CD Review: Dexter Johnson & Le Super Star De Dakar's 'Live a l'Etoile'

Dexter Johnson & Le Super Star De Dakar
Live a l'Etoile
Teranga Beat

Nigerian-born with ties to Dakar, Senegal via Bamako, Mali, Dexter Johnson & Le Super Star De Dakar, was a talented performer on saxophone. The Afro-Cuban jazz concoctions are steeped in sax, percussion, and rollicking good riffs, licks, and chords. The giddy guitars are somewhat Congolese-related, but the music is inherently West African with a good dose of North American jazz similarities. There are thirteen tracks that span Dexter's playlist from the early 50's and 60's style of jazz to Afro-Cuban classics and boogaloo compositions. Anyone familiar with Dexter's work should obtain this recording. It was the last recorded performance before their departure to Abidjan, Ivory Coast in 1969. There are a few singers, including John Gomis and William & Maissa Ngom, which add a good level of diversity to the tracks. This is primarily an Afro-jazz recording, so if you are seeking traditional West African music, you should look elsewhere. Overall, Dexter hits some high notes here with nothing to complain about. ~ Matthew Forss

CD Review: Faba Loba's 'Senegalesa'

Faba Loba
Senegalesa
ART HURTS Records

Faba Loba combines Latin, dance, and African fusion elements for an electro-funky result. The group is comprised of Ibou Ba, Amadou Fall, Lica Cardona, Beston Barnett, and Rafi eL. The electronic music is mixed with kora, percussion, dance, funk, alternative, and world fusion that is highly-entertaining. The music is punctuated with great vocals and instrumental arrangements that are steeped in world musical traditions. There are Congolese guitar rhythms on "Lolambe," while electro-funk elements are showcased on "Latde," "Ire a Dakar," and "Immigration Clandestine." This is a great contemporary recording of Afro-funk, kora folk, and Afro-Latin fusion that seems to combine other elements with each repeated listen. Overall, fans of Senegalese, West African, Afro-Cuban, and Afro-Latin music and percussion will love the sounds of Faba Loba on Senegalesa. ~ Matthew Forss  

CD Review: Sousou & Maher Cissoko's 'Africa Moo Baalu'

Sousou & Maher Cissoko
Africa Moo Baalu
Arc Music

Swedish/Senegalese-couple, Sousou and Maher Cissoko, bring us an inviting recording of pleasurable kora melodies and vocal harmonies steeped in African charm. The kora, guitar, percussion, and vocals mark an energetic and richly-diverse recording that is exciting, catchy, and very fun. The scintillating kora on "Fall" is one of the most beautiful tracks on the album. The fine interplay between Sousou's vocals and guitar with Maher's kora, shaker, and calabash arrangements are splendid. Plus, Sousou's heartfelt vocals lead the musical progression with English lyrics. Sousou and Maher do not incorporate Swedish song elements at all, so African music is at the forefront. Notably, Sousou's ability to play the kora is unique, because women traditionally do not play the kora instrument. Thankfully, Sousou picked up the instrument and joined forces with Maher to create a wonderful album. ~ Matthew Forss

CD Review: Seckou Keita's 'Miro'

Seckou Keita
Miro
Astar Artes

Senegalese vocalist, kora player, and drummer, Seckou Keita, produces yet another fine album of soothing, West African music steeped in scintillating rhythms, crystal clear sounds, earthy percussion, and glorious vocals. Miro is a ten-track release with songs featuring various languages, including Mandinka, Wolof, Djoola, Malinke, Spanish, and Bambara. "Distance" is a completely instrumental tune with kora melodies at the forefront. Some of the tunes incorporate the calabash, bass, bougarabou, shakers, cajon, balafon, maracas, flute, and violin. The music is instrumentally-rich, but not overbearing by any means. Instead, Seckou knows how to evoke emotive reactions with serene music and styles mainly rooted in West African textures. While the songs are not particularly catchy, they do possess an inherent, addictive quality that is very welcoming and worthy of repeated listens. ~ Matthew Forss

CD Review: Catrin Finch/Seckou Keita's 'Clychau Dibon'

Catrin Finch/Seckou Keita
Clychau Dibon
Astar Artes Recordings

The Welsh harpist, Catrin Finch, joins forces with Senegal's kora master, Seckou Keita, for an unforgettable and instrumental journey devoted exclusively to string music. The West African kora culture meets the Welsh harp culture for truly great results. The strings are effervescent, soothing, and timeless. The glorious melodies are peaceful and meditative without additional instrumentation or vocals. The wholly instrumental work is a thing of beauty that is rarely created in today's society. The seven long tracks encompass the listener with crystalline melodies and slightly organic musings that are very sweet, sensual, and complimentary. Anyone with an interest in harps, koras, and related instruments will love the new work, Clychau Dibon, from two of the world's best string musicians. ~ Matthew Forss

