text:
Etta James Obituary
Blues and soul singer with a raw, emotional
vocal style
By Garth Cartwright
Guardian (UK)
January 20, 2012
Etta James's approach to singing and to life was
one of wild, desperate engagement.
Etta James, who has died aged 73 after suffering from
leukaemia, was among the most critically acclaimed and
influential female singers of the past 50 years, even
if she never achieved huge popular success. From her
first R&B hit, in 1955, the risque Roll With Me Henry -
cut when she was only 15 - through a series of classic
1960s soul sides (the lush ballad At Last, the raucous
house rocker Tell Mama and the emotional agony of I'd
Rather Go Blind), then a series of critically acclaimed
1970s and 1980s albums that won her a broad rock
audience, to more recent albums of jazz vocals, James
proved capable of developing and changing as an artist.
Her approach to both singing and life was throughout
one of wild, often desperate engagement that included
violence, drug addiction, armed robbery and highly
capricious behaviour. James sang with unmatched
emotional hunger and a pain that can chill the
listener. The ferocity of her voice documents a
neglected child, a woman constantly entering into bad
relationships and an artist raging against an industry
and a society that had routinely discriminated against
James's continuing appeal to new generations was proved
when the R&B superstar Beyonce played James in the 2008
film Cadillac Records. The British pop singer Adele
said that it was buying an Etta James CD when she was
13 that made her want to sing.
She was born Jamesetta Hawkins to 14-year-old Dorothy
Hawkins and an unknown white father, although James
maintained he was the pool shark Rudolf "Minnesota
Fats" Wanderone, and was raised at first in Los Angeles
by adoptive parents. From the age of five, she sang
gospel in the local church and later acknowledged the
influence of the choirmaster, Professor James Earl
When Jamesetta's adoptive mother died, Dorothy
reappeared and took her 12-year-old daughter to San
Francisco. Dorothy was a hustler and showed no
inclination to change her lifestyle. "She was never
there when I got off from school," James recalled, "so
I could pretty much do what I wanted to do . drinking,
smoking weed." Violence and substance abuse were now
constants in James's life and she would maintain a
difficult, combative relationship with her mother
across many decades.
James formed a vocal trio, the Creolettes, with two
teenage friends. They auditioned for the maverick R&B
band leader Johnny Otis. He was so impressed with
James's voice and her songwriting skills that he
offered to take her to Los Angeles the following day to
record Roll With Me Henry. She agreed, lied to him that
she was 18 and, when he demanded her mother's signed
consent, went home and forged it - Dorothy was then in
Roll With Me Henry was retitled The Wallflower - Modern
Records decided the original title was too explicit -
and Otis renamed his protege Etta James. The song
reached No 1 on the R&B charts (while Georgia Gibbs's
bland cover went to No 1 in the pop charts). The
follow-up, Good Rockin' Daddy, reached No 12 in the R&B
charts in November 1955.
As a teenager on tours with Otis, Johnny "Guitar"
Watson, Ike and Tina Turner and Little Richard, James
encountered and quickly embraced much debauchery.
Although there were no more 50s hits, she was a popular
attraction in black America's working-class "chitlin'
circuit" clubs.
In 1959 James signed with the Chicago blues label
Chess, which began marketing her as the "Queen of
Soul". She notched up such hits as All I Could Do Was
Cry, If I Can't Have You and At Last. Here her
powerhouse contralto voice was matched with the
sumptuous, bluesy string arrangements of Riley Hampton,
and James truly came into her own as a singer. Her 1963
album Etta James Rocks the House was recorded live at
the New Era club in Nashville and documents a
formidable performer.
In 1967 Leonard Chess, the founder of Chess Records,
sent James to Alabama to record at Fame studios with
the producer Rick Hall. The resulting sessions produced
the roaring Tell Mama, which took her back to the R&B
top 10. Tell Mama's B-side was I'd Rather Go Blind, a
brooding, agonised ballad of loss and jealousy which
now stands as James's most celebrated recording and one
of the classic sides of soul music. James wrote or co-
wrote several of her greatest songs.
That year, James's influence was everywhere, with a
variety of black female singers (including Turner,
Gladys Knight and Candi Staton) employing her defiant,
abrasive vocal style. Janis Joplin modelled her singing
closely on James and covered Tell Mama. James was a
star, yet one seemingly set on self-destruction.
Addicted to heroin and bad men, she lived a criminal
lifestyle and was jailed several times. After leaving
jail in Anchorage, Alaska, in 1969, she met and married
Artis Mills. When, in 1971, the couple were arrested in
San Antonio, Texas, on narcotics charges, Mills took
the fall. On his release in 1981, the couple reunited.
James never again enjoyed a major US hit, although she
continued to record strong material. Perhaps her voice,
so raw and emotionally expressive, was too fierce for
the general public. Indeed, hurt, anger and self-
destructive behaviour boiled beneath the surface of her
vocals. Once asked to describe her style, she responded
that singing allowed her to vent "all this bitch shit
inside of me".
James became a natural replacement for Joplin after the
latter's death in 1970. Teamed with Joplin's
collaborator Gabriel Meckler in 1973, James began to
record rock songs: mauling the Eagles, slugging Randy
The 1974 album Come a Little Closer, recorded while she
was in rehab at a psychiatric hospital, features James
at her best. A shift to Warner Brothers in 1978 did not
return her to a wide audience and, although she often
worked with major producers, James remained beloved
more by critics and blues-soul aficionados than a mass
When paired with the right producer and material, she
delivered superb albums: Seven Year Itch (1989),
Matriarch of the Blues (2000) and even her swansong The
Dreamer (2011) find her interpreting lyrics with grace
and venom. An elite fanclub ensured James sang at the
Los Angeles Olympics opening ceremony in 1984, appeared
in Taylor Hackford's celebrated Chuck Berry feature
Hail! Hail! Rock'n'Roll (1987), opened stadium dates
for the Rolling Stones and was inducted into the
Rock'n'Roll Hall of Fame in 1993. She scored a
surprising (and sole) UK top 10 hit in 1996 when her
threatening reading of I Just Want to Make Love to You
became the soundtrack to a Diet Coke advertisement. In
1995 James recorded Mystery Lady, the first in a series
of jazz vocal albums where she channelled the influence
of Billie Holiday. This brought her to yet another
James won six Grammy awards and a star on the Hollywood
Walk of Fame. Having finally conquered her drug
addiction in 1988, she began to struggle with her
weight - in 2002, weighing more than 400lb, she had
gastric bypass surgery and lost 200lb, which allowed
her to return to active singing and performing. The
film Cadillac Records, a heavily fictionalised biopic
about Chess Records, attracted wide attention due to
Beyonce's appearance as James. The young superstar made
a decent job of portraying her as a foul-mouthed, two-
fisted singer, yet lacked the raging bull quality that
made James so unforgettable.
Beyonce was invited to sing At Last at Barack Obama's
presidential inauguration in January 2009. James
publicly criticised her, then later offered an apology,
suggesting that she was upset not to have been invited
to sing herself. She added that she would have sung the
song better. Rage to Survive, James's autobiography,
was published in 1995 and proved as blistering as her
singing. diagnosed last year, James's husband and sons
became involved in a legal battle over her estate. It
has yet to be fully settled.
Johnny Otis Obituary
One of the first US musicians to cross the
racial divide in his search for 'soul'
By Garth Cartwright
Guardian (UK)
January 20, 2012
The bandleader Johnny Otis, who has died aged 90, was
one of the first white American musicians to cross the
racial divide, aligning himself with the black
community as a teenager and from then on regarding
himself - and being treated as - a black man. He
attracted many nicknames - among them the Duke
Ellington of Watts, the Reverend Hand Jive and the
Godfather of Rhythm and Blues - and distinguished
himself as a television host, political activist,
preacher, cartoonist, painter, chef, record producer,
talent scout, DJ, sculptor, writer and organic farmer.
The economic constraints that followed the second world
war helped Otis develop a distinctive style: "I found
that when I was playing big band, now and then we'd
play a boogie or blues and that's when the people
really came to life. When I had to trim my band down, I
kept two saxophones, trumpet, trombone. I added a blues
guitar, a boogie-woogie piano player and drummer
cracking that afterbeat. That's what the people liked."
He signed the 13-year-old Esther Phillips as vocalist
for his California Rhythm and Blues Caravan touring
show in 1949. With Little Esther singing, he scored 10
top 10 R&B hits in 1950. His one US pop crossover hit
came in 1958 with Willie and the Hand Jive, and in the
UK he scored a No 2 hit in November 1957 with Ma, He's
Making Eyes at Me.
Otis was responsible for either discovering or
producing some of America's most potent R&B singers.
While scouting for King Records in the early 1950s, he
encountered Jackie Wilson, Little Willie John and Hank
Ballard at a talent show in Detroit, and they went on
to appear in the Caravan.
He produced - and played drums on - Big Mama Thornton's
first recordings, including the R&B hit Hound Dog
(1953). He was also initially credited as one of the
song's composers, though when Elvis Presley covered the
song in 1956, Jerry Leiber and Mike Stoller succeeded
in having his name removed.
Otis also produced all the hits of the R&B star Johnny
Ace, who died in a self-inflicted gunshot accident in
1954, the year in which Otis signed Etta James. They
co-wrote her first hit, Dance with Me, Henry (1955),
which became a bigger hit for Georgia Gibbs. Otis's
Every Beat of My Heart had to wait seven years to
become a hit for Gladys Knight in 1961. By the early
1960s, Otis found himself sidelined: "A lot of things,
including the Beatles, came along, and we were out of
it. We couldn't even get a gig."
Otis was born John Veliotes to Greek immigrants in
Vallejo, northern California. He was raised in an
ambitious family - his younger brother, Nicholas,
eventually became ambassador to Egypt. His parents ran
a grocery store in a black neighbourhood in Berkeley,
and the teenage Otis chose to walk away from white
culture. Black America, he wrote, possessed "soul", a
quality he found lacking elsewhere. Having taken up the
side drum in junior high school, he made his
professional debut in 1939 with the West Oakland
Houserockers before going on the road, playing in
touring big bands.
Nat King Cole recommended he move to Los Angeles in
1943 to join Harlan Leonard's jazz orchestra. He backed
the saxophonist Lester Young and the singer-pianist
Charles Brown. As a drummer, Otis led his own jazz
orchestra from 1945 to 1948. His 1945 recording Harlem
Nocturne proved a strong enough seller to get the band
bookings across the US, including a stint at the Apollo
theatre in Harlem.
Once the band's work had run its course, Otis became
more involved in community work in South Central Los
Angeles. A publisher's editor saw a letter that he had
sent to a friend about the Watts riots of 1965, and he
was invited to write Listen to the Lambs (1968), a
meditative book that jumped back and forth between his
life in music and his political views.
