CD Review: Kiran Ahluwalia's 'Sanata: Stillness'

Kiran Ahluwalia
Sanata: Stillness
Magenta

Indo-Canadian, Kiran Ahluwalia, ventures into uncharted territory with the swirling, bluesy, guitar riffs characteristic of North Africa's Saharan Desert region. However, South Asian delicacies are still apparent throughout the album, but the instrumental guitar, harmonium, and drums arouse a North African spirit laced with curry-scented morsels called songs. The breezy and bluesy style of "Hayat" resembles a North African anthem spearheaded with vocals of a South Asian origin, but "Sanata" contains similar influences . "Jaane Na" is more aligned with Indian jazz and pop with drifting melodies and floating vocals. "Lament" is a South Asian jazz tune with elements of rock, fusion, experimentation, and contemporary leanings in a mostly instrumental display. All of the music is created from acoustic/electric guitars, bass, tabla, organ, harmonium, drums, and vibraphone. Overall, Kiran challenges music origins and presents them in a very endearing package. Liner notes are in English, Hindi/Punjabi, and French.

CD Review: Boubacar Traore's 'Mbalimaou'

Boubacar Traore
Mbalimaou
Lusafrica

Mali's iconic vocalist, guitarist, and songwriter, Boubacar Traore, brings us a fresh set of tracks steeped in Saharan charisma and African history on his latest release, Mbalimaou. The sauntering. bluesy tune, "Hona," resembles a little late-Ali Farka Toure influence with edgy harmonica, talented guitar fingerings, and light percussion. The album is rich with n'goni, sokou, kora, shaker, calabash, and karignan sounds. The music is rather acoustic and spacious with subtle intonations and jazzy grooves led by Boubacar's husky voicings. Malian blues are alive and well on the album. Comparisons to the late-Ali Farka Toure are noteworthy and necessary. Boubacar's guitar playing is more acoustic and experimental overall, but the bluesy and jazzy instrumentation adds to the contemplative mood of the music without compromising quality. The twelve-track release is a perfect introduction to Mali's blues, as well as a recommended album for more seasoned Saharan music fans. ~ 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: Lobi Traore's 'Bwati Kono "In The Club"...Raw Electric Blues From Bamako'

Lobi Traore
Bwati Kono "In The Club"...Raw Electric Blues From Bamako
Kanaga System Krush

Lobi Traore gives us electric blues guitar music straight from Bamako, Mali on his last recording before his death. The album contains nine live tracks with lively, blues guitar music, which is gritty, raw, and organic. The music is jam-worthy and trance-inducing in parts, but Lobi's great guitar calisthenics wins us over. There are traditional instruments that accompany the electric guitar sounds, including djembe and balafon. The spacious beats and inventive delivery make Bwati Kono... one of the best West African recordings in recent memory. Lobi followed in the tradition of Vieux Farka Toure and Zani Diabate. This is not an acoustic guitar album. There are many long instrumentals in between the vocals, which aids in the incredible musicianship for all to enjoy. Lobi will be missed; but his music will live on. Enjoy it 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: 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: 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: 4-CD SET - Free Africa

Various Artists

Free Africa [4 CD]

Maquis

In celebration of the 50th anniversary of freedom for many African countries, Maquis Music released a four-disc set of popular music from all-around Africa. Some of the countries represented include Mali, Togo, Congo, Guinea, Ivory Coast, South Africa, Nigeria, Cameroon Benin, Senegal, Burkina Faso, Gambia, Angola, Cape Verde, and Ethiopia. Some of the artists include Djelimady Tounkara, Mahmoud Ahmed, Alpha Blondy, Ismael Lo, Bassekou Kouyate, Amadou & Mariam, Salif Keita, Manu Dibango, Orchestra Baobab, Cesaria Evora, and many more. Music originating from the 1960's to the present is included. Many styles of music are represented, including, highlife, afro-beat, jazz, saharan, blues, folk, roots, and afro-latin. Of course, it is possible to include every, or even some, of the African musicians from these regions in one album set. However, the folks at Maquis Music succeed in presenting a well-rounded collection of African music from established and lesser-known artists. ~ Matthew Forss