(Contemporary Jazz / World Fusion / Ethnic Jazz) Roberto Occhipinti - Yemaya {Enhanced CD} - 2006, FLAC (image+.cue) lossless

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Roberto Occhipinti / Yemaya
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SOURCE - http://www.robertoocchipinti.com/recordings/yemaya/index.html
YEMAYA
Roberto Occhipinti - 2005 Alma Records
Produced and arranged by Roberto Occhipinti for Modica Music Ltd.
Recorded by Todd Fraracci, CBC Studio 211, Toronto. Strings recorded in Moscow Radio Studio, Russia, Alexander Volkov.
Percussion recorded by Jeff McCullough at Wellesley Sound.
Yambu percussion and Vocals recorded at EGREM Studios, Havana.
Mixed by Jeff Wolpert at Desert Fish.
Mastered by Peter J. Moore at the "E" Room, Toronto.
Cover Art "Revelation" by Miré Albornoz www.mire-albornoz.com
Design by José Ortega
Liner Notes by Nicholas Jennings.
Dedicated to my late friend, Pancho Quinto.
REVIEWS
* Review published by Downbeat Magazine - Read full review [PDF] - http://www.robertoocchipinti.com/pdf/review_yemaya_downbeat_mag.pdf
* Review by Paul Wells - Macleans Magazine - Read full review [PDF] - http://www.robertoocchipinti.com/pdf/MacLeans.pdf
* Review by Michael G. Nastos - www.allmusic.com - Read full review [PDF] - http://www.robertoocchipinti.com/pdf/Yemaya_All_Music_Guide_Review.pdf
LINER NOTES
Rare is the bassist who steps forward to lead his own ensemble. Rarer still is the bandleader who successfully bridges the worlds of
jazz and classical music. Roberto Occhipinti clearly belongs to that rare breed. On his first album, 2001's Trinacria, Occhipinti explored the range of Latin jazz through works by Thelonious Monk, Cuban piano virtuoso Hilario Durán and his own compositions. His follow up album, 2003's The Cusp, expanded on the concept, adding violin, flutes, reeds and horns while tackling composers as diverse as Wayne Shorter, Jimi Hendrix and Giacomo Puccini. Now, with Yemaya, Occhipinti has given full flight to his musical vision, employing horns, a string quartet and a full string symphony orchestra on classical arrangements of Cuban, Brazilian and original jazz pieces. It’s an inspired synthesis.
The album opens with "Maracatres" by Brazilian pianist Jovino Santos-Neto, in which saxophonist Phil Dwyer's fluttering solo floats over a swelling ocean of horns and strings. The breezy title track has bata drummer Pedro Martinez singing a warm homage to the goddess of sea and nature in the Afro-Cuban religion while Moscow's Globalis Symphony lend rich orchestral accompaniment. Equally striking is the sumptuous string arrangement of the gentle ballad "A Ilha" (The Island), by popular Brazilian singer-songwriter Djavan, to which Kevin Turcotte adds an achingly sweet flugelhorn solo. The next three compositions come from two of Occhipinti's most talented and trusted collaborators: Durán provides "The Shadow" and "Herbie's Mood", a playful piece inspired by Herbie Hancock, while Dwyer contributes "Bernardo's Tango," a sensuous tribute to Italian film director Bernardo Bertolucci.
Occhipinti pays a few tributes of his own—all of them to drummers. Having previously dedicated numbers to percussionists Horacio Hernandez (on Trinacria's "El Negro") and Dafnis Prieto (on The Cusp's "Prieto Azul"), here Occhipinti gives his respectful nod to drummers Mark McLean on the percolating "Mank", to Ernesto Simpson on the moody "El Otro Tipo" and to the late Pancho Quinto
on the spiritual "Yambu". The latter, in particular, is deeply moving, as the bassist bids a heartfelt farewell to the legendary Cuban musician whom he called a friend, colleague and teacher. On all three numbers, Occhipinti's gifts as a writer, arranger and soloist are on full display.
Born in Toronto of Sicilian ancestry, Occhipinti has long straddled the worlds of jazz and classical music. As a classical bassist, he
has been a member of the Winnipeg Symphony, Hamilton Philharmonic and Canadian Opera Company orchestras. Meanwhile,
Occhipinti has toured and recorded with Blue Note recording artist Jane Bunett on three of her albums, including the Juno Award
winning Ritmo and Soul and the Grammy nominated Alma de Santiago. At the same time, he has recorded a trio of albums with
Hilario Durán, including the Juno Award winning New Danzon, which the bassist also produced. Two other ventures saw him tour
with experimental hip-hop stars Gorillaz and perform with Damon Albarn, front man of British rockers Blur, on the critically acclaimed Mali Music project.