Though Otis failed to be elected to the California
state assembly, he did join the Los Angeles County
Democratic committee and served for a decade as deputy
chief of staff to Mervyn Dymally, the first black state
senator in the west, and an eventual lieutenant
governor of California and congressman.
However, Otis missed music. Frank Zappa, a fan of
Otis's 1950s recordings, suggested to Kent Records that
he had a comeback in mind, and that they should sign
him. The resulting album, Cold Shot! (1969), featured
Country Girl, an R&B hit, and was a critical success.
Otis then recorded an X-rated album, featuring proto-
gangsta rap braggadocio. Zappa landed Otis and his
musicians a TV appearance that led to a performance at
the 1970 Monterey jazz festival.
His revived California Rhythm and Blues Caravan -
featuring Little Esther and Otis's teenage, guitar-
playing son Shuggie - was a huge success at Monterey,
leading to nationwide and European bookings. Otis
continued to tour and record, and in 1978 opened and
served as pastor for the Landmark Community Church in
South Central Los Angeles, his main focus.
In 1990 Otis and his wife, Phyllis, moved to
Sebastopol, northern California, where they ran an
organic orchard. He hosted a weekly radio programme,
wrote his autobiography, Upside Your Head! (1993) and
appeared at festivals with a 13-member lineup. Ace
Records have recently released two CDs devoted to The
Johnny Otis Story. He is survived by Phyllis, two sons
and two daughters
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text:
I have a few ideas of new places to go in the near future, but today was not going to be one of those days.
After not fully waking up and getting out of the house until about 3pm, the choice was made to go to Roppongi.
The gf wanted to go to the National Art Museum to get a present for her friend at the museum shop there.
I thought it'd be a good time to get a new 4 litre bottle of Shochu, as my faithful bottle of Green is almost coming to a end.
The Museum is actually quite an interesting looking building. She bought a printed carry bag at the shop and then we made our way to Midtown.
We perused the international supermarket, Precce. "Sampleman", my alter ego, found some juicy beef samples and regained his power to fight evil once more.
I mentioned the azuki and butter rolls we had in Ginza to the gf, so we made a bee-line for the bakery area and got some. Lucky they had them here. It saved us a trip to Ginza.
We saw some Masuno Sushi so we bought that as well. We found a small seating area just outside the supermarket and ate them both there.
I am really getting a taste for raw fish. Who would've thought?
Once you get over the, "but it's not cooked" feeling, it's quite a tasty treat. Bring it on!
Finally we made our way to Don Quijote to get me that 'Chu!
Originally I had in mind to get another four litre bottle of Green, but there was a bottle of Suntory Shochu for 1880 yen saving about 500 yen, so I decided to give this one a try. Shochu is shochu right? I'll soon find out.
Leaving there I had in mind to try the expired coffee coupons, but the girl was too smart and turned them around to tell me they were overdue.
I did my best surprised look and shot out of there as quick as I could.
I have to go to bed early tonight. I have to get up at about 6am. That should be fun.
Sunday, 27 January 2008
The New 'Chu
I have a few ideas of new places to go in the near future, but today was not going to be one of those days.
Posted by Jimmy In Japan at 9:40 pm
Labels: Don Quijote, Roppongi

subset: commoncrawl


text:
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text:
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Jo! my name is Josef Dabernig aka dasjo, a Zurich-based web thinker, grown up in Vienna and lived for a year in Central America.
I care about making a difference: innovative technologies, open standards & creative processes guide my way. I'm an active contributor to the Drupal community via code & communication. I studied Software Engineering & Internet Computing at Vienna University of Technology.
Contact details
- E-mail: firstname.lastname@example.com
- Twitter: @dasjo
- LinkedIn: Josef Dabernig


text:
AnastasiaDate, the popular online dating website with an international reach, is gearing up to mark English Language Day on April 23. The international dating service, renowned for its innovative approach to bringing partners together, aims to boost the conversation on April 23 through fun and exciting language learning. AnastasiaDate is urging singles registered with them to come together on the dating platform and focus on helping members learn English to an even higher standard.
Singles from Europe looking for love from across the world can utilize this opportunity to sharpen their English language conversation skills. Members can chat confidently and fluently with compatible matches and forge new online relationships.
English Language Day presents the perfect occasion for members to learn new words and idioms so that they can improve their vocabulary. Members can also use the occasion to share their favorite song lyrics and poems. Many European members registered with AnastasiaDate have good English speaking skills with varying degrees of proficiency but they all want to take their English speaking skill and knowledge of the language to the next level. Communicating effectively is the way to impress potential partners.
AnastasiaDate is always looking to encourage members to improve their skills in the English language and have fun speaking with their matches. By urging members to participate in the English Language Day celebrations, they can make it easy for members to improve their chances of finding their ideal European match.
Couples can use the unique and innovative features offered by AnastasiaDate to speak or write English. The most popular features used by members are Chat, Correspondence and phone calls. Members can also make use of the occasion to gift English lessons to their partner from the Virtual Gifts feature of AnastasiaDate.
For more information, visit AnastasiaDate.
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AnastasiaDate is the leading international dating service that facilitates exciting and romantic companionship between men and women all over the world. Founded in 1993, AnastasiaDate now has over 20 million international users and attracts more than 80 million visitors annually. Additionally, over 1.5 million conversations are exchanged onsite daily. AnastasiaDate is committed to member safety, customer satisfaction and the ongoing pursuit of innovation. Part of the Social Discovery Ventures network, AnastasiaDate is headquartered in New York with additional representation in every country it touches, providing a high level of customer service to a worldwide clientele. All members are able to communicate across a variety of top-notch multimedia platforms, including video chat and a mobile app for Android devices available in Google Play.
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text:
The configurable control systems PNOZmulti 2 can be connected to common fieldbus and Ethernet systems such as SafetyNET p, PROFINET, PROFIBUS-DP, CANopen, Modbus-TCP, EtherCAT, POWERLINK and CC-Link. So connection to a very wide range of operational control systems is guaranteed. The communication modules are used to transmit diagnostic and status information to a higher level controller.
PNOZmulti 2 is a control system with an extensive range of connection options. It is refreshingly easy to configure the inputs and outputs on the fieldbus module in the software tool PNOZmulti Configurator. Use the communication and fieldbus modules to read diagnostic data and to set virtual inputs and outputs for automation functions.
If PNOZmulti needs to be connected to a different fieldbus system, that's easy to do without any program changes. You can simply exchange one fieldbus module for another suitable one. Select the diagnostic solution PVIS with a click in the software tool PNOZmulti Configurator. You can easily integrate your individual customer texts.
For visualisation use the web-based visualisation software PASvisu, which in conjunction with the operator terminals PMIvisu offers the perfect automation solution.
This makes it straightforward to use the configurable control systems PNOZmulti 2 independently of industry, country or machine type!


text:
Omar Sosa-NDR Bigband CD 'Es:sensual'
U.S. Release Date: January 19, 2018
Es:sensual presents a continuation of Cuban pianist-composer Omar Sosas collaboration with Hamburgs NDR (North German RadioNorddeutscher Rundfunk) Bigband and Brazilian cellist-composer-arranger Jaques Morelenbaum, whose inaugural effort can be heard on Omar Sosa-NDR Bigband CD Ceremony (Ot, 2010).
Recorded at NDRs Hamburg studios under the direction of Sosa and Morelenbaum, Es:sensual features the latters vivid arrangements of selections from Omars CDs Free Roots (1997), Mulatos (2004), Live FIP (2006), Promise (2007), Across the Divide (2009), and Il (2014).
Sosa, Morelenbaum, and the NDR Bigband extend their many influences in a contemporary contribution to the expansive universe of world jazz, where Sosa resides as a generous, abundant, and ecstatically inspired creative spirit.
Omar possesses an incomparable capacity to bring the most diverse traditions into fruitful juxtaposition, moving through and far beyond his influences, from the folkloric to the classical, while sustaining a singular and joyous cosmopolitan voice. Omar is an artist whos constantly seeking new combinations, and each of his projects is marked by a revelatory spirit of creative freedom.
Rooted in Afro-Cuban spiritual and percussive traditions, and intimately versed in a range of contemporary world musics, Omars finely textured compositions present Morelenbaum with the foundation to summon forth an expansive palette of sounds, inspiring the NDR Bidbands brilliant soloists, maximizing the ensembles sonic potential, and providing ample latitude for Sosas own luminous keyboard improvisations.
Es:sensual pays tribute to the majestic figures of Afro-Cuban big-band jazzFrank Machito Grillo, Chico OFarrill, Cachao, Mario Bauz, Dizzy Gillespie, and Chano Pozowhile also drawing inspiration from Cuban luminaries such as Armando de Sequeira Romeu, Peruchn, Pancho Quinto, Lzaro Ros, Lili Martnez, Benny Mor, Arsenio Rodrguez, Rubn Gonzlez, Frank Emilio Flynn, Bebo Valds, and a succeeding generation of artists including Chucho Valds, Paquito DRivera, and the revolutionary conjunto Irakere.
This project grew from Omars conversation some years ago with Hamburg producer Stefan Gerdes of NDR, who facilitated the connection with Morelenbaum, a celebrated arranger known for his trailblazing work with Antonio Carlos Jobim, Caetano Veloso, Gilberto Gil, Gal Costa, Cesria Evora, and Mariza, among many others.
The NDR Bigband, under principal conductor and arranger Jrg Achim Keller, is an ensemble of consummate soloists whose talents have been highlighted through the work of such noted arrangers as Michael Gibbs, Steve Gray, and Colin Towns. NDR Bigband collaborations comprise a virtual Whos Who of world jazz, including Chet Baker, Oscar Brown, Jr., Paquito DRivera, Pee Wee Ellis, Joe Gallardo, Lionel Hampton, Dave Holland, Abdullah Ibrahim, Al Jarreau, Bobby McFerrin, Pat Metheny, Joe Pass, Joe Sample, Maria Schneider, and Wayne Shorter.
Michael Stone
Omar Sosa & Seckou Keita: Transparent Water
U.S. RELEASE DATE: February 24, 2017
Pre-Order on iTunes: February 10, 2017
Transparent Water is the new studio collaboration between with London-based Senegalese kora master and singer Seckou Keita. Transparent Water is the latest example of Omar Sosas transcendent determination to seek new combinations, a manifestation of improvisatory freedom wherein the musical destination is subordinate to the extemporaneous joy of shared artistic expression. Omar observes that, as he did with Sentir, What I wanted to do was create something totally improvised.
Transparent Water – suggestive of translucence and flowing light – is a deeply spiritual recording that reveals its inspiration in the close and compassionate listening of artists engaged in a genial and captivating musical conversation, liberated from time itself, reaching across five continents to probe the collective spirit of the human condition.
