of his albums are regularly featured in my own personal soundscape: Prietos (2001), Sentir (2002), Afreecanos (2008), and the brilliant, transformative Across the Divide: A Tale of Rhythm and Ancestry (2009). If you are not familiar with his work, I heartily recommend that you check it out. On Wednesday May 18, the Omar Sosa Afreecanos Quintet, featuring Bay Area Latin music icon John Santos, played Yoshi’s San Francisco. Below is the preview I wrote for SF Weekly.
By Jeffrey Callen Wednesday, May 18 2011
Pianist Omar Sosa is on a musical and spiritual mission. His music, steeped in Afro-Cuban and jazz influences, melds traditional and modern sounds (and aesthetics) to show the unseen threads that connect cultures throughout the African diaspora. His mission has taken him into myriad musical settings that have been documented on an impressive array of recordings. His rare stop in the Bay Area at Yoshi’s this week is a sort of musical homecoming.The Cuban-born pianist spent three years in the Bay Area in the ’90s — a period that marked a turning point in his career. “It was the first time I did what I felt,” Sosa explains in a phone interview. He began exploring the roots of African music a decade earlier, but it was here that his sound took shape. Sosa particularly admired the vision and work of percussionistJohn Santos, who was already an established figure on the Bay Area Latin music scene. Santos became pivotal, offering moral support and hiring Sosa to tour with his Machete Ensemble. Wednesday’s show will see the two reunited, with Santos performing as a featured sideman in Sosa’s Afreecanos Quintet.
Sosa’s group formed to record the albumsPromise (2007) and Afreecanos (2008); it has appeared in various configurations and included more than a dozen musicians from the Americas, Africa, and Europe. It has become “more a collective than a group,” Sosa says. In addition to Sosa and Santos, the version that will appear atYoshi‘s includes drum ‘n’ bass pioneer (and founding member of New York City’s Black Rock Coalition) Marque Gilmore, bassist Childo Tomas from Mozambique, and Berkeley nativePeter Apfelbaum on saxophone and flute. Apfelbaum was another of Sosa’s inspirations when he moved to the Bay Area. He remembers that the first concert that made him exclaim “That is the kind of music I want to make” was the final San Francisco show by Hieroglyphics Ensemble, a legendary jazz group Apfelbaum formed while still in high school. (Apfelbaum relocated to New York to play with jazz icon Don Cherrysoon after Sosa hit the Bay Area, but remains one of Sosa’s musical heroes.)
Since he departed the Bay Area in 1998, Sosa has stayed connected, regularly releasing albums on Oakland-based Otá Records that document his ongoing musical explorations. He draws upon a diverse array of traditions to create an eclectic body of work. Ritual sounds of Cuban Santería orMoroccan gnawa blend with straight-ahead Latin jazz, big band horn charts, and hard bop; contemplative moments on ngoni or piano are flavored with electronic samples.
Sosa’s recorded output is driven not by commercial calculations but by what he calls “spiritual messages.” When Sosa’s spirits call him to record an album, he says he has to do it right then, or “the message will kill me.” Last year, when he was in New York City with two days off, Sosa received the message that he “needed to heal himself.” So his manager found an available studio, and Omar played solo improvisations on piano, electric piano, and electronic percussion for two hours. When he finished, he had recorded the raw tracks for his latest release, Calma (2010).
Perhaps not surprisingly, Sosa’s best ensemble work features a thrilling drive and intensity along with the vibrant interplay of sounds — see Prietos (2001), Sentir (2002), Afreecanos (2008), and the brilliant, transformative Across the Divide: A Tale of Rhythm and Ancestry (2009). The introspective, laid-back Calma has a different kind of eloquence, contemplative and restrained without the drive and diversity of textures that characterize his ensemble work. Sosa says it’s the only one of his albums he currently listens to: “When you feel calm, you see life in front of you more clearly. … You have time to see things and choose in the moment.” Expect a variety of emotions, along with extraordinary performances, when Sosa’s Afreecanos Quintet takes the Yoshi’s stage.
I spent a good portion of Monday at the latest edition of the SF Music Tech Summit. My name tag this time said “SF Weekly” instead of “Deciphering Culture” (I asked for dual identification) so a lot of people buttonholed me to get coverage for a new service. Not surprisingly, most of them fell into the “recommendation and discovery” segment although none of the pitches left me convinced of the efficacy of any of the new spins on the work of the established players. Also, not surprisingly my blog post for SF Weekly’s All Shook Down blog focused on a SRO panel that featured some of the heavy hitters in R & D. The relevant excerpt below.
S.F. MusicTech Summit: How Do Listeners Want to Discover New Music?@ All Shook Down
- by Jeffrey Callen on 5/10/11 @ 7:29 pm
….The standing-room-only “Recommendation & Discovery” panel offered one of the more interesting glimpses into the internal logic of the music industry machine. Chaired by Kevin Arnold of IODA (also creator of S.F.’s annual Noise Pop festival), the panel brought together some of the heavy hitters in the music search business, including MOG, Rovi Corporation, The Filter (a Peter Gabriel brainchild), and Slacker.
