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: Awa Sangho's 'Ala Ta'

Awa Sangho
Ala Ta
Motema

Mali's Awa Sangho is a very talented singer with a passion for music and incorporating traditional instrumentation in a contemporary setting. The music is fresh, catchy, and full of rich textures. The melodies and rhythms are equally-astounding. There are thirteen delicacies on this album and not one of them are identical. In addition to Awa's youthful vocals, the album is graced with guitar, bass, percussion, ngoni, kora, balafon, talking flute, ndjarka, bolon, bass guitar, and djembe. "Tambin Y Tambor" is a perfect blend of international instruments coming together for a relaxing and intriguing tune. "Denko" is a jazzy, Afro-pop tune with stellar vocals and sounds, "Emama" is a gritty, guitar tune with rippling sound effects and a Congolese-like rhythm. All of the songs are easy to listen to and void of anything distracting, disruptive, or unnecessary. Anyone with an interest in contemporary Malian music will love it. ~ 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: 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: Tiecoro Sissoko's 'Keme Borama'

Tiecoro Sissoko
Keme Borama
Kanaga System Krush

Hailing from Mali, Tiecoro Sissoko is a talented vocalist and guitarist in the Djeli tradition of West Africa. Tiecoro is joined by Madouba Camara on kora and Adama Tounkara on djeli n'goni. The rather acoustic offering is rich with scintillating strings and cascading vocal harmonies emanating from the spirit of Malian griot traditions. The relatively acoustic feel is very melancholic, relaxing, and meditative. There is a mix of instrumental and vocal music throughout. Unfortunately, Tiecoro died in 2012, but thankfully, his music will live on every time the album is played. The combination of kora, guitar, and djeli n'goni makes the music come alive and dance around in the listener's soul for a truly engaging and momentous result. Fans of Malian guitar music will appreciate it. ~ Matthew Forss

CD Review: The Hip Abduction's Self-Titled Release

The Hip Abduction
The Hip Abduction
Single Fin Records

Formed in Florida and seasoned with the production credits of Easy Star Records' Michael Goldwasser, The Hip Abduction creates a groovy and reggae-infused concoction that is very catchy and memorable. The twelve tracks feature the musical talents of David New, Pat Klemawesch, Chris Powers, Matt Poynter, Paul Chlapowski, David Johnson, Kevin Clark, and Pat Hernly. The album contains your typical drums, keyboards, bass, guitars, sax, trumpet, and vocals. However, the real charm is in the rarer instruments not commonly associated with reggae albums, such as the kora, kamalengoni, kanjira, nyatiti, and kora. The vocal and instrumental catchiness starts right away with "Children Of The Sun" and "Live It Right," but "All Eyes," "Holiday," and "Walk Away." The instrumental, "La Resaca" and "Kalapani" combine a funky, reggae beat with African strings and experimental charm. While some tracks possess a reggae vibe, many other tracks contain a more rhythmic pop and world fusion presence. All in all, The Hip Abduction is hip and here to stay. ~ Matthew Forss 

CD Review: Abou Diarra's 'Sabou'

Abou Diarra
Sabou
Mix N' Metisse

A talented n'goni or kora player from Mali, Abou Diarra brings a funky and bluesy element to contemporary Malian music. Each song is delicate and contains weaving song structures with traditional instrumentation and modern embellishments that will satisfy even the most picky Sahelian music connoisseur. The music celebrates Bambara life and society, which is diverse, varied, and historic. There are eleven long tracks that entice and entrance the listener with such grace and tranquility that it is difficult to turn it off. "Sabou," "Aboubono," "Blablabla," "Noumou," and "N'dogoni" are some of the recommended tracks. Fans of contemporary Malian music with the kamala n'goni or kora instrument as the focal point, along with vocals, will love Abou Diarra's latest release. Buy it today! ~ Matthew Forss 

CD Review: Vieux Farka Toure's 'Mon Pays'

