{"id":405,"date":"2004-04-11T08:11:00","date_gmt":"2004-04-11T07:11:00","guid":{"rendered":"https:\/\/www.kritische-masse.de\/wordpress\/blog\/omar-sosa-a-new-life\/"},"modified":"2023-12-18T08:49:50","modified_gmt":"2023-12-18T07:49:50","slug":"omar-sosa-a-new-life","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/04\/omar-sosa-a-new-life\/","title":{"rendered":"Omar Sosa: A New Life"},"content":{"rendered":"<div class=\"shariff shariff-align-left shariff-widget-align-left\"><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%20A%20New%20Life https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2004%2F04%2Fomar-sosa-a-new-life%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; 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Die Platte ist nicht leicht einzusch\u00e4tzen &#8211; 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 wirken verbl\u00fcffend. Die K\u00fchle r\u00fchrt vielleicht aus dem Fehlen begleitender Musiker her &#8220;Crash De La Tierra&#8221; (Track 4). Das paart sich mit einem melancholischen Tonfall wie in &#8220;Vuelvo Iyawo&#8221; (Track 5) oder gar extrem d\u00fcster &#8220;Ofrenda&#8221; (Track 12).<\/p>\n<p>Die Musik wirkt daher ein bisschen vereinsamt im sch\u00f6nen Sinne und unrund im schlechten Sinn. Uns so fragt man sich h\u00f6rend, ist das jetzt nur d\u00fcnn oder vielleicht sogar substantiell gemeint. Die Musik pendelt einfach zwischen Schwung und Statik auf ungew\u00f6hnliche Weise. Damit passt diese Sosasche Klangwelt aber wieder recht gut zum Ort der Aufnahme: n\u00e4mlich in dem Hidden Bar Studio Big Sur, Kalifornien.<\/p>\n<p><cite><i>Omar Sosa: A New Life<\/i><br \/>\n<br \/>\nSkip records, SKP 9041-2<\/cite><\/p>\n<div class=\"shariff shariff-align-left shariff-widget-align-left\"><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%20A%20New%20Life https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2004%2F04%2Fomar-sosa-a-new-life%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%20A%20New%20Life https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2004%2F04%2Fomar-sosa-a-new-life%2F \" title=\"Bei Bluesky teilen\" aria-label=\"Bei Bluesky teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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Die Platte ist nicht leicht einzusch\u00e4tzen &#8211; 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 wirken verbl\u00fcffend. 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Ich sch\u00e4tze, diese N\u00e4he war nicht zuf\u00e4llig, nur das Home=Main \u0096 Town ist. Frankfurt eben, irgendwie auch eine Kleinstadt, vielleicht die gr\u00f6\u00dfte deutsche. Die Musik auf dieser Scheibe grabbelt sich\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1680,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2006\/03\/fragebogen-zur-musik\/","url_meta":{"origin":405,"position":2},"title":"Fragebogen zur Musik","author":"huflaikhan","date":"31. M\u00e4rz 2006","format":false,"excerpt":"Vor einiger Zeit reichten mir Peter Pan und Hotel Mama einmal einen Fragebogen zur Musik weiter. Beide mussten nicht damit rechnen, dass ich darauf eingehen werde, weil die Fragen zu unpr\u00e4zise bzw. zu pr\u00e4zise und damit die Antworten zu simpel ausfallen m\u00fcssen. Ich habe ja nichts gegen die Popkultur und\u2026","rel":"","context":"Mit 3 Kommentaren","block_context":{"text":"Mit 3 Kommentaren","link":"https:\/\/www.kritische-masse.de\/logbuch\/2006\/03\/fragebogen-zur-musik\/#comments"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":477,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/06\/taktlos-78-zukunftsmusik\/","url_meta":{"origin":405,"position":3},"title":"taktlos 78: Zukunftsmusik","author":"huflaikhan","date":"13. Juni 2004","format":false,"excerpt":"Musik: Xenakis, La legende d'eer [ab 7' etwa] Autor: Wenn eine technische Angelegenheit so beschaffen ist, dass sie zwar im Hier und Jetzt denkbar, aber noch nicht umsetzbar ist, h\u00f6rt man h\u00e4ufig den Satz: \u0084Das ist noch Zukunftsmusik.\u0093 Man kann sich also etwas im Groben vorstellen, aber wie sich diese\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":291,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2003\/12\/taktlos-71-bodenlose-musikpaedagogik\/","url_meta":{"origin":405,"position":4},"title":"taktlos 71: Bodenlose Musikp\u00e4dagogik","author":"huflaikhan","date":"17. Dezember 2003","format":false,"excerpt":"Nachfolgend mein Beitrag zur Ausgabe 71 der Sendung \u0084taktlos\u0093 des Bayerischen Rundfunks und der neuen musikzeitung. Mit von der Partie und gut drauf: Konstatin Wecker. Musik: Pierre Henry: Echo d\u0091 Orphee Track 22 Anfang 0:00 bis 0:06 etwa alternativ: Ravel: E\u0091Enfant et les sortil\u00e9ges Anfang Sprecher: Die Musikp\u00e4dagogen machen aber\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":571,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/07\/russian-armenian-music-for-2-pianos-duo-reine-elisabeth\/","url_meta":{"origin":405,"position":5},"title":"Russian &#038; Armenian Music For 2 Pianos &#8211; Duo Reine Elisabeth","author":"huflaikhan","date":"20. Juli 2004","format":false,"excerpt":"Es haben sich wirklich viele CDs angesammelt und so langsam m\u00fcssen die abgearbeitet werden. Dazu geh\u00f6rt auch die des Klavierduos Reine Elisabeth mit den Pianisten Rolf Plagge und Wolfgang Manz. Sie spielen hier St\u00fccke ein, die bis auf eines nicht zum \u00fcblichen Repertoire geh\u00f6ren. Zu den Komponisten z\u00e4hlen Aram Khatschturian\u2026","rel":"","context":"In \"Klavierduo\"","block_context":{"text":"Klavierduo","link":"https:\/\/www.kritische-masse.de\/logbuch\/tag\/klavierduo\/"},"img":{"alt_text":"Russian & Armenian Music","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2004\/07\/20040720-cd-duo-reine-elisabeth.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/405","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/comments?post=405"}],"version-history":[{"count":0,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/405\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media?parent=405"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/categories?post=405"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/tags?post=405"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}