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: Amira Medunjanin's 'Silk & Stone'

Amira Medunjanin
Silk & Stone
World Village

Hailing from Sarajevo, Bosnia & Herzegovina, Amira Medunjanin is a sensational singer that brings a neo-operatic tone to the mix. The folk songs are punctuated by jazzy stlyings, world travels, and relaxing vocal elements. The breezy songs are emotive and full of beauty. The nine tracks contain scintillating guitars with oud, piano, kanun, and double bass for a truly delectable release. The poignant vocals are clear, powerful, and mature. The plaintive ensemble instruments are very moving with instrumental sections that abound throughout the album. Fans of Balkan opera, folk music, and European music will love Silk & Stone. The music is smooth like silk and solid as a stone without any deficiencies. ~ Matthew Forss

CD Review: Lo'Jo's 2-CD '310 Lunes'

Lo'Jo
310 Lunes [2-CD]
World Village

The French group, Lo'Jo, brings us a new double-disc release of instrumental world jazz, Balkan delights, and impressionistic displays of musical ingenuity on 310 Lunes. Though, the second disc, The International Courabou, was originally released in 1989. At any rate, the music is adventurous, suspenseful, cinematic, and easy-going. There is a bit of North America, Europe, and the Middle East in the release. The music is arranged by Renaud-Gabriel Pion with guests including Magic Malik, Roswell Rudd, Erik Truffaz, and Hasan Yarimdunia. There are even neo-classical influences that mimic soundtracks and scores of America's early films from the 1940's and 50's. The second disc is more world fusion oriented with percussion and a contemporary rock beat. Still, there are neo-classical elements, but the vocals add another dimension to the music. As a set, the albums are dynamic and multi-dimensional with enough pizzazz to satisfy all world jazz aficionados. ~ 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: Kayhan Kalhor & Ali Bahrami Fard's 'I Will Not Stand Alone'

Kayhan Kalhor & Ali Bahrami Fard
I Will Not Stand Alone
World Village

The prominent Iranian composer and musician, Kayhan Kalhor, combines meditative and adventurous compositions on a new instrument—the shah kaman—along with Ali Bahrami Fard’s bass santoor. The earthy sound of the shah kaman resembles a darker version of the kamancheh, though it is similar in appearance. The floating melodies of shah kaman and bass santoor elicit dreamy images of Persian classical music that is reinvented for a new generation. Keep in mind, only shah kaman and bass santoor instruments are included on this album. Technical wizardry and vocals are nowhere to be found. The interplay between the shah kaman and the bass santoor come to a head on “The Laziest Summer Afternoon.” At times, the music is complex and frenzied. However, it is interspersed with quieter moments that really grab the attention of listeners. The entire album is about one-hour long with tracks ranging in length from under two-minutes to fourteen-minutes. At any rate, the Persian music listener will find solace in the punchy notes of the bass santoor and the earthy gliding of the shah kaman. ~ Matthew Forss

CD Review: Sondorgo's 'Tamburising: Lost Music Of The Balkans'

Sondorgo

Tamburising: Lost Music Of The Balkans

World Village

The tambura, a mandolin-like instrument, is the primary sound on the latest Hungarian/Balkan release from Sondorgo. The sometimes frenzied playing techniques of the tambura evokes Greek music ensembles of Rebetika or Laiko. The vocals become quite majestic on 'Oj Jesenske'. However, the real charm of Tamburising... is the earthy, folksy, and gritty appeal from the instrumentation. The tambura is performed in a few different sizes and is joined by the accordion, flute, kaval, clarinet, sax, darbuka, tapan, and trumpet. The band is comprised of four brothers, which are sons of Kalman Eredics, a veteran Slavic musician in Hungary. The Hungarian form of tambura music is slightly different than other regional tambura bands. For instance, the music takes on a more danceable and upbeat tone than similar counterparts. Overall, the fifteen tracks are relatively short with thirty-percent of the tracks running under two-minutes in length. However, the toe-tapping and foot-stomping rhythms play in one's head long after the music commences with very pleasurable results. ~ Matthew Forss

CD Review: Terakaft's 'Aratan N Azawad'

Terakaft

Aratan N Azawad

World Village

The Malian blues guitar group follows up their 2008 release of Akh Issudar (World Village) with a solid Aratan N Azawad. The album's title means 'children of the azawad'. The azawad is the Sahelian region of Tamasheq-speaking Tuaregs in Mali, Algeria, and Niger. The group's name is translated as 'caravan'. The nomadic references reflected in the name of the group and the Sahelian cultural influence is also marked by a few other similar groups from the region, including Tinariwen, Toumast, Tartit, Tamikrest, and others. Terakaft's songs are pleasant and carefully brewed with the finest Saharan sounds to emanate from the sands. Overall, the music is slightly stripped down from their Malian counterparts, most notably, Tinariwen. Additionally, the Tamasheq vocals are relatively rare in recorded music today. Thankfully, one can appreciate and even learn, or at the very least, pronounce this fine language as the songs become more familiar with each listen. The songs range from two-and-a-half to five minutes in length. The characteristic handclaps, bluesy guitar riffs, and light percussion secure Terakaft's presence in the Saharan music scene. Music is more than purely performance; it is a way of life that shines brighter than the desert sun! ~ Matthew Forss

