CD Review: Simo Lagnawi's 'The Gnawa Berber'

Simo Lagnawi
The Gnawa Berber
Riverboat Records/World Music Network

Based in the U.K., but inspired his Moroccan-Berber origins, Simo Lagnawi presents us with an exciting and entrancing album of a dozen songs that successfully and faithfully adheres to North African gnawa traditions. There is some improvisation of sorts, which cover Saharan folk songs and ceremonial compositions. All of the songs are diverse and feature the guimbri -- a plucked lute that is native to North Africa. The authentic and tribal sound of the guimbri is haunting and natural with vocals, flute, fiddle, and banjo accompaniment in spots. Hassan Hakmoun fans will find some similarities, but the music is not electronic or rock-oriented. This is for fans seeking unadulterated gnawan trance music. Find your inner gnawa today! ~ 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: Hadouk Trio's 'Air Hadouk'

Hadouk Trio

Air Hadouk

Naive

The trio of Didier Malherbe, Steve Shehan, and Loy Ehrlich bring about a fusion product that encapsulates the essence of European, Middle Eastern, and North African sensibilities without sacrificing quality. Based in France, the trio formed its name from the first two letters of hajouj, which is a guimbri or lute indigenous to West Africa, and the last four letters of doudouk, which is an Armenian flute. The various instrumentation include gumbass, djembe, awicha, berber brushes, copper pot, sax, doudouk, conga, kora, khen, and others. The fusion feel of the album is evidenced by the mix of instruments and the absence of any vocals. In effect, the instruments are played in a way that evoke a jazzy-fusion continuum with odes to the African continent, Asian Diaspora, and Europe. Thirteen tracks and a seemingly endless supply of tones and moods signal the best the Hadouk Trio have to offer thus far. Air Hadouk will be touching down in a neighborhood near you...and you'll love it. ~ Matthew Forss

CD Review: Master Musicians of Jajouka

The Master Musicians of Jajouka

The Source

Maquis

Named after a village in Northern Morocco, the Master Musicians of Jajouka is led by Bachir Attar on ghaita, lira flute, quimbri, and vocals. The long introductory track, "Habibi Tsitini", is a guimbri (lute) anthem with violin, drums, and some vocals. The calming flute and drums of "Hanging Out In Jajouka" reflect the lighter musical side of The Source. After twenty-some years of music-making and collaborations, Bachir Attar returns to 'the source' of his musical roots by recording the album in his home. The spiritual and ritual music of Jajouka is rich in Sufi musical traditions that provide curative or healing properties through music. The mostly instrumental approach to 'Jajouka music' involves a rhythmic, traditional beat without modern arrangements, albeit interruptions. Jajouka means 'something good is coming to you'. In this case, 'something good' is Bachir Attar's Master Musicians of Jajouka. Trance on over to your favorite record store this holiday season and buy it. ~ 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