CD Review: Alma Afrobeat Ensemble's 'Life No Get Dublicate'

Alma Afrobeat Ensemble
Life No Get Dublicate
Slow Walk Music

Following the previous release, Toubab Soul (Amphora Records, 2010), Alma Afrobeat Ensemble continue in their multicultural and cross-genre creative work of music that combines heady rhythms with contemporary vocals and mixed percussion, urban, and guitar styles. Nothing is simplified here, as the music is complex and deeply-rooted in the musics of Africa, Europe, and Latin America. The six-track release contains pulsating sounds of jazz, funk, Latin, and world fusion. The rippling guitars and fuzzy percussion awaken the spirit amidst the smooth bass lines and punchy brass. Based in Barcelona, Spain, the group members hail from other parts of the world, including Norway, Senegal, USA, Uruguay, Argentina, and Ghana. For a true world music listening experience, put Life No Get Dublicate on and hit repeat over and over again. ~ Matthew Forss

CD Review: Leni Stern's 'Jelell'

Leni Stern
Jelell
Self-Release

German-born and US-based, Leni Stern, brings us an inviting mix of North African guitar songs with hearty percussion and bluesy grooves. Leni plays the guitar, baritone guitar, n'goni, and provides lead vocals. However, additional musical accompaniment is provided by Mamadou Ba on bass, Alioune Faye on djembe, calabash, and percussion, Sabar Percussion Ensemble, Haurona Samake on camele n'goni, Leo Genovese on keys, Idriss Diop and Jazz on vocals, and Marieme on backing vocals. The music is recorded in Senegal, mixed in Mali, and enjoyed by the world-over. "Babacar" is a carefree romp through the desert with ambulating beats, experimental blues guitar stylings, and a myriad of other intriguing sounds produced in subtle ways. "Jelell," which means 'take it,' contains heady percussion and jazzy nuances with Leni's vocals leading the charge. "Dimbali Ma" begins with up-tempo percussion and folksy vocalizations by Leni. Her smoky vocals and emotive deliveries are paramount. The sweet guitar sounds emanate with such a strong life force on this track and others. There is a good mix of instrumental and vocal tracks throughout, but the combination of traditional percussion and up-beat guitar, bass, and keys move the music into another dimension. Great stuff. ~ 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: Royal Band De Thies' 'Kadior Demb'

Royal Band De Thies
Kadior Demb
Teranga Beat

The Senegalese singers, James Gadiaga and Secka Will, present us with eleven hit songs recorded back in 1979. Previously unreleased, the songs run the gamut from Afro-jazz to funk to mbalax. The heady rhythms and pulsating beats are raw, organic, and full of energy. The trumpet or sax permeates the musical atmosphere throughout. There are nine members in the group, but the level of musicianship makes it sound like there are alot more members present. The instrumental rhythms and gritty, sparkling guitar riffs highlight Senegal's golden age of musical funk, rhythm, and popular music. There are liner notes outlining the musicians behind the music. Also, a 2-LP gatefold is available in September. The music is perfect for experiencing a night in Senegal wherever you might be! Highly-celebrated and never over-rated! ~ 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: Mariana Ramos' 'Suavidanca'

Mariana Ramos

Suavidanca

Casa Verde Productions

The Senegalese-born and Cape Verdean resident, Mariana Ramos, sings about life, love, and society on her fourth and latest album, Suavidanca. Of course, Mariana possesses a suave, vocal quality that is evidenced on anything she sings. The subtle tropical, Latin, African, and European musical influences are evidenced by her musical guests, including Benin's Angelique Kidjo on "Nzinga Mbandi" and another Cape Verdean, Jorge Humberto on "Discunfiado." The faster rhythms of "Beleza" is sure to heat up any cold night. Mariana sings in languages that are influenced by Portuguese, Creole, and French. The musical styles native to Cape Verde include coladeira, batucu, funana, morna, and mazurca, with other sounds borrowed from Latin America and Afro-Latin variaitons. There are quieter moments, as in "Discunfiado" and "Irmon," but that does not make them forgettable. As expected there are some comparisons to Cesaria Evora, but they are mainly instrumental and not vocal. The instrumentation is fuller than most Cape Verdean recordings and this one is no exception. If you are seeking sun, songs, and some relaxation, then Suavidanca is a perfect Spring Break getaway...all year-round! ~ Matthew Forss

CD Review: Diogal's 'Urban Spirit'