Vieux Farka Toure
Mon Pays
Six Degrees Records

The late-Ali Farka Toure's son, Vieux, releases a new album, Mon Pays, which means, 'my nation.' The album was born in Mali and represents an audio examination of current troubles, situations, and traditional practices. This is a great Malian recording with all the charming folk instruments one can handle, including the calabash, djembe, ngoni, kora, shakers, turtle shells, bamboo, triangle, and kourignan. The upbeat melodies and North African rhythms set this recording apart from others, because there is such a scintillating texture of catchy, enthralling, and memorable tunes. There are ten tracks in all. There are instrumental and vocal moments throughout. The earthy vocals are as harsh as the Saharan sands at times, but that is part of the brilliance overall. The galloping music is perfect for fans of North African music, folk music, Saharan music, and Malian musicians. Own another fine piece of Malian music before it is too late. This is a fine addition to any musical reper-'toure'. ~ Matthew Forss

CD Review: Joe Driscoll & Sekou Kouyate's 'Faya'

Joe Driscoll & Sekou Kouyate

Faya
Localization Records

Guinea’s Sekou Kouyate and global music aficionado, Joe Driscoll, presents us with an exceptional recording of afro-fusion and afro-pop. The gritty, giddy, and upbeat songs meld traditional instrumentation with contemporary rhythms and melodies that are a perfect match for the soul, funk, reggae, hip-hop, pop, jazz, and dance styles. The nine songs are ripe with kora, guitar, urban beats, and electronic loops. The fast vocals on some of the songs are ideal for fans of hip-hop and rap. Everyone will enjoy the sparkling kora melodies and contemporary beats. Afro-fusion and pop music lovers will find satisfaction in the songs for sure. Faya is a favorite for fans of modern Afro-fusion and inventive world music with a purpose. ~ Matthew Forss

CD Review: Ballake Sissoko's 'At Peace'

Ballake Sissoko

At Peace
No Format/Six Degrees Records
 

Mali’s kora master, Ballake Sissoko, once again joins with cellist Vincent Segal on an addictive, nine-track release that is aptly-titled, At Peace. The soothing, melodious echoes of the kora, gentle guitar picking, classical cello, and harmonious balafon make At Peace a required listen for fans of Malian music, world fusion, classical, and instrumental music. The album is void of vocals, which accentuates the instrumental prowess from Vincent, Ballake, Fassery Diabate, Aboubacar Diabate, and Moussa Diabate. The scintillating sounds of the kora provide a relaxing, though somewhat jaunty, musical result. The instrumental exchanges between Vincent and Ballake are very fluid and seamless—the result of joint African and European connections over hundreds of years. Fans of Malian fusion will love the rustic nature of the compositions, though they are recorded with very high quality equipment. ~ Matthew Forss

CD Review: Mokoomba's 'Rising Tide'

Mokoomba
Rising Tide
Zig Zag World

Born in Zimbabwe and based in Belgium, Mokoomba mix Afro-fusion sounds of jazz, pop, and folk with drums, beatbox, percussion, keyboards, strings, wind instruments, and kora for a scintillating musical journey. The upbeat music is littered with rousing percussion and Latin-esque tunings reflecting a little Portuguese presence. Afro-Caribbean and Afro-Latin influences are present, but Afro-pop is probably the most fitting description. "Masangango" reflects a Malian or Senegalese composition with ambulating percussion, backup vocals, and shimmering kora sounds. The funky "Mangongo" is a dance-friendly tune that is very refreshing. There are twelve tracks in all and none of them are the same. Fans of Afro-fusion, Afro-pop, and African music in general will love Rising Tide. ~ Matthew Forss

CD Review: Mamady Keita's 'Mandeng Djara'

Mamady Keita
Mandeng Djara
Fonti Musicali

Guinea's Mamady Keita releases a Guinean-recorded album of percussive ingeniousness. The eleven tracks explore severall different, but related Guinean dance rhythms, including Fe, Fartalen, Kelu, Dunun Kura, Su, Koro, Kenya, Zaouli, Kedju, Kalah, and Djara. The music contains the instruments of the djembe, balafon, flute, kora, sangban, dununba, djabara, and kenkeni. The entire album runs nearly seventy-seventy minutes long, so there are no shortage of dance rhythms here. There are also various chants that accompany some of the songs, but they are not particularly overt. Mamady's wife, Monette Marino Keita, an acclaimed and award-winning percussionist in her own right, lends her hands on the drums for a few tracks. Fans of Guinean percussion music will especially enjoy Mandeng Djara. ~ Matthew Forss

CD Review: Lassine Kouyate (Adam Klein) and 'Dugu Wolo'

