CD Review: Kuku's 'Ballads and Blasphemy'

Kuku
Ballads and Blasphemy
Buda Musique

Steeped in Yoruban traditions and Western arrangements, Kuku creates an engaging and thought-provoking mix of Afro-pop gold and roots music. The famous Tony Allen lends his talents on "Waya" and "Owo." The album revolves around Kuku's own agnosticism when it comes to religion, which is relatively pronounced here. Still, the melodies and rhythms are great and never boring. The sparkling guitar tones and heady percussion suggest West African influences with a little Afro-Latin action, too. Nevertheless, the album shines on all cylinders--even if you cannot understand the lyrics or song origins. "La Derniere Fois" is rather bluesy with languid vocals and steady percussion. Some of the songs are in English, but Kuku breaks language barriers here. This is another high-quality release from Buda Musique! ~ Matthew Forss

CD Review: Novalima's 'Planetario'

Novalima
Planetario
Wonderwheel Recordings

Afro-Peruvian musical connections have been Novalima's mainstay. Planetario is no exception, as the group continues to perform and preserve Afro-Peruvian and Afro-Colombian stylings, while maintaining a unique identity. The cumbia beat of "Beto Kele" represents a very earthy and infectious track with great percussion and vocals. The entrancing and addictive "Memekume" is more contemporary, but full of trippy elements and sporadic percussion. Novalima brings in artists as far away as the UK, Colombia, and Spain for a globetrotting, musical result that is anything but boring. If edgy, modern, and world-infused musical concoctions are what you seek, then Novalima's Planetario is a must-have. ~ Matthew Forss

CD Review: Monoswezi's 'Monoswezi Yanga'

Monoswezi
Monoswezi Yanga
Riverboat Records

Monoswezi is a group born out of several nations, including Mozambique, Norway, Sweden, and Zimbabwe. The instrumental backing is primarily due to the mbira--thumb piano. However, the mbira is accompanied by bass, marimba, sax, clarinet, percussion, guitar, harmonium, harmonica, and drums. Hope Masike and Calu Tsemane provide vocal accompaniment to many of the tunes. The sparkling and earth-laden mbira provides a dreamy and contemplative resonance that is very magical and seductive. The album borders on jazz, folk, roots, Afro, traditional, neo-classical, and experimental music genres. Scandinavia is normally a country positioned very far away from Zimbabwe. Thankfully, Monoswezi bridges the gap between the two world regions in one, cohesive offering titled: Monoswezi Yanga. ~ Matthew Forss

CD Review: Ntjam Rosie's 'The One'

Ntjam Rosie
The One
Gentle Daze Records

Cameroonian, Ntjam Rosie is clearly influenced by the subtle, electronic nuances of down-tempo, jazz, and laid-back pop with a European and African foundation. The vocals are relatively fluid and soft with poetic underpinnings and a slight urban presence. However, this is not a full-fledged hip hop or R&B compilation. Instead, Ntjam's musical concoctions flow from a diverse and multi-layered creativity that is very soothing and memorable. "The One" contains vocals that are very smooth, as well as on "Forever Love." Nevertheless, the entire album features a great mix of musical subtleties, such as the sparse, instrumentation akin to Rokia Traore's music. At times, the vocals imbue a sense of surrealism and utter beauty without adding redundant beats or loud guitars. Some of the supple tones and notes are due to some strings and piano sounds for a truly, world jazz mix. What is more, the vocals are very similar to Binki Shapiro's work with the electronic lo-fi group, Zero 7. Anyone seeking some light fanfare from Cameroon (via The Netherlands), then this is 'the one' for you. ~ Matthew Forss

CD Review: Selasee & Fafa Family's 'Time For Peace'

Selasee & Fafa Family
Time For Peace
Self-Release

Born in Ghana, Selasee & Fafa Family, create whirling rhythms of heady funk and reggae beats with a fusion of Bob Marley, Alpha Blondy, and Caribbean melodies that possess a pop background in a contemporary and somewhat urban setting. The music of West Africa is influenced by reggae music, but it is not as globally-prevalent as Afro-pop or blues music. The soulful vocals, bouncy drums, fluid bass, gritty guitars, sax and trumpet sounds, keyboard washes, and strings create a magnificent musical medley rich in history and highlife sensibilities, which grow out of the reggae and soul domain. Whatever it is called; it is something that should be shared with everyone you know as soon as possible. These African melodies and sounds are unparalleled. For a truly great musical journey, please make Time For Peace a staple in your listening library. ~ Matthew Forss