CLICK HERE for the Transparent Water Newsletter, which includes the music video for "Tama-Tama"
"Transparent Water occupies space within several different spectra: between plucked and hammered strings, spontaneous and preconceived composition, wandering and purposeful trajectories. Its fluidity reflects a continuity of Cuban pianist Omar Sosa's vision of transcontinental blurring of styles and idioms in an ultimately Afro-diasporic framework. This time around Sosa has partnered with Senegalese kora player and singer Seckou Keita to engage a project of exploratory proportions: the album features elements of multiple African regional musics (Mandinka and Yoruba), Chinese reed timbres, Japanese koto playing, and the Afro-Latin piano and percussion canons."
-Roots World
Journalists and radio programmers who would like to receive a copy of Transparent Water in the mail, or a link to download files,
please email email@example.com
New Omar Sosa-Paolo Fresu CD "EROS"
U.S. RELEASE DATE: September 16, 2016
Pre-Order on iTunes: August 1, 2016
EROS follows the success of Omar and Paolo's debut album, ALMA, opening at #1 on the iTunes jazz charts in Italy and France – further proof of the Duo's artistic maturity. EROS is dedicated to the many facets and mysteries of love. Sosa and Fresu have composed a suite of new songs inspired by the human emotions that lead beauty into the divine. The project is enriched by cello contributions from Brazilian master Jaques Morelenbaum, who was also a guest on ALMA, and from the enchanting Maghreb singer Natacha Atlas, who creates a luminous Arab version of Teardrop by Massive Attack. The lovely Italian string quartet, Quartetto Alborada, is featured on many of the arrangements.
"A surprising journey."
-Il Manifesto
"A fresh mix of acoustic and electronic sounds."
-Il Venerd di Repubblica
"A beautiful recording."
"A rare taste for melody, a winning trademark of the Sosa-Fresu team, with curiosity for electronic elements and rumorismo
(noise music), played with intelligence."
-Il Sole 24 Ore
Omar Sosa New AfroCuban Quartet
Live at Blue Note Jazz Club
New York City
May 4, 2014
Featuring Ernesto Simpson, drums; Childo Tomas, electric bass; Leandro Saint-Hill, flute
July 2013 Newsletter
Omar Sosa Quarteto AfroCubano
NEW VIDEO: CLAZZ Festival in Madrid, June 29, 2013
Featuring Julio Barreto, drums; Childo Tomas, electric bass; Leandro Saint-Hill, saxophones
Omar Sosa segment starts at 42:20
Festival de Jazz Latino Clazz 2013
U.S. Tour Announced – November 2013
November 2 Tempe Center for the Arts
November 3 Osher Marin JCC
November 4 Kuumbwa Jazz Center
November 5 Mission Theater
November 6 Kirkland Performance Center
November 7 Mount Vernon Country Club
November 8 Detroit Institute of Arts
November 9 Kerrytown Concert House
November 15 Bethesda Blues & Jazz
November 16 Montgomery CCC
CLAZZ Madrid – Continental Latin Jazz
Omar Sosa Quarteto AfroCubano
Saturday, June 29 – Teatros del Canal
Omar Sosa Quarteto AfroCubano marks a homecoming for Omar to the influences of his formative years at the Escuela Nacional de Musica in Havana and later at the Instituto Superior de Arte in Havana, where he savored the music of Pancho Quinto, Lazaro Ross, Ruben Gonzalez, Machito, Benny More, Ismael Rivera, Arsenio, Cachao, Lili Martinez, Peruchin, Chucho Valdes, and Irakere. Joining him on this adventure are three musicians with whom, in one way or another, Omar shares a very close relationship: fellow Cubans, Julio Barreto on drums, and Leandro Saint-Hill on saxophones and flutes, and Mozambican bassist and longtime rhythm section collaborator, Childo Tomas.
Omars concept is to put together musicians who speak the same musical language, and who are able to use their Cuban traditions as a springboard for creative freedom.
Omars Quarteto AfroCubano will explore contemporary interpretations of some of the classic Cuban musical styles the world has come to enjoy: Danzon, Cha-Cha-Cha, Bolero, Changui. All of the material is informed by the powerful African traditions of Santeria, Abakua, Makuta, Nongo, and Palo Monte. The groups repertoire will include a number of Omars signature compositions, including Cha Cha Du Nord, Mis Tres Notas, and Iyawo, the later featuring an irresistible expression of son montuno. Both popular and religious chants will be arranged with contemporary harmonies and African rhythms. These African rhythms form the basis of much Cuban music. The result is a musical journey into the ensembles personal vision of various AfroCuban traditions.
Julio Barreto is one of the most sought after touring and studio drummers of his generation. He has played with Chucho Valdes, Gonzalo Rubalcaba, Steve Coleman, and David Sanchez, and has shared the stage with Ron Carter, John Patitucci, Charlie Haden and Chico Freeman, to name just a few. Julio Barreto is featured on several Omar Sosa CDs, including Afreecanos and Ceremony. He lives in Zurich.
Saxophone and flute virtuoso Leandro Saint-Hill began his musical studies in Camagey at age eleven. After graduating, he moved to Havana where he played with rock star Tanja, bolero diva Beatriz Marquez, jazz pianist Carlos Maza Quintet, and salsa star Manolin. Since moving to Hamburg in 1994, Mr. Saint-Hill has worked with Cuarteto Chanchullo, Tony Martinez, Julio Barreto, Gonzalo Rubalcaba, Hilton Ruiz, and Chico Freeman, and has performed at Jazz Baltica, Montreux Jazz Festival, and Leverkusen Jazztage.
Bassist, percussionist, and African vocalist Childo Tomas began playing music at the age of 16 in various traditional, popular, and jazz groups in Maputo, Mozambique. He has toured with Omar Sosa since 2004 and is featured on the Omar Sosa GRAMMY-nominated recording, Across The Divide, as well as Omars new CD release, EGGUN. He lives in Barcelona.
New Omar Sosa CD, "EGGUN"
RELEASE DATE: February 2013
EGGUN: The Afri-Lectric Experience began as an Omar Sosa commission from the Barcelona Jazz Festival in 2009. The assignment: to compose and produce a tribute performance to Miles Davis classic recording, Kind Of Blue, on the occasion of its 50th anniversary. Inspired by various musical elements and motifs from Kind Of Blue, Omar wrote a suite of music honoring the spirit of freedom in Davis seminal work. Featuring trumpet and two saxophones, Eggun provides a medium for musical elements from Africa to shape and develop the music. The resulting jazz textures are further enhanced by the subtle and expressive use of electronic elements. At the heart of the recording is the spirit of Mother Africa.
The featured horn players are Joo Kraus on trumpet (Germany), Leandro Saint-Hill on alto saxophone and flute (Cuba), and Peter Apfelbaum on tenor saxophone (U.S.A.). Omars longtime rhythm section of Marque Gilmore on drums (U.S.A.) and Childo Tomas on electric bass (Mozambique) create the foundation.
Special guests on the project include Lionel Loueke on guitars (Benin), Marvin Sewell on guitars (U.S.A.), Pedro Martinez on Afro-Cuban percussion (Cuba), John Santos on percussion (U.S.A.), and Gustavo Ovalles on Afro-Venezuelan percussion (Venezuela). The CD was recorded primarily in Brooklyn, NY. Of particular interest is a set of six Interludios, interspersed among the primary tracks of the recording, inspired by melodic elements from the solos of Bill Evans.
Eggun, in the West African spiritual practice of If and its various expressions throughout the African Diaspora, are the spirits of those who have gone before us, both in our immediate families and those who serve as our Spirit guides.
From the liner notes, by Joan Cararach, artistic director of the Barcelona Jazz Festival:
Harmony, peace, respect, freedom. That has been Omar Sosas response to our proposal: to revisit Kind of Blue, by Miles Davis, from his own (quite exceptional) aesthetic assumptions. The year was 2009. The 41st Voll-Damm Barcelona International Jazz Festival had hired drummer Jimmy Cobb the only surviving member of the groups original line-up who created that record and a tribute band committed to revive, in concert, the memory of that iconic jazz piece. But Kind of Blue, rather than a museum piece, is a mysterious record with an intimacy to be disclosed very slowly, generation after generation, beyond the commonplaces of history books.
Thats why we asked two artists who are familiar with our festival to revisit Kind of Blue from another perspective, following the artistic principles evoked by Bill Evans in his notes to the record signed by Davis: be yourself, be spontaneous, give all you have to give, everything you learned from those who came before and those you are sharing the road with. We selected Chano Domnguez, from Andaluca, who contributed Flamenco Sketches (Blue Note, 2012), and Cuban Omar Sosa, who did a powerful research of Miles Davis record.
Eggun (ancestors) is not a typical record, just as Sosa is not a typical pianist. The artist, at first reluctant, became obsessed probing into Kind of Blue to find nothing else but the paradoxes of a never-ending search: love and indifference; exile and emigration; being here and now with the lessons of those who illuminated us; restless energy and deliberate contemplation; the uncanny twists and turns of our souls and the shades of our lives; the constant strain between grief and joy, contradictory and supplementary at the same time.
Eggun essentially derives from the melodic cells of Kind of Blues solos and has the aim of honoring that record, which, lets say it once more, is hardly known in spite of having been used and abused. Eggun is like all of Sosas works, an invitation to a journey plentiful with luxury, peace and sensuality (thanks, Baudelaire!). We have a welcome with Alejet white in Arabic and El Alba. All the sounds of the African diaspora where Moroccan bendir meets Dominican merengue and Puerto Rican plena: So All Freddie. The interludes, almost sacred invocations to the genius of Bill Evans. And a passionate desperation in the finale, as in records conceived the old way, like a narrative, followed by the final rest, grace in a religious sense, like an overflowing energy which at the end of the journey becomes pure togetherness.
Kindness, in short.
Joan Anton Cararach is the Artistic Director of the Barcelona Voll-Damm International Jazz Festival. In 2009 he commissioned 'Eggun' to Omar Sosa to celebrate the 50th anniversary of Miles Davis' 'Kind of Blue'.
New Omar Sosa-Paolo Fresu CD "ALMA"
Release: January 2012
Alma is the new recording collaboration between six-time GRAMMY-nominated Cuban composer and pianist, Omar Sosa, and celebrated Italian trumpet and flugelhorn player, Paolo Fresu. The CD features guest cello contributions on four tracks by the masterful Brazilian conductor, arranger, producer, and cellist, Jaques Morelenbaum. Recorded in Udine, Italy in May 2011, and produced by Paolo Fresu and Omar Sosa for Mr. Fresus label imprint, Tuk Music, the compositions are written by Omar Sosa and Paolo Fresu, except for Under African Skies, a gentle version of the popular track from the Paul Simon CD, Graceland.