Lassine Kouyate (Adam Klein)
Dugu Wolo
Cowboy Angel Music

Athens, Georgia has produced a number of chart-topping musicians that don't sound like they're from the South, including R.E.M., B-52's, Indigo Girls, Matthew Sweet, Neutral Milk Hotel, and others. Never before has a world music act entered the musical community in Athens. Maybe not a chart-topper yet, Dugu Wolo is slowly gaining ground. Created by Lassine Kouyate (aka Adam Klein) after a trip to Mali, Africa, Dugu Wolo contains guitar songs with kora, ngoni, calabash, tama, djembe, njarka, and karagnan instrumental accompaniment. Lassine writes songs in the Bambara language for the most part, but English is also present. The entire album was recorded in Bamako, Mali in February 2010. Guest musicians include Solo Tounkara, Djelimady Tounkara, Adama Dembele, Drissa Diabate, and Zoumana Tereta. Anyone interested in the guitar and blues sounds of Boubacar Traore, Lobi Traore, Ali Farka Toure, Salif Keita, and Toumani Diabate, among others, will find joy and solace in this amazing collection of songs written by American singer/songwriter, Lassine Kouyate. Twelve tracks in total. Liner notes included. ~ Matthew Forss 

CD Review: Sousou & Maher Cissoko's 'Stockholm-Dakar'

Sousou & Maher Cissoko
Stockholm-Dakar
Ajabu

The link between Sweden and Senegal is not too distant, as Sousou & Maher Cisssoko are evidence of its close association--at least from a musical perspective. Stockholm-Dakar is a thrilling album with loads of mbalax drumming and kora melodies with young, fresh vocals in Mandinka, Swedish, Wolof, and English. The liner notes contain English translations. The fast rhythms of the opener, "Nama Nala," as well as "Bamba," "Badia," and "Sunkotou Njiima," keep up the brisk pace. Sousou, a singer and guitarist, hails from Sweden, while Maher, a kora and calabash artist, hails from Senegal. The music is steeped in the griot traditions of West Africa. Anyone with a passion for kora music should acquire the album. Though, anyone familiar with West African music will eat it up. Add a little kora with ngoni and a dash of sabar, and you will have a delicious mix of Senegalese music on your plate. ~ 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

CD Review: Kouyate-Neerman's 'Skyscrapers & Deities'

Kouyate-Neerman
Skyscrapers & Deities
No Format Records

Kouyate-Neerman is the shortened version of the names Lansine Kouyate and David Neerman. Lansine is a Paris-based and Malian-born balafon extraordinaire, while David is a French musician with piano and percussion training. David plays the vibraphone throughout the album, with additional noise effects and distortions for a truly, avant-garde musical experience that is more urban than traditional. The mostly instrumental music stems from the double bass, balafon, vibraphone, kora, and drums. The only vocals on the album occur on 'Haiti' by Anthony Joseph. Famed kora maestro, Ballake Sissoko, adds his personal touches throughout with crystalline results. Skyscrapers & Deities surfs a fine line between traditionalism and modernism, whilst covering new age, jazz, downtempo, trance, and experimental genres in the process. Kouyate-Neerman is a solid duo with something to offer for everyone. ~ Matthew Forss

CD Review: Mamani Keita's 'Gagner L'Argent Francais'

Mamani Keita

Gagner L'Argent Francais

No Format Records

For someone with a name like Keita, you know good music cannot be too far behind. Mamani Keita is no exception. The contemporary edge of Mamani's music comes from the French composer and arranger, Nicolas Repac. Of course, Mamani's Malian upbringing provides a North African appeal with limited traditional instrumentation, however. Nevertheless, the kora, some percussion, and Bambara vocals directly place the music in a Malian context. The French presence is evidenced by the Afro-pop sensibilities of guitar-pop music with more of a creative feel somewhat removed from the typical pop-hit structures. However, Gagner L'Argent Francais, which means "To Earn French Money", is a hit in its own right. The music is a little more structed than fellow countrywoman, Rokia Traore, with the added guitar work similar to fellow countryman, Daby Toure. Mamani's beautiful vocals create a wonderful palette of musical color throughout the verses. Mamani strikes it rich here with a more adventurous and energetic rock edge than Tinariwen and Oumou Sangare combined. ~ Matthew Forss