CD Review: BKO Quintet's 'Bamako Today' w/DVD

BKO Quintet
Bamako Today (w/DVD)
Buda Records

Under the direction of Cris Ubermann, BKO Quintet releases a great recording of contemporary music rooted in Malian traditions with traditional instruments to boot. The new album, Bamako Today, features the music of Aymeric Krol with various instrumental accompaniment, including the dunun, donsongoni, djembe, djelingoni, acoustic and electric guitar, and drum set. The instrumentation is very organic and soul-stirring with a steady supply of affectionate intonations and historic renderings. The accompanying DVD contains musical performances of the group in a documentary format for nearly fifty-three minutes. Fans of Malian music, ngoni music, Saharan music, Afro-pop, and contemporary African music will not be disappointed here. ~ Matthew Forss    

CD Review: King Ayisoba's 'Wicked Leaders'

King Ayisoba
Wicked Leaders
Makkum Records

Born in Ghana, King Ayisoba is an accomplished kologo player and vocalist. The kologo is a two-stringed lute with a very organic sound somewhat aligned with a n'goni. The ten-track release features a few guest artists, including Ayuune Sulley, Solomon Abusoro, Zea, Mbo, Banasko, and Isaac. Besides the kologo, the music incorporates other indigenous instruments, including the sinyaka, gulugo drum, doo (horn), xylophone, dondo drum, and djembe drum. The rhythmic vocals and diverse instrumentation produces an entrancing result that is akin to gnawa music. The scintillating kologo is plaintive, energetic, and emotive--all on the same recording. Some of the vocals are similar to some of the Mongolian and Siberian utterances, but that is where the similarities end. This is a distinctly African release that is refreshing and contemporary. Fans of Ghanaian music, North African tunes, and percussion instruments will love Wicked Leaders. ~ Matthew Forss

CD Review: The Toure-Raichel Collective's 'The Paris Sessions'

The Toure-Raichel Collective
The Paris Sessions
Cumbancha

As a follow-up to their 2012 The Tel Aviv Sessions, The Paris Sessions continues to bridge the musical worlds of Israel and Mali together. The collective is Vieux Farka Toure and Idan Raichel. Vieux Farka Toure is the son of the late-Ali Farka Toure, and one of Ali's best guitar jams, "Diaraby," is included. Most of the songs are instrumental jams that are jazz and African-influenced. The collective is joined by musicians, Niv Toar, Daby Toure, Abdourhamane Salaha, Seckouba Diabate, Eyal Sela, and Dialimory Sissoko. The piano adds a plaintive touch to the music, which is not necessarily a bad thing. The vocals are not too showy or overdone. In fact, the entire production is quite poignant, mature, and timeless. The music was recorded in France over Mali, due to the societal/political instability. At any rate, the result is a fantastic overview of Israeli and Malian tunes coming together in a sort of fusion that works. ~ 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: 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: Kevin Seddiki and Bijan Chemirani's 'Imaginarium'

Kevin Seddiki and Bijan Chemirani
Imaginarium
World Village

With ties to France and Iran, Kevin Seddiki and Bijan Chemirani know how to bring us candid, pleasant, and globally-inspired, acoustic music. Kevin is a guitarist, percussionist, and zarb player. Bijan is also a percussionist with specialties in zarb, daf, udu, saz, and others. The thirteen tracks reflect an instrumental blend of Mediterranean, North African, and Central Asian melodies that are very ear-pleasing, while some are quite catchy. The casual music is imaginative, which probably stems from the aptly-titled album name. There are plenty of sonic embellishments that are experimental, creative, and visionary. There are some fast vocals on "On Saturn's Rings." Otherwise, the album is virtually void of vocals. The light music is perfect for relaxing, cafes, and lounging. Kevin and Bijan are truly inventors of a global sound that is anything but dull. ~ 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: Samba Toure's 'Albala'

