"The word ilé, from the Lucumí tradition of Cuba, means home, earth." That single sentence, which gets the ball rolling for Omar Sosa's self-penned liner notes, says all that needs to be said about this return-to-roots project. Or does it?
Ilé finds Sosa looking back to Camagüey, Cuba. He populates this album with musicians who hail from said localedrummer Ernesto Simpson, multi-reedist Leandro Saint-Hill, and guests like Eladio "Don Pancho" Terry and Yosvany Terrybut listeners shouldn't be fooled into thinking that this is a tradition-minded trip down memory lane. Sosa may nod toward traditions here and elsewhere in his discography, but he's never been one to be handcuffed by strictures and structures. A broad-minded approach to Latin music, jazz, and world affairs of the aural variety have always positioned Sosa as a sonic spirit guide, not a purveyor of pure traditionalism, and this album furthers that line of thinking.
A signature blend of mysticism, jazz, Afro-Cuban aphorisms, samples, world music(s), and beyond-category sounds is at the heart of this quartet-plus-guests project. There are peppy productions that speak to the Cuban spirit ("Dame La Luz (Give Me Light)"); cabalistic concoctions that combine sampled street noise, a sense of mystery, percussion, flute, guitar, and vocals from spoken word artist Kokayi and Italian singer ZogaroS ("A Love Lost"); calmly flowing pacifiers ("4U"); and flamenco-inflected numberspieces that look at old world traditions with a modernist mentalitythat feature Jose "El Salao" Martin's vocals ("Mentiras Enemigas (Enemy Lies)"). In addition to those compositions, Sosa peppers "Momento" tracksimprovised pieces featuring samples, his own playing, and the Terrysthroughout the album.
Across this entire journey, Sosa works with the same sense of grace and creativity that informs the best of his work. Some artists make it appear that their music is born through hard labor, but Omar Sosa never gives off that impression. He seems to conjure his music out of thin air. He leaves his hard work out of view, choosing only to show and share magical end products like ilé.
A Love Lost; Momento I; 4U; Mentiras Enigmas (Enemy Lies); Momento II; D Vuelta (The Return); Old Afro A Baba; Dame La Luz (Give Me Light); Momento III; Sad Meeting; Momento IV; La Tarde; Mi Conga; A Love Lost Reprise (To My Late Mother).
All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.
You Can Help
To expand our coverage even further and develop new means to foster jazz discovery and connectivity we need your help. You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination will vastly improve your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.
African Jazz Beyond Jazz Big Band Blues Brazilian / Bossa Nova / Samba Classical / Chamber Dixieland / New Orleans / Swing Electronica Free Improv / Avant-Garde Fringes of Jazz Funk / Groove / Acid Jazz Fusion / Progressive Rock Hot Jazz / Gypsy Jazz Jam Band Latin Lounge / Exotica Modern Jazz R&B / Soul Straight-ahead (Bop, Hard bop, Cool) Vocal