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: Terakaft's 'Alone'

Terakaft
Alone
Outhere Records

One of Mali's greatest Tuareg blues guitar groups, Terakaft, brings us another gem from the desert. This is the fifth album from Terakaft and it keeps getting better. The soulful and bluesy guitar rhythms are punctuated by hand-claps, ambulating percussion, scintillating guitar strums, and bubbly bass-lines. The music is quite peaceful at times, while the guitar and rock-like arrangements make an appearance on a few of the tracks. The songs are sung in Tamasheq with liner notes in Tamasheq, English, and French. There are nine tunes here with loads of great grooves imbibing the Saharan spirit through mesmerizing guitar chords. The electric guitar sounds are not to be missed. As a total package, Alone is one of the best Tuareg releases of the year. If you seek Tuareg guitar rock and Tamasheq-soaked songs, then Terakaft should be high up on your list. ~ Matthew Forss

CD Review: Daby Toure's 'Amonafi'

Daby Toure 
Amonafi
Cumbancha

Daby Toure comes from Mauritania--a Saharan country in North Africa. However, his music is trans-African and even trans-global in nature. It is filled with catchy Afro-pop hooks from the get-go. He achieved worldwide fame with Stereo Spirit and Diam--and now Amonafi continues to celebrate his unique voicings and guitar styles. Many of the songs build upon earlier song styles on previous albums, but Daby creates all new music that is slightly different overall. There are a few very characteristic Daby Toure songs here, including "Oma," "Emma," "Little Song," "If You," "Debho," and "Soninko." Amonafi, which means, 'once upon a time,' in the Wolof language, is a great analogy to what Daby does best: tell stories in an infectious, musical pattern with diverse vocal ranges and scintillating guitar-work. ~ Matthew Forss

CD Review: Atlas Maior's Double Release 'Palindrome'

Atlas Maior
Palindrome [2-CD]
Self-Release

Texas-based, world music fusion group, Atlas Maior, releases a double-album, Palindrome, which an improvisatinoal journey on the wilder side of fusion. The band is comprised of Charlie Lockwood on oud, Joshua Thomson on alto sax and flute, and Ted Camat on percussion. The result is very complex, yet laid-back release, with loads of aural textures that weave in and out of consciousness. The entrancing release arouses North African, Middle Eastern, European, and North American musical elements on the jazz, avant-garde, and new age sides of the spectrum. There are fourteen tracks in all with names as diverse as the song elements, such as "ouduo," "Booted and Looted," "Half-pipe Blowhole," and "oodaqq." The instrumental release is perfect for fans of adventurous world music. ~ Matthew Forss

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: Ibrahima Sarr's 'Danaya Percussion Presents Ibrahima Sarr'

Ibrahima Sarr
Danaya Percussion Presents Ibrahima Sarr
Kanaga System Krush

Ibrahima Sarr is a professional djembe player from Mali that has toured the world over the last few decades. Ibrahima incorporates various djembes, balafons, and vocals on the mostly instrumental and percussive release. The thunderous drums and lighter balafon sounds aptly showcase a dynamic range of sounds that are trance-inducing and memorable. the highly traditional sounds are not bluesy, contemporary, or rock-centered. Instead, the organic arrangements of vocals, drums, and balafons make the album shimmer with a nostalgic and historic presence. The talented group of instrumentalists make the album stand out, along with the various themes revolving around medical issues, ceremonies, and dances. The extensive liner notes illustrate some of the song meanings in English. Fans of Malian drumming and African dance music will love the entrancing melodies and rhythms produced by the drums, balafon, and sporadic vocals. ~ Matthew Forss

CD Review: Anansy Cisse's 'Mali Overdrive'

Anansy Cisse
Mali Overdrive
Riverboat Records

Anansy Cisse presents a new album with bluesy, rock-infused compositions featuring Malian instruments and North African sensibilities. Anansy's mature voice is a fine accompaniment to the gritty, guitar playing. In addition, the soku fiddle, ngoni, bass, and calabash create a traditional sound overall. The lilting calabash and guitar on "Fati Ka" is top-notch. The very talented, Zoumana Tereta, is a prominent soku player and does not disappoint here. The music is electrified with an edgy presence and a historical vein. Mali Overdrive is not music that is redundant, overly-produced, or angst-ridden. Instead, Mali Overdrive encapsulates the essence of North African life with a guitar and several traditional instruments that sound like magic. If you like Malian guitar music, you will love Anansy Cisse. ~ 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: Zoumana Tereta's 'Soku Fola: Traditional String Music From Segou, Mali'

