CD Review: Alsarah & And The Nubatones' 'Manara'

Alsarah And The Nubatones
Manara
Wonderwheel Recordings

Alsarah's latest wanderings through the Middle East and North Africa are appropriately-displayed on their latest recording, Manara. The recording is alive with dancing ouds, throbbing ngonis, punchy trumpet, bubbling bass, and great percussion. The rather contemporary recording contains a good mix of melodies and tones. There is a slight electronic element to some of the songs, but this is not an electronic album. It is pure world music with influences reaching across the Middle East. The Arabic vocals and rollicking percussion are very dance-friendly. In fact, it is difficult to sit still while listening to anything from Alsarah And The Nubatones. For Manara, this is especially so. Fans of a variety of Arabic-infused recordings will love Alsarah And The Nubatones! ~ Matthew Forss

CD Review: Aziz Sahmaoui & University Of Gnawa's 'Mazal'

Aziz Sahmaoui & University Of Gnawa
Mazal
World Village

Morocco's Aziz Sahmaoui and his West African University Of Gnawa bring together sounds of the Sahara with sounds of the Western Coast of Africa on the latest release, Mazal. Aziz is a master on the n'goni, but plays the mandole and offers vocals. The Arabic vocals are expertly delivered in a pleasant manner that is never boring. Aziz is joined with other instruments, including the bass, flamenco guitar, sax, flute, tar, violin, daw daw, rhodes, kora, and percussion. The melodies are very intricate, ear-friendly, and entrancing in a very good way. The opener, "Inchallah," is a rousing tune with great instrumentation and vocals. "Mazal" is another good song that contains undulating rhythms of an Arabic and almost Middle Eastern nature that still retain a North or West African presence. "Jilala" is an upbeat dance tune with a contemporary edge of pure African spirit. Fans of North African music will love Aziz's playing style and all of the tracks on the album. Liner notes are in English, French, and Cyrillic Arabic. ~ Matthew Forss

CD Review: Brooklyn Gypsies' 'Sin Fronteras'

Brooklyn Gypsies
Sin Fronteras
Wonderwheel Recordings

The diverse sounds of Brooklyn's streets and neighborhoods have never been highlighted like this before. There are urban stylings, flamenco sounds, North African music, Middle Eastern melodies, and of course, gypsy elements. The result is a rather modern recording incorporating the talents of Carmen Estevez, Takuya Nakamura, Tina Kristina, Brandon Lewis, Troy Simms, and Zeb. With songs rich in Spanish, English, and even Russian vocals, you know this is going to be an interesting recording. If gypsy music originated in Brooklyn, Sin Fronteras would be the end result. There are dancehall, reggae, dub, electronica, and Arabic influences that add authenticity and depth. The syncopated beats, modern Middle Eastern infusions, and brass textures gives new meaning to the term gypsy music. Ten great tracks comprise the album. Brooklyn Gypsies know how to make music. ~ Matthew Forss

CD Review: Pajala Tatawin's Self-Titled Release From Sweden And Tunisia

Pajala Tatawin
Pajala Tatawin
Knapsu

The unlikely pairing of music from Sweden and Tunisia is eloquently-illustrated on Pajala Tatawin's new, self-titled release. With Scandinavian melodies, folk roots, and the Arabic classicism of Tunisia's Amina Annabi, the music showcases some magical moments with joyous vocals, chants, heady rhythms, and diverse instrumentation that consists of double bass, accordion, kalimba, guitars, percussion, and piano. "Koskenkorva" is a splendid song with various vocalizations, symphonic sounds, edgy folk roots, light rock accompaniment, and Scandinavian sounds that leave listeners yearning for a repeat. The accordion-led, "Maa On Musta," is a reflective song set in a traditional setting that is quaint and somewhat French-inspired. The dance-friendly, "Muhamed," is an Arabic and European-inspired whirlwind of ecstatic beauty and earthly roots. There are Gypsy moments, Arabic grooves, Scandinavian roots, and global rhythms and vocals throughout for a very cohesive and enjoyable journey. ~ Matthew Forss

CD Review: Alsarah and The Nubatones' 'Silt'

