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: Hassan Hakmoun's 'Unity'

Hassan Hakmoun
Unity
Healing Records

Based in Brooklyn, NY and born in Morocco, Gnawa musician and sintir player, Hassan Hakmoun, brings us an energetic release steeped in cultural brilliance and trance-inducing beats. The instrumental arrangements of "Balili" are nothing short of a miracle. The opener, "Zidokan," is a gritty, steady beat of a song. The rock elements of "Hamadiyi" showcase a more rock instrumental medley without squealing guitars. However, the instrumentation is rather alternative and grunge-like in a world fusion sort of manner. Anyone familiar with gnawa music will recognize the sintir instrument, but the musical melodies also give it away. This is also the most cohesive album to date. Consequently, the beats are tight, memorable, and full of organic, soul-stirring, trance-inductive qualities that stick with the listener long after the tracks end. ~ Matthew Forss

CD Review: Francois & The Atlas Mountains' 'E Volo Love'

Francois & The Atlas Mountains
E Volo Love (Love and Flight)
Domino

The U.K.-based musician, Francois, is originally from France with musical tendencies spanning the Mediterranean, North Africa, and Europe. The giddiness of "Muddy Heart" combines the melodies of Coldplay, Oasis, and The Devlins into a swirling pop sound with a folk-rock base. The laid-back "Edge Of Town" contains a nostalgic presence with jangly sounds and pensive vocals. The upbeat "City Kiss" is a refreshing tune with a catchy chorus and guitar. The accordion raises its head on the opening of "Azrou Tune." The slow ballad features Francois's tender vocals. The grungy "Buried Treasures" echoes back to the Texas band--Toadies. The quieter "Cherchant Des Ponts" is a classic French song with female vocals, strings, and light percussion in the vein of Francois Hardy, Patricia Kaas, or Carla Bruni. Overall, Francois & The Atlas Mountains creates beautiful music with French, African, and other elements that are great to listen to for any occasion. It is easily one of the best albums to ring in the new year. ~ Matthew Forss

CD Review: Caravane

Caravane
Caravane
Marrakchi

Nick Wilde's journey from England to Morocco occurred after some floods and a fire took out his recording studio in London. Transplanted and immersed in Morocco's musical genres, Nick produced a refreshing, yet moderately urban release of laidback, trip-hop, and lounge jazz music with all the charisma of a Marrakech bazaar. Some of the female vocals resemble Ofra Haza, while the undulating rhythms of "Salla Lah Alayh," awaken the desert spirit in a cataclysmic manner. The dance-laden tunes, world percussion, and electronic embellishments make Caravane stand out among the crowd of techno-wizards with a passion for world music. The result is a relatively unique, accessible, and expansive journey through North Africa and the Middle East with Nick leading the charge by camel-back. Fans of groovy, North African, French, and Middle Eastern music will love the nomadic delights of Caravane. ~ Matthew Forss 

CD Review: Amina Alaoui's 'Arco Iris'

Amina Alaoui

Arco Iris

ECM Records

Andalusian singer, Amina Alaoui, was born in Morocco and currently based in France. Amina's Gharnati music traditions meld with a bit of fado, Ladino, and flamenco thrown in encapsulate the general tone of the album. Amina's all-star cast of musicians reflect another aspect of global music, as her band represents Brazil and Tunisia, too. The relatively sparse instrumentation adds to the meditative, mournful, and calming effect. Amina plays the daf, while her son, works on percussion. Eduardo Mirand on mandolin, Saifallah Ben Abderrazak on violin, Sofiane Negra on oud, and Jose Luis Monton on flamenco guitar round out the band's repertoire. Fans of Portuguese, Spanish, Ladino, fado, Andalusian, and North African music with a special interest in the folk and classical music traditions will find Arco Iris extremely pleasing. Amina's vocals are not as pop-oriented as Algeria's Djur, or as operatic as the fadista Mariza. ~ Matthew Forss

CD Review: Watcha Clan's 'Radio Babel'

Watcha Clan

Radio Babel

Piranha

Radio Babel is the new sound for the world's languages. Steeped in a cultural brew, Watcha Clan produces Arabic, Middle Eastern, Balkan, and North African tribe-tronica with more of an emphasis on vocals and diverse instruments than the electronic base. The cultural influences mainly stem from Morocco, Israel, Spain, Algeria, Turkey, France, and the Balkans. Furthermore, the vocals are primarily in English, Arabic, Hebrew, Yiddish, French, and Spanish. Everything from dance, trip-hop, folk, Klezmer, jazz, progressive, rock, and classic ballads with a heavy dose of instrumentation are present. The word 'babel' means 'jumble' in Hebrew. Thankfully, Radio Babel is anything but a jumble of incoherent noise. In fact, Watcha Clan produces a fine album that treads nicely between contemporary and traditional mediums with all of the catchy grooves and tunes one expects from a recording of this high-quality. ~ Matthew Forss