Zoumana Tereta
Soku Fola: Traditional String Music From Segou, Mali
Kanaga System Krush

Born in Bamako, Mali, Zoumana Tereta began playing music at age sixteen. Originally mastering the Krinyani stringed instrument native to the Fulani, Zoumana moved on to the soku fiddle and bonfle (Fulani flute). The soku fiddle is the primary instrument highlighted on the new album, Soku Fola... However, Zoumana is joined by other instruments, including the acoustic guitar, bass djeli n'goni, and calabash. The acoustic album is very organic and raw with various vocalizations and instrumental arrangements. The soku fiddle and calabash take the spotlight on "Sorre." Zoumana's husky voice is mature and intriguing. There are liner notes about each song, the instruments, and production notes. Anyone interested in learning more about North African music will especially love the recording from a seasoned veteran. ~ Matthew Forss

CD Review: Tinariwen's 'Emmaar'

Tinariwen
Emmaar
Anti Records

North Africa's blues guitar kings are back with another highly-lauded release. Emmaar, which means "the heat on the breeze," is the next installment in Tinariwen's slew of successful albums that attempts to bring a more world rock sound, while still cementing their name in the addictive, swirling, and blues-infused music inherent from their humble beginnings. The reinforcement of the Westernization influences are evidenced by the cover art and liner note poster featuring Tinariwen at a ranch in southern California. This is partly due to the political instability back home in Mali. However, Tinariwen seems at home in any desert; no matter where it is located. There are eleven tracks on this album. There are a lot of repetitious guitar rhythms throughout, but it is broken up by various percussion and vocals. The guitars are organic, gritty, and fuzzy in parts, but the recording quality is still top-notch. Overall, Tinariwen produces yet another fine recording with relatively minor qualms. The lyrics are sung in Tamasheq. ~ Matthew Forss

CD Review: Imarhan Timbuktu's 'Akal Warled'

Imarhan Timbuktu
Akal Warled
Clermont Music

Formed in 1993, Imarhan Timbuktu is a Tuareg guitar group from Mali and spearheaded by Mohamed Issa Ag Oumar El Ansari. The album contains eight songs about the plight of Tuareg refugees in the camps of Mauritania, Burkina Faso, Algeria, and Niger. Mohamed is a guitarist and vocalist on the album. Mohamed is joined by his brother, Ousmane Ag Oumar El Ansari and backup vocalists, Fadimata Walet Oumar and Zeina Walet. There is also a lively percussion section that fills in the vocals and guitars with a nomadic presence. The music is soul-stirring and in the vein of other North African guitarists, such as Tinariwen, Toumast, and Tartit. The music saunters along with majestic cadences, back-up vocal trills, and lilting guitars performing memorable riffs, licks, and chords. One of the highlights, "Tarha Tazar," possesses a great rhythm and melody. Fans of North African guitar music will love it. Discover your inner nomad today! ~ Matthew Forss

CD Review: Habib Koite's 'Soo'

Habib Koite
Soo
Contre-Jour

Mali's Habib Koite releases a stunning album, Soo, which means "home,"  that brings to life the music of North Africa and Mali in particular. Habib is the lead vocalist and guitarist on the album, but he is joined by other instruments, including bass, keyboards, calabash, kora, n'goni, doun doun, djembe, banjo, and others. The eleven-track release traverses the Saharan spectrum of musical ingeniousness. The rhythmic tunes combine with Habib's soulful vocals in Bambara, Dogon, Malinke, and Khassonke, to provide a fascinating listening experience overall. The poignant and catchy "L.A." is an excellent example of trans-cultural musical exchange with the banjo taking center stage with Afro-Latin percussive elements to boot. The sounds emanate in a beautiful delivery without fault. Anyone familiar with Habib Koite's previous works will love this new, adventurous release. Fans of Malian contemporary music will be pleased, too. ~ Matthew Forss

