CD Review: Simrit's 'Songs Of Resilience'

Simrit
Songs Of Resilience
Self-Release

Born in Greece and raised in South Carolina, Simrit Kaur invokes the sounds of South Asia and Africa on her latest release, Songs Of Resilience. The eight-song album incorporates a mixture of new age, lounge, and world music-inspired tunes that include harmonium, kora, conga, log drums, bass, slide guitar, piano, acoustic guitar, and mellotron. The rather spacious arrangements are very cinematic, thought-provoking, and infectious. The electronic elements are reduced, but the results are very magical. The kora arrangements are reminiscent of Rokia Traore's songs on Tchamantche (Nonesuch, 2009). The vocals are fluid, emotive, and breath-taking throughout. The yoga-inspired traditions of the world are accentuated here. There is even a Native American element that fits nicely with the rest of the album. Simrit incorporates a mix of English and Sanskrit vocals with new age instrumentation indicative of Katie Melua's contemporary songs and similarities to Zero 7 and Dala Girls are certainly represented here. Get ready for a guilt-free romp through a yoga-filled journey of music with Simrit. This is simply one of the best recordings of the year. ~ Matthew Forss

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: Kuku's 'Ballads and Blasphemy'

Kuku
Ballads and Blasphemy
Buda Musique

Steeped in Yoruban traditions and Western arrangements, Kuku creates an engaging and thought-provoking mix of Afro-pop gold and roots music. The famous Tony Allen lends his talents on "Waya" and "Owo." The album revolves around Kuku's own agnosticism when it comes to religion, which is relatively pronounced here. Still, the melodies and rhythms are great and never boring. The sparkling guitar tones and heady percussion suggest West African influences with a little Afro-Latin action, too. Nevertheless, the album shines on all cylinders--even if you cannot understand the lyrics or song origins. "La Derniere Fois" is rather bluesy with languid vocals and steady percussion. Some of the songs are in English, but Kuku breaks language barriers here. This is another high-quality release from Buda Musique! ~ Matthew Forss

CD Review: Novalima's 'Planetario'

Novalima
Planetario
Wonderwheel Recordings

Afro-Peruvian musical connections have been Novalima's mainstay. Planetario is no exception, as the group continues to perform and preserve Afro-Peruvian and Afro-Colombian stylings, while maintaining a unique identity. The cumbia beat of "Beto Kele" represents a very earthy and infectious track with great percussion and vocals. The entrancing and addictive "Memekume" is more contemporary, but full of trippy elements and sporadic percussion. Novalima brings in artists as far away as the UK, Colombia, and Spain for a globetrotting, musical result that is anything but boring. If edgy, modern, and world-infused musical concoctions are what you seek, then Novalima's Planetario is a must-have. ~ Matthew Forss

CD Review: Cesaria Evora's 'Greatest Hits'

Cesaria Evora
Greatest Hits
Lusafrica

After passing away in 2011, Cesaria Evora's music continues to be important for the people of Cape Verde, but everyone should be aware of her music. Thankfully, the folks at Lusafrica understand the importance with the release of Greatest Hits. There are twenty hits here, including one of the best songs ever to come out of Cape Verde: "Sangue De Beirona." The percussion and vocal medleys are tantalizing beyond belief. The emotive drums, strings, guitars, and wind instruments are very intriguing and representative of the country's social and cultural spirit. This is the latest review of her work since a Best Of release in 1998. Anyone familiar with Portuguese music, Cape Verdean grooves, African music, and world jazz with a Latin tinge will love Cesaria Evora's Greatest Hits. ~ Matthew Forss

CD Review: Monoswezi's 'Monoswezi Yanga'

Monoswezi
Monoswezi Yanga
Riverboat Records

Monoswezi is a group born out of several nations, including Mozambique, Norway, Sweden, and Zimbabwe. The instrumental backing is primarily due to the mbira--thumb piano. However, the mbira is accompanied by bass, marimba, sax, clarinet, percussion, guitar, harmonium, harmonica, and drums. Hope Masike and Calu Tsemane provide vocal accompaniment to many of the tunes. The sparkling and earth-laden mbira provides a dreamy and contemplative resonance that is very magical and seductive. The album borders on jazz, folk, roots, Afro, traditional, neo-classical, and experimental music genres. Scandinavia is normally a country positioned very far away from Zimbabwe. Thankfully, Monoswezi bridges the gap between the two world regions in one, cohesive offering titled: Monoswezi Yanga. ~ Matthew Forss

CD Review: Bassekou Kouyate & Ngoni Ba's 'Ba Power'

Bassekou Kouyate & Ngoni Ba
Ba Power
Glitterbeat

The power of the Malian ngoni lute is highlighted by Bassekou Kouyate & Ngoni Ba's powerful rhythms, rock-tinged arrangements, and bluesy vocals ripe with African panache and deep, historic roots amidst a contemporary setting. The ngoni's stirring and entrancing sounds are intensified by the fact there are five ngonis that make up the band's sound. Traditional drums, calabash, keyboards, guitars, and horns provide a modern tone, but the music is still rooted in Malian blues and soul. There are vocal pieces, but the real charm comes from the instrumental grooves and punchy rhythms found throughout the album. Ba Power is a musical gem with occasional rock guitar displays and earthy, traditional instrumentation with a trance-filled soul. There are nine tracks in all. The vocals are in Bambara. Not to be missed! ~ Matthew Forss