Mr. Sosa first invited Paolo Fresu to join his band as a guest for a concert at NDR studios in Hamburg in 2006, which resulted in the release of a live recording entitled Promise, in 2007. Omar and Paolo toured together in Italy in July 2009, which further deepened the special musical chemistry between the artists, and inspired them to plan a Duo recording. Both admirers of Jaques Morelenbaums artistry, Omar and Paolo invited him to participate in the project. And when Omar traveled to So Paulo for a concert in August 2011, a studio session was organized. Mr. Morelenbaums illustrious career includes work with Antonio Carlos Jobim, Caetano Veloso, Carlinhos Brown, Gilberto Gil, and Japanese pianist Ryuichi Sakamoto. Mr. Morelenbaum also did the arrangements for the recent Omar Sosa CD, Ceremony, with the NDR Bigband, which received a 2011 ECHO Jazz Award.
Paolo Fresu is a prolific artist, whose touring and recording history includes work with Carla Bley, Gerry Mulligan, Dave Holland, John Zorn and Ralph Towner, to mention just a very few. He also serves as artistic director for the Berchidda Festival (Time In Jazz) and the Nuoro Jazz Seminars. Mr. Fresu, who is from Sardinia, recently celebrated his 50th birthday by producing a series of 50 concerts in Sardinia on 50 consecutive days during the summer of 2011, featuring musicians he has collaborated with over the years. Omar Sosa joined him for a Duo performance in Cagliari on July 9th (concert number 26)!
The music on Alma, meaning soul in Spanish, is a mix of jazz and Cuban and world music, melodic and soulful, including a fiery version of Omars composition Angustia. Mr. Morelenbaum is featured on both the title track, Alma, and the opening track, SInguldu, as well as Omar Sosas new composition, Crepuscolo, and the version of Paul Simons Under African Skies. Mr. Fresus flugelhorn work is rich and warm. Sosas stylings are fresh and inventive. And the playful musical connection between the two is evident throughout the recordings. We have a sense of these accomplished artists dancing together, creating an expressive and poetic link between Cuba and the Mediterranean, offering us a wide range of subtle and engaging musical colors.
Omar Sosa in Sao Paulo – August 25, 2011
New Omar Sosa Solo Piano CD "Calma"
We are pleased to announce the release of Omar Sosa's new solo piano CD, "Calma", set for worldwide release in March 2011.
Calma is Omar Sosa's fifth solo piano recording, a work of singular artistry, featuring Omars unique and original approach to the genre. The CD is comprised of 13 solo piano improvisations, fusing stylistic elements of jazz, classical new music, ambient, and electronica. As the title implies, the overall feeling is relaxed and introspective, without any attempt to impress technically. Rather, the intent is to evoke a mood of reflection and contemplation.
As Omar describes: Each song is an inspiration for the next, and improvisation is the basis of the musical expression. I wanted to play from beginning to end without thinking just feeling where each note would take me, following the voice of my soul. Its possible that silence, yearning, hope, optimism, and sadness all travel hand-in-hand in many of the songs.
The recording features a rarely heard combination of acoustic piano, Fender Rhodes electric piano, and various electronic effects and sampled sounds. All of these instruments were recorded live together in the studio, without overdubs the artist interacting spontaneously, in real-time, with the various sonic elements.
Omars unorthodox harmonic sensibilities are evident throughout Calma. We hear surprising harmonic turns, with sonorities blending and resolving in unpredictable ways. And Omars subtle and integral use of the electronic elements lends a layer of sonic richness and depth to many of the tracks.
Rhythmically, the feeling of the CD is unhurried and meditative. Sensations of floating and suspension of time prevail. Melodically, the thematic material on Calma is quiet and restrained. We can imagine the melodic sensibilities of Erik Satie meeting those of Pierre Boulez.
Calma was recorded at Systems Two in Brooklyn, New York on October 14, 2009
Omar Sosa-NDR Bigband in Barcelona
Omar Sosa-NDR Bigband
Barcelona Jazz Festival
November 30, 2010
Palau de la Musica Catalana
By Enrique Turpin
Cuando un pianista se presenta frente a su publico con una big band, tres percusionistas y un arreglista de lujo, ya se puede uno imaginar el lugar del que se nutrieron los genes de sus ancestros y las aspiraciones de su ofrecimiento musical. No obstante, que alguien se esfuerce por transportar la imagen de un mundo encerrado entre las teclas de un Steinway al universo metalizado de una gran orquesta no garantiza un resultado memorable. Omar Sosa, el ms africano de los pianistas caribeos, volva al festival de su ciudad de adopcin, Barcelona, envuelto en honores: presentaba con aires de primicia absoluta Ceremony (OTA Records, 2010), el proyecto que ha llevado a cabo con la NDR Big Band bajo las ordenes y arreglos de la antigua mano derecha de Antonio Carlos Jobim, el maestro violonchelista Jaques Morelenbaum, otro carioca universal.
Vaya por delante que el espectculo logr superar todas las expectativas puestas en la velada. Sosa reforzo la apuesta e invito a Horacio El Negro Hernandez a que montase su bateria en el centro del escenario del Palau. Sabe bien Sosa que el secreto de la cubania reside en la pareja que forman clave y timbal (con el guiro como potenciador de sabor). Asi, a los 20 minutos de iniciarse el concierto, El Negro ya dejo caer un solo con las mazas que parecia sacado de un laboratorio acolchado de quimica tropical. Con delicadeza extrema, el batera parecia no querer importunar con sus ritmos a un bebe que quiso hacerle de interlocutor infantil. Y en verdad es que habia algo de musica neonata en el ambiente. El llanto de aquel bebe ilustro lo que estaba teniendo lugar en lo alto de la escena, la confluencia de la tradicion mas solida con la innovacion ms donosa: un sonido para la esperanza.
Gran parte del placer sonoro de la noche vino de la mano de Morelenbaum, que traa las partituras todavia con la tinta fresca de los arreglos para la NDR, unos arreglos que haba propuesto Omar Sosa al brasileno al segundo de aceptar llevar a cabo el proyecto formulado a peticion del productor aleman Stefan Gerdes. Si hubiera que traer a la memoria alguna formacion que se acerque a la escritura de Morelenbaum, en lo alto de la lista estarian las formaciones extensas de Dizzy Gillespie, mas aqui la de la Big Band The New Continent arreglada por Lalo Schifrin que The United Nations Orchestra bajo el amparo de Paquito D'Rivera. Estas companias imaginadas no quisieran desmerecer el esfuerzo de la orquesta de Hamburgo, aunque en algunos momentos el espectador imaginara solistas mas enjundiosos para la musica de Sosa.
El pianista de Camaguey dejo mecer su arte con los arreglos cinematicos de Morelenbaum, aunque no se estuvo de trufar el discurso con ironias a la poderosisima literatura musical cubana o guinos tan reconocibles como Salt Peanuts. Danzones, tumbaos, chachachas, un repertorio de polirritmia volcanica que recupero sus races africanas gracias al bata y al recitado orisha de Marcos Ilukan. Sobresalieron los tiempos nocturnos de Ceremony, el solo de clarinete bajo en Carambab y los temas pensados para la divinidad Elegba, con quien Omar Sosa comparte la potestad de aduenarse de todas las puertas y caminos de este mundo.
Como el dios, tambien el pianista es depositario del Ache, que en lengua yoruba remite al poder divino, a la bendicion sincera. Quien viera la otra noche al pianista, tocado con un gorro aturbantado y una tunica labrada, todo el de blanco, podra imaginar sin esfuerzo de lo que hablo. El poder escenico que emana, la musculatura musical y la presencia totemica frente al piano de Sosa hacen de el una figura insoslayable del crisol artistico que salio de Cuba a conquistar el mundo. Ya puede decirse que el compositor de Ceremony ha hecho del Palau su bastion, pero esto solo es el principio. Con Sosa se completa el triangulo que, junto con Chucho Valdes y Gonzalo Rubalcaba, esta edicion del 42 Voll-Damm Festival Internacional de Jazz de Barcelona ha dedicado al pianismo cubano, con el anadido de un cuarto pianista mas joven, Ivan Melon Lewis. A pesar de que el exceso de iluminacion durante todo el concierto, las filmaciones cinematograficas tienen estos inconvenientes, no dejo espacios para mayor intimidad y diluyo a veces el protagonismo de lder, la ocasion mereca el despliegue tecnico que all se dejo ver. Si la fortuna, y la crisis, no son impedimento, cuando aparezca el DVD podra verse que merecio la pena. De momento, coreen como hizo el publico que lleno los tres pisos del Palau, esas dos slabas que convocan la gracia: A-Cheeeee.
New Omar Sosa Big Band CD "Ceremony"
We are pleased to announce the Omar Sosa-NDR Bigband CD "Ceremony", set for worldwide release in February and March 2010.
NDR Bigband plays Omar Sosa
Arranged by Jaques Morelenbaum
Ceremony is a major new project, the fruit of pianist-composer Omar Sosas first big-band collaboration with composer-arranger-cellist Jaques Morelenbaum, Hamburgs 18piece NDR Bigband (North German Radio / Norddeutscher Rundfunk), and the Omar Sosa Quartet, featuring Julio Barreto (drums, Cuba), Childo Tomas (electric bass, Mozambique), and Marcos Ilukn (Afro-Cuban percussion, Cuba). Sosa himself plays piano and marimba.
Recorded in two sessions (2007 and 2008) at NDRs Hamburg studios, under the direction of Morelenbuam and Sosa, Ceremony features Morelenbaums brilliant arrangements of selections from Omars Spirit Of The Roots (1999), Bembn (2000), and Afreecanos (2009) CDstogether with two new Sosa offerings, Llegada Con Elegba (the introductory track) and Salida Con Elegba (the closing piece).
Rooted in the Quartets Afro-Cuban percussive traditions, Sosas finely textured compositions enable Morelenbaum to summon forth a broad palette of sounds, fully mobilizing the NDR Bigbands sonic potential and its brilliant soloists, while leaving ample space for Sosas own luminous improvisations.
Ceremony takes something of the structure of a sacred bat ceremony, invoking a panoply of Yoruba deities, while also delving into the Cuban son, danzn, and cha-cha-cha. Reflecting Sosas own spiritual grounding, Ceremony opens in sacramental veneration of Elegba, the divine messenger and guardian spirit, the all-powerful medium and diviner of human fate. Chang En Esmeraldas is an extended tribute to the deity of thunder and lightning, fire and moral retribution, and a reflection upon Sosas musical sojourn in the Afro-Ecuadorian community of Esmeraldas. Yemaya En Agua Larga honors the great mother and goddess of the sea, the moon, creation, and female mystery. In keeping with Yoruba tradition, Ceremony exits with a final ritual salutation to Elegba.
