by Steven Pisano
With Cuba increasingly on people’s minds as access to that magical island becomes easier for Americans to travel to, Cuban jazz pianist Omar Sosa and his Quarteto Afrocubano attracted an eclectic audience to its show last week at the newish digs of the BRIC Arts | Media House. Opened in 2013, BRIC House is an impressive facility nestled in Fort Greene near other institutions like BAM, Mark Morris Dance Group, and Theatre for a New Audience. If you haven’t been there yet – as I had not – you should check it out. (We were also there for So Percussion's performance this past Friday, part of the annual Look & Listen Festival.)
Sosa left Cuba back in the 1990s, living first in Ecuador before finding his way to the United States, and finally to his present base in Barcelona. His travels around the world, especially in South America and Africa, have helped to shape his music, adding flavors not heard in more traditional Afro-Cuban jazz. There is also a spiritual element to Sosa’s music that is based in his Santero religious beliefs, which grew out of Yoruban religious customs brought to the Caribbean by slaves centuries ago.
Many of the pieces started off slowly and quietly, with Sosa meditatively exploring chords solo. Then, bassist Childo Tomas would lay down a steady rumble behind the piano, creating musical tension. Ernesto Simpson’s drumming tentatively added to the mix: first a high hat or a snare, then a tap, then a thump. Finally, Leandro Saint-Hill joined the party on saxophone, clarinet, and flute.
The music got louder. The beat got more regular. I found myself shimmying in my seat with my head bobbing to the rhythms. I just wanted to get up and move.
The musicianship of this group was amazing. Rarely have I heard musicians be so in control of their instruments, at an artistic level above mere musical proficiency. Their virtuosity was akin to that of a world-class violinist playing in front of the orchestra, instead of with it.
Sosa himself was having a grand time, mugging and grinning as he played, standing up several times like Jerry Lee Lewis. But the musical center of this group, at least at this performance, was Saint-Hill, who not only played all of the extended solos throughout the evening, but also sang on several numbers. More than once, he had the audience transfixed by his extraordinary playing, who accordingly lavished him with applause.
More pics on the photo page (All photos by Steven Pisano.)