CD Review: Daby Toure's 'Amonafi'

Daby Toure 
Amonafi
Cumbancha

Daby Toure comes from Mauritania--a Saharan country in North Africa. However, his music is trans-African and even trans-global in nature. It is filled with catchy Afro-pop hooks from the get-go. He achieved worldwide fame with Stereo Spirit and Diam--and now Amonafi continues to celebrate his unique voicings and guitar styles. Many of the songs build upon earlier song styles on previous albums, but Daby creates all new music that is slightly different overall. There are a few very characteristic Daby Toure songs here, including "Oma," "Emma," "Little Song," "If You," "Debho," and "Soninko." Amonafi, which means, 'once upon a time,' in the Wolof language, is a great analogy to what Daby does best: tell stories in an infectious, musical pattern with diverse vocal ranges and scintillating guitar-work. ~ Matthew Forss

CD Review: Awa Sangho's 'Ala Ta'

Awa Sangho
Ala Ta
Motema

Mali's Awa Sangho is a very talented singer with a passion for music and incorporating traditional instrumentation in a contemporary setting. The music is fresh, catchy, and full of rich textures. The melodies and rhythms are equally-astounding. There are thirteen delicacies on this album and not one of them are identical. In addition to Awa's youthful vocals, the album is graced with guitar, bass, percussion, ngoni, kora, balafon, talking flute, ndjarka, bolon, bass guitar, and djembe. "Tambin Y Tambor" is a perfect blend of international instruments coming together for a relaxing and intriguing tune. "Denko" is a jazzy, Afro-pop tune with stellar vocals and sounds, "Emama" is a gritty, guitar tune with rippling sound effects and a Congolese-like rhythm. All of the songs are easy to listen to and void of anything distracting, disruptive, or unnecessary. Anyone with an interest in contemporary Malian music will love it. ~ Matthew Forss

CD Review: Sally Nyolo's 'Tiger Run'

Sally Nyolo
Tiger Run
Riverboat Records/World Music Network

Cameroon's Sally Nyolo has released a few albums over the years and they continue to provide an introspective and awe-inspiring window into her personality and creative style. The Afro-pop foundation of her songs are still inherent on Tiger Run, but there seems to be more attention given to other influences. For example, there are South Asian undertones on "Me So Wa Yen." "Bidjegui" is inherently-African, but it tends to be rather repetitive. "Tiger Run" is more like a ballad from a lounge club or jazz club somewhere in North America. The bubbly guitars of "Eeeh," signify a true, West African song rich in vibrant percussion and a fast tempo. The entire album is only thirty-eight-minutes long, which may be disappointing. Nevertheless, Sally Nyolo returns to the studio with a rather admirable result with only minor adjustments needed. ~ Matthew Forss

CD Review: MOA's 'Maverick'

MOA
Maverick
Wild Child Music

A background in jazz and Afro-pop, Max Wild (aka MOA), is an innovative performer of contemporary dance and world fusion music with electronic beats and earthen rhythms with guest vocals from Chiwoniso and Jahaan Sweet. The industrial dance beats of "Hands In The Air" is a largely contemporary dance sound with gritty, synth-pop beats and an Afro-pop, urban style. The percolating electronic sounds of "Debo" brings an ambient, spacey tone to the mix that is not too unlike Tangerine Dream's instrumental works from the 1990's. "Barbarian" contains a spacey horn sound with laser-like embellishments and a heady beat that is new age, electronica, and experimental. Whatever the music is called or how it is defined is seemingly irrelevant. Once you hear the sounds your body will know it's great. ~ Matthew Forss

CD Review: Various Artists' 'Mozambique'

Various Artists
Mozambique
Wired For Sound

The compilation of musicians from Mozambique is a great release that showcases various musical styles that are both contemporary and infectious. The pop connotations are evident, but there is also a good degree of blues, soukous, zouk, and Afro-pop arrangements and influences. Over a dozen fresh artists contribute to this new release funded by the Open Society Initiative for Southern Africa (OSISA). You will hear Million Isaac Junior, Marcelino Banda Mpombeza, Alfredo, Harry Potter (yes, a band), Minesterio Evanjelico De Mbonje, Chaisoni Bicaus Bandeira, Atija, and many others. The music incorporates Congolese rhythms, Portuguese influences, and Mozambique melodies that are very vibrant and memorable. Seventeen different tracks represent a hearty mix of easy listening and toe-tapping responses. Nothing is a miss here. ~ Matthew Forss

CD Review: Ricardo Lemvo & Makina Loca's 'La Rumba SoYo'