Ceremony acknowledges the majesty of the legendary Afro-Cuban big bands of Frank Machito Grillo, Chico OFarrill, and Dizzy Gillespie, while extending those revered traditions in a contemporary salute to the expansive universe of world jazz, wherein Sosa himself continues to reign as a joyous, generous, abundant, and essential creative spirit.
Ceremony grew out of a conversation with Hamburg producer Stefan Gerdes of NDR, who brokered the connection with Brazils Morelenbaum, who is much sought after as an arranger, reflecting his signal work with Antonio Carlos Jobim, Caetano Veloso, Gilberto Gil, Gal Costa, Cesria Evora, and Mariza, among many others.
The NDR Bigband is an ensemble of accomplished soloists whose talents have been highlighted through the work of such noted arrangers as Steve Gray, Colin Towns, and Michael Gibbs. Over the years, the NDR Bigbands artistic collaborations have comprised a virtual Whos Who of world jazz: including Chet Baker, Paquito DRivera, Pee Wee Ellis, Joe Gallardo, Lionel Hampton, Dave Holland, Abdullah Ibrahim, Pat Metheny, Joe Pass, Maria Schneider, Wayne Shorter, Oscar Brown, Jr., Al Jarreau, and Bobby McFerrin.
Ceremony will have its international debut at NDR in Hamburg on March 1819, 2010, and at the Banlieues Bleues festival in Paris on March 17, 2010.
New CD, "Tales From The Earth" (OTA1020)
We are pleased to announce the release of the new Mark Weinstein-Omar Sosa CD, "Tales From The Earth", on October 13, 2009. Available now on this website, and on iTunes.
Tales from the Earth. A thoroughly cosmopolitan outlook rooted in the rhythmic intensity and improvisatory, call-and-response spirit of Africa writ large. Artists of Cuban, Haitian, West African (Bnin, Ivory Coast), European, African American and Jewish American heritage, entering a Berlin studio for two days of intensive recording, without music or a predetermined conception, only a shared commitment to the communal, celebratory character that embodies the expressive riches of Mother Africa.
Flautist Mark Weinsteins groundbreaking Cuban Roots (1967) melded the influences of Mingus, Machito, Puente, Tjader, and Palmieri, carried forward into the present with his recent collaborations, Cuban Roots Revisited, Algo Ms, and now, Tales from the Earth. Weaving a musical lineage of a thousand strands, if Tales from the Earth recalls something of the creative spirit of MBoom, the inventive all-percussion octet founded by Max Roach in 1970, it captures the global ecumenical spirit of the present.
Accordingly, Tales from the Earth resounds with the Afro-Cuban traditions of Omar Sosabest known as a pianist and composer, but here primarily on marimba and vibraphone, which Sosa studied in Cubas conservatories before switching to piano. It features the eclectic guitar talents of Jean Paul Bourelly (Miles Davis, Roy Haynes, Elvin Jones, Pharoah Sanders, Cassandra Wilson); the resonant balafon of Aly Keitas Ivory Coast; the insistent drum n bass sensibilities of Stockholm-based Marque Gilmore (Roy Ayers, Steve Coleman, Graham Haynes, Toumani Diabate, Vernon Reid, Joe Zawinul, MeShell Ndegeocello, Susheela Ramen, Nitin Sawhney, Talvin Singh); the vocal and percussive vitality of Aho Luc Nicaise and Mathias Agbokou; and the fresh, ever-surprising turns of phrase that each artist invests in this pioneering project.
Tales from the Earth weaves a musical narrative that can be read as a journey to the source of the human spiritwith all the playfulness, celebration, contemplation, historical awareness, compassion, reverence, and gratitude manifest in a life consciously lived.
Co-produced by Mark Weinstein, Omar Sosa, and Jean Paul Bourelly, Tales from the Earth embraces the radical challenge laid down by Monk long ago: Jazz is freedom, so I play music. If I ever play the same thing twice, Ill stop making music. This ensemble never plays the same thing twice, and Tales from the Earth expresses a revelatory message, deeply grounded in tradition, yet thoroughly contemporary and innovative in realization, an expression of human freedom, and a celebration of the Diaspora, alive in our times.
Release of "Aleatoric EFX", Solo Piano
We are pleased to announce that our German record label partner, SKIP Records, has released Omar's most recent solo piano recording, "Aleatoric EFX" (OTA1013).
Recorded live at Radio Bremen, Germany, in November 2003, "Aleatoric EFX" is Omar Sosas fourth solo piano recording. The CD combines Omars free, improvisatory approach to the piano, with his use of a number of electronic effects, also directed live from the piano during the performance. The result is an engaging, multi-dimensional musical experience, with elements of jazz, classical, new music, and electronica. The term 'aleatoric' refers to the chance or random ways in which the subtle electronic elements mesh with the performance both inside the piano and on the keyboard.
From the mysterious, ethereal beginnings of "Follow My Shadow", with its bass string drone and yearning melodic figure, to the classical lyricism and haunting beauty of "Impromptu in D Minor", the recording opens in a delicate, understated mood. "Mute Ostinato in C" continues Omars fascination with the bass drone, as in Indian classical music, combined with a series of lilting rhythmic figures, and unique use of the coco shells inside the piano on the strings. Throughout these opening improvisations, we see the influence of one of Omars classical music mentors, Erik Satie.
"Pentatonic Research" reveals some of Omars daring harmonic sense, built on a dialogue of Eastern-tinged, space-age motifs. This is followed by a version of Omars signature ballad, "Iyawo", with its sweet, romantic melody, sliding, as it often does, into a subtle montuno groove. With "Sobre Un Manto en E Minor" and Siberian Horses, we continue to find ourselves traversing an aural landscape of longing, urgency and surrender.
Only toward the end of the recording, with Intense Moon in F# Minor and the rousing finale, "Muevete en D", another of Omars signature compositions, does he take the energy to a dramatic level. For those who have enjoyed Omars previous solo piano outings, "Aleatoric EFX" is sure to be an enjoyable addition to the collection. For those who are new to this dimension of Omars musical sensibilities, it is sure to be a good place to start. For more information please visit www.skiprecords.com.
New Omar Sosa CD "Across The Divide"
New Omar Sosa CD: Across The Divide
Set for release March 24, 2009
On Half Note Records. For media inquiries, please contact Jonathan Kantor at 212-475-0049.
Recorded at the Blue Note jazz club in New York City, Across The Divide is a song cycle documenting the shared rhythms of Omar Sosa and Tim Eriksen, a New England multi-instrumentalist specializing in native and adopted American musics. The album is a narrative, a tale of musical and spiritual passage, melding and mingling seemingly disparate cultures yet highlighting the musical roots common to us all. Featured within are sampled readings from Langston Hughes, renowned giant of the Harlem Renaissance, whose words add lift to the musical journey.
Produced by Jeff Levenson
Omar Sosa, piano, fender rhodes, electronics, samplers, vocals
Tim Eriksen, vocals, banjo, violin
Childo Tomas, electric and electro-acoustic bass guitars, kalimba, chigovia, vocals
Marque Gilmore, acousti-lectric drumz, vocals
Leandro Saint-Hill, soprano, alto & tenor saxophones, clarinet, flutes, caxixis
David Gilmore, acoustic & electric guitars
Ramon Diaz, bata drums, congas, cajon, vocals
Across The Divide began like a shooting star – a luminous certainty that two folkloric musicians, a Cuban pianist and a New England multi-instrumentalist specializing in native and adopted American musics, could trace the connections between seemingly disparate worlds of thought. What was not seen at the start, however, was the great drama unfolding before us, a backdrop for the making of this record – the ascendancy of Barack Obama to the presidency of the United States.
His climb to power proved timely on so many levels – among them, the nation declaring its readiness to accept a leader of color at exactly the same moment we were birthing a song cycle highlighting the Middle Passage. From the castles of Ghana to the White House.
Moreover, the surround sound of the political machine filled the air with an unmusic soundtrack; the relentless drone and grind of the campaign lending contrast to the stirring uplift of our musical discoveries. Across the Divide had not anticipated any seismic social shifts, had not aimed at didacticism. Indeed, its mandate was more pleasure-driven, in the ways of art and entertainment.
The crystallizing element in assembling this narrative was rhythm, heard through a melding and mingling of cultures and manifesting the shared roots between Omar Sosa and Tim Eriksen. No surprise, really. During the forced migration of slaves, a practice that spanned centuries and fed the triangulated economies of Europe, Africa, and the Americas, indigenous musics and performance traditions entered New World ports, among them Havana and Chesapeake Bay. These strains of expression took root and became the basis for much popular culture.
Omar knows this in his bones. He is a global musician, attuned to the pulse of nature. His air of authority, of wisdom, is born from immersion in the musics of the world and a desire to propagate his folk heritage. Tim is a preservationist, uncovering songs dug deep in the soil and offering them as evidence of an exchange system distinctly American because of its cultural beginnings elsewhere. Theirs is a model marriage (one with rich historical roots), bearing offspring, new idioms, spiritually endowed.
The four vocals featured in Across The Divide are bound to the Eastern seaboard by tradition and development. "Promised Land," a Welsh hymm dating from the mid-1700's, first embraced as Guide Me O Thou Great Jehovah, is commonly heard in Baptist congregations of the American South. "Gabriel's Trumpet" hails from Maine, where it was first cited in the mid-1800's, introduced perhaps by sailors docking in the port town of Camden. "Sugar Baby Blues," known among West Virginians and popularized by Dock Boggs in the early days of "hillbilly music," was widely associated with the banjo, an instrument of African origin. And "Night Of The Four Songs" draws from the sacred music tradition of congregational singing, having passed through North Carolina many decades ago.
These songs are linked by Sosa's instrumental odysseys, tales of ancestry: the dreams and realities of passage within and beyond Africa; meditations on the solstice and the natural order, the longest days, the seasons of life; reverence for Eleggua, the deity who determines fate and tests the will of man. Across The Divide is fueled by these crosswinds. Sosa is guided by the North Stars of spirituality, ritual, and the human condition.
So too, it seems, was the poet and novelist Langston Hughes, a seminal voice in the Harlem Renaissance, whose reading of "The Struggle" was sampled then woven into the narrative. His call for racial consciousness and self-determination (No man wanted to be a slave) is the literary counterweight to this musical oblation.
Which leads us to recognize the indomitable life force that faces unspeakable horrors yet somehow prevails a beacon penetrating the fog of oppression, its promise flooding across oceans, continents, centuries. Every now and then we're reminded of that. Through a work of art or, less frequently, a presidential election.
