CD Review: Aziza Brahim's 'Abbar el Hamada'

Aziza Brahim
Abbar el Hamada
Glitterbeat

Based in Spain, Aziza Brahim is a popular singer originally from Western Sahara. Her music is borne out of the Saharawi culture of Algeria/Morocco/Western Sahara. The rousing, upbeat, "Calles de Dajla," is a catchy tune that melds the vocals of Malouma (from Mauritania) and the guitar/percussion of Mali's Tinariwen. "El canto de la arena" encapsulates a softer side of Spanish music with jaunty guitars, breezy percussion, and an effortless, yet breathy, flute. "El wad" continues the Saharawi rock idioms with great vocals and arrangements. The title track represents the plight of the refugees camps along the border of Algeria and Western Sahara. Abbar el Hamada is a rather upbeat album with great vocals and a spacious, rock beat bringing together Spanish, North African, and North American arrangements. Fans of Tinariwen, Toumast, Tartit, Malouma, Mariem Hassan, Dimi Mint Abba, and other musicians from the region will find this album to be a welcome addition to the collection. In general, music from Western Sahara is rarely heard outside the region. Do yourself a favor and discover the music of Aziza Brahim today! ~ 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: Terakaft's 'Alone'

Terakaft
Alone
Outhere Records

One of Mali's greatest Tuareg blues guitar groups, Terakaft, brings us another gem from the desert. This is the fifth album from Terakaft and it keeps getting better. The soulful and bluesy guitar rhythms are punctuated by hand-claps, ambulating percussion, scintillating guitar strums, and bubbly bass-lines. The music is quite peaceful at times, while the guitar and rock-like arrangements make an appearance on a few of the tracks. The songs are sung in Tamasheq with liner notes in Tamasheq, English, and French. There are nine tunes here with loads of great grooves imbibing the Saharan spirit through mesmerizing guitar chords. The electric guitar sounds are not to be missed. As a total package, Alone is one of the best Tuareg releases of the year. If you seek Tuareg guitar rock and Tamasheq-soaked songs, then Terakaft should be high up on your list. ~ Matthew Forss

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: Lobi Traore's 'Bwati Kono "In The Club"...Raw Electric Blues From Bamako'

Lobi Traore
Bwati Kono "In The Club"...Raw Electric Blues From Bamako
Kanaga System Krush

Lobi Traore gives us electric blues guitar music straight from Bamako, Mali on his last recording before his death. The album contains nine live tracks with lively, blues guitar music, which is gritty, raw, and organic. The music is jam-worthy and trance-inducing in parts, but Lobi's great guitar calisthenics wins us over. There are traditional instruments that accompany the electric guitar sounds, including djembe and balafon. The spacious beats and inventive delivery make Bwati Kono... one of the best West African recordings in recent memory. Lobi followed in the tradition of Vieux Farka Toure and Zani Diabate. This is not an acoustic guitar album. There are many long instrumentals in between the vocals, which aids in the incredible musicianship for all to enjoy. Lobi will be missed; but his music will live on. Enjoy it today! ~ Matthew Forss

CD Review: Ezza's 'Abadaya'

Ezza
Abadaya
Ma Case Production

Tuareg blues guitar music hits the music airwaves once again, but this time it is not Tinariwen, Tidawt, or Toumast. Instead, the North African guitar rockers are Ezza, originally from Niger, but now based in France. The seven track release is loaded with rockin' hooks and licks deep from within the Saharan desert. However, the musical influences may extend beyond the region, but the end result is something of pure magnificence. The fluid guitar calisthenics are very engaging, along with the lead vocals. Fans of North African blues guitar music will like this upbeat recording. Anyone with a passion for African guitar music should check it out, though. ~ Matthew Forss

CD Review: Bassekou Kouyate & Ngoni Ba's 'Jama Ko'

Bassekou Kouyate & Ngoni Ba
Jama Ko
Outhere Records

Mali's ngoni masters, Bassekou Kouyate & Ngoni Ba, bring us another amazing treat, Jama Ko. The ngoni lute, an instrument hailing from Mali, Africa, creates scintillating sounds that are kora-like. This is Afro-pop at its finest. There are featured artists, including Khaira Arby, Zoumana Tereta, Taj Mahal, Kasse Mady Diabate, and Amy Sacko. There are chilling male and female vocals that would win-over fans of Mali music without a doubt. Some of the songs are more upbeat and include organ, drums, and electric guitar. However, the majority of songs are steeped in the rich, cultural history of Malian music traditions in a contemporary format. Overall, the fine list of guests and engaging ngoni blues are something worth listening to. If you get a chance to see the group live, do not miss it. There is a limited, 2-LP release of this title, too. ~ Matthew Forss

CD Review: Leni Stern's 'Smoke No Fire'