An interesting discussion on the nuts-and-bolts of music recommendation and discovery services offered some contradictory food for thought. Music consumers looking for recommendations “prefer a man-to-machine to a man-to-man relationship” (David Hyman of MOG), and if you focus on personalized user specs, you get information that is increasingly “granular” (David Roberts of The Filter). Yet R & D is a “human-centric task,” said Adam Powers of Rovi. Powers also asserted that when Rovi, a giant in the R&D world, was looking at other companies to acquire, it found 250 that thought they had R&D nailed. But from the number of R&D company reps in attendance at the SF Music Tech Summit, it seems that either that news hasn’t gotten out, or nobody’s actually nailed it.
- by Jeffrey Callen on 5/10/11 @ 7:29 pm
- Latest Rovi Moves Establish Consumer Presence (paidcontent.org)
- MOG To Go Freemium as Streaming Music From Apple & Google Looms (fakeiitian.com)
- Google tweaks Android Market to make app discovery easier (reviews.cnet.com)
- Google Retools Android Market for Better App Discovery (phonescoop.com)
- Headliner.fm + SoundCloud = artists reaching new fans (news.cnet.com)
- Music Hunter: Intelligent Music Discovery For iPad (macstories.net)
- Internet Radio’s MOG to Add Free Tier to Service (siriusbuzz.com)
- How We Got 150k Users In 3 Days (discovrmusic.com)
I must admit that I am not a big fan of folkloric performances. Straddling the gap between “traditional” and “popular” entertainment is difficult and the more context you strip away, the more difficult it becomes. Of courses the very effort to do so creates the gap. This dilemma came up for me last week when I sat down to write a preview of the upcoming appearance of the legendary Cuban folkloric troupe Los Muñequitos de Matanzas at Mission High School in San Francisco on April 4, 2011.be. With only a cd and some less than satisfying videos to work with, it was hard to get a real feel for their live performance. What I came up with began as a riff on the multi-sensual nature of the musical experience:
By Jeffrey Callen Wednesday, Mar 30 2011
Music is a multisensual experience. Putting aside synesthesia — a rare condition in which what a person experiences in one sensory realm (like seeing) activates a second sensory realm (like hearing) — musical performances are most fully experienced when they are heard, seen, felt, and moved to in a communal space. Recorded music is great — how else could you listen to metal or a symphony while driving your car? — but you shouldn’t forget that the multisensual experience of live music is something special. For some styles of music, it is essential. This digression is by way of encouraging you to see the legendary Cuban ensemble Los Muñequitos de Matanzas when they perform this week at Mission High School.
Previewing Los Muñequitos de Matanzas’ 2007Grammy-nominated album Tambor de Fuego during a car trip last week, I realized the necessity of hearing this music live. Deprived of the visual elements and unable to move freely, I was struck by the seeming sameness of the tracks. An archetypal rumba pattern on claves (a pair of wooden sticks) sets the beat. A male vocalist then establishes the primary melody of the piece, supported by the pattern of interlocking rhythms set by the drummers on the quinto (a high-pitched conga — the lead drum), and two or more tumbadores (low-pitched congas). (to read the rest…)
[A duplicate post from Pop Culture Transgressions]
The Cuban Cowboys bring together rock ‘n’ roll and Latin beats with a punk sensibility that brings to mind such post-punk genre busters as The Pixies, Manu Chao, Jonathan Richman, and Moroccan cha’abi rockers Hoba Hoba Spirit. Musically promiscuous and lyrically inventive, head Cuban Cowboy, Jorge Navarro, has found the musical voice on their new album Diablo Mambo that was only hinted at in the Cowboys’ debut album, Cuban Candles — but he didn’t find it on his own. A couple weeks ago I interviewed Jorge for a piece in SF Weekly and found out the fascinating backstory behind the band and the new album. Check it out!
By Jeffrey Callen
The Cuban Cowboys‘ new album, Diablo Mambo, doesn’t hesitate to let you know what it is all about. Drop the digital needle on the first track and you learn all you need to knowwithin the first 50 seconds: A Jimi Hendrix lick establishes the rock bona fides before the track morphs into a mambo section overlaid with a post-punk, art rock guitar pattern. The Hendrix lick then returns and signals the transition to driving punk guitars, but with a difference — the usual straight up-and-down thrash is blended with the sway of a Cuban son rhythm pattern. Two musical streams — rock and Latin music — are introduced, then blended, before the story of the song begins.
Bandleader/songwriter Jorge Navarro has interesting, engaging stories to tell. The opening track, “Cojones,” relates an early lesson in navigating the contradictions of the code of machismo taught by his knife-wielding grandfather. Navarro’s songs portray his family’s memories of a mythical Cuba born out of the nostalgia of exile and his experiences as a first-generation Cuban American, immersed in American pop culture and drawn to cowboy boots and rock ‘n’ roll. These two themes establish the narrative poles for the songs on Diablo Mambo, and Navarro skillfully navigates this bi-cultural territory, spinning tales of romance, sex, politics, and family. The music plays an essential role in the effectiveness of the stories, weaving together various tributaries from the two main musical streams — classic rock, punk rock, doo-wop, post–punk, rockabilly, and son, mambo, calypso, and salsa. (to read the rest, go to SF Weekly).