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: Kasse Mady Diabate's 'Kirike'

Kasse Mady Diabate
Kirike
Six Degrees Records

Mali's heralded griot, Kasse Mady Diabate, comes from a very musical region of West Africa and possesses a lengthy musical resume working with the Orchestre Regional Super Mande de Kangaba, Ibrahima Sylla, Ketama, Toumani Diabate, and Taj Mahal. Kasse Mady sings in Bambara--the primary language of southern Mali. For nearly five decades, Kasse Mady has been creating music with griot praise-songs and rootsy folk idioms without resorting to shiny pop confections. Kasse Mady is joined by Makan Badje Tounkara on ngoni, Lansine Kouyate on balafon, Ballake Sissoko on kora, and Vincent Segal on cello. The entire group creates a chamber-like musical result that is poignant and intimate. At times, the instruments take turns rattling listeners into a frenzy, but in a rather reserved manner. This is a very mature recording showing great depth and knowledge of griot music and world fusion. Anyone into West African music should acquire Kirike. ~ 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: Various Artists' 'Afrolove Kizomba Special' [2 CD]

Various Artists
Afrolove Kizomba Special [2 CD]
Lusafrica

The folks at Lusafrica understand Lusophone music inside and out. This new release, Afrolove Kizomba Special, is all the evidence anyone needs to make up their mind about the best African music release of the year. The double-disc features urban hip hop, romantic ballads, folk sounds, dance music, and Portuguese-influenced compositions with musical roots running from the Cape Verdes through West Africa and ending in the south-central regions of Angola and Congo. Some of the most catchy music is brought to us by Sekouba Bambino, Fode Baro, Meiway, Cubanito, and Oliver N'Goma. Even Cesaria Evora is featured, but it is a remix of "Regresso." At any rate, anyone interested in contemporary music from Africa would find this a must-have album without a doubt. The music is akin to Afro-zouk, Congolese rumba, and the loose-fitting term of kizomba, which encompasses all Lusophone dance musical traditions. It is nice to know this does not contain very much rap, if any, which would interrupt the accessibility of this recording to some age groups. Thankfully, it is highly-recommended to anyone with a fascination in contemporary African music. ~ Matthew Forss

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: 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: 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: 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: 1987 Talking Drums' Reissue For 'Some Day Catch Some Day Down'

Talking Drums
Some Day Catch Some Day Down
Innova

Originally released in 1987, Talking Drums' Some Day Catch Some Day Down is a rhythmic romp into Ghana's Afro-beat legacy with lively horns, immense percussion, rippling guitars, and great vocal harmonies. About a dozen musicians comprised the 1987 group, which provided various instrumental accompaniment, including the more popularly-known congas, sax, flute, bass, keyboards, guitar, timbales, bells, flugelhorn, and trumpet. However, there are numerous Ghanaian and West African percussion instruments used throughout the recording that are too numerous to mention. At any rate, the result is Afro-beat heaven with lively vocals. There are liner notes for each song, too. In addition, this is an enhanced CD, which provides nine MP3 bonus tracks after placement in a computer. These are groovy grooves with upbeat percussion and happy vocals. ~ Matthew Forss

CD Review: Cape Verdean Titina Releases 'Canta B. Leza'

Titina
Canta B. Leza
Astral Music

A native of Cape Verde, Titina grew up listening to composer, poet, and activist, B. Leza. The songs on this new album represent a nearly twenty-five year gap from the original recordings. The music is as timely as ever, as Cape Verde music continues to be on the world music map--thanks to the likes of Cesaria Evora, Bau, etc. Titina presents a mix of heady island rhythms and classic pieces of musical ingeniousness on Canta B. Leza. The songs represent a mix of morna and fado music with both male and female vocals throughout. There are only seven tracks, but the last track, "Rapsodia (Medley of Mornas)," is almost eleven minutes long. Anyone familiar with the Latin, Spanish, Portuguese, and European-infused music of the Cape Verde islands will understand the significance of Titina and everything she offers here. This is a recording that should not be missed. ~ Matthew Forss

CD Review: Tal National's 'Kaani'

Tal National
Kaani
FatCat

Niger's Tal National is led by Almeida (aka Issoufou Moumine), a leading guitarist from Niamey by night and court judge by day. The music draws upon West African rhythms, soukous, Afrobeat, blues, and rock. The rippling guitars, energetic percussion, and floating vocals represent the great Saharan song traditions in a contemporary setting without straying too far from their Zarma, Hausa, and French linguistic roots. The music is more danceable and structured than other nomadic tunes from the region. The music is also more rooted in rock and blues than full-on traditional arrangements. Nevertheless, the eight long tracks are particularly enthralling and full of dance-floor power. The throaty vocals, fast percussion, and meandering guitar grooves are what makes Kaani shine the most. Still, there isn't anything off-putting anyway. Explore Niger's desert grooves with one of the most influential and hard-working purveyors of the region--Tal National! ~ Matthew Forss

CD Review: Sierra Leone's Refugee All Stars' 'Radio Salone'

Sierra Leone's Refugee All Stars
Radio Salone
Cumbancha

Sierra Leone's Refugee All Stars are an incredible world music and afro-beat group of musicians that continue to astound listeners with each release. The newest release, Radio Salone, contains a host of catchy, groovy, and funk-laden songs with some afro-latin percussion and good 'ol African funk. There are sixteen tracks and loads of fun for the entire family. The gritty grooves and danceable hooks are ripe with African flavors and musical styles. The percussion and vocals are top-notch with little in the way of creative imperfections. The highly-percussive instrumentation, contemporary grooves, and soulful funk with indigenous melodies and styles makes Radio Salone a hit with all who listen to it. Fans of afro-beat, West African pop music, dance music, and innovative afro-pop will love Radio Salone. ~ Matthew Forss