CD Review: Gino Sitson's 'VoiStrings'

Gino Sitson
VoiStrings
Buda Musique

Gino Sitson, a Cameroonian-native, is a vocal acrobat with diverse vocal stylings indicative of jazz, Afro-soul, and European classicism. There are various body effects and miscellaneous vocal effects that produce a variety of sounds--all of them pleasant. The music is very laid-back, sweeping, and neo-classical with some African percussion and rhythm influences. Gino's vocals are accompanied by piano, double bass, drums, cello, and viola. There are two covers on the album, which include Faure's "Elegie Opus 24" and Herbie Hancock's "Maiden Voyage." Of course, Gino makes both tracks his own. There are fourteen original tracks. Fans of world jazz, African vocal music, neo-classical, and even South American bossa nova would relish the sounds on VoiStrings. ~ Matthew Forss

CD Review: Beautiful Nubia and The Roots Renaissance Band's 'Soundbender'

Beautiful Nubia and The Roots Renaissance Band
Soundbender
EniObanke

Beautiful Nubia is Segun Akinlolu, a Nigerian folk and roots musician that bridges together lilting reggae-like grooves with Afro-soul and Afro-pop melodies. The mix of Yoruba and English lyrics provides a truly world music result with magnificent percussion, strings, and contemporary beats throughout. There are beautiful melodies and rhythms that highlight both Beautiful Nubia's voice and the instrumental backing. Every track is diverse, but very engaging and catchy. The backup vocals are sparse, but appropriate where added. The jazzy, somewhat neo-classical strings adds a nostalgic, European musical presence, while hanging onto African roots and influences. Anyone with an interest in contemporary African grooves and roots music will love Soundbender. ~ Matthew Forss

CD Review: Ajoyo's Self-Titled Release

Ajoyo
Ajoyo
Ropeadope

The heady grooves and rhythms of Ajoyo's West African, jazz, and afro-beat inspired music with roots in Cameroon, Tunisia, France, and beyond. Spearheaded by Yacine Boulares with lead vocals coming from Sarah Elizabeth Charles and other vocals by Linton Smith and Alon Albagli. The rhythms and textures are created with the piano, rhodes, organ, percussion, bass, drums, sax, clarinet, udu, and others. The Cameroonian-influenced release is highly-contemporary and driven with diverse sounds and hypnotic lines that will keep anyone enthralled for a long time. Whether it is world jazz, bikutsi pop, afro-beat, or jam music, Ajoyo knows how to entertain us in creative ways without succumbing to pitfalls. ~ Matthew Forss

CD Review: Rocky Dawuni's 'Branches Of The Same Tree'

Rocky Dawuni
Branches Of The Same Tree
Cumbancha

Ghanaian-native and LA-based, Rocky Dawuni brings a rousing mix of Afro-roots and reggae-based grooves to the forefront on Branches Of The Same Tree. The English vocals and great backup vocalizations make the songs very lively. However, the drums, bass, guitar, and keyboards played in a staccato pattern is the real prize here. "Black Star" features edgier guest vocals from Samini. There is even some electric guitar sounds that fuse a little rock n roll to the reggae beat. The pleasant and island-friendly tune, "Island Girl," is more of an acoustic song with earthy ukulele and catchy melodies. Of course, fans of Bob Marley will be enamored, as well as contemporary listeners of reggae music. This is jah-st a beautiful album! ~ Matthew Forss

CD Review: Ntjam Rosie's 'The One'

Ntjam Rosie
The One
Gentle Daze Records

Cameroonian, Ntjam Rosie is clearly influenced by the subtle, electronic nuances of down-tempo, jazz, and laid-back pop with a European and African foundation. The vocals are relatively fluid and soft with poetic underpinnings and a slight urban presence. However, this is not a full-fledged hip hop or R&B compilation. Instead, Ntjam's musical concoctions flow from a diverse and multi-layered creativity that is very soothing and memorable. "The One" contains vocals that are very smooth, as well as on "Forever Love." Nevertheless, the entire album features a great mix of musical subtleties, such as the sparse, instrumentation akin to Rokia Traore's music. At times, the vocals imbue a sense of surrealism and utter beauty without adding redundant beats or loud guitars. Some of the supple tones and notes are due to some strings and piano sounds for a truly, world jazz mix. What is more, the vocals are very similar to Binki Shapiro's work with the electronic lo-fi group, Zero 7. Anyone seeking some light fanfare from Cameroon (via The Netherlands), then this is 'the one' for you. ~ Matthew Forss

CD Review: Kiran Ahluwalia's 'Sanata: Stillness'