Alsarah and The Nubatones
Silt
Wonderwheel Recordings

Born in Sudan, Alsarah, has made Yemen and the United States of America home. Currently residing in Brooklyn, NY, Alsarah and her Nubatones bring to life a nostalgic East African pop with Middle Eastern and Arabic percussion and dance effects. The music is steeped in traditional oud and percussion, but it also includes a contemporary repertoire of bass, keyboards, assorted percussion, and additional vocals. The swirling rhythms and sounds of "Nuba Noutou" are especially entrancing with great vocals and a 'nubian' beat. There are eleven tracks that infuse a sense of exotica (at least from a Western point of view), which encapsulates the ethnomusicological work Alsarah has completed. No, the music is not convoluted or highly-contrived; instead, Alsarah and The Nubatones let go and create contemplative, danceable, and energetic works based on similar modes that have been played for hundreds of years. Hear the sounds of East Africa in a new light with Alsarah and her Nubatones as your guide. ~ Matthew Forss

CD Review: Yasmine Hamdan's 'Ya Nass'

Yasmine Hamdan
Ya Nass
Kwaidan Records/Crammed Discs

Lebanese-singer, Yasmine Hamdan, is currently based in Paris, France, but her work extends beyond Europe and the Middle East with her latest release, Ya Nass. The contemporary music contained throughout the album is slightly organic, electronic, and dreamy. This is not dance music or Arabic percussion music, but it does contain some elements of both. Though, Yasmine sticks to a highly modern result with atmospheric electronics and a sweet vocal set-up. The edgy youthfulness of "Shouei," "Samar," and "Deny," represent some laid-back rhythms and melodies that are rather cosmopolitan and adventurous. "Enta Fen, Again" blends some trip-hop, dance motifs with the Arabic vocals. Yasmine tones it down a bit on "Nediya," which provides a more steady almost indifferent beat throughout. At any rate, Ya Nass is an album steeped in Middle Eastern and Arabic sensibilities with contemporary and mature edge that satisfies the soul and moves the body. Buy it today. ~ Matthew Forss

CD Review: Mr. Ho's Orchestrotica's 'Where Here Meets There'

Mr. Ho's Orchestrotica
Where Here Meets There
Self-Release

American-based and globally-derived, Mr. Ho's Orchestrotica brings us a chilling romp through world jazz, chamber music, Middle Eastern percussion, and classical music with an instrumental ability that almost rivals the works of Gershwin, Bach, Tjader, and Gillespie. Actually, those greats have music on here, but Mr. Ho's Orchestrotica reinvents various preludes, songs, and dances with a contemporary spin. Musicians Brian O'Neill, Geni Skendo, Shane Shanahan, Jason Davis, Tev Stevig, and Noriko Terada provide a wealth of instrumental accompaniment. The final result is intriguing, but not overdone in any way. The glistening vibraphone melodies, Arabic percussion, fluid flutes, and various overdubs make Where Here Meets There absolutely amazing no matter where you are. Fans of global jazz, instrumental music, classical, percussion, dance, and easy listening will find Mr. Ho's Orchestratotica very enthralling. ~ Matthew Forss

CD Review: Hewar's 'Letters To A Homeland'

Hewar
Letters To A Homeland
Dreyer Gaido

Syria's Hewar combines traditional Middle Eastern music with scat singing, opera, classical music, and jazz, which resound with joy and talent. "Hewar," which means "dialogue" in Arabic is a fitting title for music that brings people together no matter where they live. The group brings Armenia's Jivan Gasparyan to the forefront, along with special guest, Andreas Mueller on double bass. The group is primarily comprised of Kinan Azmeh on clarinet, Dima Orsho on vocals, and Issam Rafea on oud and vocals. The album was recorded live at Morgenland Festival Osnabrueck on October 7th, 2011. The nine tracks represent a plethora of musical achievements that are definitely worth listening and sharing with others. Anyone familiar with classical, operatic, jazzy, and Middle Eastern tunes will love the vocal stylings and instrumental arrangements on Hewar's latest release. ~ Matthew Forss 

CD Review: Nazaket Teymurova's 'Mugham'