Ricardo Lemvo & Makina Loca
La Rumba SoYo
Cumbancha

With ties to Congo, Angola, and the United States, Ricardo Lemvo and his Makina Loca band continue to put out Afro-Cuban hits. La Rumba SoYo is another fine example of Ricardo's uncanny way of producing and performing amazing music with ease. Due to Africa's various musical influences and origins, Ricardo incorporates some Angolan contemporary music with Congolese guitar rhythms, and Portuguese-tinged tunes with unforgettable consequences. There is a star-studded cast of musicians involved in the production of the album, including Mario Aguilar, Jose Papo Rodriguez, Danta Pascuzzo, Yordan Martinez, and about two-dozen other artists. The Los Angeles-based Ricardo spices the music up with rumba, salsa, and contemporary grooves that are Afro-pop and Afro-Cuban. All eleven tracks are sure to please fans of African music everywhere! ~ Matthew Forss

CD Review: Blitz The Ambassador's 'Afropolitan Dreams'

Blitz The Ambassador
Afropolitan Dreams
Embassy Mvmt

The Ghanaian-born rapper based in New York, Blitz The Ambassador, combines Afro-pop melodies, rap vocals, and refreshing Afro-soul sound that echoes beats of decades ago. The vocal king incorporates a few guest musicians fill in already great tracks. For example, Angelique Kidjo, Nneka, Sarkodie, Marcelo D2, Seun Kuti, Amma Whatt, and many other artists are represented. The album is a continuation of the journey to America with all of the trials and tribulations that accompany the struggle to establish oneself in a new land. The twelve tracks are unique, easy to understand, and incorporate a plethora of African, American, and rap fusion styles. The melodies and rhythms are very catchy, poignant, and meaningful. The music is more than rap or hip hop, since the melodies are somewhat drawn out, which provides a more Afro-pop, funk, and soul concoction. Check out Afropolitan Dreams while you can. ~ Matthew Forss

CD Review: Various Artists' 'Sembeh Ma Fa Fe: Roots Volume'

Various Artists
Sembeh Ma Fa Fe: Roots Volume
Stronghold Sound

The San Francisco-based label, Stronghold Sound, continues to pump out some great African tunes on Sembeh Ma Fa Fe: Roots Volume. The new album continues in the tradition of Guinean folk rhythms in a contemporary context. The sixteen-track album contains music by Guinea's great, including Blondi, Saran, Bosta, Aisha, Alassane, MyBaby, Cissoko, Captain Planet, J-Boogie, Dub Snakkr, and Balandougou Kan. The contemporary music is Afro-pop-based with killer percussion moments, rippling guitars, and crooning vocals. Fans of Stronghold Sound already know about this album. Anyone with an interest in Guinean music, West African music, and African music in general, will find it very fascinating and ear-friendly. ~ Matthew Forss

CD Review: Naomi Wachira's Kenyan Roots On Her New Self-Titled Release

Naomi Wachira
Naomi Wachira
Hearth Music

Kenyan-raised and Seattle-based, Naomi Wachira brings us a soulful, bluesy, Afro-pop release with folksy guitar accompaniment and limited percussion. The release is a strong vocal production with gospel roots and vocal harmonies. The lilting guitars are great accompaniment with the vocals. The percussion is limited, which is not a big negative overall. The mature, soulful vocals awaken the spirit and entrance the listener with a talented sound emanating from all of the tracks. A few songs are mostly vocal without any additional accompaniment. There is a classy feel to some of the songs, which seem to evoke singer-standard compositions of the 1930's to the 1950's. At any rate, Naomi knows how to inspire listeners with her voice. Fans of female vocal music from Kenya, by way of the USA, will love it. All of the songs are in English. ~ Matthew Forss

CD Review: Nakany Kante's 'Saramaya'

Nakany Kante
Saramaya
Slow Walk Music

Hailing from the border of Guinea and Mali, in a town called Siguiri, Nakany Kante brings together a mix of Wassoulou, soukous, m'balax, reggae, and afro-pop. The result is a twelve-track release with upbeat percussion, lush vocals, and rippling guitars. Nakany is joined by other musicians on dundun, congas, kora, djeli n'goni, bass, electric guitar, balafon, and other instruments. The rich textural layers are poignant and unforgettable. Nakany's voice meanders along with a youthful exuberance and a melodic overtone. I wish I could pick a favorite track from this album, but all the tracks are favorites. Anyone with an interest or obsession with West African popular music will find Nakany Kante's latest work very enthralling. Highly recommended. ~ Matthew Forss

CD Review: Guinea's Fode Baro Releases a "Mandingo Afro Zouk" 'La Verite'