CD Review: Amjad Ali Khan/Scottish Chamber Orchestra/David Murphy

Amjad Ali Khan

Samaagam

World Village

Samaagam, which is Sanskrit for "confluence" or "flowing together," is an astute and accurate title to characterize the sarod and orchestral music of Amjad Ali Khan and the Scottish Chamber Orchestra. The first three tracks are ragas that are each around seven minutes in length. The instrumental accompaniment is limited to the sarod and tabla without any vocalizations. The remainder of the instrumental songs are arranged in three groups with three songs developed by Amjad, seven traditional ragas in short duration of thirty seconds to just under four minutes, and the final set includes the same three ragas in the beginning set with orchestral accompaniment. Samaagam is an instrumental and orchestral fans paradise. In fact, some of the compositions resemble the classical music of the Mongolian steppes or Central Asia. Amjad is sure to strike a 'chord' with every listener within earshot. An informative booklet discusses the music in-depth in English and French. ~ Matthew Forss

CD Review: Ana Moura's 'Coliseu'

Ana Moura

Coliseu

World Village

The popularization of the fado musical genre from Portugal has been fostered by an intense desire to reacquaint oneself with Portuguese music from around the world and the global prevalence of past and present fadistas, including Amalia Rodrigues, Mariza, Katia Guerreiro, Ramana Vieira, and Ana Moura. A native of Portugal, Ana performs a live set of songs recorded in two of Portugal's famed venues: Coliseu dos Recreios and Coliseu do Porto. The fifteen songs were composed by Jorge Fernando, Custodio Castelo, Antonio Laranjeira, Toze Brito, and others. The mournful and serene songs are nicely accompanied by Portuguese guitar, acoustic guitar, and acoustic bass guitar and interspersed with applause. The Portuguese vocals float effortlessy through the air and dance around with class, sass, but in no way crass. The young singer's mature voice is well-trained and award-winning. A 22-page liner booklet includes Portuguese and English translations. ~ 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: Huun Huur Tu 'Step'pes It Up!

Huun Huur Tu

Ancestor's Call

World Village

The galloping sounds of Tuva's throat-singing and instrumental ensemble, Huun Huur Tu, are revisited as more modernized sound palettes accentuate the group's characteristic style of ancient melodies. Keep in mind, the group's traditional instruments are still here, including the igil, doshpuluur, flute, byzaanchi, igil, and drums. The addition of the guitar eloquently steers the songs into a glorious setting of listenable comfort. For the most part, the songs are reinvented from their earlier Orphan's Lament (Shanachie, 1994), but one selection, 'Konguroi', makes an appearance from Sixty Horses in My Herd (Shanachie, 1993), as well as 'Saryglarlar' from Eternal (Electrofone, 2009). There is a slightly modernized tone to the songs without showy electronic elements or techno/dance noises. Essentially, Ancestor's Call is culled from thousands of years of throat-singing traditions for a new generation. This is a slight departure from Eternal (Electrofone, 2009), which featured the electronic wizardry of Carmen Rizzo. At any rate, Huun Huur Tu 'step'pes it up like no one else! ~ Matthew Forss

CD Review: Senegal's Carlou D

Carlou D

Muzikr

World Village

Senegalese musician, Carlou D, is a fixture in the Dakar music scene. A vocalist and guitarist, Carlou D provides a young, hip voice in the West African music arena. His latest release, Muzikr, is so-named for its reference to music (mu-) and Islamic/Sufi ties (-zikr). This is not your typical traditional Sufi music chants or rock/hip hop album. It is catchy, contemporary music with a variety of instrumentation including bass, kora, ngoni, keyboards, drums, sax, and other instruments. The music is pleasant to listen to and each track is noticeably different. A familiar voice to many, Youssou N'Dour, lends his voice on track six. Overall, Muzikr can be appropriately categorized as a new genre of contemporary West African Islamic pop music. Whatever you call it, Carlou D will move you, inspire you, and make you think. It is very good 'muzik'. The liner notes provide song summaries in English and French. ~ Matthew Forss

CD Review: Najma Akhtar and Gary Lucas

Najma Akhtar and Gary Lucas

Rishte

World Village

U.K.-born vocalist, Najma Akhtar, joins with guitarist Gary Lucas for a stunning album. The musical relationship between Najma and Gary lay in the guitar. Najma's vocals are mostly in Urdu, except for English on a bluesy cover song from Skip James in the 1930's and track ten. Gary's guitar playing does for Najma what Ry Cooder did for the late-Ali Farka Toure. Rishte is a mix of traditional Indian music and classical folk styles. However, the guitar playing is more folksy and bluesy than rock-oriented. At any rate, it is an interesting musical relationship rarely encountered in world music today. Perhaps fans of other guitarists on world music recordings, including Ry Cooder, Bob Brozman, and Ben Bowen King will find Rishte to their liking. Also, world fusion fans will delight in the music. The liner notes include English and French translations of song summaries. ~ Matthew Forss

CD Review: Ana Moura's Fado

Ana Moura

Leva-Me Aos Fados

World Village

Portugal's Ana Moura is now in the realm of other great fado singers, including Amalia Rodrigues and Mariza. Fado is most common in Portugal, but it can be heard in other countries, as well. It follows a mournful, lyrical style and folk-guitar tunings in a carefully structured environment. The music is sorrowful, but very engaging. In fact, the album's title is translated as "Take Me To A Fado House". Anyone with a Latin American or Mediterranean musical preference will most likely enjoy Ana Moura's fado style. This is not an over-produced, electronic album of dance music or pop. It is traditional fado with lilting rhythms, light guitar picking, and romantic vocals. Open your ears and heart today with Leva-Me Aos Fados. Take someone you love to the fado house. ~ Matthew Forss