Nazaket Teymurova
Mugham
Felmay

The traditional music of Azerbaijan has been a popular Caucasus mainstay throughout Central Asia and around the world. Mugham is form of classical poetry and improvisational musical arrangements following an Iranian-Arabic-Turkish melody continuum, or maqam. In this case, Nazaket brings us four long compositions in the mugham style: (1) Dastgah Kharidj Segah, (2) Mugham Bayati Shira, (3) Tasnif and Chahargah, and (4) Ashiqam and Mugham Hijaz. The music is traditional overall and features the great vocal style of Nazaket Teymurova, but she is accompanied by various musicians on tar, kamancha, balaban, naqara, drone naqara, qosha naqara, kanun, and oud. The first song is the longest at nearly thirty-eight-minutes. Fans of Arabic maqam, mugham, Central Asian music, and Azeri music will definitely love Nazaket's album. Liner notes are in English, French, and Azeri. ~ Matthew Forss  

CD Review: Rim Banna's 'Revelation Of Ecstasy And Rebellion'

Rim Banna
Revelation Of Ecstasy And Rebellion
KKV

Palestine's gifted vocalist, Rim Banna, brings us a poetic display of musicianship with guests: Eivind Aarseth, Bugge Wesseltoft, Jihed Khmiri, Kays Zorrouk, Mohamed Ben Salha, Ossama Bishara, Ramsis Kassis, Mr. Kaz, and Shrikant Shriram. The entire project is rather laid-back with sounds emanating from guitars, piano, keyboards, percussion, oriental cello, flute, qanun, oud, and bass. The result is a vocal and instrumental album that represents a Pan-Arabic approach with new age nuances that are not as electric as Azam Ali. Each track flutters with rich melodies and transient sounds that are contemplative, cultural, and nostalgic. There are twelve tracks in all that reveal something new and fresh with each repeated listen. It is no secret there are beautiful revelations contained throughout. The light percussion, wafting vocals, and emotive deliveries are remarkable and represent a pinnacle, career achievement--thus far. Anyone familiar with Rim should check this out. All others will not be disappointed. ~ Matthew Forss

CD Review: Koby Israelite's 'Blues From Elsewhere'

Koby Israelite
Blues From Elsewhere
Asphalt Tango Records

The bluesy side of world music is eloquently captured on accordion, percussion, and melodies straight out of the Balkan region. There is a heavy dose of rock instrumentals, too. The Israel-born Koby does not feel discouraged about mixing different genres of music to create a pumped-up Balkan rock sound with a hint of Ladino or Klezmer punk-funk. Whatever it is called, the music speaks volumes--especially when turned up! At any rate, the music is steeped in rock-driven folk music with an element of Balkan passion thrown in for flavoring. There are some more solemn moments, but the album as a whole is energetic, upbeat, and driven by multinational charm. Everyone will notice the music contains an edge. The sixteen tracks represent Koby's ideal perception of what blues music should be--wherever it is found. ~ Matthew Forss

CD Review: Various Artists' 'Khat Thaleth'

Various Artists
Khat Thaleth
Stronghold Sound

Khat Thaleth is a twenty-three track release of global hip-hop, rap, and dub music that primarily surrounds itself with the Arab world. Most of the musicians featured on this compilation hail from Tunisia, Palestine, Jordan, Syria, Lebanon, and Egypt. The album title refers to a ‘third track’, which is a metaphor for a third way of looking at things. This is a strong, political recording with in-your-face-commentary and hip, exuberant groves with contemporary instrumentation and urban beats. This is pure, unfiltered hip-hop music with life-affirming qualities and authentic lyrical deliveries. A sampling of the featured musicians on the album include Touffar, Rami GB, Yaseen, Abdullah Miniawy, Al Haqq, Armada Bizerta, Mohamad Antar, and many others. Anyone with an interest in Arab rap, hip-hop, and urban music will love the upbeat, head-bobbing and toe-tapping melodies and rhythms of Khat Thaleth. The liner notes are mostly in Arabic. ~ Matthew Forss 

CD Review: Haram's 'Her Eyes Illuminate'