New CD AFREECANOS
Afreecanos. Rooted in Africa. Omar Sosas new studio album brings together musicians from Africa, Cuba, Brazil, and France to celebrate the rich heritage of African music in jazz and Latin music. Mr. Sosas approach takes folkloric elements from Africa and the Americas, combines them with his Afro-Cuban roots, and brings them all forward into a contemporary jazz expression. For the first time since his arrangements on Spirit Of The Roots and Prietos, Mr. Sosa uses a horn section, and Afreecanos features a variety of traditional and modern flute sounds. The recording also features kora, ngoni, guitar-sitar, and a variety of folkloric percussion instruments, including bat, timbal, kongoman, mbira, and talking drum.
Featured on the recording are Cuban drummer Julio Barreto, Mozambican electric bassist Childo Tomas, Senegalese vocalist Mola Sylla, Cuban folkloric master Lzaro Galarraga, Cuban woodwind player Leandro Saint-Hill, French trumpet player Stphane Belmondo, and French multi-instrumentalist Christophe Disco Minck. Also featured are Cuban timbal master Orestes Vilato, Malian percussionist Baba Sissoko, Malian flute player Ali Wague, and Senegalese kora player Ali Boulo Santo, et al.
Mr. Sosa has taken Afro-Cuban musical forms, like the rumba, and arranged them for African musicians and African instruments releasing these forms from the traditional Afro-Cuban clave and opening them to innovative interpretations combining the fokloric with the contemporary, the ancestral with the urban. Throughout the album we hear folkloric elements infusing a modern jazz idiom, including spirit vocals and percussion from Africa, Cuba, and Brazil. The sound is lush and dream-like.
Afreecanos is produced by Paris-based drummer Steve Argelles, who also produced Mr. Sosas 2004 GRAMMY-nominated recording, Mulatos. Afreecanos was recorded at Fattoria Musica in Osnabrck, Germany, with additional recording in Paris and San Francisco. The recording is dedicated to the late Cuban percussion masters, Pancho Quinto and Ang Diaz.
For more information, press kit, video, or interview, please contact: email@example.com. Or visit www.melodia.com.
New "Live at FIP" CD Release
Omar Sosa has released a number of live, solo piano recordings and a number of live, piano-percussion duo recordings over the years. With Live FIP, Omar offers his first live, ensemble CD, featuring a Quintet comprised of bass, drums, percussion and saxophone. Recorded at Radio France in Paris in front of a live, studio audience, Live FIP offers new interpretations of many of the compositions from Mr. Sosas 2006 GRAMMY-nominated CD, Mulatos, as well as a number of new pieces. FIP is an acronym for France Inter Paris, part of the Radio France broadcasting network.
Joining Mr. Sosa for the May 12, 2005 date, and recording together for the first time, are regular Sosa collaborators (the late) Ang Daz (Cuba) on percussion, Childo Tomas (Mozambique) on electric bass, and Luis Depestre (Cuba) on saxophones. Completing the ensemble is Paris-based drummer, Steve Argelles (UK), who produced the award-winning Mulatos (OTA1014) and the follow-up Mulatos Remix (OTA1016).
Compositions from Mulatos include Nuevo Manto and Dos Caminos, as well as the sweetly lilting Iyawo, and the haunting El Consenso. New material includes Mtisse and Paralelo, both part of Mr. Sosas current touring repertoire, and African Sunrise, featuring Childo Tomas African vocals and mbira (known as a thumb piano). Closing the recording is a rousing version of one of Mr. Sosas signature encores, Muevete En D, featuring Ang Daz on cajon (a wooden box drum).
Percussionist Ang Daz is renowned for his contributions with influential Cuban artists Irakere, the Afro-Cuban All Stars, Rubn Gonzlez, and Cachato Lpez, as well as acclaimed U.S. trumpeter, Roy Hargrove. On Live FIP, we are treated to Angs artistry on congas, cajon and bongo. Childo Tomas recently made his U.S. performing debut, joining Mr. Sosa for shows at Yoshis in Oakland and the new Arturo Sandoval Jazz Club in Miami. He will also join Omar on tour in the U.S. at the beginning of October.
For more information, press kit, or interview, please contact firstname.lastname@example.com or visit www.melodia.com.
International Songwriting Competition Finalist
Omar Sosa has just been named a finalist in the 2005 International
Songwriting Competition (Instrumental) for his composition "Mis Tres
Notas". 1.4% of almost 15,000 entrants were selected as finalists.
Winners in 15 categories will be announced in March 2006. Judges include
Sonny Rollins, Macy Gray, Tom Waits, and John Scofield.
"Mis Tres Notas" first appeared on the Omar Sosa CD "Free Roots" (OTA1003),
and was recently re-released on the Omar Sosa compilation, "Ballads"
Songs of the finalists are eligible for the People's Voice – an online
voting contest that allows the public to listen to all the finalists' songs
and vote for their favorite. People's Voice is separate from, and in
addition to, the winners selected by ISC's panel of judges.
If you would like to review the 2006 ISC finalists and consider a vote
for "Mis Tres Notas", please visit:
Omar Sosa CDs are available at www.melodia.com.
"Cuban pianist-composer-bandleader Omar Sosa describes this retrospective
of his early work as "ten themes of yesterday," but his artistry has never
been anything but forward-looking. Evident throughout is the inspired
introspection that infuses Sosa's work. "The spirits play through us," he
says, a matter-of-fact observation borne out in his invocation of the Cuban
orishas who animate his live performances and recordings alike. The
individual virtuosity of the gifted talents he enlists is self-evident, but
the overall approach is understated, and resonant throughout is the
ensemble effect, an exquisite collective sound. Hear the expressive
lyricism of "Para Ella," the muted orchestral breadth of "Gracias Senor,"
the serene ebb and flow of "Para Dos Parados," the subtle montuno drive
of "Antes De Ir Va Esto," the tender bolero of "Mis Tres Notas". Sosa's
faraway balladry is dappled with allusions to Frederic Chopin, Keith
Jarrett and Bill Evans, but the instrumental signature is purely his own".
-Michael Stone, RootsWorld


text:
BCTF president Jim Iker warned that teachers were ready to walk, but added that the union would present a revised contract proposal to the B.C. government's bargaining agent that "absolutely" included lowered wage demands.
But more than 40,000 teachers were also instructed to pack up personal belongings and wish their students goodbye for the summer more than two weeks early.
"There are still several days left during which both sides can hunker down, reach a settlement," Iker said after declaring picket lines would go up on Tuesday if no headway was made over the weekend. "We're ready to move."
There will be no school on Monday either, as teachers planned to be off-site for "study sessions" — essentially, one more day of rotating strike action — where they will discuss the new contact proposal or any progress made over the weekend, Iker said.
B.C.'s education minister said he had listened to Iker's announcement and was "optimistic, quite honestly" to hear the union was modifying its demands.
"I hope that the light at the end of the tunnel is that on Monday we have a tentative agreement that will end this and allow the school year to end on a positive note," Peter Fassbender said, although he did not know details of the package.
The prospect of movement came at the same time the employer received a decision from the B.C. Labour Relations Board dictating teachers must still mark provincial exams for senior students and have final grades ready for graduating students.
The tribunal said teachers must be available to supervise provincial exams scheduled for Grades 10 through 12 students between June 16 to 24. Fassbender, however, said it was still possible the government might contract the marking out.
The minister also said a province-imposed lockout will be lifted so students can attend summer school, but it was up to the union as to whether teachers would participate.
Parents whose children attend Elsie Roy Elementary school in Vancouver weren't impressed that the situation had gotten to this point.
"I'm actually furious that education is being used as a bargaining chip in all of this," said Coleen Rojas, whose son is in Grade 1. "I don't have a side to take, but families in Vancouver should not be collateral damage."
Striking to get a resolution was not the best way to solve the conflict, said Jill Carter, whose son is in Grade 2.
"I understand the teachers' position but this just impacts hundreds of thousands of people, all across the province," she said. "I believe there has to be some common sense on both sides."
Teachers were finishing a third week of one-day rotating strikes through districts across the province, meaning that, barring a weekend deal, it was the last day of school for students whose schools would be closed on Friday.
The union and the employers' association were heading to talks still far apart on several issues, namely wages and classroom conditions.
The union had been asking for a 9.75 increase over four years. The employers' association, meanwhile, has offered a 7.3-per-cent hike over six years, along with a $1,200 signing bonus if a deal is reached before the end of June.
The union received an 86 per cent strike mandate on Tuesday for a full-scale walkout after 16 months of contract negotiations.
Teachers are feeling "kind of helpless" as they seek to improve their lot while simultaneously having to hold back from signing field trip forms at recess or refrain from answering childrens' questions during lunch, said teacher Ig Cheung.
He believes the added strike pressure will make a real difference at the bargaining table.
"This is the time, make it or break it," said Cheung, who has been teaching for 17 years and currently instructs Grade 10 in Surrey, B.C. "This is Game Seven. Hopefully, it won't go into overtime."
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text:
Main content:
World Refugee Day: Global Trends of Forced Displacement
On today's World Refugee Day, Global2030 summarizes the latest figures from the United Nations High Commissioner for Refugees (UNHCR)
... more on "World Refugee Day: Global Trends of Forced Displacement" (20 June 2020)
How Serious Is the COVID-19 Pandemic and
How Long Will It Have to Be Mitigated?
These are the questions addressed in a new study by Imperial College London, conducted in collaboration with the WHO and other institutions. The authors stress that the results of their models are not forecasts, but indicate the magnitude of the problem and important influencing factors. The effects will depend above all on action in the coming weeks and months (p. 3).
... more on "How Serious Is the COVID-19 Pandemic ..." (29 March 2020)
Achievements of the Time-Bound MDG Targets
Global2030 released the first comprehensive assessment of all time-bound targets of the United Nations' Millennium Development Goals. The report, which comes following the close of the MDG time frame, documents the achievements and the shortcomings of the targets.
A key finding is that 8 of the 15 MDG targets reached between 80 and 320% of their goals, with most achieving about 150%. It also calculates the number of annual deaths prevented since the introduction of the targets to be between 6.85 million and 8.75 million. The child mortality target is found to be the biggest life saver. Furthermore, the pace of progress is shown to have increased in most indicators of the MDG targets. The report will be sent to heads of states, UN organizations and business companies.
P.S.: A summary of the report was released at Deliver2030 , which is run by the Overseas Development Institute (ODI).
... more on "Achievements of the Time-Bound MDG Targets"
Download: Global2030: Achievements and Unfinished Business of the Time-Bound MDG Targets , 10 pages plus annex, PDF (Portable Document Format), [error: stat() failed!] B (kilobytes)
Internship Placements for Refugees
Global2030 offers internships or volunteering placements for refugees with a scientific background. See www.Global2030.net/refugees.