Leni Stern
Smoke No Fire
Self-Release

New York's Leni Stern is a singer and instrumentalist with a passion for the n'goni. As a vocalist, n'goni player, guitarist, and percussionist, Leni creates evocative songs with a bluesy, African, and folk sensibility. The guest rap vocals on a track or two are particularly inviting. The folksy stylings of the n'goni, guitar, and vocals are amazing throughout. Leni is fluent in English and Bambara. The ten songs are perfect for anyone interested in North African fusion, blues, and folk music. There is something for everyone on here. The music is never dull or univiting. The sounds awaken a deep, cultural presence in the instruments and the vocals. This is perfect for fans of Bassekou Kouyate and Boolumbal. A nice gift for anyone interested in North African music! ~ Matthew Forss

CD Review: Makan Badje Tounkara's 'Sodjan'

Makan Badje Tounkara
Sodjan
Buda Musique

Mali's Makan Badje Tounkara is a gifted composer, arranger, singer, and n'goni soloist. Makan is joined by bass n'goni, djembe drum, tama drum, fle gourd, krin scraper, and several vocalists. Nana Coulibaly, Gedon Diara, Adama Diabate, Fatoumata Kouyate, Modi Tounkara, Yakouba Sissoko, Djifili, Modibo Diabate, and Mamadou Tounkara round out the personnel. The lilting strings and plucked lutes combine with light percussion and energetic vocals to produce a very organic result. The n'goni is the star of the album. Having been popularized by Bassekou Kouyate and Ngoni Ba, the n'goni is a charming little instrument with aural sound qualities and raw outcome. The melodies are slightly blues-tinged, but Afro-folk melodies are the main concern here. There are a few wholly instrumental tunes, but vocals are presented on almost every track. Fans of Malian folk music should not leave this one behind. ~ Matthew Forss

CD Review: Ishumar 2 - Guitar Music From North Africa

Various Artists

Ishumar 2: Nouvelles Guitares Touaregues

Reaktion

Just when you thought you've heard of every North African guitar release, the folks at Reaktion bring us a slew of new recordings from the Sahara, including Ishumar 2. The North African compilation release includes some of the rising blues guitarists and ensembles of today. This album contains twelve different guitar groups, including Ibrahim Djo Experience, Amanar, Tarbiyat, Kel Assouf, Nabil Baly Othmani, Moussa Bilalan Ag Ganta, Tiwitine, Moussa Sidi, Tamkilwate, Atri N'Assouf, and Mouma Bob & Imawalan. The groups hail from Mali, France, Niger, Belgium, Algeria, and Italy. Each track includes lead vocals with some background vocals and female trilling. The sounds of the desert never sounded so good. Anyone with an interest in more internationally-known groups, such as Tartit, Tinariwen, Toumast, Terakaft, and Tamikrest should snap up this album. While you are at it, snap up the other albums and digital downloads from Reaktion. Liner notes in French. ~ Matthew Forss

CD Review: Kel Assouf - Tin Hinane

Kel Assouf

Tin Hinane

Igloo Records

The Tuareg blues bands have flourished after the rise of the late-Ali Farka Toure. The Tamasheq-language group, Kel Assouf, is made up of members from Niger, Mali, Togo, Algeria, Mauritania, France, and Ghana. The music is a mix of flute, voice, guitar, karkabou, kora, bass, calabash, percussion, and pandeiro. The sounds of the Sahel are breezy and the vocals are superb. The Tinariwen-esque playing styles resemble other North African guitar groups, including Etran Finatawa, Tidawt, Toumast, Tartit, Tamikrest and Terakaft. The jaunty "Afrik" and the beautiful "Tiliadene N'Ashra" rivals that of "Tinariwene" and the solemn "Talit". Kel Assouf is Tamasheq for 'son of the desert' and Tin Hinane is Tamasheq for an ancient Tuareg queen. The importance of the guitar as an instrument of rebellion pervades North Africa and permeates the tracks of Tin Hinane. The incorporation of traditional instruments provides a fine balance between ancient and modern elements that shine through on every track. Travel to the Sahara and let Kel Assouf welcome you into their world. Liner notes in French with Tamasheq song titles. ~ 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: ElectroDunes "Saharian Vibes"

ElectroDunes

Saharian Vibes

Diffusion Belda

ElectroDunes' 2006 release, Saharian Vibes, is a global dub-beat adventure with a laid-back reggae-inspired groove with the sounds of French and North African influences. This is the electronic sound sweeping the European and African continents. There is a mix of lounge, downtempo, trip hop, dub, and electronica with Arabic vocals throughout. This is not a rai or traditional folk album. Saharian Vibes is the soundtrack for life in France and North Africa. In fact, many of the songs are perfect beats for an urban film score. Nine tracks of instrumental and vocal tunes are included. If you are into dub-reggae, electronica, trip hop, downtempo, lounge, French, or North African music, then Saharian Vibes should be on your radar. ~ Matthew Forss