Fode Baro
La Verite
Lusafrica

The Afro-pop stylings of Fode Baro stems from a combination of Afro-pop tunes and energetic zouk infuences. The rippling guitars are akin to Congolese constructions, but the compositions seem to exude the entire continent of Africa in song, voice, and instrument. La Verite is an eleven track release with catchy, stirring, and energetic tunes with a contemporary vein. This is not a dance or rap album. Instead, Fode explores various sounds and rhythms that create moving melodies from France, as well as his homeland of Guinea. There are lively synths, drums, electronic voicings, and brass sounds that create nothing but a happy response. The real highlights come from "Fago" and "Pourquoi Me Quitter." However, all of the songs are rousing and memorable. Fans of Afro-pop, Guinean contemporary music, and zouk-tinged music will love Fode Baro's latest release. ~ Matthew Forss

CD Review: Wouter Kellerman's 'Mzansi'

Wouter Kellerman
Mzansi
Kellerman Music

Hailing from South Africa, Wouter Kellerman is a flautist with an ear for European and African melodies and rhythms. There are a variety of languages and vocal arrangements. For instance, there are reggae-fused vocals, backup vocals, scat singing, and others. The popular African song, "Malaika," is covered here in Swahili. Basic Afro-pop instrumentation is all here, but the songs possess a multicultural vein truly is "African and otherwise...," according to Wouter Kellerman. There are lush melodies, airy flutes, pensive piano, heady percussion, and world fusion sounds that awaken the spirit and lift the feet. With a diverse musical background, guest musicians from different countries, and a wide variety of instruments, Mzansi is a world fusion feast for the ears. Anyone with an interest in world jazz, African music, world fusion, instrumental, and rhythmic, musical wanderings will love Mzansi. ~ Matthew Forss

CD Review: Pierre Akendengue's 'Destinee'

Pierre Akendengue
Destinee
Lusafrica

Gabon-born, Pierre Akendengue, has been involved in music for several decades. Pierre studied in France, but returned to Gabon in the 1970s and 80s to continue music. After the landmark album, Nandipo (1974), Gabon music became known to all of Africa and beyond. On the current release, Destinee, Pierre continues in the traditions of popular Gabon music with an Afro-pop vein. The music contains a variety of bows, strings, guitars, drums, flutes, kalimba, balafon, bass, and horns that add some spicy flavor to the culturally-rich and diverse tracks. Pierre's vocals are accompanied by his daughter and a few other vocalists. The equatorial country is at the heart of the world and its musical influences are far-reaching. There are French, Latin, Brazilian, Cuban, and Afro-Caribbean similarities throughout. There are also heady guitar songs that are more indicative of soukous. At any rate, the giddy rhythms, fun vocals, and party-like songs are richly-textured and brimming with infectious Afro-pop grandeur. ~ Matthew Forss

CD Review: Nuru Kane's 'Exile'

Nuru Kane
Exile
World Music Network

Hailing from Senegal, Nuru Kane is a splendid musician of the Moroccan guimbri, guitar, kora, and calabash. Nuru's deep voice resonates the message of hope, love, and life throughout the eleven tracks. The music is upbeat and similar in style to other Senegal roots musicians. There are Afro-funk elements, but the majority of music is steeped in contemporary roots genres. Afro-pop listeners will hear some of the pop inflections, but most of the songs are not clearly linear and harmonically-cohesive. Instead, there are classical, percussive, and hypnotic with some trance-inducing qualities. There are hints of Latin, reggae, folk, and blues music that are undeniable. Fans of Cheikh Lo will be pleased with Nuru Kane. Despite the rather short running length of forty-three-minutes, Exile features enough musical variety to keep African music fans quite happy. ~ Matthew Forss 

CD Review: Alpha Yaya Diallo's 'Imme'

Alpha Yaya Diallo
Imme
Jericho Beach Music

Alpha Yaya Diallo hails from Guinea, but is based in Canada. The performer’s sixth release, Imme, is without a doubt, one of the best. The eleven track release is littered with Afro-pop melodies and rhythms every fan of African music will love. The extremely catchy songs contain a plethora of strings, percussion, and vocals throughout. You will hear violin, viola, guitars, harmonica, mandolin, bass, n’goni, balafon, keyboards, and drums. This music is steeped in Conakry culture with lively rhythms and joyous vocals. Anyone with an interest in West African music will love the music of Alpha Yaya Diallo. ~ Matthew Forss

CD Review: Elikeh's 'Between 2 Worlds'