CD Review: Various Artists - 'Audio Refuge Compilation'

Various Artists

Audio Refuge Compilation

Stronghold Sound

San Francisco-based, Stronghold Sound, releases their latest production of funky, African, and Arabic folk, reggae, dub, hip-hop and cumbia music. The compilation features sixteen tracks and several different musicians from Guinea, Morocco, and Trinidad. The contemporary musical arrangements and killer vocals represent a good variety of styles, sounds, and talents on every track. Some of the musicians include Bongo, Yassir Chadly, Beat Fola, Bondi Blaster, Snakkr, Iggy Mon, Tami, among others. Numerous styles, including gnawa, soul, dub, trance, psychedelica, dance, and folk music round out the list of the most prevalent influences. The diverse rhythms and languages provide a truly global experience on many of the tracks. If you are seeking contemporary Afro-beat music with some pop and folk leanings, then the Audio Refuge Compilation is a must-have. ~ Matthew Forss

CD Review: Malika Zarra's 'Berber Taxi'

Malika Zarra

Berber Taxi

Motema

Malika is a Berber/Amazigh singer from Morocco. Based on local rhythms and influences, Malika incorporates several languages into the mix as well, including English, Arabic, Moroccan Arabic, French, and Berber. The music is not Gnawa, but it does transport one into a place of peace and tranquility. Musically, Malika is a more folked-out musician that is not as rock-oriented as fellow Berber countrywomen, Hindi Zahra or Iness Mezel. In fact, some of the tunes are quite laid-back, including the jazzy 'Houaria' and 'Mossameeha.' If you can picture Berber jazz, then this might be it. Some of the rhythms take on a Caribbean or Afro-Latin feel. This is especially evidenced on 'Amnesia.' It is refreshing to hear other voices from the deserts of North Africa. If you would like to take a brief respite from groovy blues guitar music, then relax and transport your way via Berber Taxi into the heart of Moroccan charm. ~ Matthew Forss

CD Review: Club d'Elf's 'Electric Moroccoland' and 'So Below'

Club d'Elf

Electric Moroccoland/So Below [2 CD]

Face Pelt Records

Boston is a long way from Morocco...and it isn't. Just listen to Club d'Elf's latest 2-CD set of Moroccan trance, dub, rock, and improvisational roots music. The Club assembles nearly two-dozen musicians with special guest star and sintir icon, Hassan Hakmoun. Nearly two-and-a-half hours of music and twenty-five songs span the entire collection. The Moroccan and North African percussion and rhythms are mainly the driving force behind Electric Moroccoland. So Below is more of a contemporary vision with a little more electronica, dance, dub, and techno than the other disc. In effect, the title connotation suggests an underground beat or music. Of course, anytime dance or club trance music is recorded it is not too far from the bellows of the underground scene. Thankfully, this music is enjoyed top-side for everyone to hear. The largely instrumental compositions encompass a range of tones, colours, and melodies -- all of them good. If you want to experience the trance, jazz, improvisational, and dreamy sounds of North Africa via Boston, then Club d'Elf is the place to be. ~ Matthew Forss

CD Review: Morocco's Majid Bekkas

Majid Bekkas

Makenba

Igloo Mondo

Hailing from Morocco, Majid Bekkas is a classically-trained guitarist, keyboardist, oud player, singer, and guimbri player that explores the blues and soul music of North Africa. The accompaniment of guest musicians, including Minino Garay on bass and percussion, Aly Keita on balafon, Serge Marne on djembe drum, Joseph Bessam Kouassi on talking drum, and many others, gives Makenba a more universal appeal beyond Africa's natural borders. In fact, "Ali Ya Ali" is a distinctively traditional tune with Caribbean and Gypsy elements. The saunteringly beautiful "Sahara Blues" is an epic in its own right. The tune spans the sounds of the Sahara, while faint Latin American sounds shine through. Of course, Gnawan trance music is a part of the repertoire, but it does not delve into boring doldrums as the Master Musicians of Jajouka often do. Though not necessarily a fusion album, Makenba is varied enough to keep it interesting without sacrificing creativity, musicianship, or culture. ~ 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: Morocco's Hassan Erraji