Global2015 Project Renamed to Global2030
Global2030 is the new name for the successor project of Global2015. The name change is related to the close of 2015 as the main target year of the UN Millennium Development Goals (MDGs) and the adoption of the UN 2030 Agenda for Sustainable Development. As Global2015 did, Global2030 monitors the most important global challenges including, among other topics, all MDGs and many SDGs (Sustainable Development Goals). The legal name of the registered association (Global2015 e.V.) will also be changed but we intend not to include a year number (in case new global challenges appear after 2030).
SDG Targets: Strengths and Weaknesses
Global2015 presented its evaluation of the SDG targets at the Institute for Futures Studies and Technology Assessment (IZT ). Using our data collection, a balanced assessment revealed the extent to which the goals are realistically achievable and those goals that will require extensive efforts from stakeholders. The presentation addressed shortcomings of the SDGs where tangible targets were missing and important issues were absent. However, the overall assessment revealed the strengths of the SDG targets and potential to achieve positive results by 2030.
Download: Global2015: Stärken und Schwächen der SDG-Targets (in German, with most diagrams in English), 32 presentation slides, PDF (Portable Document Format), [error: stat() failed!] B (kilobytes)
Fact Sheet on Trends of Old and New SDG Topics
In line with a series of our latest publications, Global2015 submitted a fact sheet on current trends to the UN negotiations on the post-2015 development agenda. The fact sheet provides trend diagrams on MDG target topics as well as new and emerging challenges. The fact sheet identifies progress, setbacks and new topics for the SDG targets. It utilizes annual trend data series from the 2015 Global Burden of Disease study and includes a comparison with the most recent WHO and UNAIDS trend data.
Download: Fact Sheet: Trends of Old and New Post-2015 Challenges , 5 pages plus an 8-page annex, PDF (Portable Document Format), [error: stat() failed!] B (kilobytes)
Fact Sheets on Post-2015 Targets and Indicators
Two further fact sheets of our series have been submitted by Global2015 to the UN negotiations on the post-2015 development agenda. The first fact sheet contributes to the tweaking of the post-2015 targets. It focusses on 8 SDG targets and provides proposals for changes as small as possible to make these targets more clearly quantifiable, to specify x-values in the draft or to preserve the intended aspiration. Our work is evidence-based and all recommendations are fully in line with the proposed post-2015 development agenda.
The second fact sheet proposes indicators for 17 selected SDG targets based on publicly available data. It was also submitted to the UN Statistical Commission (UNSC ) (see stakeholder feedback ).
- Fact Sheet: Tweaking of Selected UN OWG Targets , 6 pages plus a 5-page annex, PDF (Portable Document Format), [error: stat() failed!] B (kilobytes)
- Fact Sheet: Indicators for Selected Post-2015 Targets , 14 pages, PDF (Portable Document Format), [error: stat() failed!] B (kilobytes)
Fact Sheet on Infectious Diseases
The second fact sheet of our series was submitted by Global2015 to the UN negotiations on the post-2015 development agenda. The fact sheet focusses on target 3.3 on infectious diseases, which was proposed by the UN Open Working Group on Sustainable Development Goals (OWG). The fact sheet can contribute to the technical proofing of the SDG targets. The evidence-based recommendations are fully in line with the proposed post-2015 development agenda and do not refer to any controversial topics or risk unravelling the package of the SDGs.
The fact sheet provides a comparison of the contagious diseases with the highest numbers of deaths. For selected diseases – each on individual pages –, it presents the latest trend data and a data-derived recommendation of an ambitious but achievable target level for 2030.
Download: Fact Sheet: UN OWG Target 3.3 on Infectious Diseases , 6 pages plus a 6-page annex, PDF (Portable Document Format), [error: stat() failed!] B (kilobytes)
Fact Sheet on Safe and Secure Working Environments
The first fact sheet of an upcoming series was submitted by Global2015 to the UN negotiations on the post-2015 development agenda. The fact sheet focusses on target 8.8 on safe and secure working environments, which was proposed by the UN Open Working Group on Sustainable Development Goals (OWG).
The fact sheet provides a comparison with other major global topics in terms of relative importance. Furthermore, it presents latest trend data and a data-derived recommendation of an ambitious but achievable target level for 2030. The fact sheet is based on the latest available data, in particular from the ILO, the Global Burden of Disease (GBD) study 2015 and the WHO Global Health Estimates 2014.
Download: Fact Sheet: UN OWG Target 8.8 on Safe and Secure Working Environments , 2 pages plus a 2-page annex, PDF (Portable Document Format), [error: stat() failed!] B (kilobytes)
Further fact sheets are being prepared, and you can register for receiving them at our fact sheets page.
Data-derived Recommendations for Post-2015 Targets
Global2015 submitted a new proposal for the UN negotiations on Sustainable Development Goals (SDGs). It addresses several open issues of the ongoing negotiations. The proposal provides an assessment of trend changes achieved by the Millennium Development Goals (MDGs) and derives from that an average level of aspiration for the SDGs. Furthermore, it suggests an approach to define global targets that accommodates the consideration of national trends and country conditions. Additionally, the proposal identifies major topics for the post-2015 agenda, based on the latest data on mortality and economic losses. This includes the update of the Global Burden of Disease study from December 2014 and January 2015.
Finally, the proposal suggests framing or clustering the 17 SDGs into a small number of summary objectives, in order to facilitate effective communication.
Download of the proposal: Data-derived Recommendations for Post-2015 Targets , 15 pages plus a 17 page annex, PDF (Portable Document Format), [error: stat() failed!]
B (kilobytes)
Data-based Recommendations on Targets Proposed
Global2015 submitted "Data-based Recommendations on Targets Proposed" to the UN Open Working Group on Sustainable Development Goals (OWG) . The OWG has developed targets which continue on from the Millennium Development Goals (MDGs), which have an end date of 2015. The Sustainable Development Goals (SDGs) are intended to cover the time frame up to 2030 and will be agreed upon by the UN General Assembly.
The data and diagrams in our paper show both progress and setbacks among major global challenges, including MDG topics, between 1990 and 2010. Currently most major global challenges, though not all, are covered by time-bound and quantifiable targets proposed by the UN OWG. In particular, our paper provides data and suggestions on seven post-2015 targets proposed by the OWG, with regard to epidemics, air pollution and occupational safety etc.
The paper is a pre-release excerpt of an upcoming update of our previous publication "Assessing Priorities for Rio+20" (see below). It utilizes data from many trustworthy sources such as the latest version of the Global Burden of Disease study and the WHO Global Health Estimates of June 2014.
P.S.: The final UN OWG outcome document includes now: "by 2030 … combat hepatitis, water-borne diseases, and other communicable diseases". A further post-2015 target has now been made time-bound: "by 2030 ensure universal access to sexual and reproductive health care services, including for family planning, information and education". These changes are concurrent with recommendations made by Global2015.
Download of the proposal: Data-based Recommendations on Targets Proposed by the UN OWG , 11 pages plus a 22 page annex, PDF (Portable Document Format), [error: stat() failed!]
B (kilobytes)
Assessing Priorities for Rio+20
A proposal was written by Global2015 for the preparation of "Rio+20", the United Nations Conference on Sustainable Development, which will take place in June 2012. The objective of Rio+20 is to secure renewed political commitment for sustainable development, assess the progress to date, and address new and emerging challenges.
The Global2015 proposal focuses on providing neutral information on major global challenges. This includes prioritizing the most urgent challenges that the world faces today, and identifying which issues have made the most progress and which have been neglected. The data on global challenges has been updated and diagrams have been included to show the comparative relevancies of the major global challenges, the progress made on issues, and target accomplishments. The proposal has been sent to the heads of appropriate UN [United Nations] bodies along with other international organizations involved in the preparation of Rio+20.
Download of the proposal: Assessing Priorities for Rio+20 , 9 pages plus a 38 page annex, PDF (Portable Document Format), [error: stat() failed!]
B (megabytes)
Report for the UN High-Level Meeting on AIDS
Global2015 has created a report on "HIV/AIDS in the Context of Other Global Challenges". The purpose of the report is to assist decision-makers in assessing priorities for appropriate action, taking into consideration global challenges interlinking with HIV/AIDS. Heads of government, ambassadors to the UN [United Nations], and the heads of related UN bodies were provided with the report, in regard to the High-Level Meeting on AIDS of the UN General Assembly (8-10 June 2011). The presidents of Switzerland and the USA (United States of America), governments from countries such as Australia, Brazil and the UK (United Kingdom of Great Britain and Northern Ireland), as well as the EU (European Union) Commission and the WHO (World Health Organization), responded with their appreciation of the objective and comprehensive nature of the analysis.
The report is complemented by a summary of the outcome of the UN meeting. This publication is the first of a Special Global Challenges Report series; the next will be on climate change, for the occasion of the UNFCCC (United Nations Framework Convention on Climate Change) conference in December 2011.
Download of the report: HIV/AIDS in the Context of Other Global Challenges , 29 pages, PDF (Portable Document Format), [error: stat() failed!]
B (megabytes)
Survey Presented at WHO/SIGN Conference
Global2015 was invited to present its Global Challenges Survey at the annual meeting of the Safe Injection Global Network (SIGN), which is hosted by the World Health Organization (WHO). 135 registered participants from 28 countries attended the conference, which lasted from the 9th to the 11th of November, 2010 in Dubai, the United Arab Emirates.
Feedback on this first international presentation of the Global Challenges Survey was very positive, and several participants agreed to give expert reviews of the draft survey.
The Global Challenges Survey presented by Lars Vogelsang, member of the board
New estimates of the global burden of disease due to unsafe injections were also presented at the conference. With these estimates a trend in the safety of injections globally is visible for the first time − an improving one. These estimates will be taken into account in the next update of the Global2015 draft survey.
Download of the presentation:
- OpenOffice Impress format (.odp), [error: stat() failed!] B (kilobytes)
- MS Powerpoint format (.ppt), [error: stat() failed!] B
- Portable Document Format (.pdf, no animation) , [error: stat() failed!]
Special Edition for the UN MDG Summit
A Special Edition of the Global Challenges Survey was created for the United Nations Summit on the Millennium Development Goals (High-Level Plenary Meeting of the UN General Assembly, 20-22 September 2010).
The updated survey by Global2015 covers most of the Millennium targets as well as other important global challenges. Global2015 has provided the survey to world leaders and UN representatives, and will continue to monitor the most urgent global challenges to encourage further action.
To the Global Challenges Survey, September 2010 …
News feed:
- Global2030 provides information and suggests action on the most important global challenges of the 21st century.
- Global2030 will collaborate with experts, scientists, artists as well as with decision-makers in politics, business and non-governmental organizations.
- Global2030 operates as a platform for strengthening action on global issues like hunger, climate change, etc.