CD Review: Ezza's 'Abadaya'

Ezza
Abadaya
Ma Case Production

Tuareg blues guitar music hits the music airwaves once again, but this time it is not Tinariwen, Tidawt, or Toumast. Instead, the North African guitar rockers are Ezza, originally from Niger, but now based in France. The seven track release is loaded with rockin' hooks and licks deep from within the Saharan desert. However, the musical influences may extend beyond the region, but the end result is something of pure magnificence. The fluid guitar calisthenics are very engaging, along with the lead vocals. Fans of North African blues guitar music will like this upbeat recording. Anyone with a passion for African guitar music should check it out, though. ~ Matthew Forss

CD Review: Leni Stern's 'Jelell'

Leni Stern
Jelell
Self-Release

German-born and US-based, Leni Stern, brings us an inviting mix of North African guitar songs with hearty percussion and bluesy grooves. Leni plays the guitar, baritone guitar, n'goni, and provides lead vocals. However, additional musical accompaniment is provided by Mamadou Ba on bass, Alioune Faye on djembe, calabash, and percussion, Sabar Percussion Ensemble, Haurona Samake on camele n'goni, Leo Genovese on keys, Idriss Diop and Jazz on vocals, and Marieme on backing vocals. The music is recorded in Senegal, mixed in Mali, and enjoyed by the world-over. "Babacar" is a carefree romp through the desert with ambulating beats, experimental blues guitar stylings, and a myriad of other intriguing sounds produced in subtle ways. "Jelell," which means 'take it,' contains heady percussion and jazzy nuances with Leni's vocals leading the charge. "Dimbali Ma" begins with up-tempo percussion and folksy vocalizations by Leni. Her smoky vocals and emotive deliveries are paramount. The sweet guitar sounds emanate with such a strong life force on this track and others. There is a good mix of instrumental and vocal tracks throughout, but the combination of traditional percussion and up-beat guitar, bass, and keys move the music into another dimension. Great stuff. ~ Matthew Forss
  

CD Review: Tamikrest's 'Chatma'

Tamikrest
Chatma
Glitterbeat

Upon first examination of the cover art, one may be reminded of the iconic 1985 National Geographic photo of Sharbat Gula - a young Afghan girl, named Sharbat Gula, known for her mesmerizing facial shot. In this case, the plight of North African refugees are highlighted with an emphasis on familial affiliations. North African blues guitar rock may have been popularized by Tinariwen, but Tamikrest also fills the big guitar shoes with Chatma. The ten-track release contains bluesy, guitar riffs, licks, and slides with booming bass, Tamasheq vocals, and some percussion. The affect is a contemporary release without a complete dismissal of North African music traditions. All of the tunes are rather upbeat; except for "Achaka Achail Aynaian daghchilan," "Adounia tabarat," and "Timtar." Some of the songs have characteristic, female ululations in the background, which are quite intoxicating. The guitar sounds are fluid, organic, and slightly rustic, which are very fitting overall. The beats are catchy and memorable. This is not a polished dance album or a pop production, but fans of Tidawt, Tinariwen, Terakaft, Toumast, and others, will find some great stuff here. Essentially, anyone with a passion for North African guitar music will love Tamikrest. Buy it today! ~ Matthew Forss

CD Review: Tal National's 'Kaani'

Tal National
Kaani
FatCat

Niger's Tal National is led by Almeida (aka Issoufou Moumine), a leading guitarist from Niamey by night and court judge by day. The music draws upon West African rhythms, soukous, Afrobeat, blues, and rock. The rippling guitars, energetic percussion, and floating vocals represent the great Saharan song traditions in a contemporary setting without straying too far from their Zarma, Hausa, and French linguistic roots. The music is more danceable and structured than other nomadic tunes from the region. The music is also more rooted in rock and blues than full-on traditional arrangements. Nevertheless, the eight long tracks are particularly enthralling and full of dance-floor power. The throaty vocals, fast percussion, and meandering guitar grooves are what makes Kaani shine the most. Still, there isn't anything off-putting anyway. Explore Niger's desert grooves with one of the most influential and hard-working purveyors of the region--Tal National! ~ Matthew Forss

