CD Review: Boubacar Traore's 'Mbalimaou'

Boubacar Traore
Mbalimaou
Lusafrica

Mali's iconic vocalist, guitarist, and songwriter, Boubacar Traore, brings us a fresh set of tracks steeped in Saharan charisma and African history on his latest release, Mbalimaou. The sauntering. bluesy tune, "Hona," resembles a little late-Ali Farka Toure influence with edgy harmonica, talented guitar fingerings, and light percussion. The album is rich with n'goni, sokou, kora, shaker, calabash, and karignan sounds. The music is rather acoustic and spacious with subtle intonations and jazzy grooves led by Boubacar's husky voicings. Malian blues are alive and well on the album. Comparisons to the late-Ali Farka Toure are noteworthy and necessary. Boubacar's guitar playing is more acoustic and experimental overall, but the bluesy and jazzy instrumentation adds to the contemplative mood of the music without compromising quality. The twelve-track release is a perfect introduction to Mali's blues, as well as a recommended album for more seasoned Saharan music fans. ~ Matthew Forss

CD Review: The Toure-Raichel Collective's 'The Paris Sessions'

The Toure-Raichel Collective
The Paris Sessions
Cumbancha

As a follow-up to their 2012 The Tel Aviv Sessions, The Paris Sessions continues to bridge the musical worlds of Israel and Mali together. The collective is Vieux Farka Toure and Idan Raichel. Vieux Farka Toure is the son of the late-Ali Farka Toure, and one of Ali's best guitar jams, "Diaraby," is included. Most of the songs are instrumental jams that are jazz and African-influenced. The collective is joined by musicians, Niv Toar, Daby Toure, Abdourhamane Salaha, Seckouba Diabate, Eyal Sela, and Dialimory Sissoko. The piano adds a plaintive touch to the music, which is not necessarily a bad thing. The vocals are not too showy or overdone. In fact, the entire production is quite poignant, mature, and timeless. The music was recorded in France over Mali, due to the societal/political instability. At any rate, the result is a fantastic overview of Israeli and Malian tunes coming together in a sort of fusion that works. ~ Matthew Forss

CD Review: Andra Kouyate and Seke Chi's 'Saro'

Andra Kouyate and Seke Chi
Saro
Studio Mali

With a name like Kouyate, you know the music is going to be good. Hailing from Mali, Andra Kouyate and his band, Seke Chi, are joined by a plethora of top artists from the region, including Amadou & Mariam, Mah Bara Soumano, Bassekou Kouyate, Ami Sacko, Harouna Samake, and Lassana Diabate. Andra's specialty is the n'goni lute, which is a staple in North African folk music. The acoustic and earthy feel of the instrument is matched with the varied vocals. Overall, the tunes are laid-back and take on the characteristics of Ali Farka Toure's instrumental music, as well as Rokia Traore's instrumental repertoire. The n'goni instrumentation, balafon, calabash, and other infectious instruments are very easy to listen to. This is a contemporary release, but the guitars, and other typical rock elements are nowhere to be found. Fans of North African percussion, Malian music, and n'goni lute aficionados will love Andra's latest venture. ~ Matthew Forss

CD Review: The Toure-Raichel Collective's 'The Tel Aviv Session'

The Toure-Raichel Collective
The Tel Aviv Session
Cumbancha

The combined musical talents of Idan Raichel (Israel), Vieux Farka Toure (Mali), Souleymane Kane (Mali), and Yossi Fine (Israel) represent a very experienced and cohesive group of musicians that shine effortlessly on The Tel Aviv Session. The African, Middle Eastern, and European-influenced compositions are produced with instrumentation as a paramount element. Though, a few vocals are present, but only on a few tracks. The melodies and rhythms are accomplished with calabash, guitar, piano, bass, tar, harmonica, and kamanche. The cultural diversity is rather unique, but most of the music centers on African and Middle Eastern music. The lilting melodies of the kamanche, calabash, and guitar, make the album shimmer with rich textures and moods. This is ideal for fans of Idan Raichel, Vieux Farka Toure, Yossi Fine, and Souleymane Kane. In addition, fans of African and Middle Eastern music and authentic instrumentation without electronic or dance elements will love it. ~ Matthew Forss

CD Review: Vieux Farka Toure's 'The Secret' Is Out!

