Lura
Eclipse
Lusafrica
Portugal's Lura was born to Cape Verdean parents, which allowed her to study and incorporate Cape Verdean music and rhythms into her compositions for her last few recordings, including the most recent one, Eclipse. The most globally-recognizable musician to come out of Cape Verde would have to be Cesaria Evora. Though an increasing number of musicians from the islands are garnering international attention, including Lura. Lura's emotive and sultry vocals match the gritty, earthy, and jazzy rhythms of the piano, strings, guitar, and percussion. Even though Cape Verde resides offshore of Western Africa, the primary musical influences tend to incorporate Latin or Caribbean tones. Though, Lura includes the indigenous styles of Cape Verde, including morna, funana, batuque, with a little fado thrown in. Is Eclipse the album that marks the pinnacle of Lura's musical career? It is doubtful, as each album seems to contain something new with each listen. Liner notes in Cape Verdean Creole. ~ Matthew Forss
Sunday, May 17, 2009
CD Review: Fado By Way of South Africa...Azores...and Lisbon
Katia Guerreiro
Fado
Sony
Fadista, Katia Guerreiro, was born in South Africa, moved to the Azores as a child, and studied medicine in Lisbon, Portugal. The latter move would ultimately allow Katia to embrace her fado beginnings. The appropriately titled album, Fado, is an excellent introspective examination of fado song structure and delivery. Yet, most listeners associate the late-Amalia Rodrigues, or the currently popular, Mariza, with fado stardom, Katia is equally deserving of such attention and fame. Every song is heartfelt and passionately performed. This is one of the lasting impressions of fado music. The rich tradition of fado follows the content of a mournful nature, often about love, or poor living. At any rate, Katia's beautiful voice is a heavenly addition to the fado world. The lyrics are provided in Portuguese. ~ Matthew Forss
Fado
Sony
Fadista, Katia Guerreiro, was born in South Africa, moved to the Azores as a child, and studied medicine in Lisbon, Portugal. The latter move would ultimately allow Katia to embrace her fado beginnings. The appropriately titled album, Fado, is an excellent introspective examination of fado song structure and delivery. Yet, most listeners associate the late-Amalia Rodrigues, or the currently popular, Mariza, with fado stardom, Katia is equally deserving of such attention and fame. Every song is heartfelt and passionately performed. This is one of the lasting impressions of fado music. The rich tradition of fado follows the content of a mournful nature, often about love, or poor living. At any rate, Katia's beautiful voice is a heavenly addition to the fado world. The lyrics are provided in Portuguese. ~ Matthew Forss
CD Review: Music of the Indian Ocean
Davy Sicard
Kabar
Up Music
The French-infused rhythms and vocals of guitarist Davy Sicard carries on the tradition of contemporary music from Reunion--a small island east of Madagascar. A region of rarely heard music on a global scale, Davy's music is similar in rhythm to Mauritanian/French vocalist/guitarist, Daby Toure. Kabar is a laid-back, "lounge blues" of sorts, with melodic vocal calisthenics and pleasant guitar stylings. Davy not only utilizes the French language, but also a Creole variant spoken throughout much of the island. Some of the songs are more energetic than others, but all create a sense of emotional depth and musical richness. The breezy guitar tunings and sparkling addition of a plucked thumb piano on one track showcase some of the musical diversity on the island. Overall, the bluesy-pop tunes of Kabar should entice listeners all over the world. Liner notes include song lyrics and titles in Creole French. ~ Matthew Forss
Kabar
Up Music
The French-infused rhythms and vocals of guitarist Davy Sicard carries on the tradition of contemporary music from Reunion--a small island east of Madagascar. A region of rarely heard music on a global scale, Davy's music is similar in rhythm to Mauritanian/French vocalist/guitarist, Daby Toure. Kabar is a laid-back, "lounge blues" of sorts, with melodic vocal calisthenics and pleasant guitar stylings. Davy not only utilizes the French language, but also a Creole variant spoken throughout much of the island. Some of the songs are more energetic than others, but all create a sense of emotional depth and musical richness. The breezy guitar tunings and sparkling addition of a plucked thumb piano on one track showcase some of the musical diversity on the island. Overall, the bluesy-pop tunes of Kabar should entice listeners all over the world. Liner notes include song lyrics and titles in Creole French. ~ 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