CD Review: The Afrorockerz's Self-Titled Release

The Afrorockerz
The Afrorockerz
Buda Musique

Paris-based and soon-to-be-world-known, The Afrorockerz, combine the elements of a West African night-club with the action-packed sound of Euro-jazz and American soul for a truly pleasant recording. The funky rhythms are spearheaded by vocalist, Allonymous and Emma Ladji, while Sylvain Daniel is in charge of bass, keyboards, and programming. Though, the brainchild of the album, Julien Jujju Raulet, is a master guitarist, percussionist, and drummer. The group includes the percussion talents of Frederic Jean, Maxime Zampiere, Eric Durand, and keyboard credits from Guillaume Poncelet. Some of the tunes are edgy and urban-esque, but not too dissimilar from typical West and Central African funk and jazz. The group's eerie keyboard sounds and pervasive beats that change direction without notice are all very attractive elements on the album. There are even a few rock guitar displays. Still, anyone into Afro-funk and jazz will love The Afrorockerz. ~ Matthew Forss

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: Euforquestra's 'Fire'

Euforquestra
Fire
Self-Release

Colorado-based Euforquestra bring us their fourth album, Fire, which infuses a bit of Afro-beat, dub, dance, and electronica wrapped around a funky, jazz-laden foundation. The funkadelic compositions are lively and boast a wealth of instrumental sounds, jazzy rhythms, and great vocals. The high-energy grooves and dance tunes are a world fusion masterpiece without any missteps. There are fourteen tracks in all. The groove-laden, "The Price Is Right," "Fire," and "Road Funk," showcases their ability to adapt to different sounds. However, everything is rooted in funk and smooth dance tunes with a lively keyboard element and deep percussion roots. The jazzy sounds cannot be ignored, too. At any rate, Euforquestra knows how to dance, inspire, and create moving tunes that will live on in our hearts (and feet). ~ Matthew Forss

CD Review: The Battle of Santiago's 'Followed By Thousands'

The Battle of Santiago
Followed By Thousands
MWPC Records

The Battle of Santiago is a Canadian band that incorporates jazz rhythms, Latin horns, and alternative contemporary musical leanings that span an entire continent or two. The music takes on an almost Afro-Cuban tone in places, but the diverse musical roots of Latin, hip hop, jazz, rock, dub, and experimental crop up throughout. The heady beats, rhythms, and melodies are very intriguing and contain a rather contemporary approach to instrumental music-making. However, fans of Latin beat, experimental Afro-Cuban concoctions, and urban new age will love Followed By Thousands no matter where they (or you) are from. ~ Matthew Forss

CD Review: Various Artists' 'Latin Noir'

Various Artists
Latin Noir
Piranha

Latin Noir is a Latin music gem with obscure rhythms, noises, and melodies originating from Argentina, Cuba, Colombia, USA, and Mediterranean regions. There is a mix of instrumental and vocal music. The vocal music is in English, Spanish, and French. The baker’s dozen album contains rich rhythms with lively percussion and melodies with Afro-Caribbean and indigenous cultural roots. Anyone familiar with Latin jazz, South American music, Caribbean, and Latin American music will love the tracks on Latin Noir. There are quieter tunes, but the music is generally upbeat. The breezy guitar work of “Dejame Me Que Te Lleve” is especially intriguing, along with the Cuban vocal delivery. There are tracks by Watcha Clan, Eddie Bobe, Chango Spasiuk, Alfredo Gutierrez, and many others. ~ Matthew Forss

CD Review: The Creole Choir of Cuba's 'Santiman'

The Creole Choir of Cuba
Santiman
Real World

The Creole Choir of Cuba is comprised of six women and four men that are accompaned by Cuban claves, congas, piano, trumpet, and flute. The mostly vocal group celebrates Caribbean history and culture from Haiti in particular. Songs are sung in Spanish and Haitian Creole, which add to the musical beauty of the album. Formed in Cuba with members of Haitian descent, The Creole Choir of Cuba is a world music gem with globetrotting experience. The fifteen tracks represent a vivid display of vocal prowess throughout. Santiman and The Creole Choir of Cuba is the Caribbean equivalent of Ladysmith Black Mambazo. The music is vocal, energetic, and refreshing. There are Afro-Caribbean elements, operatic moments, and lively instrumentation throughout. Santiman is worthwhile for fans of Caribbean vocal music and traditional tunes from Haiti or Cuba. ~ Matthew Forss  

CD Review: Bongos Ikwue & Double X's 'Wulu Wulu'

Bongos Ikwue & Double X

Wulu Wulu
Bik Records
 
Nigeria’s Bongos Ikwue personalizes African music and combines a mix of traditional Afro-pop rhythms with highlife, reggae, Congolese rumba, Afrobeat, soul, funk, jazz, and rock. The sauntering “Wulu Wulu” reflects a bluesy-soul rhythm with charming vocals. “Mustapha and Christopha” is a folk guitar song that describes the conflict between Christians and Muslims in Northern Nigeria. The sparkling guitar work, great vocals, and exceptional instrumentation make Wulu Wulu a rewarding album that is monumental, memorable, and organic. The pleasant melodies and inspirational tunes make the listener feel good. Moreover, the incredible variety of musical influences is not to be missed here. Fans of African popular music, Nigerian music, world fusion, and Afro-Caribbean music will love Bongos Ikwue and his band, Double X. ~ Matthew Forss