Elikeh
Between 2 Worlds
Azalea City Recordings

Between 2 Worlds is a funkified journey into the world of reggae, funk, afro-pop, and blues with heavy African connections, as well as American funk and blues. The opener, "No Vision," contains a little reggae, but flies high with funk beats and English vocals. The reverberating horns and driving rhythms are prevalent on "Know Who You Are," Vieux Farka Toure's guitar hero on "Alonye," as well as "Olesafrica," featuring Ojah Awake. The entire project is upbeat, rich with African nostalgia, and funkadelic beats with driving horns and soukous-like guitar stylings. Anyone with an interest in Afro-funk, afro-jazz, and contemporary African music in general will love their music. This is also an excellent fusion of sort between North American rock and funk with Africa's indigenous rhythms and melodies. The result is an outstanding product of musical achievement. ~ Matthew Forss

CD Review: Ablaye Ndiaye Thiossane's 'Thiossane'

Ablaye Ndiaye Thiossane
Thiossane
Syllart

A singer in the 1950s in Senegal, Ablaye Ndiaye Thiossane finally records his first album for all of us to hear. Thiossane, which means, "all things related to tradition," is an album steeped in Latin rumba and Senegalese flavors that elicit danceable actions in all those within earshot of its entrancing melodies. A form of Cuba-lese music combines the rhythms and percussion of Cuba with the Afro-pop sounds of Senegalese uptempo jazz. At 74, Ablaye is a seasoned veteran when it comes to performing music. He is joined by a plethora popular performers, including Cheikhna Ndiaye, Thierno Kouate, Robert Lahoud, Cheick Tidiane Tall, Samba Laobe Ndiaye, Papa Noel, Muctar Wurrie, Lofti Benjeloun, Balla Sidibe, Medoune Diallo, Souleymane Faye, and others. Nine long tracks showcase the diversity and longevity of Ablaye's music. Fans of Senegalese music, Cuban music, and Afro-pop will love Thiossane. ~ Matthew Forss

CD Review: Mounira Mitchala's 'Chili Houritki'

Mounira Mitchala
Chili Houritki
Lusafrica

As a follow-up to Talou Lena (Marabi, 2008), Chili Houritki, which means, "independence," is an album that builds upon the traditional roots and rhythms of Chad's great musical resources. "Choukrane" is a Sai tune, while the title track is composed in the Bilala ethnic style that celebrates African female independence. A host of other tracks highlight various beats and styles, including n'gandja, guissesse, kidi kotoko, meund, kidi gourane, klaguu, nielim, gourna toupouri, mbong, toumtoum, and gourna. The overall sound is upbeat, contemporary Afro-pop that is rarely heard beyond Chadian borders. The music incorporates guitars, bass, shakers, calabash, kora, udu drum, and assorted percussion throughout the twelve tracks. Pleasant melodies, backup vocals, and sparkling instrumentation driven by historical traditions even contain some ululations and hand-clapping. At any rate, Chili Houritki is a long-awaited sophomore release from Chad's Mounira Mitchala. ~ Matthew Forss

CD Review: The Funk Ark's 'High Noon'

The Funk Ark
High Noon
ESL Music

The Funk Ark is a plethora of funky, mood-driven, heady tunes that feature the funkiest music this side of Africa. In fact, the group is based in Washington, D.C.--not exactly Ghana. Nevertheless, the groovy, fun, and danceable rhythms are primarily influenced by the highlife, free jazz, and afro-rock music of the 1970s. High Noon features the sax, organ, trumpet, bass, percussion, and limited vocals. The music of Chopteeth and Fela Kuti come to mind. However, this is an album for a new generation of African music. Despite its Western title and cover imagery, High Noon is a product that carries the traditions of West Africa. High Noon is great for any part of day. ~ Matthew Forss

CD Review: Mikea's 'Taholy'

Mikea
Taholy
Contre-Jour

Mikea is Theo Rakotovao from Madagascar. Mikea plays the kabosy, which is a box-shaped, wooden guitar with four to six strings. The kabosy is a more rustic version of an acoustic guitar. Still, the melodies and notes are remarkable. Taholy is inspired by the blues traditions of southern Madagascar. The result is a beautifully-produced album of ear-friendly tunes and tones that possess charm, nostalgia, and island reminiscence. The kabosy is accompanied with bass, percussion, flute, and maracas. Mikea is aided by some back-up vocals on a few tracks. The ambulating rhythms are more traditional than Tarika, but not unlike Rajery. The vocal interplay is reminiscent of South African zulu music. Mikea's voice and guitar interplay are quite similar to Australia's Gurrumul, too. Overall, Mikea soars high above expectations with Taholy. If you are interested in the string and vocal music of contemporary Madagascar society, then look no further. ~ Matthew Forss