With the ambitious Yemaya, Occhipinti has skillfully brought those worlds together, marrying his classical training with his abiding
passion for Latin jazz and world music. In doing so, he has set himself apart as an innovator, as well as one of Canada's most
versatile and adventurous musicians. - Nicholas Jennings
CREDITS
Roberto Occhipinti - Bass
Hilario Durán - Piano
Phil Dwyer - Tenor Sax
Kevin Turcotte - Trumpet & Flugelhorn
Les Allt - Flute
Al Kay - Trombone
John Johnson - Bass Clarinet & Alto Sax (6,7)
Dafnis Prieto - Drums (2,5,6,7,8)
Ernesto Simpson - Drums (1,3,4)
James MacDonald - French Horn (5,6,7)
Pedro Martinez - Batá, Congas and Vocals (2,3,7)
Manino Costa - Batá and Percussion (1,3)
Chendy Leon - Percussion (7)
Pancho Quinto - Batá and Cajón (9)
Lucumi - Conga and Batá (9)
Maximinio - Percussion and Vocal (9)
Ernesto Gatell - Vocals and Clave (9)
Lazaro Rizo - Batá, Palitos, Vocal (9)
Maximinio Duquesne - Conga and Batá (9)
Marcos Diaz Scull - Conga and Batá (9)
Amado Dedeu - Vocal (9)
Music Toronto String Quartet
Annalee Patipatanakoon - Violin (1)
Carol Fujino - Violin (1)
Douglas Perry - Viola (1)
Roman Borys - Cello (1)
Globalis Symphony Orchestra (3,4,5)
Konstantin Krimetz - Conductor

www.jazzreview.com
Featured Artist: Roberto Occhipinti
CD Title: Yemaya
Year: 2006
Record Label: Alma Records
Style: Various Jazz Styles
Musicians: Roberto Occhipinti (bass), Hilario Duran (piano), Phil Dwyer (tenor saxophone), Kevin Turcotte (trumpet, flugelhorn), Les Alt (flute), Al Kay (trombone), John Johnson (bass clarinet, alto saxophone), Dafnis Prieto, Ernesto Simpson (drums), Pedro Martinez, Manino Costa (percussion), Music Toronto String Quartet, Globalis Symphony Orchestra, Konstantin Krimetz (conductor)
Review:
Toronto born bassist, Roberto Occhipinti, has played on and produced Grammy nominated and Juno award winning albums. In addition, Occhipinti is a member of the Canadian Opera Company, the Hamilton Philharmonic and the Winnepeg Symphony. Occhipinti brings together the worlds of jazz and classical music on his 2006 release, Yemaya. The bulk of the recording was done at CBC Studio 211 in Toronto, the Yambu percussion and vocals were recorded in EGREM Studios in Havana. The strings came courtesy Moscow’ s Globalis Symphony Orchestra, conducted by Konstantin Krimetz. The jazz portion is a mixture and melting of traditional jazz arrangements with Cuban, Brazilian and Latin styles.
Occhipinti’ s appreciation for these musical idioms reveals itself in the music. In the opening number, Roberto’ s bass solo swings in nice cooperation with the strings. The momentum created by the opener, sets a good mark for the rest of the set. Solid playing ensues, Hilario Duran on piano and Phil Dwyer on the tenor saxophone standout. Dwyer’ s composition, "Bernardo’ s Tango", dances itself through the whole ensemble before each soloist takes his turn on the floor. Les Allt’ s flute playing recalls the latin style and reiterates that theme.
The serious overtones and dark colours from the strings, impose strong moods. Arranging the strings with more traditional jazz and Latin makes the whole musical package modern and original.
Occhipinti is very much at home in any of the classical, Cuban, Brazilian, Latin and traditional jazz styles. His arranging is very good, as is his technical command of the bass. He is able to play the right notes at the right times, a crucial skill of the working, modern day bass player. With the help of the Moscow Symphony and some effective soloing from Dwyer and Duran, Occhipinti manages a stellar release. Yemaya is a clear indicator of Roberto’ s excellent understanding, dedication and passion for all of these idioms.
Tracks: Maracatres, Mank, Yemaya, El Otro Tipo, A Ilha, The Shadow, Herbie' s Mood, Bernardo' s Tango, Yambu (for Pancho Quinto)
Record Label Website: http://www.almarecords.com
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All About Jazz
Yemaya
Roberto Occhipinti | Alma Records (2006)
By JOHN KELMAN
Published: July 21, 2006
Roberto Occhipinti, a bassist who has comfortably straddled an increasingly tenuous line between classical and jazz worlds for many years, has become more ambitious in style and scope with each successive release. On Yemaya, the Toronto native ups the ante from his superb mini-big band release The Cusp (Modicamusic, 2003) by enlisting a string quartet, a host of percussionists and a full symphony orchestra to augment his core septet. Despite the emphasis on composition and arrangement, there's still plenty of solo space on this program, which combines music by Djavan and Jovino Santos-Neto, two traditional Cuban tunes, and originals by Occhipinti, tenor saxophonist Phil Dwyer and pianist Hilario Durán. The result is a potent blend of rhythm and texture.