Samba Toure
Albala
Glitterbeat

Born in Mali, Africa, Samba Toure creates moving blues music with lilting guitar work and North African rhythms. Samba tackles the guitar, calabash, and percussion instruments. As a vocalist, Samba resembles Ali Farka Toure. There are backing vocals on a few tracks and traditional violins and contemporary keyboards on others. Overall, Samba's music is full of Malian brilliance with engaging vocals and enthralling instrumentation with lyrics that tackle societal ills. Samba is joined by Djime Sissoko on ngoni, Madou Sanogo on congas/djembe, Zoumana Tereta on sokou, Aminata Wassidje Traore on backing vocals, and Hugo Race on guitar and keyboards. The bluesy tunes and ambulating beats are raw and passionate. Anyone familiar with North African guitar blues will notice Albala--a fast-emerging release that combines the best of both worlds: African roots and blues music. ~ Matthew Forss

CD Review: Andra Kouyate and Seke Chi's 'Saro'

Andra Kouyate and Seke Chi
Saro
Studio Mali

With a name like Kouyate, you know the music is going to be good. Hailing from Mali, Andra Kouyate and his band, Seke Chi, are joined by a plethora of top artists from the region, including Amadou & Mariam, Mah Bara Soumano, Bassekou Kouyate, Ami Sacko, Harouna Samake, and Lassana Diabate. Andra's specialty is the n'goni lute, which is a staple in North African folk music. The acoustic and earthy feel of the instrument is matched with the varied vocals. Overall, the tunes are laid-back and take on the characteristics of Ali Farka Toure's instrumental music, as well as Rokia Traore's instrumental repertoire. The n'goni instrumentation, balafon, calabash, and other infectious instruments are very easy to listen to. This is a contemporary release, but the guitars, and other typical rock elements are nowhere to be found. Fans of North African percussion, Malian music, and n'goni lute aficionados will love Andra's latest venture. ~ Matthew Forss

CD Review: Atongo Zimba's 'Sankune Sounds'

Atongo Zimba
Sankune Sounds
Sankune Sounds

Atongo Zimba is from Ghana, but based in the U.K. Sankune Sounds highlights Atongo's talented vocal and instrumental skills. For instance, Atongo is a master of the molo--a two-stringed lute common throughout the Sahara. Though Ghana is known for highlife music, Atongo creates a music that is rhythmic, powerful, and sweet that does possess funk, jazz, and highlife qualities. On "Sela woo san boma tanna bia" the vocals sound similar to Zimbabwe's Oliver Mtukudzi. Atongo is joined by rhythmic guitar, flute, gombe bass drum, backing vocals, and assorted percussion that livens the Ghanaian musical spirit immensely. The lo-frill recording is perfect for those palm wine parties and relaxing by the beach. It is equally enjoyable in front of a fireplace or a den. Atongo is a talented singer and performer that creates music as easily as one breathes. ~ 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

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: Baba ZuLa's 'Gecekondu'

Baba ZuLa

Gecekondu

Doublemoon

The Turkish beat group features traditional stringed instruments and percussion to form a kind of Turk-beat music that is not like techno or dance. Essentially, the music contains a modern tone with traditional instruments. Gecekondu is translated as "slums." Vocalists Murat Ertel and Elena Hristova add some Turkish flair to the repertoire without compromising the pace or beat of the music. There are some similarities to Latin American cumbia music, psychedelia, and North African guitar blues. Gecekondu's wide-reaching comparisons are necessary given the fact the music draws upon several influences directly or indirectly. The music beats are similar to India's bhangra on a lighter scale. However, fusion is a small part of Gecekondu. "Temptation" incorporates English lyrics with a Middle Eastern and Indian melody. Track 10 is a more refined and modernized track with a dub-beat and all the crazy, Turkish percussion one can muster. In fact, it almost borders on Balkan madness! Anyway, Baba ZuLa is a talented group that puts Turkey on the map. Dance your way to Ankara today! ~ Matthew Forss