Omar Beltrab

On 31 October 2000, Cuban jazz pianist Omar Sosa gave an extraordinary concert at Bremen's Schlachthof with a magnificent band, including US rapper and hip-hopper Sub-Z. Sosa's musical work covers an enormous range. Of course, his music is characterised by his musical roots and his Cuban origins, but the basis is formed by Latin jazz and Afro-Cuban rhythms as well as traditional North African music, which he likes to combine with elements of merengue, salsa, soul, funk, classical music and even hip hop. In other words: Omar Sosa is always exciting, especially live. This was also ensured by the superb backing band that accompanied Omar alongside Sub-Z at this concert from the Bremen Schlachthof: saxophonist Sheldon Brown, bassist Geoff Brennan, percussionist Gustavo Ovalles and drummer Elliott Kavee.

Austin, Texas-based guitarist and singer/songwriter Omar Kent Dykes fits the stereotypical image some have of an American blues musician: he's tall, wears cowboy boots, and has a deep voice with a Southern accent. But although Dykes looks rough and tough, he's actually an incredibly peaceful and intelligent musician, and a veteran at working a crowd in a blues club or a festival. While Dykes has a sizable American audience owing to his albums for Columbia Records, he has spent a good portion of his touring years at festivals and clubs around Europe.

One doesn't recall Omar & the Howlers as a straight-out jump blues combo, but it looks as if they're on the bandwagon with this CD. Omar Dykes has a squirrelly voice that falls between sandpaper gruff and churlish shouting, a cross twixt Dr. John and Howlin' Wolf. Help from the capable Howlers, big-time backup from saxophonists David "Fathead" Newman and Mark "Kaz" Kazanoff and harmonica whiz Gary Primich on three cuts gives Omar, who also plays guitar throughout, all the support and inspiration he needs. As much as the band does predictably jump and swing hard on the majority of these cuts, there's always a surprise. Obvious choices like "Hit the Road Jack," "Just Like a Woman," and the hardest swinger "So Mean to Me" come naturally. Taj Mahal's loping "Going up to the Country" is one that fits Omar's range perfectly, and he really cops "the Wolf" on "Yellow Coat."

Omar Lyefook MBE is without doubt, one of the greatest soul music talents the United Kingdom has produced in the last 40 years. If anyone has doubts about that, then they might want to consider the list of legendary artists who happily line up to collaborate with him musically, or simply sing his praises - from Stevie Wonder, the late Leon Ware, Erykah Badu, Common, through to Carleen Anderson, D'Angelo, and Soul II Soul's Caron Wheeler, Angie Stone and U.K. artists Courtney Pine, Rodney P, Kele LeRoc, Natasha Watts and Estelle, all appreciate his truly original and unique voice, musicianship and songwriting talent.

Paolo Fresu & Omar Sosa - Alma (2012) {Tuk Music}
EAC rip (secure mode) | FLAC+CUE+LOG -> 299 Mb | Full Artwork @ 300 dpi (jpg) -> 65 Mb
© 2011 Tuk Music / Bonsai Music | BON120101
Jazz / Post Bop / World Fusion

Alma is a collaboration between six-time GRAMMY's-nominated Cuban composer and pianist Omar Sosa and celebrated Italian trumpet and flugelhorn player Paolo Fresu, with guest cello contributions on four tracks by noted Brazilian conductor, arranger, producer and cellist Jaques Morelenbaum. The compositions are all written by Omar Sosa and Paolo Fresu, except for Under African Skies , a version of the popular track from Paul Simon's Graceland. The music on Alma (soul) is generally melodic and medium-paced, except for a fiery version of Omar s composition Angustia. Fresu's flugelhorn work is sweet and warm and the rich and playful musical connection between Fresu and Sosa is evident throughout the recording.

EGGUN: The Afri-Lectric Experience began as an Omar Sosa commission from the Barcelona Jazz Festival in 2009. The assignment: to compose and produce a tribute performance to Miles Davis’ classic recording, Kind Of Blue, on the occasion of its 50th anniversary. Inspired by various musical elements and motifs from Kind Of Blue, Omar wrote a suite of music honoring the spirit of freedom in Davis’ seminal work.

Il y a peu d’œuvres qui soient, autant que les quatrains d’Omar Khayam, admirées, rejetées, haïes, falsifiées, calomniées, condamnées, disséquées, et qui atteignent une renommée universelle, en restant pourtant méconnues. Sadegh Hedayat s’est découvert très jeune des affinités avec cette œuvre et s’est proposé de faire découvrir à ses contemporains “l’homme et sa pensée à travers une poignée de quatrains en langue persane attribués à Khayam mathématicien et astronome des cinquième et sixième siècles de l’Hégire (vers 1050-1123 ap. J.-C.)”…