Hassan Erraji

Awal Mara

World Village

Multi-instrumentalist and blind musician, Hassan Erraji, is a Moroccan native with musical ties to the Atlas Mountains. Hassan plays the oud, qanun, violin, darbouka, keyboard, nay flute, and also sings on each track. Awal Mara, which means, "love at first sight", features background vocals by Hassan's daughter, Yasmin Erraji. The traditional instrumentation mixed with drums and bass creates a modern musical environment without delving into the outer reaches of electronica or dance music. However, every song has a high degree of danceability. The most striking musical similarity to Hassan's music is from the bellydance and ensemble music of Egypt, or even the music of the Arabian Peninsula. The Gnawan trance music native to Morocco is not featured here, however there are hints of it throughout. Awal Mara induces a state of intrigue with the country-esque "Mounyati" and the instrumental "Douka Dance". Think of it like 'Love At First Sound', too! ~ Matthew Forss

CD Review: Morocco's Hindi Zahra

Hindi Zahra

Handmade

Oursoul Records

A France-based, Moroccan singer and guitarist, Hindi Zahra is a glowing example of folk-rock musicianship and North African charisma. Hindi's vocal style is similar in tone to U.S. singers, Norah Jones and Sara Bareilles. Essentially, there is a classic pop standard element throughout the album. Though, Hindi's lyrics of English and Berber languages meld perfectly with the spritely rhythms and lounge club feel of intimate tunes. Moreover, English and Berber lyrics are included for all tracks. The songs are structured, but not over-produced. Overall, Hindi's voice and instrumentation are hand-picked, or rather, 'handmade', with love, peace, and spirit. The influence of French rhythms are more prominent than anything else. Still, Handmade is a satisfying journey that beams with colour, light, and emotion. ~ Matthew Forss

CD Review: Ghalia Benali & Bert Cornelis

Ghalia Benali & Bert Cornelis

Al Palna

Music & Words

The Tunisian and Belgian duo, Ghalia Benali and Bert Cornelis present songs from a place of complete inner beauty. Essentially, Ghalia's classical voice and Bert's sitar work along with additional instrumentation bridging the gap between North Africa and South Asia are the result of an eclectic group of musicians from Iraq, India and Morocco. The dreamy, almost meditative quality of the instruments and sparse vocals unleash the mind's heightened states of wellbeing. The translation of 'Al Palna' is The Cradle. In that regard, the music reminds one of child-like wonderment and innocence. The musical nature of Al Palna is well-suited for fans of traditional Middle Eastern and North African music. If you are a fan of inventive sitar playing, Sufi-like and Sheila Chandra-esque vocals, then begin with the music from the 'cradle'. ~ Matthew Forss

CD Review: 'Soul'try Sounds of Ahmed Soultan

Ahmed Soultan

Code

Somum Records

Born in Morocco, Ahmed Soultan soon emigrated to France where he experimented with Arabic and French rap/hip-hop styles. In fact, some of the songs are sung in Berber, French, Arabic, and English. The overall feel of the album is very laid-back and smooth. Code is not a gangster rap album loaded with profanities and violence. Instead, it bridges a Francophone style with Arabic soul. Ahmed is joined by a female singer, Samira, on a few tracks. Three of the fourteen tracks are repeated for whatever reason. One of the three tracks features a guest artist, Afrodiziac. The secret to understanding and enjoying Code is not that difficult soon after you start playing the tracks. The music takes on a 'soul'try and smooth edge with little help from traditional instrumentation over modern hip-hop beats. One thing is for sure, Code is in its own category. It's that good. ~ Matthew Forss

CD Review: The Beats of 'Halalwood'

U-cef
Halalwood
Crammed

The funky, electronic beats and ethnic infusions of U-cef's Moroccan homeland creates a truly modern form of musical expression. Ten tracks and dozens of musicians from the UK, Morocco, France, Egypt, and Tunisia accompany and comprise the album's musical backbone. The innovative electronic beats and vocals by Natacha Atlas (Egypt), Rachid Taha (Algeria), and others, create something engaging and classic. There is a fine balance between rai, rap, spoken-word, electronica, gnawa, and Arabic trance music throughout all of the tracks. Halalwood is bound to draw in younger crowds, because of its close association with Western beats and arrangments. It's easy to use the term 'fusion' for U-cef's music. In essence, U-cef's vision for the music is very clearly and intelligently defined. Halalwood not only contains sporadic female vocals, hip beats, and male vocals, but it also embraces a new musical and cultural movement, as Hollywood and Bollywood have done before. This is contemporary Moroccan music for the world to enjoy! ~ Matthew Forss