Roberto Fonseca / Yo
Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2012 / 2017
Жанр: piano jazz, world fusion, afro-cuban, post-bop
Издатель (лейбл): Jazz Village
Продолжительность: 01:03:22
Наличие сканов в содержимом раздачи: Буклет PDF
Источник (релизер): qobuz
Треклист:
01 80's
02 Bibisa (featuring Fatoumata Diawara)
03 Mi Negra Ave María
04 7 Rayos
05 El Soñador Está Cansado
06 Chabani (featuring Faudel Amil)
07 Gnawa Stop
08 El Mayor
09 JMF
10 Así Es La Vida
11 Quien Soy Yo (featuring Assane Mboup)
12 Rachel
13 Bibisa (Remix) (featuring Fatoumata Diawara)
14 80's (remix)
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/44,1
Формат: PCM
Количество каналов: 2.0
Живое выступление Роберто Фонсеки и Фатуматы Диавары в хай-резе: [TR24][OF] Fatoumata Diawara & Roberto Fonseca - At Home [Live in Marciac] - 2015 (ethnic jazz, world fusion, afro-cuban, wassoulou)
Доп. информация: http://www.robertofonseca.com
Лог проверки качества
foobar2000 1.3.16 / Dynamic Range Meter 1.1.1
log date: 2019-04-29 13:14:00
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Analyzed: Roberto Fonseca / Yo
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DR Peak RMS Duration Track
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DR6 -0.07 dB -7.66 dB 6:24 01-80´s
DR5 -0.01 dB -7.47 dB 4:32 02-Bibisa
DR4 -0.01 dB -6.99 dB 5:20 03-Mi Negra Ave María
DR5 -0.08 dB -6.66 dB 5:29 04-7 Rayos
DR6 -0.06 dB -8.28 dB 5:05 05-El Soñador Está Cansado
DR4 -0.08 dB -5.94 dB 5:11 06-Chabani
DR7 -0.01 dB -9.11 dB 5:16 07-Gnawa Stop
DR10 -3.33 dB -19.33 dB 1:22 08-El Mayor
DR5 -0.01 dB -7.28 dB 4:49 09-JMF
DR6 -0.01 dB -9.15 dB 4:31 10-Así Es La Vida
DR5 -0.01 dB -7.18 dB 3:41 11-Quien Soy Yo
DR6 -0.08 dB -7.55 dB 3:37 12-Rachel
DR5 -0.06 dB -6.27 dB 4:08 13-Bibisa - Re-mix
DR6 -0.08 dB -7.63 dB 3:56 14-80´s - Re-mix
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Number of tracks: 14
Official DR value: DR6
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 24
Bitrate: 1676 kbps
Codec: FLAC
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Об исполнителе (рус.) | About Artist (ru)
Роберто ФонсекаИсточник: арт-дайджест «Солонеба»
Роберто Фонсека – один из ведущих пианистов кубинской джазовой сцены. Влияние Фонсеки на современный кубинский джаз и джаз в целом неоспоримо, но его творческие горизонты не ограничиваются тонкостями только этого жанра. Богатая музыкальная палитра Фонсеки полна контрастов. Последнее время он развивает концепцию, объединяющую электронную и аналоговую музыку в сочетании с африканской и кубинской стилистикой. Фонсека покоряет публику не только сильнейшей харизмой и сумасшедшей энергией, но и виртуозной техникой исполнения. Он успел заявить о себе еще в составе легендарного коллектива Buena Vista Social Club с Ибрагимом Феррером и Омарой Портуондо, с которой в 2014-2015 годах с триумфом облетел полпланеты. Стиль Фонсеки уходит корнями в традиции латиноамериканской и кубинской музыки.
Как и большинство кубинских исполнителей, Роберто занимался музыкой с раннего детства. Он родился и вырос в музыкальной семье: отец – барабанщик, мать – профессиональная певица (ее вокал можно услышать на нескольких альбомах сына), братья Эмилио Вальдес и Хесус Вальдес-мл. – перкуссионист и пианист соответственно. Поначалу, как и отец Роберто осваивал ударные, но в возрасте восьми лет он пересел за фортепиано. Несмотря на то, что главной страстью юного музыканта были клавишные, свою первую работу он получил в качестве ударника в группе, создающей кавер-версии хитов группы Битлз.
