Jaime Ospina – The Vessel (self-release, 2025)
Jaime Ospina, best known as a founding member of Austin’s acclaimed Latin fusion band Superfónicos, steps into the spotlight with The Vessel (La Vasija), his debut solo album, arriving May 24, 2025. A Colombian-born multi-instrumentalist and composer, Ospina successfully combines African and Latin American traditions with a live, collaborative recording approach, resulting in a project rooted in both cultural homage and musical experimentation.
Now a key figure in Austin’s music scene, Ospina relocated to the city in 2016, where he quickly connected with artists exploring similar terrain: the rhythmic intersections of cumbia, reggae, funk, jazz, and Afro-Caribbean forms. His work with Superfónicos and community-driven initiatives like FEEDING SOULS, a nonprofit he founded to bring live music to underserved communities, laid the groundwork for this solo venture.
The Vessel was recorded over five days in April 2024 at Lechehouse, the studio of Grammy-winning producer Beto Martínez (Grupo Fantasma, Brownout). Embracing spontaneity, Ospina gathered a rotating cast of musicians, Victor Cruz (Nemegata), Nick Tozzo (Superfónicos), Peter Stopschinski (Golden Hornet), and Alex Marrero (Brown Sabbath), to record the album live, bypassing traditional overdubbing in favor of organic ensemble energy.
The album’s ten tracks are unified by themes of resilience and reverence for African diasporic music. The superb opening track, “El Llamado” (“The Calling”) is rooted in the percussive traditions of Colombia’s Caribbean coast, characterized by drumming and the airy tones of the gaita flute.
From there, Ospina shifts westward with “El Viento”, where the marimba of Colombia’s Pacific region takes center stage. Swirling synths and agile guitar lines interact with flute and bass to conjure a breezy meditation on nature’s elemental role in sound.
The conceptual heart of the record arrives with the title track, “The Vessel,” co-written with Kalu James and HER MANA. Here, Ospina explores the idea of the artist as a conduit, someone who carries cultural memory across generations and borders. Set to a driving funk rhythm, the track pairs spoken word with melodic flute and textured guitar, producing a layered sound that’s as philosophical as it is groove-driven.
“El Duende” unites Colombia’s geographical extremes, mixing Andean flute traditions with the rhythmic marimba of the Pacific coast. The track’s name, often used to describe a kind of artistic spirit or emotional depth, proves apt. There’s a subtle mysticism in how the instrumentation weaves together, creating a sense of timeless dialog between mountain and sea.
Later, “Rencores” shifts the mood entirely. Propelled by jazz-inflected saxophone, the standout moment is a distorted electric piano solo that bends genre and expectation, evoking echoes of 1970s fusion while maintaining a modern edge.
The breezy “Amanecer” introduces a reggae pulse, dub sound design, and psychedelic guitar alongside the ever-present Colombian flute. The result is hypnotic. In contrast, “El Closet” opts for accessibility, offering easy-listening grooves and catchy rhythms that lean toward pop without sacrificing nuance. Spanish lyrical forms emerge through, grounding the song in a mestizo sensibility.
As the album nears its close, “Malian Mood” reconnects with deeper currents. This high-energy fusion piece links West African and Colombian traditions through layered percussion, marimba, and gaita, nodding to the transatlantic kinship that underpins much of the album’s DNA.
Finally, “A Dios” closes the record on a forward-looking note. Synths shimmer against guitar and rolling drums in a futuristic composition that suggests departure, arrival, and continuity all at once.
Though Ospina’s live appearances will be limited following the birth of his child, he intends to share The Vessel through intimate, grassroots performances, house shows, backyard gatherings, and community spaces. “Before the music industry took over, this is how music lived—among the people,” he says. “That’s where I want this music to be.”
Musicians: Beto Martinez: producer, sound engineer, and guitarist; Victor Cruz: coproducer, percussionist and marimba; Nick Tozzo on percussion; Peter Stopschinski on keyboards; Alex Merrero on drums; Fabian Rincón on drums; Greg Goodman on bass ; John Speice on drums; Noah Mosgofian on percussion; Mauro López on guitar; Emilie Basez: cowriter and vocals; Kate Roberson: cowriter and vocals; Fumihito Sugawara on guitar; and Kalu James: cowriter.
The project was made possible through a City of Austin Live Music Fund grant, which also supported a series of livestreamed rehearsals in March 2024 via Purple Bee TV, offering fans behind-the-scenes access to the creative process.
Buy The Vessel.
Author: Angel Romero
Angel Romero y Ruiz has dedicated his life to musical exploration. His efforts included the creation of two online portals, worldmusiccentral.org and musicasdelmundo.com. In addition, Angel is the co-founder of the Transglobal World Music Chart, a panel of world music DJs and writers that celebrates global sounds. Furthermore, he delved into the record business, producing world music studio albums and compilations. His works have appeared on Alula Records, Ellipsis Arts, Indígena Records and Music of the World.