The Orisha Suite is inspired by some of the Afro-Cuban deities—or orishas—from Lucumí religious lore, with the exception of the soulful, funky, danceable and exquisite opening cut, which is dedicated to—and inspired by—the daughter of the date's leader. As such, nonetheless, the recording is a sonic interpretation of some of the theological tenets associated with this particular religious phenomenon so richly endowed with musical potential. The Orisha Suite has shown that Mossman knows not only how to cast a crew that can communicate and perform together at the level that his music requires, but also how to impersonate his own compositions accordingly as a player with a rich and beautiful tone, fine technique, an inexhaustible well of ideas, and New York street smarts.
Producer Bob Belden has turned reinventing the music of Miles Davis into a cottage industry, taking Davis to India for 2008’s Miles from India, and more recently Belden has given us Asiento, which re-imagined Bitches Brew as a slice of electronica. Now he gives us Miles Español, which finds Belden pairing veterans of Davis' various bands with musicians from Spain, Morocco, and Latin America on classic tracks from Davis' Sketches of Spain and Kind of Blue albums. Hearing Davis compositions with oud, bassoon, accordion, and bongos is certainly exotic and interesting, but one longs for the elegant, stately grace of the original albums.