Multi-directional pianist
Omar Sosa has been offering solo and small ensemble efforts in generous quantity, which makes a larger group effort a welcome commodity. That this one recorded in-concert from Radio France in Paris is all the more inviting, as
Sosa's quintet is en fuego for most of this enlivening date. What
Sosa offers is a mix of modern jazz, world music, a large dosage of his Cuban heritage, ritual music, subtle techno inferences, and fierce high level musicianship. This CD marked one final effort for Latin percussionist
Miguel "Anga" Diaz, who passed away shortly after recording this. Also in the band are the always vibrant European drummer
Steve Arguelles, saxophonist Luis Depestre, and the popping electric bass guitar work of
Childo Tomas. There's some remarkable music from top-to-bottom, but three pieces stand out. "Metisse" is a composition typical of
Sosa's many elemental influences, stemming from Afro-Cuban, but incorporating Middle Eastern stances primarily through Depestre's soprano sax, the churning modal rhythms in 6/8, and a strikingly powerful melody.
Sosa's playful acoustic piano urges
Tomas and
Arguelles around the swirling sax of Depestre on "Dos Caminos," while a quick, lithe, overt funk on "Paralelo" supports a complex and exciting counterpointed line that is both driving and driven. In his role as lead instrumentalist,
Sosa takes liberties in the lengthy intro discourse, adding liquid electronics and spiritual content as on the opener "Nuevo Manto." His virtuosity is clear throughout, but his vision as a romantic is equally present on the children's song ballad lullaby "Iwayo," the pretty crystalline waltz "Muevete in D" just with
Diaz, and glossing cerebral during the mysterious "El Consenso." Those who are not yet hip to
Sosa and his magical powers can start here and work your way back in his discography, but this great recording is his finest so far, perfectly capturing an artist in full bloom. On many levels, this is one of the finest pure musical offerings, of any type or genre, in recent years. ~ Michael G. Nastos