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Beyond Salsa Piano is a history and anthology of the role of the piano in the Cuban rhythm section – from its first appearance to the present. In a broader sense, it’s a study of the tumbao – the art of creating music from layers of repeating rhythmic and melodic phrases. Whether these syncopated figures are called tumbaos, guajeos, montunos, riffs or vamps, this Afro-Cuban concept lies at the heart of nearly every popular music genre from salsa to rock , funk, R&B, hiphop and jazz.

While presented as a set of method books, the series doubles as a history course and record collecting guide for listeners, dancers, and players of instruments other than the piano.

Perhaps the most important goal of the series is to provide a comprehensive understanding of how tumbaos are constructed, their central role in the texture of Latin music of all eras, and the endless possibilities they provide for creative composing and arranging.
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The Orisha Suite

Artist:   Michael Philip Mossman

Style Released Album Tracks Charts
Afro-Cuban 2003 10 0


© 2003 Pimienta Records Corp. All rights reserved.
Audio album download includes album tracks, liner notes and cover art.
All audio tracks in MP3-VBR format. About LPM album downloads.
# Name Play Time Info
01  Mambanita
Alternative text
6:49 alto solo: Paquito D'Rivera, guitar solo: Adam Rogers
02  Mountain at the Edge of Time
Alternative text
5:51 congas: Patato Valdes, drums: Horacio Hernández
03  Divine Hunter
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5:23 conga solo: Ray Barreto, flute solo: Todd Williams
04  Lepered Lover
Alternative text
6:26 conga solo: Ray Barreto, flute solo: Todd Williams
05  In the Land of Ile' Ife'
Alternative text
6:21 conga solos: Patato Valdes & Ray Barreto
06  Copper...... Then Gold
Alternative text
6:21 guitar solo: Adam Rogers, conga solo: Ray Barreto
07  Lord of Thunder
Alternative text
7:53 drum solos: Horacio Hernández & Joe González
08  Moon and the Sea
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5:54 drums: Horacio Hernández, bass solo: John Benitez
09  Iron and Blood
Alternative text
6:16 bass solo: John Benitez, piano solo: Arturo O'Farrill
10  Guardian of the Crossroads
Alternative text
6:12 alto sax: Paquito D'Rivera, guitar: Arturo O'Farrill
Inspired by the Afro-Cuban deities, Michael Mossmna's Orisha Suite is an densely rich musical work and features latin jazz legends Ray Barretto, Paquito D’Rivera and Patato Valdez.

Trumpet master Michael Philip Mossman has extended himself on this outing. Reaching out into all of the various places he has visited in his jazz career, in the vanguard with Anthony Braxton, in the hard bop university with Art Blakey, and in his long association with the Latin jazz world where he has studied with Machito, Tito Puente, Chico O'Farrill, Daniel Ponce, Mario Bauza, Michel Camilo, and Ray Barretto, he has brought all of this to bear on a work that is at once ambitious, wonderfully expansive, exotic, and thoroughly accessible.

The Orisha Suite seeks to express a musical longing that can only be answered by more questions and mysteries. The band assembled on this gorgeously lush Afro-Cuban exercise is tasteful, innovative, and literally mind-blowing; composing, arranging, and chops are all stellar as Paquito D'Rivera, Barretto, Patato Valdes, Arturo O'Farrill, Todd Williams, John Benítez, and Adam Rogers log in to realize Mossman's tour de force. The compositions on The Orisha Suite are varied by all in the sense that they reflect different sides of the Afro-Cuban and Latin jazz experience, philosophically, rhythmically, and dynamically.

The arrangements are tight, punchy, and full of dreamy escapes into harmony and polyrhythmic complexities. But given that these works are so precisely composed, the spaces for solos and improvisations are even more profound -- check out Mossman's trumpet break at the end of "The Mountain at the Edge of Time." The loping front-line harmony on "The Lepered Lover," fraught with contrapuntal accents, is romantic and edgy. Likewise, the clean hard bop statements from the front line on "The Lord of Thunder," with it's funky backbeats, Cuban twists, and elongated soloing, are delightfully savvy. The smoking, funk-driven "Iron and Blood," with its son feel, salsa and rhumba time signatures, and knotty ensemble engagement before Williams' solo, is nothing short of breathtaking.

This is an album that deserves to be at the forefront of the new jazz revolution. It is the finest moment of Mossman's career. This is a necessary addition to the collection of any serious jazz fan, and a welcome, accessible, and phenomenally executed example of the genre in the modern day for anyone curious enough to check it out.

The Orisha Suite - album credits

Joe Marciano - Assistant Engineer
Michael Marciano - Assistant Engineer
Adam Rogers - Guitar, Soloist
Carlos "Potato" Valdes - Conga, Soloist
Todd Williams - Flute, Soloist, Sax (Tenor)
Johannes Wohlleben - Engineer, Mixing, Mastering
Detlef Engelhard - Producer, Photography, Mixing, Executive Producer
Luis Tamargo - Liner Notes
Arturo O'Farrill - Organ, Soloist, Piano
Roald Weinstock - Artwork, Design
Michael Mossman - Trombone, Arranger, Soloist, Musical Director, Mixing, Executive Producer, Trumpet
John Benítez - Bass, Soloist
Joe Gonzalez - Conga, Soloist, Guiro
Horacio "El Negro" Hernández - Drums, Soloist
Ray Barretto - Conga, Soloist
Paquito d'Rivera - Clarinet, Soloist, Sax (Alto)