{"id":147,"date":"2003-04-28T14:02:00","date_gmt":"2003-04-28T13:02:00","guid":{"rendered":"https:\/\/www.kritische-masse.de\/wordpress\/blog\/omar-sosa-ayguna\/"},"modified":"2023-12-18T08:50:13","modified_gmt":"2023-12-18T07:50:13","slug":"omar-sosa-ayguna","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/2003\/04\/omar-sosa-ayguna\/","title":{"rendered":"Omar Sosa: Ayguna"},"content":{"rendered":"<div class=\"rightbox\"><%image(20030509-cd-sosa.jpg|150|135|CD: Omar Sosa)%><\/div>\n<p>Spannendes Duo des Pianisten Omar Sosa mit dem Perkussionsisten Gustavo Ovalles. Ohne Anbiederung frei im musikalischen Raum schwebend. Mal leicht, mal komplex. Ein Live-Concert, welches seine Spontaneit\u00e4t behalten hat.<\/p>\n<p><i>Omar Sosa, Ayguna \/ Skip SKP 9034-2<\/i><br \/><\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Omar%20Sosa%3A%20Ayguna https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2003%2F04%2Fomar-sosa-ayguna%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 1.316-14.101 2.609-21.049 1.074-3.883-.88-6.876-4.237-7.25-8.215-1.53-3.988 3.78-.43 5.584-.883 9.048 1.224 18.282.776 27.303-.462 7.044-.837 14.26-4.788 16.65-11.833 2.263-6.135 1.215-12.79 1.698-19.177.06-3.84.09-7.692-.262-11.52C72.596 7.844 63.223.981 53.834.684a219.453 219.453 0 0 0-16.022-.71zm11.294 12.882c5.5-.067 10.801 4.143 11.67 9.653.338 1.48.471 3 .471 4.515v21.088h-8.357c-.07-7.588.153-15.182-.131-22.765-.587-4.368-7.04-5.747-9.672-2.397-2.422 3.04-1.47 7.155-1.67 10.735v6.392h-8.307c-.146-4.996.359-10.045-.404-15.002-1.108-4.218-7.809-5.565-10.094-1.666-1.685 3.046-.712 6.634-.976 9.936v14.767h-8.354c.109-8.165-.238-16.344.215-24.5.674-5.346 5.095-10.389 10.676-10.627 4.902-.739 10.103 2.038 12.053 6.631.375 1.435 1.76 1.932 1.994.084 1.844-3.704 5.501-6.739 9.785-6.771.367-.044.735-.068 1.101-.073z\"\/><defs><linearGradient id=\"paint0_linear_549_34\" x1=\"37.0692\" y1=\"0\" x2=\"37.0692\" y2=\"79\" gradientUnits=\"userSpaceOnUse\"><stop stop-color=\"#6364FF\"\/><stop offset=\"1\" stop-color=\"#563ACC\"\/><\/linearGradient><\/defs><\/svg><\/span><span class=\"shariff-text\" style=\"color:#6364FF\">teilen<\/span>&nbsp;<\/a><\/li><li class=\"shariff-button bluesky shariff-nocustomcolor\" style=\"background-color:#84c4ff\"><a href=\"https:\/\/bsky.app\/intent\/compose?text=Omar%20Sosa%3A%20Ayguna https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2003%2F04%2Fomar-sosa-ayguna%2F \" title=\"Bei Bluesky teilen\" aria-label=\"Bei Bluesky teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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Ohne Anbiederung frei im musikalischen Raum schwebend. Mal leicht, mal komplex. Ein Live-Concert, welches seine Spontaneit\u00e4t behalten hat. Omar Sosa, Ayguna \/ Skip SKP 9034-2<\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Omar%20Sosa%3A%20Ayguna https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2003%2F04%2Fomar-sosa-ayguna%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 1.316-14.101 2.609-21.049 1.074-3.883-.88-6.876-4.237-7.25-8.215-1.53-3.988 3.78-.43 5.584-.883 9.048 1.224 18.282.776 27.303-.462 7.044-.837 14.26-4.788 16.65-11.833 2.263-6.135 1.215-12.79 1.698-19.177.06-3.84.09-7.692-.262-11.52C72.596 7.844 63.223.981 53.834.684a219.453 219.453 0 0 0-16.022-.71zm11.294 