В возрасте 14 лет Роберто начал писать собственную музыку, черпая вдохновение в афро-кубинских корнях. Его появление как пианиста в возрасте 15 лет произвело фурор на престижном международном джазовом фестивале Jazz Plaza в Гаване. Свой успех Роберто захотел подкрепить хорошим образованием и получил степень по классу музыкальной композиции в известном кубинском ВУЗе Instituto Superior de Arte. А в 1996 году Роберто решил расширить рамки своего творчества и опробовать свои силы в других музыкальных стилях. Ради этого он совершил тур по Италии в компании итальянского исполнителя Августо Энрикеса. В рамках тура состоялся концерт на национальном итальянском канале RAI. Далее в течение нескольких лет музыкант работал над созданием своего дебютного альбома и в 1999 году выпустил пластинку Tiene Que Ver, благодаря которой стал лауреатом национальной музыкальной премии. Сегодня на счету Роберто Фонсеки 8 сольных альбомов, один из которых Yo (2012) был номинирован на премию «Грэмми» как лучший альбом латинского джаза. http://soloneba.com/roberto-fonseca-fatoumata-diawara-transatlantic-meeting/
Об исполнителе (англ.) | About Artist (en)
Roberto Fonseca (born 1975, Havana) is a Cuban jazz pianist. From an early age, Fonseca was surrounded by music: his father was a drummer, his mother, Mercedes Cortes Alfaro, a professional singer (she sings on her son's most recent solo album, Zamazu), and his two older half-brothers, Emilio Valdés (drums) and Jesús "Chuchito" Valdés Jr. (piano), are also two young musicians of great international prestige.
After an early interest in drums, Fonseca switched to piano at the age of 8, and by 14 was experimenting with fusing American jazz and traditional Cuban rhythms; he appeared at Havana's Jazz Plaza Festival in 1991 when he was just 15.
Fonseca studied at Cuba's prestigious Instituto Superior de Arte, where he obtained a master's degree in composition, even though he often says that he was a really bad student. After earning his degree, he left Cuba to find his sound.
His first album, En El Comienzo, which he recorded with Javier Zalba and the group Temperamento, was awarded Cuba's Best Jazz Album in 1999. This success encouraged him to work on two solo records: Tiene Que Ver and Elengo, combining Latin jazz, drum and bass, hip-hop, urban music and Afro-Cuban rhythms.
In 2001, Fonseca went to Japan to record No Limit: Afro Cuban Jazz. He also toured with the Buena Vista Social Club the same year and has worked with Rubén González, Ibrahim Ferrer, Cachaito, Guajiro Mirabal and Manuel Galbán.
A Buena Vista Social Club tour spanned the world, with over 400 concerts, promoting Ibrahim Ferrer's records next to great legends such as Cachaíto López, Manuel Guajiro Mirabal and Manuel Galbán, among others, and playing at the most prestigious venues, such as the Frankfurt Alte Oper, Palais des Congrès (Paris), Albert Hall (London), Beacon Theatre (New York), and the Sydney Opera House (Australia). Not a single review of Ibrahim's concerts, from South America to Asia, would fail to mention Fonseca's talent and his magnetic stage presence.
That period of intense work, touring round the world, led Fonseca to realise that his music was ready for creating his own project. He dug deep to compose each of the songs that form Zamazu, the result of the integration of all his influences: Afro-Cuban music, jazz, classical music and traditional Cuban music. In the words of one reviewer, his recording, Zamazu, is "a deftly varied and well-sequenced set that leaves a strong impression of who Fonseca is and promises plenty for the future."
2008 was a year full of work and experiences that have inspired Fonseca's new compositions, one being Columbia Pictures choosing the track "Llego Cachaito" from the Zamazu album for the Will Smith film Hancock.
With his 2009 album, Akokan, Fonseca wanted to bring the magic, strength and improvisation from a live show to the studio. With a quartet formation and accompanied by his band, the one that he had been playing with for the past 12 years, Fonseca as the record's producer encouraged creativity and chemistry amongst the musicians.
There are also two very special collaborations from artists that Fonseca admires, artists that have very different styles: Mayra Andrade, the Cape Verdean singer who wrote the words and sings on "Siete potencias", and Raul Midón, the American guitarist, who wrote "Second Chance". On this track Fonseca did the arrangements and Midon accompanied him on guitar.