As Santos-Neto's "Maracatres opens, Occhipinti warmly states the theme over a gentle wash of strings that would befit an Eberhard Weber record. But the tranquility doesn't last. Percussionist Manino Costa and Ernesto Simpson—who replaces the group's regular drummer, Dafnis Prieto, on three tracks—enter with a propulsive groove, setting the stage for Occhipinti's complex contrapuntal arrangement. After another brief solo from Occhipinti, things settle into a comfortable 6/8 samba that provides both Dwyer and Durán a chance to stretch.
Durán's discography may lean towards the Afro-Cuban side, but he's a broad-minded player. His "Herbie's Mood lends a contemporary nod to Hancock's classic The Prisoner (Blue Note, 1969). Dwyer, on the other hand, despite his more diverse exposure, remains more closely aligned with the Latin vibe of Yemaya. His "Bernardo's Tango has the same harmonic depth of Occhipinti's and Durán's writing—the kind of modernistic expansion of the Latin tradition that others like Miguel Zenón, Edward Simon and Luis Perdomo are currently exploring.
Occhipinti's two contributions are almost diametrically opposed. "Mank is a rhythmically knotty tune that, like "Maracatres, relies on complicated counterpoint to set the context for another powerful Dwyer solo. "El Otro Tipo feels more rhythmically straightforward; but by enlisting Moscow's Globalis Symphony Orchestra, it reveals Occhipinti's increasing skill with a larger sonic palette. This is no "jazz with strings project, but a fully integrated effort without clear demarcation. Kevin Turcotte delivers an almost painfully melancholy flugelhorn solo on Djavan's "A Ilha, supported by Occhipinti's ability to arrange lush strings without straying into saccharine sentimentality.
Like the title track, the traditional Cuban clave "Yambu adds vocals to the mix, further expanding Occhipinti's scope on an album that remains clearly focused. Yemaya—another reason for jazz fans from around the world to investigate Canada's jazz scene—is so fully realized that one wonders where Occhipinti will go next.
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Allmusic (AMG)
Review
by Michael G. Nastos
As a classically trained musician, it should be no surprise that bassist Roberto Occhipinti would join symphonic strings and horns alongside his inclination for playing Latin and contemporary jazz. This session is in full bloom, an innovative and exhilarating project in many ways, and beautifully organic. It is notable that these recordings were done in three different locals -- Occhipinti's native Toronto, Ontario, Canada; Moscow, Russia; and Havana, Cuba. This lends to the overall beauty of music culled from thousand-year-old traditions, multicultural vistas, and earthy Afro-Cuban centrist leanings. With the renowned Russian-based Globalis Symphony Orchestra, Occhipinti and his sextet turn the folkloric title track into a breezy waltz, with the Yoruban chant-like vocals of Pedro Martinez. The orchestra dominates Occhipinti's simple and bright "El Otro Tipo," and both of these tunes feature the Michael Brecker-like tenor sax of Phil Dwyer. They also play a languid and oceanic version of Djavan's Brazilian pop tune "A Ilha" (aka "The Island"). During the lone cut with the Music Toronto String Quartet, "Maracatres" evokes warm beach images and tall, majestic, green sea waves. It's a highly arranged, lucid, and current sound à la Gil Evans, Maria Schneider, or Bob Mintzer's big bands, plus an intro and solo feature by Occhipinti, beautiful flute work from Les Allt, and the strings singing with the horns.
Pianist Hilario Durán is a constant factor in bringing the orchestral quality out of the overall approach. He offers some two-fisted piano chords as a buoy on the seductive "Bernardo's Tango," with a cha-cha flavor under Allt, the bass clarinet of John Johnson, and the muted trumpet of Kevin Turcotte. "Yambu" is a straight traditional piece dedicated to the late Pancho Quinto with group vocals, and Durán delivers again on the stylish "Herbie's Mood," an Allt/Occhipinti overview in tribute to Herbie Hancock. The strongest track is "Mank," a complex layered piece in 5/4 time that jumps out of the speakers, saturated with dizzying counterpoint, mixing meters as it rolls along and showing an involvement and discipline that mark these players as more skilled than their lesser-known reputations might suggest. Two thumbs up should be especially credited to the excellent drummer Dafnis Prieto. This is a CD Occhipinti has likely been eager to produce and showcase, and should be very proud of. Offering some of Europe and North America's most exciting modern-day music combinations, Yemaya is a recording that everyone should own.