12.882c5.5-.067 10.801 4.143 11.67 9.653.338 1.48.471 3 .471 4.515v21.088h-8.357c-.07-7.588.153-15.182-.131-22.765-.587-4.368-7.04-5.747-9.672-2.397-2.422 3.04-1.47 7.155-1.67 10.735v6.392h-8.307c-.146-4.996.359-10.045-.404-15.002-1.108-4.218-7.809-5.565-10.094-1.666-1.685 3.046-.712 6.634-.976 9.936v14.767h-8.354c.109-8.165-.238-16.344.215-24.5.674-5.346 5.095-10.389 10.676-10.627 4.902-.739 10.103 2.038 12.053 6.631.375 1.435 1.76 1.932 1.994.084 1.844-3.704 5.501-6.739 9.785-6.771.367-.044.735-.068 1.101-.073z\"\/><defs><linearGradient id=\"paint0_linear_549_34\" x1=\"37.0692\" y1=\"0\" x2=\"37.0692\" y2=\"79\" gradientUnits=\"userSpaceOnUse\"><stop 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April 2004","format":false,"excerpt":"Auf 18 Tracks packt Omar Sosa seine neueste Quintessenz seines Pianospiels. Die Platte ist nicht leicht einzusch\u00e4tzen - der Klang des Klaviers ist sehr pr\u00e4sent und die musikalischen Strukturen wirken vielleicht auch etwas kalt. Klar, Sosa kann nat\u00fcrlich Klavier spielen an den Tasten wie im Innern und ganz viele Details\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":2417,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2008\/05\/ein-foto-zwei-ansichten\/","url_meta":{"origin":147,"position":1},"title":"Ein Foto, zwei Ansichten","author":"hufi","date":"11. Mai 2008","format":false,"excerpt":"Gerade mal wieder etwas kr\u00e4nkelnd. Eigentlich ja auf dem Weg nach Regensburg. Aber so wird das nichts. Kann man immerhin mal die Fotos aufr\u00e4umen. Diese hier sind zwei aus einem. Au\u00dferdem will ich mal kundtun, dass ich ein zweites Mal Tagesmax geworden bin. Gerade mal wieder etwas kr\u00e4nkelnd. Eigentlich ja\u2026","rel":"","context":"Mit 2 Kommentaren","block_context":{"text":"Mit 2 Kommentaren","link":"https:\/\/www.kritische-masse.de\/logbuch\/2008\/05\/ein-foto-zwei-ansichten\/#comments"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":2212,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2007\/06\/rez-malene-mortensen-malene\/","url_meta":{"origin":147,"position":2},"title":"[Rez] Malene Mortensen: Malene","author":"hufi","date":"5. Juni 2007","format":false,"excerpt":"Was um Himmels WILLEN ist da dem Art Director eingefallen. Medizinisches K\u00f6rperteilbeschauen? Klappt man das Cover auf fallen einem Gesicht, Hand, Kniebein und Beinteile wie lackiert in die Augen. Und wem geht es da noch um die Musik. Wenn die wenigstens ein anderes Bild b\u00f6te. 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Eine h\u00fcbsche Runde von Spa\u00dfv\u00f6geln ist da unterwegs, die allesamt wie dermaleinst Robin Hood auf dem Weg sind, alles \u2014 und den ganzen Rest dazu \u2014\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1361,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2005\/08\/vermaledeit\/","url_meta":{"origin":147,"position":4},"title":"Vermaledeit","author":"huflaikhan","date":"13. August 2005","format":false,"excerpt":"Das f\u00e4ngt ja wieder mal gut an: Das f\u00e4ngt ja wieder mal gut an: So macht doch Tippen gar keinen Spa\u00df. Hatte ich noch die Hoffnung, dass die bl\u00f6den Wolfsburger ihr T\u00f6rchen \u00fcber die Zeit retten, da lassen die sich eines einsemmeln. Diese bekloppte 90. Minute. 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