Kiran Ahluwalia
Sanata: Stillness
Magenta

Indo-Canadian, Kiran Ahluwalia, ventures into uncharted territory with the swirling, bluesy, guitar riffs characteristic of North Africa's Saharan Desert region. However, South Asian delicacies are still apparent throughout the album, but the instrumental guitar, harmonium, and drums arouse a North African spirit laced with curry-scented morsels called songs. The breezy and bluesy style of "Hayat" resembles a North African anthem spearheaded with vocals of a South Asian origin, but "Sanata" contains similar influences . "Jaane Na" is more aligned with Indian jazz and pop with drifting melodies and floating vocals. "Lament" is a South Asian jazz tune with elements of rock, fusion, experimentation, and contemporary leanings in a mostly instrumental display. All of the music is created from acoustic/electric guitars, bass, tabla, organ, harmonium, drums, and vibraphone. Overall, Kiran challenges music origins and presents them in a very endearing package. Liner notes are in English, Hindi/Punjabi, and French.

CD Review: The Afrorockerz's Self-Titled Release

The Afrorockerz
The Afrorockerz
Buda Musique

Paris-based and soon-to-be-world-known, The Afrorockerz, combine the elements of a West African night-club with the action-packed sound of Euro-jazz and American soul for a truly pleasant recording. The funky rhythms are spearheaded by vocalist, Allonymous and Emma Ladji, while Sylvain Daniel is in charge of bass, keyboards, and programming. Though, the brainchild of the album, Julien Jujju Raulet, is a master guitarist, percussionist, and drummer. The group includes the percussion talents of Frederic Jean, Maxime Zampiere, Eric Durand, and keyboard credits from Guillaume Poncelet. Some of the tunes are edgy and urban-esque, but not too dissimilar from typical West and Central African funk and jazz. The group's eerie keyboard sounds and pervasive beats that change direction without notice are all very attractive elements on the album. There are even a few rock guitar displays. Still, anyone into Afro-funk and jazz will love The Afrorockerz. ~ Matthew Forss

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: 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: Ali Khattab's 'Sin Pais'

Ali Khattab
Sin Pais
Nesma Music

Egyptian composer, vocalist and guitarist, Ali Khattab, brings us a rousing mix of world fusion imbibed with an African, Arabic, and Andalusian presence. The flamenco-type melodies and instrumentation are mostly instrumental throughout, but Ali adds some vocals. There are Arabic forms, tangos, rumba, Sufi trance, and other indistinct musical qualities that add a blend of intense rhythms and contemplative tones. The music is created with the oud, violin, flute, double bass, duff, darbuca, palmas, req, and cajon. The most important aspect of the album is the origins of the music are multi-factoral and heavily influenced by various world music traditions. However, the music tends to flow very well without sounding disorderly or out-of-place. Ali succeeds with Sin Pais without any complaints here. ~ Matthew Forss

Digital/Vinyl Review: Nihkil P. Yerawadekar & Low Mentality's 'Reel It In'

Nikhil P. Yerawadekar & Low Mentality
Reel It In
3rd Generation

Brooklyn-based beatmeister, Nikhil P. Yerawadekar and his group, Low Mentality, release a two-song release inspired by the edgy, psych-infused beats of West Africa, the Caribbean, and East African funk. The result is a heady, beat-driven and classic, funk-laden tune, "Reel It In," which features a rollicking rhythm and North American funk beat that is jazzy, classy, and timeless. Nikhil is joined by Pavel Kogan-Liakhov on guitar, Chauncey Yearwood on percussion and vocals, Omar Little on trumpet, keyboard and samples, Timothy Allen on bass and vocals, and James Windsor-Wells on drums and vocals. The sub-five-minute track contains enough beats, sounds, and melodies to keep you on your toes...literally. The second track, "Vultures," is also sub-five-minutes in length, but it more aligned to North American funk and psych elements. Still, the same West African and East African influences are present throughout. All of the vocals are in English, but they are not too prevalent. The entire recording is under ten minutes long, but it only serves as a glimpse into the complete musical capabilities of Nikhil P. Yerawadekar and Low Mentality. Own it today on vinyl or as a digital release! ~ Matthew Forss

CD Review: The Nile Project's 'Aswan'

The Nile Project
Aswan
Self-Release

The Nile Project brings together eighteen musicians from several countries, including Egypt, Eritrea, Sudan, Ethiopia, Uganda, and South Sudan, that present traditional music with contemporary rhythms. The North African instrumentation is rather indigenous and vibrant, which stems from the rustic masinko, traditional drums, some strings, a sax, and numerous voices. This recording is a live album recorded at the Lincoln Center for the Performing Arts that captures the energy and life-force of the music in all its splendor. Heady rhythms, wild vocals, and swirling melodies entrance listeners from around the world throughout the fifteen tracks. Fans of North African, Ethiopian, Egyptian, and Middle Eastern music will love Aswan. It's accessible for young and old listeners alike. Head over to Africa with The Nile Project as your guide. You will definitely not be disappointed. ~ Matthew Forss