Omar Susa

Omar Sosa - Ilé (2015) {Otá Records WVF 479110}
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© 2015 Otá Records / Harmonia Mundi / WorldVillage | WVF 479110
Jazz / Latin Jazz / Ethnic Jazz / World Fusion

Since he left Cuba in 1993, Omar Sosa has forged a distinctive musical path, fusing an array of world music, hip-hop and electronic elements with his Afro-Cuban roots. Sosa's newest recording, Ile, marks a homecoming for the pianist and composer to the Latin Jazz influences of his formative years in late '80s and early '90s Havana. Ile means homeland in the Yoruba language of West Africa, and it is to the Latin Jazz roots of his native Cuba that Sosa returns for inspiration on this new studio recording. Ile offers contemporary interpretations of some of the classic Cuban musical styles the world has come to admire. Listeners will enjoy this album's mix of ballads and sophisticated mid and up-tempo arrangements.

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 & The Howlers' misadventures at the majors began when they trimmed the blues and padded the rock. Since returning to Rounder/Bullseye, they have smartly managed to keep the balance, and that's the case on their latest. The 13 tracks alternate between boogie shuffles, swaggering wailers, and heartache testimonies, with Omar's flailing guitar and spiraling harmonica nicely backed by his trio and such assistants as organist Reese Wynans, vocalist Kris McKay and saxophonist John Mills. Plenty of blues and more than enough rock fervor.