Haram
Her Eyes Illuminate
Songlines

Vancouver-based, Gordon Grdina's group, Haram, presents us with an improvisational and exciting avant-garde album of Arabic and Middle Eastern percussion with contemporary nuances coming from keyboard-like sounds coming from a violin. The violin, ney, darbuka, oud, riq, trumpet, bass, sax, clarinet, and drums are mixed with vocals to create awe-inspiring melodies and rhythms that are steeped in classical, Arabic, and klezmer styles. The ten long tracks are varied and engaging, but not overdone. The traditional base is paramount. This is essentially Arabic jazz at its finest. Gordon and his band Haram make the musicmaking process seem so easy, as the tunes keep coming with each track. The experimental and improvisational atmosphere is a delicacy for fans of Arab-jazz. Even though the album title means 'forbidden,' Haram will be accepted everywhere it is played. ~ Matthew Forss

CD Review: Wahid's 'Road Poem'

Wahid
Road Poem
BMI

The California-based duo, Wahid, is comprised of Dimitris Mahlis on oud and Chris Wabich on percussion. The Middle Eastern frame drums and meditative oud make a wonderful appearance throughout the album. Road Poem, which is musical poetry at its finest, brings together Eastern and Western traditions to the mix. The wholly instrumental album is void of any contemporary embellishments, such as guitars, keyboards, or other electrified instruments. Instead, the percussion and oud duets provide a sense of serenity and awe in the world of improvisational world music, jazz, and rock. Dimitris knows how to play the oud with a fiery passion, as well as a contemplative style for intros and outros. Chris' percussion is eloquent, precise, and always a pleasure. The energy between the two instrument forms is 'electric,' despite the lack of electrically-charged instruments. The wandering tones of the instruments resembles the galloping camels across North Africa, but the music is inherently Middle Eastern. Nevertheless, Wahid is an album of live tracks with applause at the ends of the tracks. ~ Matthew Forss

CD Review: Nickodemus' 'Moon People'

Nickodemus
Moon People
ESL Music

Brooklyn-based DJ/producer, Nickodemus combines global sounds with the latest in club compositions founded upon a heady foundation of urban grooves and dubtronica. His twelve compositions bridge seemingly disparate worlds of American, Arabic, and Latin music within a modern context with ethereal vocals. The funky, pulsations of "Moon People," feature The Real Live Show with Arabic connotations and urban grooves. The urban grooves and down-tempo delights are enough to surprise the electronic music fan, as well as the fusion fan, too. Nickodemus features the talents of Afrika Bambaataa, Kathrin deBoer, The Candela Allstars, Sammy Ayala, and Kissey Asplund. The soulful vocals, punchy percussion, and Afro-Caribbean/Latin foundations are first and foremost an aural delicacy for the ears. This is good enough for moon people as it is for Earth people. ~ Matthew Forss

CD Review: Malika Zarra's 'Berber Taxi'

Malika Zarra

Berber Taxi

Motema

Malika is a Berber/Amazigh singer from Morocco. Based on local rhythms and influences, Malika incorporates several languages into the mix as well, including English, Arabic, Moroccan Arabic, French, and Berber. The music is not Gnawa, but it does transport one into a place of peace and tranquility. Musically, Malika is a more folked-out musician that is not as rock-oriented as fellow Berber countrywomen, Hindi Zahra or Iness Mezel. In fact, some of the tunes are quite laid-back, including the jazzy 'Houaria' and 'Mossameeha.' If you can picture Berber jazz, then this might be it. Some of the rhythms take on a Caribbean or Afro-Latin feel. This is especially evidenced on 'Amnesia.' It is refreshing to hear other voices from the deserts of North Africa. If you would like to take a brief respite from groovy blues guitar music, then relax and transport your way via Berber Taxi into the heart of Moroccan charm. ~ Matthew Forss

CD Review: Jadid Ensemble's 'Sigh of The Moor'

