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Mulatos

Rate It! Avg: 4.5 (23 ratings)
Mulatos album cover
01
Ternura
7:30
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02
Nuevo Manto
6:14
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03
La Tra
5:46
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04
Reposo
4:23
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05
La Llamada
7:27
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06
Dos Caminos
5:39  
07
Iyawo
6:23
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08
L3zero
6:41
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09
El Consenso
5:25
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Album Information

Total Tracks: 9   Total Length: 55:28

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Great!

z9611

I enjoy this album from beginning to end every time I play it (which is often).

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Rhythm

kundry

The build-up to the first track is a great introduction to a very thoughtful and highly rythmic album.

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La Tra -- Wow

c.kay

La Tra ... This is how music should be, danceable, lyrical, funny, witty, exploring sounds. Paquito D'Rivera on Clarinet is an enlightment. Generally Clarinet is not my instrument, I don't see any sense in it, why playing the clarinet, if you can afford a Sax. But in this song(s) he sounds very Saxish. The other songs are not at the height of this one, L3zero sounds as a cheap copy of 'La Tra' to me ... but but to the latter I can listen several time in very short spans of time ... --------------- (another Tune I've tuned into is 'On Green Dolphin Street' by the 'Turtle Island String Quartet' on 'Danzon Feat. Paquito D'Rivera'

They Say All Music Guide

In various interviews, salsa/Latin jazz master Ray Barretto has complained about hard bop artists who employ Afro-Cuban rhythms in a very obvious way — artists who will take a familiar Thelonious Monk, Clifford Brown, or Bud Powell standard and “Latinize” it by adding a son, cha cha, mambo, danzon, or guaguancó groove. There is nothing wrong with that approach (which can be quite enjoyable), but there is also something to be said for using Afro-Cuban/salsa elements in a less obvious fashion — which is what Omar Sosa does on Mulatos. This post-bop release doesn’t beat listeners over the head with Afro-Cuban rhythms, but they’re present nonetheless. They enrich Sosa’s material in their own subtle way, and the Cuban pianist/keyboardist (who employs Paquito D’Rivera as a clarinetist on three selections) demonstrates that Afro-Cuban jazz doesn’t have to be something as overt as playing Monk’s “Well, You Needn’t” as a descarga (Latin jam) or approaching George Gershwin’s “I Can’t Get Started” as a bolero (Latin ballad). Afro-Cuban music isn’t the only type of world music that inspires Sosa on Mulatos, which was recorded in Paris in early 2004; Sosa also brings elements of Middle Eastern, North African, and Indian music to his post-bop. Dhafer Youssef (one of the sidemen) is featured on the oud, a traditional Arabic lute that is quite legendary in Middle Eastern music — and Philippe Foch, another participant, appears on Indian tabla drums. Of course, the oud and the tablas aren’t exactly prominent instruments in Afro-Cuban jazz or salsa, but they’re major assets on Mulatos — an album that paints a consistently attractive picture of Sosa’s multicultural outlook. Mulatos is yet another broad-minded project that Sosa can be proud to have in his catalog. – Alex Henderson

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