In 2010 Fonseca was the support act for Omara Portuondo's USA. After the summer his album Roberto Fonseca Live in Marciac was released. It includes a bonus DVD which features footage of the festival's 2009 show. http://en.wikipedia.org/wiki/Roberto_Fonseca
Об альбоме (англ.) | About Album (en)
Roberto Fonseca - “YO” (Jazz Village / Harmonia Mundi) - Album Review - Released 19 March 2012
Roberto Fonseca’s album “Yo” is one classy piece of work. The Cuban pianist - more famed in the UK for his work with the Buena Vista Social Club - here presents his own musical vision that explores the themes of love, identity and spirituality. There’s very much an African connection throughout, directly (through the African artists' own traditions) and indirectly (both Cuban music and Jazz are ultimately descended from Africa) and the afro-cuban religions Santería and Palo de Monte infuse the work too.
In its simplest description it’s a marriage of African and afro-cuban music forms and jazz. Nothing new, you say? Well, the idea has been explored for many decades, true, but Fonseca brings many wonderful ideas and fresh influences to bear on this work. In particular the sheer class of the African musicians he is working with is worth pointing out. “It has always been a dream of mine to explore what my compositions could offer if interpreted by African musicians of my generation".
People of the calibre of the Malians Baba Sissoko and Fatoumata Diawara, and Guinea's Seckou Kouyate, all feature on this album, as well as the Brazilian Munir Hossn on guitar, Cameroonian Etienne M’Bappé on bass and the Cuban percussionists Ramsés Rodriguez & Joel Hierrezuelo.
Although this is an instrumentalist’s dream, the vocals are worthy of note too, supplied by the Algerian star Faudel, the American hip-hop MC and spoken-word artist Mike Ladd and the Senegalese singer Assane Mboup of Orchestra Baobab fame. All fifteen musicians are very impressive, really drawing out Fonseca’s vision - and there’s even a couple of tracks co-produced by Gilles Peterson.
You can hear the Classical African sounds of the kora and ngoni, flowing side by side with European Classical traditions as well as more 20th and 21st century improvisational ideas. And, yes, elements of rock and hiphop are also thrown into the mix, but it’s the blending of all this that gives it a unity of purpose. This is definitely Fonseca’s voice, spoken through many instruments.
In fact the title of the album “Yo” is the Spanish word for “I” or self and the album cover and publicity shots showing an exposed shirtless Fonseca reinforce this. As he says: “On YO, I want to delve deep into my roots in light of my experiences and show the diversity of my musical universe, all these ideas which I had put aside, unable to use until now.”
Each of the twelve tracks here are like chapters in a book of short stories. Self-contained and distinct in character, but with the hand of Fonseca holding the pen.
The album kicks off at high-energy and speed with a track called 80s - that punches its way through your speakers to make you sit up and listen. As Randy Jackson would say: “Yo! Dude!”. Love the jittery piano and runaway train feel of it, although bizarrely it all ends with the rollicking drums and guitars fading off down the track and we stay behind with Fonseca doodling meditatively away on his piano.
The next track, Bibisa, picks up again with piano and introduces the vocals of Malian Fatoumata Diawara and one of my favourite pairings on the whole album: Baba Sissoko on ngoni and Seckou Kouyate on kora - two West African instruments of great antiquity and versatility, pitted against Fonseca’s fabulous piano technique (stuttering ostinatos and syncopations tipping into lyrical runs). There’s also an alternative remix version of this track on the album - two tonnes of swag and huevos de acero.
On Mi Negra Ave Maria (one of the two co-productions by Gilles Peterson), Fonseca gives us a delicate and delightful prelude on his piano before the drums and bass tentatively join in alongside the spoken vocals of Mike Ladd reading the poem “The Daughter of Obatalá” over the repeated and increasingly dense patterns of sound being created. The whole piece thickens and thickens in texture and Ladd’s delivery becomes more and more intense. It’s almost like Talking Heads for a new generation. Very uplifting.
7 Rayos is probably my personal favourite, from the hypnotic ngoni intro to the mystical poetry of Nicolas Guillén. The strange combinations of instruments and sound effects, are fuel to the imagination. I’m hearing the clank of chains, the serried ranks of ancestors stretching back to the beginning of humanity, of gods inside the batá drums, the flow of blood, the tramp of feet and endless, endless vistas in time and space. And am I really sensing the Beatles filtered through West Africa underneath it all? Hmmm. Must be that Palo influence. Al fin de cuentas somos todos: yoruba, congo, mandinka o carabalí . . .