Vieux Farka Toure

The Secret

Six Degrees Records

The third album in a classic vein of the late-Ali Farka Toure, The Secret, attempts to bridge Malian music with blues and pop. As a guitarist, vocalist, and percussionist, Vieux's talent lends itself perfectly to the production. The opening "Sokosondou" is a song with a quick rhythm and a style resembling modern Malian pop similar to fellow countryman Issa Bagayogo. "All The Same" is a wonderful ballad with some English vocals by Dave Matthews (of Dave Matthews Band-fame), who is originally from South Africa. The guitars, calabash, djembe, pandeiro, organ, bass, flute, ngoni, and drum kit create a relatively contemporary slew of melodies and rhythms from North Africa's Saharan region. Contemporary luminaries and blues guitar bands, including Tartit, Tinariwen, Toumast, and Tamikrest, come to mind. Though, Vieux's latest album is littered with bluesy, funky, and pop layers of musical goodness. Upon first listen, it soon becomes apparent nothing is secret anymore. The Secret is out! ~ Matthew Forss

CD Review: Mali's Khaira Arby

Khaira Arby

Timbuktu Tarab

Clermont Music

It seems nowadays any musician with any connections to the late-Malian blues guitar legend, Ali Farka Toure, rises to stardom. For Khaira Arby, the cousin of the late-Ali Farka Toure, the sounds of the Malian desert come alive with songs of history, social causes, and cultural influences. Khaira is a vocalist with a more traditional, but pop-edged repertoire similar to Dimi Mint Abba, Rokia Traore, or an all-female Tinariwen. There are electric guitars, njarka, drums, hand-claps, and a possible ardin and tidinit. Khaira's classic vocals represent the voice of women in North Africa. Khaira sings in Songhai, Tamasheq, Bambara, and Arabic languages. The mix of traditional North African guitar sounds and ethnic percussion and strings seems to be the right tone for Timbuktu Tarab. It is not as polished as anything by Mauritania's Malouma, or as traditional as Tartit. However, the goal for Timbuktu Tarab is to proclaim the music of Khaira by using a voice to instill social change locally and globally. Timbuktu Tarab is an album to be enjoyed by those with cravings for North African music. ~ Matthew Forss

CD Review: Mali's Vieux Farka Toure is LIVE!

Vieux Farka Toure

Live

Six Degrees

The desert blues guitar style popularized by Vieux's father, the late-Ali Farka Toure, is at the forefront of performance on this live CD. Anyone familiar with Vieux's songs should recognize these tracks from 2009's Fondo (Six Degrees) release. Best of all, a previously unreleased track, 'Maiga', is included as classic desert tune with certifiable groove appeal. The live performances are culled from various venues including the Thornbury Theatre, Colorado College, The Independent, and Brisbane Powerhouse. Surprisingly, the songs blend very well and do not sound pasted together artificially. The bluesy-electric guitar playing sometimes overshadows some of the more traditional instrumentation, but there are just as many instances where the quieter moments shine. For those seeking a more modern desert blues-rock sound, then check out Vieux Farka Toure's latest release, Live! ~ Matthew Forss

CD Review: Afel Bocoum & Alkibar From North Africa

Afel Bocoum & Alkibar

Tabital Pulaaku

Contre-Jour

The music of the late-Malian guitarist, Ali Farka Toure, has inspired a new generation of musicians from Mali, Africa, and beyond. If Ali Farka Toure was your uncle, then you would have a very special introduction to the blues-guitar music of the desert -- North Africa, that is. This is precisely the case for Afel Bocoum. His uncle, Ali Farka Toure, was a musical icon and inspirational figure in his home country of Mali. Afel Bocoum and his band, Alkibar, continue in the musical traditions set forth by Ali Farka Toure in the 1980's and 90's. Tabital Pulaaku means 'Endurance of the Peul culture'. In effect, Afel presents his cultural heritage in a musical fashion for all to enjoy. There are songs sung in Peul, Songhai, and Bambara. Afel's guitar and vocals are backed by njarka, njurkle, bass, calabash, and n'goni instruments. Most of the songs resemble the lighter, acoustic works of fellow desert denizens Issa Bagayogo, Tinariwen, Boolumbal, and Toumast. At any rate, the musical production is first class and the songs are authentic and moving. Start your musical journey with Afel Bocoum and Alkibar today! For bilingual listeners, the liner notes are in French and English. ~ Matthew Forss

CD Review: Issa Bagayogo - Malian Master

Issa Bagayogo
Mali Koura
Six Degrees

Mali's Issa Bagayogo produces yet another high quality album of adventurous tracks from Africa's sahel. His instrument of choice, the kamale ngoni (three-stringed lute), provides a perfect link of the rustic and earthy sounds of traditional music with more modern musical elements. For instance, his kamala ngoni is joined by guitar, bass, djembe drum, calabash, flute, violin, kora, sax, accordion, piano, synthesizer, and electronic programming. These instruments and styles meld succinctly with European arrangements and North African sensibilities. His voice catapults the tracks into new dimensions as the songs quickly enrapture the listener's attention. His vocal and musical style is similar to Zimbabwe's Oliver Mtukudzi, while distinctly different from the late-Ali Farka Toure. The music of Mali Koura is somewhat danceable, highly addictive, and refreshing. Track highlights on this recording are: "Sebero", "Poye", "Dibi", and "Ahe Sira Bila". Issa brings the world of Timbuktu closer to home for everyone! ~ Matthew Forss