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"Hallowed" Michele Rosewoman's New Yor​-​Uba​-​-​-​featuring "Oru de Oro"

by Michele Rosewoman and New Yor-Uba

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about

Oru de Oro is presented on “HALLOWED” as multiple tracks (1-10) that can be seamlessly heard as one unified rhythmic suite and it is highly recommended that one listens to and downloads it as a whole. Track 11 is a vocal feature and Track 12 is different from all the rest, with multiple soloists including Roman Diaz on congas, and montuno/guajeo grooves.

"Hallowed" marks 35 years of the evolution of Michele Rosewoman's highly acclaimed New Yor-Uba ensemble. This recording is the follow-up to their 2013 double disc release which garnered NPR's #1 Latin Jazz recording of the year.

This music further melds her longstanding assemblage of master musicians from both the worlds of spiritually based Cuban folkloric musicans and contemporary jazz. It features "Oru de Oro' an extended work commissioned by Chamber Music America, along with other repertoire.

"Oru de Oro" roughly translates as 'room of gold’. “It is an instrumental body of music created around a venerated sequence of rhythms with often baffling transitions, known as the Oru Seco or Oru del Igbodu, which is played on traditional Batá drums in sacred chambers,” Rosewoman explains. “Compositionally, Oru de Oro is anchored in the rhythmic patterns that are associated with various Orishas (Yoruba deities), endowing them with unique musical content while fully integrating featured soloists and master drummers.” Oru de Oro is presented on “HALLOWED” as multiple tracks (1-10) that can be seamlessly heard as one unified rhythmic suite. The final two tracks are also suites with surprises built in. The Wind Is the First To Know, (a tribute to Oyá) features Román Díaz's and Nina Rodriguez's heart-stirring vocals over Fender Rhodes, prefacing a purely folkloric presentation that later intersects with the rest of the ensemble. The final track, Alabanza, (Praise) is full of instrumental textures and groove, rhythm and mood — a piece that earned Ms. Rosewoman a 2016 Latin Jazz Grammy® for her work as both pianist and composer on the track which made its debut on the Afro Latin Jazz Orchestra (ALJO) recording, “Cuba, The Conversation Continues”.

credits

released November 1, 2019

All compositions and arrangements by Michele Rosewoman, Contrast High Music ASCAP.
Track 11: traditional songs, public domain.

Alex Norris--trumpet, flugel horn
Román Filiú--alto & soprano saxophones, flute
Stacy Dillard--tenor saxophone
Chris Washburne--trombone, bass trombone, tuba
Andrew Gutauskas--baritone saxophone
Michele Rosewoman--piano, fender rhodes, vocals
Gregg August--bass
Robby Ameen--drums
Román Diaz--batá, congas, vocals
Mauricio Herrera--batá, congas, vocals
Rafael Monteagudo--batá, congas
Nina Rodríguez--lead vocals

Advance Dance Disques
www.michelerosewoman.com

Produced by: Michele Rosewoman and Liberty Ellman
Co-Produced by: Habana/Harlem® Neyda Martínez and Onel Mulet
Recorded at Systems Two Studios, 2017/2018
Engineers: Mike Marciano and Max Ross
Vocal Overdubs/The Bunker Studios, Engineer: Todd Carder
Mixed and mastered by: Liberty Ellman at 4D Studios
Cover Artwork: detail from Cathedral Splendor by Estera (oil on canvas; ca. 19??)
Photography: Christopher Drukker and Andrew James
Graphic Design: Christopher Drukker
Public Relations: Kim Smith

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Michele Rosewoman New York, New York

Ms.Rosewoman's New Yor-Uba ensemble debuted at NYC's Public Theatre in 1983, presenting an uncompromised synthesis of contemporary jazz & traditional Cuban folkloric music, uniting masters from both worlds. Their 2013 release was NPR's #1 Latin Jazz Record of the year.Her Quintessence ensemble (with 5 highly acclaimed releases) has consistently brought together the most inventive voices in jazz. ... more

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