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: 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: 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: 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: Baka Beyond's 'After The Tempest'

Baka Beyond
After The Tempest
March Hare Music

The Afro-Celtic band, Baka Beyond, grew out of a collaboration with the Baka of Cameroon with the musical styles of the Caribbean, Europe folk, and Afro-pop. The bubbly reggae-infused, "Heart Of The Night," is a perfect track for lounging. There are also Irish lullabies, Baka traditional songs, and Shakespeare-inspired compositions. The theatrical songs are full of life and quite varied. All of this success is owed to the instrumentalists and vocalists, including Martin Cradick on guitar, Su Hart on vocals, Kibisingo Douglas on bass guitar, Ayodele Scott on percussion, Paddy Le Mercier on violin, Clyde Kramer on drums, Ellie Jamison on vocals, and Molara on vocals. The uppity sound of "Mosumana Colle" is especially intriguing and friendly with vibrant percussion, lush vocals, and a Congolese-like guitar rhythm. After two decades of bringing Baka music to the world, Baka Beyond still has what it takes to keep listeners listening. Importantly, all royalties owed to the Baka musicians to to them via the Global Music Exchange (www.1heart.org). ~ Matthew Forss

CD Review: Zekuhl's 'I Bolo'

Zekuhl
I Bolo
Bolbo Art

Cameroonian-raised and Canadian-born, Zekuhl is a singer, guitarist, and prominent nkuu (wood drum) player that plays a Bolbo-Jazz style of music. The music incorporates several indigenous rhythms and genres, including assiko, bolbo, bikutsi, ndin, mangambeu, makossa, mbale, and mpeya. Based on local traditions and fused with jazz, Zekuhl creates a wonderful pop music of Afrobeat and soukous concoctions. Though entirely fresh and unique, Zekuhl is good enough to draw fans from Afro-pop and world fusion. Fans of African music, Cameroonian jazz, and afro-beat will love the danceable beats and rhythms of Zekuhl. Vocals in Basaa, English, and French. Twelve tracks in all. ~ Matthew Forss

CD Review: Kareyce Fotso's 'Kwegne'

Kareyce Fotso
Kwegne
Contre-Jour

Cameroonian, Kareyce Fotso, is a talented singer and guitarist to emerge out of west-central Africa. "So'A" is a guitar and vocal song that begins the album. The song possesses a heartfelt, yearning quality throughout. "Peu Be" adds a little more instrumentation with the berimbau, calabash, and sikko creating a more robust sound quality, while still remaining traditional. The lack of rock guitar additions or electronic musical mixtures is not necessary to create outstanding, African music. In this case, Kareyce creates emotive songs using nothing more than simple percussion and a guitar. Kareyce's voice is a thing of beauty. In a similar manner, Kareyce's voice is not too far off from Mali's Rokia Traore. Overall, Kwegne is a great, contemporary Cameroonian release of auditory happiness. In addition, liner notes contain information and/or lyrics for most of the eleven songs. ~ Matthew Forss

CD Review: Muntu Valdo's 'The One & The Many'

Muntu Valdo

The One & The Many

Warner Jazz

The soft and sweet voice of Muntu Valdo matches his tender guitar playing and heavenly harmonica sounds. The Cameroonian is a U.K. resident that has quickly gained popularity and success. Muntu sings in a Cameroonian language throughout the album; except for English on parts of 'No Mercy'. Luckily, English translations are contained in the liner notes. Muntu's guitar playing is slightly more tropical than Mauritania's Daby Toure or Guinea-Bissau's Bidinte. Nevertheless, Muntu's achingly beautiful voice sets the tone for the album without veering off into uncharted territory or meaningless melodies. The ten tracks reflect a nice range of melodies, rhythms, and tones with definite hints to Cameroon. Moreover, the U.K. presence is relatively subdued. Still, The One & The Many is a magnificent recording that deserves considerable airplay on a global scale. For fans of African folk, contemporary folk, and Cameroonian guitar, Muntu Valdo is a required listen. ~ Matthew Forss