Diogal

Urban Spirit

Wasia/Playasound

Born in Senegal and living in France, Diogal has bridged both musical countries into his own infectious Afro-pop selections. A seemingly uncanny musical similarity to Mauritania's Daby Toure, Diogal's musical poetry sung in Wolof is a pleasant production of catchy, contemporary songs. Urban Spirit is a lively mix of what happens when old (language) and new (contemporary production/instruments) harmoniously collide. The groovy rhythms, guitar playing, and Diogal's spirited voice sets the tone for a great musical journey. This is not your average Afro-pop listening experience. "Bok Tuma" is a lively gem with an Afro-rock outro and the final track, "Weet", is a peaceful vocal tune accompanied by guitar and light percussion. The moving "Thiow Li" is a beautiful ballad sure to catch the ears of listeners everywhere. Seek out Diogal's Urban Spirit and you will not be disappointed. ~ Matthew Forss

CD Review: Ghana's Adjiri Odametey

Adjiri Odametey

Etoo

Galileo Music

A talented vocalist and percussionist, Adjiri Odametey's Ghanaian origins shine through on his latest release, Etoo. A master of the guitar, flute, cora, balafon, and mbira, Adjiri also sings in his local Ghanaian language, most likely Akan. In addition, Adjiri is joined by flute, bass, and ashiwa. Anyone familiar with the music of West Africa would recognize the striking vocal similarities between Adjiri and Daby Toure (Mauritania), Bidinte (Guinea-Bissau), or Vieux Diop (Senegal). The songs are not hard-hitting or overly flashy in their production or performance. Adjiri's strong suits are delicately played percussion, beautiful harmonies, and a clear, artistic vision. The rather relaxed musical compositions are never boring or repetitive in nature. Etoo is filled with a very appealing, organic musical element that should not be missed. Etoo is a blend of Afro-pop and folk music. Liner notes include English and Akan song translations. ~ Matthew Forss

CD Review: Senegal's Carlou D

Carlou D

Muzikr

World Village

Senegalese musician, Carlou D, is a fixture in the Dakar music scene. A vocalist and guitarist, Carlou D provides a young, hip voice in the West African music arena. His latest release, Muzikr, is so-named for its reference to music (mu-) and Islamic/Sufi ties (-zikr). This is not your typical traditional Sufi music chants or rock/hip hop album. It is catchy, contemporary music with a variety of instrumentation including bass, kora, ngoni, keyboards, drums, sax, and other instruments. The music is pleasant to listen to and each track is noticeably different. A familiar voice to many, Youssou N'Dour, lends his voice on track six. Overall, Muzikr can be appropriately categorized as a new genre of contemporary West African Islamic pop music. Whatever you call it, Carlou D will move you, inspire you, and make you think. It is very good 'muzik'. The liner notes provide song summaries in English and French. ~ Matthew Forss

CD Review: The 'Hospitable' Maria de Barros

Maria de Barros
Morabeza
Sheer Sound

The Cape Verde islands not only evoke images of swaying palm trees, but they are also home to the swaying hips of charismatic songstress, Maria de Barros. Steeped in the Criolu music traditions of Cape Verde, Morabeza is a welcome addition to the plethora of recent global releases of music from this region. In fact, Morabeza means 'hospitality' in Creole. Essentially, it is a reflection of the close-knit communities and spirit of Cape Verde. The music draws upon African, Latin, Caribbean, and European elements. The far-reaching music could be due to Maria's eclectic background being born in Senegal to Cape Verde parents, living in Nouakchott, Mauritania, and various places in the U.S.A.. Thanks to Maria's beautiful and sincere voice, Morabeza is sure to energize any party or occasion. ~ Matthew Forss

CD Review: The Sun Shines on Sekou Keita

Seckou Keita SKQ
The Silimbo Passage
World Artventures

The Silimbo Passage is the new album from Senegalese-kora master, Seckou Keita and his quartet. Silimbo, which means 'sunrise', is a fitting title to a bright and cheery musical exploration through vocal and instrumental elements. The kora has been a celebrated instrument for ages, and is usually prevalent in many west African ensembles. The wide-ranging influences on Silimbo come from funk, jazz, Arabic, and Francophonic musical genres. Yet, the Seckou Keita Quartet forms today's music with historical connections. The result is an impressive array of musicianship and delightful melodies and rhythms. The kora is the lead instrument, followed by percussion, bass, and voice. Nevertheless, Seckou Keita & Company bring us refreshing tunes that energize any mood. The beautiful harmonies, solo vocals, percussion, funky kora tunings, and additional accompaniment makes each listen as enjoyable as the first. ~ Matthew Forss