CD Review: Mandingo Ambassadors' 'Tougna'

Mandingo Ambassadors
Tougna
Engine Studios

The Guinean-born group, Mandingo Ambassadors, is led by guitarist and director, Mamady Kouyate. Bebe Camara is the vocalist. The guitar is also played by Mamady Kourouma. Jazzy sax and flute renditions are provided by Sylvain Leroux, but sax and clarinet accompaniment can be attributed to Oran Etkin. The energetic drums are played by Andy Algire, while bass guitar by Nick Cudahy is very smooth. Foluso Mimy provides an uptempo mix of percussion instruments to go along with the melodies. The lively, dance-laden rhythms are iconic of Africa's Western coasts. The instrumental musical segments are very danceable and nothing short of brilliant. The eight long tracks are worthwhile for anyone interested in Guinean popular music. ~ Matthew Forss

CD Review: Monette Marino Keita's 'Coup d'Eclat'

Monette Marino Keita
Coup d'Eclat
Djembefola Productions

Monette Marino Keita engaging Afro-funk-folk album, Coup d'Eclat, which means 'burst of radiance,' is a debut work that is inspired by nearly twenty-years of rhythms and sounds accumulated from Afro-Latin and African regions. The music is contemporary, but lively with bass, keyboards, drums, guitars, flugelhorn, flutes, sax, trumpet, congas, kora, steel drum, and many other instruments. A master percussionist, Monette Marino Keita probably owes some of her talents to her husband--Mamady Keita--an expert percussionist in his own right from Guinea, West Africa. The eleven tracks represent a highly-percussive concoction of danceable tunes steeped in thousands of years of history. This is an ideal album for the African percussion fan, funk, Afro-Latin, and Afro-jazz genres. Not one track is disappointing. Let the rhythm move you today! ~ Matthew Forss

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

Various Artists
Sembeh Ma Fa Fe Revisits Volume
Stronghold Sound

The folks at the San Francisco-based Afrobeat label, Stronghold Sound, brings us a new album dedicated to the music from Guinea, Africa. This new compilation contains the likes of Bom Sone, Important, Tiralleur, Sista Lessa, Ruphert, Balbore, Bongo, Symbole, Prince II Saen, Neuf Six, Besto Besto, and Kati. The album title, which means 'strong sound coming' is appropriately-titled without a doubt. The new sound is rather modern with equal doses of hip hop, reggae, and R&B throughout. The rhythmic diversity is steeped in West African history combined with urban roots. The album is recorded and produced by label founder, Ahmed Khouja. The sixteen tracks are adventurous, lively, and powerful with elements of electronica, dub, funk, and rock. Guinea music fans unite with Stronghold Sound's latest release. ~ Matthew Forss

CD Review: Sia Tolno's 'My Life'

Sia Tolno
My Life
Lusafrica

Sia's Guinean and Sierre Leone roots are eloquently conveyed on her latest release, My Life. Sia combines scintillating rhythms and melodies reflecting the musical cultures of West Africa, Latin America, and European folk/rock. There are elements of dance, funk, and jazz throughout. Sia's voice is very reminiscent of Benin's Angelique Kidjo. In the same manner, fans of Angelique's work should like Sia's commanding voice and creative energy. Twelve tracks reflect a good mix of musical rhythms and instruments, including the iconic balafon pervasive throughout West Africa. My Life is an excellent album showcasing Sia's musical and ethnic heritage without resorting to mindless riffs, dull beats, or unimaginative sound structures. In short, Sia is a musical genius that deserves recognition the world over. ~ Matthew Forss

CD Review: Wole Alade's 'Olodumare'

Wole Alade
Olodumare (The Creator)
AAA-Ro-Meta Records

The groovy infections of Afro-beat master, Wole Alade, can be described as pure joy. The Nigerian-native infuses a wide variety of jazzy percussion and gospel elements with a host of vocalists adding their talents. The tracks are distinctly African with American jazz and roots elements. The long instrumental sections flow evenly throughout without any rest for the weary. Wole plays the sax, algaita, bata drum, udu drum, sakara drum, djembe, fender rhodes piano, piano, and acoustic guitar. Wole's wide-ranging repertoire joins some electric guitar, strings, and other horns to create a fascinating listening journey Fela Kuti and other Yoruban Afro-beat stars would be proud of. The Nigerian and Yoruban traditions are well-represented in Wole's music, but they are perfect for people of all ages, cultures, and places. The guitar and percussion-driven "Wanderer" is a nice Afro-pop melody in the vein of Zimbabwe's Oliver Mtukudzi. At any rate, Wole's musical creations are diverse enough with various vocals, percussion, and rhythms that keep it all interesting. The sounds of Lagos are not that far away from any of us now. ~ Matthew Forss 

CD Review: Sura Susso's 'Sila Kang'

Sura Susso

Sila Kang

Kuli Marow Music

Gambian-native and U.K.-based, Sura Susso, comes from a long line of musical talent with a specialization in the kora. Sura lends his voice, djembe, calabash, udu drum, sewruba, dun-dun, tama, congas, shakers, and darbuka throughout the album. A few additional musicians add a touch of flute, bass, guitar, horns, and additional backing and lead vocals on a handful of tracks. The instrumental, "Africa", is a happy kora tune with a spritely rhythm and no additional instrumentation. The harp-like and piano-like qualities of the kora shine through on "Massaneh Cessay" and "Medina". Lyrics are not provided in the liner notes. Fans of West African kora music will find Sura Susso most satisfying. Though, anyone interested in African music should find Sila Kang equally intriguing. ~ Matthew Forss