More about Global2030 …
Social Media Posts
March 31, 2020
Emerging Epidemics
How serious is the COVID-19 pandemic and how long does it have to be mitigated? Global2030 provides an overview based on new studies.
New report by Imperial College London shows: Without countermeasures, the COVID-19 pandemic would claim 40 million lives – with countermeasures, 30 million deaths can be avoided.
Measures against the COVID-19 pandemic must now be expanded to avoid hospitals being overwhelmed.
If left unchecked, the COVID-19 pandemic would kill 40 million people. That could be reduced to 10.5 million, if mitigation/suppression starts at 1.6 deaths per 100,000 inhabitants. Globally, this threshold will be reached in about 1 week.
Sources: Imperial College London , Global2030.
May 22, 2018
Today is International Day for Biological Diversity: One third of global protected land is under intense human pressure.
The MDG target to reduce the loss of biodiversity was missed in 2015, so will we manage to halt the loss of biodiversity as aimed for in SDG 15?
Sources: GBD , Global2030.
May 20, 2018
Food Security and Biodiversity
Today is UN World Bee Day: Caring for bees and other pollinators is part of the fight against world hunger. Pollination of crops and other plants is best ensured by an abundance and diversity of pollinators, such as the 25 000 to 30 000 species of bees.
Source: UN .
Air Pollution
New data: 91% of the world's population breathed polluted air in 2016 (breaking WHO air quality guidelines). Outdoor air pollution has remained approximatively stable over the past 6 years globally. It was responsible for a death toll of 4.2 million people in 2016.
Indoor air pollution due to cooking or heating with open fire resulted in 3.8 million deaths in 2016.
Source: WHO .
April 28, 2018
Safety at Work
It is Safe Work Day! Occupational diseases and accidents claimed 1.53 million lives in 2016, 8.4% more than in 2006. Trend is opposite to aims of SDG 8 on decent jobs.
Source: GBD study in The Lancet magazine .
Global2030 offers internship/volunteering placements for fundraising or research/statistics on global issues: fundraising ad on Indeed , research/statistics ad on GreenJobs .
April 26, 2018
Risk Technologies
Today is Chernobyl Disaster Day, marking the nuclear disaster with the worst human impact in history, including thousands of deaths (International Chernobyl Disaster Remembrance Day).
April 25, 2018
Today is World Malaria Day. Malaria killed 720 000 people – mainly children – in 2016, 10% less than in 2006.
The MDG target to halt malaria by 2015 was met and substantially exceeded. Will we also achieve the SDG target to end malaria by 2030?
Sources: GBD study , Global2030.
April 24, 2018
Measles, Vaccination
World Immunization Week starts today. Due to measles vaccination, measles deaths dropped 84% between 2000 and 2016 worldwide.
Source: WHO .
April 7, 2018
Top 5 global health problems due to limited access to vital resources on today´s World Health Day:
- outdoor air pollution: 4.09 million deaths in 2016
- child hunger: 2.74 million
- indoor air pollution: 2.58 million
- pneumonia and other lower respiratory infections: 2.38 million
- neonatal disorders: 1.73 million deaths.
Source: GBD study in The Lancet magazine .
March 24, 2018
Today is World TB day: Tuberculosis killed 1.2-1.4 million people in 2016. TB is the world´s second-biggest infectious killer, after pneumonia.
Drug-resistant tuberculosis claimed the lives of 127 000–240 000 people in 2016 (MDR-TB, MDR/RR-TB).
Sources: GBD study , WHO .
March 23, 2018
Climate Change
New data: Global energy-related CO2 emissions managed to remain steady for three years, but grew by 1.4% in 2017, reaching 32.5 billion tonnes.
Progress of energy efficiency slowed in 2017: from an annual 2.3% improvement in energy intensity of economic output over the three years since 2014, it fell to 1.7% in 2017.
Renewables saw the highest growth rate of any energy source in 2017, meeting 1/4 of global electricity generation.
Source: IEA .
Safe Water
March 22 was World Water Day: Unsafe water sources killed 1.16 million people in 2016.
Source: GBD study .
January 22, 2018
Global Risks
The top 4 global risks 2018 as ranked by the World Economic Forum are extreme weather events, natural disasters, cyberattacks and failure of climate change mitigation and adaptation.
Source: WEF .
Climate Change
New data: 2017 second-hottest year after 2016, together with 2015, and the warmest year without an El Niño. 1.1° Celsius above the pre-industrial era.
Source: WMO .
January 8, 2018
Natural Disasters
New data: Natural disasters killed approximately 10 000 people in 2017, much below the 10-year average of 60 000.
Natural disasters in 2017 cost $330 billion in terms of economic losses, the second-highest figure ever (inflation considered). Of these losses, only 41% were insured. The costliest disasters were hurricanes Harvey, Irma and Maria, together causing economic losses of $215 billion.
Sources: MunichRe fact sheet , MunichRe press release .
December 18, 2017
Migration and Poverty, Conflict, Natural Disasters, Climate Change
Today is International Migrants Day: In 2015, there were an estimated 244 million international migrants and 22.5 million refugees globally. Global challenges such as poverty, conflict, natural disasters and climate change are drivers of migration.
Source: IOM .
December 10, 2017
Human Rights
It´s Human Rights Day: Basic human rights are still not realized for hundreds of millions of people, such as the Right to Food, the Right to Water and the Right to Health, and much too often, even the Right to Life:
- The Right to Food is not realized for the 815 million undernourished people globally.
- Furthermore, 20% of the world´s population do not have access to safe water, meaning their Right to Water is not realized.
- The Right to Health is, for example, not fully realized for the 216 million people – mainly children – who suffer from malaria, a preventable disease.
- Sadly, 5.6 million children under five are even denied their Right to Life.
Sources: FAO , Global Burden of Disease study , WHO , UNICEF .
December 5, 2017
Soil Degradation
World Soil Day is today: 33% of global land is moderately to highly degraded due to the erosion, salinization, compaction, acidification and chemical pollution of soils.
Source: FAO .
Today is the International Volunteer Day for Economic and Social Development. Global2030 volunteers are supporting research on global challenges and progress in tackling them.
December 1, 2017
Today is World AIDS Day: AIDS killed 1.0 million people in 2016, down from a peak of 1.9 million in 2005.
The number of new HIV infections is decreasing. It was 1.8 million in 2016.
Approximately 36.7 million people were living with HIV in 2016. Their number is slowly increasing, due to the fact that thankfully mortality has been reduced more successfully than new infections have been.
20.9 million people infected with HIV received antiretroviral therapy in 2017, almost three times as much as in 2010.
Sources: UNAIDS , Global Burden of Disease study .
November 25, 2017
Gender Equality
Intimate partner violence claimed the lives of 65 000 women in 2016. Today is International Day for the Elimination of Violence against Women.
Source: Global Burden of Disease (GBD) study in The Lancet magazine .
November 20, 2017
Child Mortality and Hunger
Today is Universal Children Day: undernourishment is still the no. 1 child killer, with 2.74 million deaths in 2016. It is time to realize children's right to food!
Source: GBD study .
Road Safety
Road accidents killed 1.34 million people in 2016 worldwide. World Day of Remembrance for Road Traffic Victims on Nov 19.
Source: GBD study .
Safe Water
Nov 19 was World Toilet Day: unsafe sanitation spreads disease and claimed 898 000 lives in 2016.
Source: GBD study .
November 10, 2017
Information and Research
Scientific facts and solutions are integral in tackling global challenges. Today is World Science Day for Peace and Development.
Source: UN .
November 2, 2017
Information, Citizenship
Today is the International Day to End Impunity for Crimes against Journalists. "The attacks on journalism are widespread and deplorable and they undermine official accountability and help entrench corruption and other abuses of power."
Source: Agnes Callamard, UN Special Rapporteur on extrajudicial, summary or arbitrary executions, and David Kaye, UN Special Rapporteur on the promotion and protection of the right to freedom of opinion and expression , both at the office of the UN High Commissioner for Human Rights.
Climate Change
Current commitments under the Paris Agreement will likely result in 3°C in global warming instead of maximum 2°C; they are only one third of the reductions needed to meet the 2°C target.
Sources: UNEP press release , UNEP Emissions Gap Report .
New data: C02 concentrations increased to 403.3 ppm in 2016, 45% above pre-industrial levels and the highest in 800 000 years.
Source: WMO .
Global Challenges Survey
The Global2015 draft survey summarizes the most urgent issues for human life and needs. The information is exclusively drawn from reports of scientific institutes, UN (United Nations) organizations, national departments, and other trustworthy sources.
Global Challenges Survey, September 2010
The most recent data on global challenges can be found in our social media posts, in our latest publications and, most comprehensively, in the proposal "Assessing Priorities for Rio+20" of November 2011 (9 pages plus a 38 page annex, 1370141B [megabytes])
Participating in the Project
Everyone is welcome to contribute ideas and suggestions to the further development of the draft overview on main global challenges. Please use the contact page. Furthermore, Global2030 approaches scientists and experts to review the draft.
After being reviewed, the completed survey report on global challenges will be published here. The purpose of the survey is to inform and motivate decision-makers in particular, but also the public, to increase their efforts to tackle the global challenges addressed.
Address of this page (URI, URL): http://global2030.org/index.html
Photo credit: © Mihai Eustatiu .
Website metadata (RDF/XML).


text:
ASRock 880GMH/U3S3 Bios 1.80
What's New
Related Drivers 1
- Supports AM3+ Processor, 8-Core CPU Ready
- 100% All Solid Capacitor design
- Supports Dual Channel DDR3 2000(OC)
- Supports ATI™ Hybrid CrossFireX™
- Integrated AMD Radeon HD 4250 graphics, DX10.1 class iGPU, Shader Model 4.1
- Multi VGA Output : D-Sub, DVI-D and HDMI
- 2 x USB 3.0, 2 x SATA3, C.C.R. (Combo Cooler Retention Module)
- Supports XFast USB, XFast LAN, AXTU, Graphical UEFI, Instant Boot, Instant Flash, APP Charger, SmartView
- 7.1 CH HD Audio with Content Protection (Realtek ALC892 AUdio Codec)
What's New:
- Improve UCC function.
Update BIOS under Windows Vista / Windows 7:
- Please right click BIOSfilename.exe
- Click "Run as administrator".
Note: If you encounter problems while updating the new BIOS, DO NOT turn off your system since this corrupt BIOS might cause your system failed to boot up. Just repeat the process, and if the problem still persists, update the original BIOS file. If the Flash Memory Writer utility was not able to successfully update a complete BIOS file, your system may not be able to boot up. If this happens, your system will need service.
Here's other similar drivers that are different versions or releases for different operating systems:
- June 10, 2011
- Windows XP/Vista/7
- 914 downloads