Jadid Ensemble

Sigh of The Moor

Whirling Eye Studios

From the opening call to prayer and the Arab-Flamenco rhythms infused with Mediterranean and Middle Eastern melodies, it does not take long to realize the impressive debut by Glenn Sharp and his Jadid Ensemble. Based in the UK, the Jadid Ensemble is composed of Glenn on guitars, cumbus, saz, bass, piano, vocals, assorted percussion, and oud; Olivia Moore on violin; Paul Cheneour on flutes, ney, mizmar; Adam Warne on riq, darbuka, and frame drums. The flamenco guitar style on "Ilm" is as meditative as it is transportive. The percussion and violin accompaniment provide an Andalusian experience. The sub-two-minute "Vandal" has a haunting melody with mizmar, percussion, and the sounds of a busy bazaar or marketplace. The equally short "The Storyteller" is an interlude out of Central Asia. Haunting, choral-type vocals are fitting on the final tune, "Ascension." The rest of the songs do not include any singing. In effect, the music is transcendent, otherworldly, and intuitive. For fans of Andalusian, Mediterranean, Central Asian, flamenco, world fusion, or Middle Eastern music in general, will find the Jadid Ensemble more than a little entertaining. ~ Matthew Forss

CD Review: Souad Massi's 'O Houria'

Souad Massi
O Houria (Liberty)
Wrasse Records

Algerian-born and France-based, Souad Massi, releases yet another superb release of French-tinged pop music. Steeped in French music traditions, O Houria represents an infectious and mature album that does not contain one weak track. The magnificent musicianship by the vocalist and guitarist is especially evidenced on the catchy opener "Samira Meskina", country-influenced "Une Lettre A...Si H'med", the folksy "Tout Ce Que J'aime", the laid-back ballad "Khabar Kana", the piano ballad and duet with Paul Weller on "Let Me Be In Peace", and the bluesy "Enta Ouzahrek". Souad sings in French, English, and Arabic. As a whole, the music is catchy, but not too loud or vocally-forced. The relatively reserved instrumental sounds originate from the bass, piano, guitars, drums, banjo, ukulele, bouzouki, mandolin, oud, and accordion. In essence, the suave and sensual Souad Massi delivers on all accords. ~ Matthew Forss

CD Review: Morocco's Hassan Erraji

Hassan Erraji

Awal Mara

World Village

Multi-instrumentalist and blind musician, Hassan Erraji, is a Moroccan native with musical ties to the Atlas Mountains. Hassan plays the oud, qanun, violin, darbouka, keyboard, nay flute, and also sings on each track. Awal Mara, which means, "love at first sight", features background vocals by Hassan's daughter, Yasmin Erraji. The traditional instrumentation mixed with drums and bass creates a modern musical environment without delving into the outer reaches of electronica or dance music. However, every song has a high degree of danceability. The most striking musical similarity to Hassan's music is from the bellydance and ensemble music of Egypt, or even the music of the Arabian Peninsula. The Gnawan trance music native to Morocco is not featured here, however there are hints of it throughout. Awal Mara induces a state of intrigue with the country-esque "Mounyati" and the instrumental "Douka Dance". Think of it like 'Love At First Sound', too! ~ Matthew Forss

CD Review: Rahim Alhaj's 2-CD Set

Rahim Alhaj

Little Earth

UR Music

New Mexico-based, Iraqi-American Rahim Alhaj, is a composer, oud player, and pigeon farmer. The musical spirit of the Middle East is brought to life with help from various artists, including Bill Frisell, Peter Buck, Robert Mirabal, Glen Velez, Maria de Barros, Liu Fang, Stephen Kent, Yacouba Sissoko, Hossein Omoumi, and others. The Grammy-nominated Rahim provides written compositions with little in the way of improvisation. Disc one only contains one vocal track, which is sung in Portuguese by Cape Verde's Maria de Barros. The remainder of the disc contains instrumental works with classical Arabic percussion, along with kora, sitar and guitar. The varied instrumentation and diversity of the musicians signifies a unification of musical development and performance across cultures. Disc two continues the musical diversity with didjeridoo, pipa, Native American flute, and Iranian ney flute. Rahim's collaboration with Southwest musicians and others from aroudn the world clearly illustrate the world of music. In effect, Little Earth is symbolic for the close interconnectedness of human society. Liner notes include artist biographies and song information in English. ~ Matthew Forss