CD Review: Sarazino's 'Everyday Salama'

Sarazino
Everyday Salama
Cumbancha

Hailing from Algeria, Sarazino makes good use of international rhythms and song styles, readily traversing urban hip hop, Latin-beat, and Afro-beat worlds. The music is highly-contemporary and upbeat with help from a plethora of guest artists, including Sierra Leone's Refugee All Stars, Novalima, Andrea Ruilova, Luisa Maita, Isidro Garcia, Bacha Ortiz, Amparo Sanchez, Sabina Sciubba, Rootz Underground, and Niyo Pumpin. All of the tracks are outstanding without any faults. Fans of Latin and Afro-beat music will love Sarazino's sizzling new release with help from a few friends. Everyone is on top here. ~ Matthew Forss

CD Review: Leni Stern's 'Smoke No Fire'

Leni Stern
Smoke No Fire
Self-Release

New York's Leni Stern is a singer and instrumentalist with a passion for the n'goni. As a vocalist, n'goni player, guitarist, and percussionist, Leni creates evocative songs with a bluesy, African, and folk sensibility. The guest rap vocals on a track or two are particularly inviting. The folksy stylings of the n'goni, guitar, and vocals are amazing throughout. Leni is fluent in English and Bambara. The ten songs are perfect for anyone interested in North African fusion, blues, and folk music. There is something for everyone on here. The music is never dull or univiting. The sounds awaken a deep, cultural presence in the instruments and the vocals. This is perfect for fans of Bassekou Kouyate and Boolumbal. A nice gift for anyone interested in North African music! ~ Matthew Forss

CD Review: Michel Sajrawy's 'Arabop'

Michel Sajrawy
Arabop
Dasam Studio

Nazareth-based, Palestinian-guitarist, Michel Sajrawy, offers a glimpse into a new world of Arab maqam and Western improvisation on his latest album, Arabop. The jazzy, experimental sounds are rich with Middle Eastern and North Africa melodies, but familiar to all. The instrumental repertoire is well-balanced with Michel on guitar and keyboards, Amiram Granot on sax, Maali Klar on soprano sax, Samir Makhoul on oud and vocals, Valeri Lipets on contra bass, Wisam Sajrawy on darbuka and shakers, Stas Zilberman on drums, Nehaya Damouni on chants, and Adnan Haddad on speech. The wildly-played guitar stylings are equivalent to Hossam Ramzy on the drums. At any rate, the songs are up-tempo, but reflective in a similar manner. The energized darbuka and electric guitars thunder with delight on "Tojann." "1 Count Before 40" is a more meditative, lounge jazz tune that is wholly instrumental. "Arabop" reflects a more jazzy side to the music with a jaunty sax line and playful melody overall. The highly-energize "Batumi" is a guitar lovers dream with an equal amount of percussive embellishments throughout. There is a slight klezmer undertone. Overall, Michel succeeds wildly with a stunning set of mostly instrumental music that is both jazzy, Arabic, and improvisational. This is maqam music for future generations. ~ Matthew Forss

CD Review: Karima Nayt's 'Quoi D'Autre?'

Karima Nayt
Quoi D'Autre? (What Else?)
Ajabu

Algerian-native, Karima Nayt, is a more traditionally-inclined Kabyle singer than her fellow countrywoman, Iness Mezel. The folkish, fluid melodies are interrupted by nomadic guitars and upbeat percussion spanning North Africa's camel routes, France's guitar music, and the vocal melisma of Ofra Haza. Karima's mature voice floats effortlessly across the tracks with a bit of reservation to allow the instruments some room to expand on the vocal patterns. The sincerity in Karima's voice resembles the same clarity as Souad Massi with the sensuality of France's Carla Bruni. At any rate, Karima's songs are heartfelt, classic, and timeless. The thirteen tracks span Karima's eclectic and linguistic ethnic background. Some of the songs are reminiscent of Spanish, South American, or Portuguese-type music with a strong, classical--almost fado-esque--presence. Nevertheless, the music is not a fusion project, but a wonderful journey through the folk music traditions of Algeria's infamous Mediterranean coastline. ~ Matthew Forss