CD Review: Algeria's Hasna el Becharia

Hasna el Becharia

Smaa Smaa (Listen Listen)

Lusafrica

The follow-up to the incredible 2001 album, Djazair Johara, Smaa Smaa, which means "listen listen" is an album born out of an innate connection with the Saharan desert. The result is a slightly more intimate and mature mold than the previous album. Algerian-born, Hasna, primarily plays the three-stringed guimbri instrument on both albums. The guimbri is an iconic instrument in Gnawa trance music. The guimbri's subdued lute tunings are played without frets, but metal rings are often added for a different, metallic sound with each strum of the fingers. The songs are sung in Arabic by Hasna, with instrumental accompaniment on the violin, darbuka, guitar, and bass. Hasna is accompanied by a few back-up singers on several tracks. Overall, Hasna has created yet another beautiful album of music from the sands of North Africa. The colorful digipack artwork and liner notes are in French and Arabic. ~ Matthew Forss

CD Review: Tinariwen +|O:|

Tinariwen
Imidiwan: Companions + DVD
Independiente

The release of Imidiwan, which is Tamasheq for 'companions', is another superb musical journey from the Saharan blues-guitar group. Fans of their previous release, Aman Iman from 2007, will find all the tracks easily enjoyable. The opening, 'Imidiwan Afrik Tendam', is a catchy, invitational ode for African people everywhere. An equally engaging song, 'Tahult In', is only a few lines, but funky enough to please anyone. The entire album incorporates their signature use of tinde drum, female ululations, bluesy-guitar riffs, and lyrics describing the Saharan spirit with the rest of the world. Tinariwen never disappoints; and Imidiwan is no different. It's an album that stays with you long after the final track fades out. A special feature of this release includes a half-hour documentary of candid Tinariwen moments playing guitar, singing and traveling through the desert. For those unfortunate to have never experienced Tinariwen live, I have included a link to my concert review here to satiate your appetite: www.insideworldmusic.com/library/blconcertdec07.htm. English subtitles are utilized, though sparingly, since this documentary is predominantly and observational examination of the music. Anyone familiar with the videography of Sublime Frequencies releases can attest to the very similarly observational, non-narrative nature of their musical documentaries. The liner notes are in Tamasheq and English to aid in following along, as Tamasheq language resources are relatively non-existent outside communities of indigenous speakers. As with Aman Iman, Imidiwan is also available on vinyl, but for an extremely limited pressing of 350. Come join Tinariwen as 'companions' on their musical journey across the globe. ~ Matthew Forss

CD Review: Desert Blues - Terakaft

Terakaft
Akh Issudar
World Village

The album title is adapted from the popular Tuareg saying, "Aman iman, akh issudar", which means, "Water is life, milk is survival". Akh Issudar is the follow-up album to Terakaft's 2007 debut (and hard-to-find) album, Bismilla: The BKO Sessions. Terakaft plays Saharan blues guitar music like their fellow countrymen, Tartit, Tinariwen, and others. In fact, Tinariwen's co-founder, Inteyeden Ag Ablil lends support on a few tracks. This album is perhaps more structured and focused than their debut release. Though, their iconic guitar riffs, percussion claps, and vocal melodies bring life to the Saharan desert. After hearing a few tracks, it is easy to find out how the melodies somewhat mimic lilting winds blowing across a sand dune, or by the plods of a camel caravan through a village. Lyrics are provided in the local Tamasheq dialect. If you want to listen to music as beautiful as the brilliantly colored metal and beadwork of Tuareg culture, then buy Akh Issudar (and Bismilla: The BKO Sessions) today! ~ 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

CD Review: Music From Niger

Malam Maman Barka
Guidan Haya
Beauty Saloon Music

The traditional music of Niger is brought to life by the gurumi strumming and earthy vocals of Malam Maman Barka. He is the master of the gurumi, a two-stringed instrument with a gourd-resonating body. He is accompanied by Oumarou Adamou on traditional drums (douma and kalongu). This recording features Malam's vocals, his gurumi, and percussion without the use of fancy electronic wizardry or modern rock arrangements. The music is so genuine and mesmerizing that it does not need any embellishments. This is a high quality recording that is intriguing and inviting, despite it's stripped down nature. In essence, this is Nigerien music at its finest. Overall, Guidan Haya is a perfect recording for listeners of West and North African music, including the late Ali Farka Toure, Mamar Kassey, Tartit, and others. Thanks to producer Nathaniel Berndt, the music of Niger is now one step closer to everyone's ear. ~ Matthew Forss