You know, there’s just so much great music in this album. What about the next one: El Soñador Está Cansado (the dreamer is tired). Fonseca on that lush piano of his again, underpinned by congas and some marvellous talking drum, just setting us up for ages until the band turns up alongside them like a long-distance runner’s pace-setting companions, and they all lock into a jazzy soul-funk groove that keeps on running.
Well, if all us dreamers were tired before, then Chabani is the track to wake us up again! Taken at a breathless pace, it’s another one that grabs you by the arm and won’t let go. You've just got to hang on and trust in the power of funk. Altogether now: I believe! The dynamic tension is evident as Algerian singer Faudel lures us to North Africa with his voice whilst the frantic talking drum (tamani) of Sissoko pulls us ever southward.
Gnawa Stop fuses North African Gnawa with an almost abstract jazz tone feel. In a way, it’s the vibe that’s really important about this piece. The instruments are layered beautifully: the sharp crackling North African drums, the fuzzy almost buzzing bass guitar, the relentless clapping that drives the tune forward like a camel disappearing over the horizon, the revving-up effect of the talking drum, the incessant chatter of the ngoni and the restless, unsettling piano washes and colours. You follow the tune as it seems to appear from nowhere, crosses in front of you and finally disappears into the heat-haze. You end up in a trance where the patterns swirl around in your head and would probably continue - in true gnawa fashion all through the night - if the next track didn’t give us a little pause to break the spell.
El Mayor is an interlude based around an old jazz piano on a radio that is constantly being retuned. JMF starts as a lush but gentle piece before setting up a slow insistent majestic montuno groove that it proceeds to plough via some sensational electric kora and Hammond organ work with an old-school retro Cuban vibe that just hits.
Así Es La Vida (That’s Life) is music to smoke a cigar to. Listen to it and you’ll know what I mean. Pensive and melancholy, but stately and assured at the same time. Serene piano trio jazz to blow smoke rings to.
And speaking of stately music, Quien Soy Yo (‘Who am I?’ - another leitmotif of the album) follows a Cuban danzón format - a formal, courtly dance of elegance and restraint, before Munir’s Brazilian cavaquinho and Assane Mboup’s vocals appear from left-field and - partners in hand - take to the floor too.
The album finishes with a very jazzy-cool but urban-funky piece entitled Rachel, named after one of Ramsés’s daughters. When I say cool, I mean triple-filtered, zero degrees kind of cool…
It’s an album that should appeal to a wide spectrum of audience once you sit down and listen. It’s oozing jazz, rock, funk, rumba, gnawa, montuno, hip-hop and a whole load more, all marinated in that ineffable Cuban sabor. The lasting impression is one of experimentation, exploration and conversation - but always, always movement. It’s a very hypnotic album.
Roberto Fonseca’s “Yo” has already made it onto my Shortlist for Best World Music Albums of 2012. Love it! But you’ll have to wait until the beginning of 2013 to find out where it places finally.
"Yo" is released on Jazz Village / Harmonia Mundi on Monday 19th March 2012.
In the meantime, Roberto Fonseca and band will be touring Europe from this month until the 29th of May. The UK leg of the tour starts on 23rd March 2012 in Gateshead and finishes at Birmingham on 1st April, before heading over to the continent. Fonseca returns to the UK right at the end of the tour to play the festivals at Cheltenham, Bury St Edmunds and Salisbury at the end of May
review by Glyn Phillips http://www.worldmusic.co.uk/roberto_fonseca_yo_album_review
Состав | Artists
Roberto Fonseca : piano & keyboards
Etienne Mbappe : bass
Munir Hossn : guitar
Sekou Kouyate : kora
Baba Sissoko : african percussions
Joel Hierrezuelo : cuban percussions
Ramses Rodriguez : drums
Felipe Cabrera : doublebass
Fatoumata Diawara : vocal (2)
Faudel Amil : vocal (6)
Assane Mboup : vocal (11) MC and producer
Mike Ladd : vocal & lyrics (3), MC & producer
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发表于 2020-9-24 12:52:11
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