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
CD Review: Jaya Lakshmi's 'Radiance' Shines
Radiance
CD Review: 'Plateau' Reaches a High Note
Soname
Plateau
Fortunate Recordings
Tibet's Soname brings her magical voice to her most recent recording, Plateau. The vocals shine high as the instrumentation nicely accompanies the entire production. In fact, you will hear the tabla, drums, guitars, keyboards, Celtic harp, flute, sarangi, strings, and a few other instruments. The album's style is comparable to recordings by the Real World label. Additionally, the liner notes are provided in English, French, and German. In regards to similar music, Soname's vocal and instrumental stylings resemble Mexico's Tonana, Uzbekistan's Sevara Nazarkhan, and Tibet's Yungchen Lhamo. The wide-reaching versatility of her music is evidenced by the fact of the abovementioned musicians. Though primarily of Central/South Asian origins, Soname mixes subtle infusions of Indian tabla drumming with short, bursts of flute and (other)worldly vocals. In short, Soname's Plateau rises high above the competition. ~ Matthew Forss
Plateau
Fortunate Recordings
Tibet's Soname brings her magical voice to her most recent recording, Plateau. The vocals shine high as the instrumentation nicely accompanies the entire production. In fact, you will hear the tabla, drums, guitars, keyboards, Celtic harp, flute, sarangi, strings, and a few other instruments. The album's style is comparable to recordings by the Real World label. Additionally, the liner notes are provided in English, French, and German. In regards to similar music, Soname's vocal and instrumental stylings resemble Mexico's Tonana, Uzbekistan's Sevara Nazarkhan, and Tibet's Yungchen Lhamo. The wide-reaching versatility of her music is evidenced by the fact of the abovementioned musicians. Though primarily of Central/South Asian origins, Soname mixes subtle infusions of Indian tabla drumming with short, bursts of flute and (other)worldly vocals. In short, Soname's Plateau rises high above the competition. ~ Matthew Forss
CD Review: Mauritanian Blues
Boolumbal
Fuuta Blues
Playasound
The border between Mauritania and Senegal is rich in history, music, and traditions. It is also home to Boolumbal band leader, singer, and guitarist, Malick Dia. Malick teamed up with French musician and producer of blues music in Paris, and in the process, created a stunning album of Senegal River blues. To be more exact, Fuuta Blues contains earthy tunes and vocals in the Pulaar language. Musically, there are resemblances to Guinea-Bissau's Bidinte, Mauritania's Daby Toure, Senegal's Vieux Diop, and Mali's most recognizable export--the late-Ali Farka Toure. There is a nice mix of traditional instruments, including the ngoni, kora, balafon, Peul flute, djembe, and shakers. The more modern strings, piano, and guitar are not as prevalent. Fuuta Blues is an album unique to Mauritania and the Francophone musical genre. It is steeped in traditional instrumentation and simple, catchy vocals. Liner notes are in English and French. Take a trip down the Senegal River with Boolumbal. ~ Matthew Forss
Fuuta Blues
Playasound
The border between Mauritania and Senegal is rich in history, music, and traditions. It is also home to Boolumbal band leader, singer, and guitarist, Malick Dia. Malick teamed up with French musician and producer of blues music in Paris, and in the process, created a stunning album of Senegal River blues. To be more exact, Fuuta Blues contains earthy tunes and vocals in the Pulaar language. Musically, there are resemblances to Guinea-Bissau's Bidinte, Mauritania's Daby Toure, Senegal's Vieux Diop, and Mali's most recognizable export--the late-Ali Farka Toure. There is a nice mix of traditional instruments, including the ngoni, kora, balafon, Peul flute, djembe, and shakers. The more modern strings, piano, and guitar are not as prevalent. Fuuta Blues is an album unique to Mauritania and the Francophone musical genre. It is steeped in traditional instrumentation and simple, catchy vocals. Liner notes are in English and French. Take a trip down the Senegal River with Boolumbal. ~ Matthew Forss
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