CD Review: Various Artists' 'Global Bass Vol. 3'

Various Artists
Global Bass Vol. 3
UrbanWorld

The global beats of electronic, bass-heavy, and dance music is introduced to us on the tracks gracing UrbanWorld's new release, Global Bass Vol. 3. The musical style is upbeat, funk-driven, and jazzy. There are African, South American, and European elements throughout. The Afro-funk and Afro-latin musical genres are well-represented, but there appears to be a good amount of world grooves from hard-to-describe locations or styles. Superpendejos, Silver Bullit, Los Chicos Altos, Idan K, Empresarios, Kosta Kostov, Rube, Systema Solar, and many others are represented here. This is an adventurous mix of instrumental and vocal music with a capacity to evoke danceable rhythms from urban sources. The music has substance, which is amplified with the multiple cultural influences and musical genres. However, the bass is a defining characteristic of the music--no matter where it originates. ~ Matthew Forss

CD Review: Mamadou and Vanessa's 'Faso Mali'

Mamadou and Vanessa
Faso Mali
Self-Release

Malian blues are captured on the latest release from the Malian-native and California-based, Mamadou Sidibe, and his wife, Vanessa. The fifteen track release contains richly-textured songs loaded with great instruments indicative of Mali's Wassoulou region, including kamale ngoni, keregne, kousouba, balafon, calabash, djembe, guitar, accordion, and bass. To give listeners an idea of what the songs are about, one need not look any further than the track two: "Ali Farka." Though, the music is not steeped in electric guitar throughout, but it does contain the bluesy lines that made him popular with the world. Vanessa's playful "Beautiful Thing" is an an English song with folksy accordion and Mamadou's Malian vocals. Many of the songs contain bright melodies and heady rhythms that are both traditional and contemporary. In short, this is the best recording of Malian music this side of Timbuktu...literally. ~ Matthew Forss

CD Review: Antioquia's 'Viajero'

Antioquia
Viajero
Self-Release

Colombian-born and Oakland, California-based, Antioquia [pron. an-tee-OH-kee-ah], brings us a rousing set of edgy, rock and folk songs inspired by Afro-Colombian psychedelica permeating throughout their new album, Viajero. The quasi-electronic, “Attack of the Killer Balafon,” is a pensive, slightly spacious song with meandering balafon sounds, lilting guitar notes, and special effects that signify more of a Saharan blues connection than South America. The jangly, jungle sounds of the highly percussive “Dibon,” are rich in South American flavor without the rock elements of a few other songs. The instrumental song is very short, but it serves as a nice break from longer songs and it shows their versatility with different sounds. “Kassa - Nisoro” follows the same musical style as “Dibon.” The beginning of “No Sleep Til Oakland” follows a similar vein, but an urban, hip hop sound takes over with a percussive-driven background. The slightly progressive tone of “Idaho” and “Sister” contain more guitar-driven song structures and wild vocals that stay grounded overall. Antioquia is a new voice in Neuvo Colombian music that is not afraid to cross borders, musical boundaries, and leave listeners reeling for more. ~ Matthew Forss 

CD Review: Imani Uzuri's 'The Gypsy Diaries'

Imani Uzuri
The Gypsy Diaries
Self-Release

The opening sitar sounds on the first track, 'Beautiful,' followed by the bluesy, gospel vocals of Imani Uzuri, offers a glimmer of what brilliant--and varied--delicacies are found on The Gypsy Diaries. The multi-influential work encompasses Indian, blues, gospel, Afro-pop, Eastern European, and East Asian elements that bring a sense of class, soul, and dignity to the world of music. The diverse vocals match the diverse instrumentation. The English vocals are a little lower in tone than Zero 7's earlier work. Still, the album features a good mix of melodies, instruments, rhythms, and Afro-pop magnificence for audiences of all ages and locations. This is world music at its best! ~ Matthew Forss

CD Review: Funkmasters Mamarazzi

Mamarazzi

Bewilderness

Independent Release

NY-based funkmasters, Mamarazzi, is a collective of Andrew Aprile on guitar, Sam Bathrick on percussion, Tacuma Bradley and Sam Franklin on tenor sax, Rob Cohen on keyboards, Tavi Fields as MC, Eric Herman on bass, and Jeremy Noller on drums. Little information is provided in the liner notes, but the music should speak for itself. In fact, the Ghanaian opener, "Sobobo", is a perfect funk-driven rhythm and beat. The urban rap beats on "8" and "Here We Go" contain equal moments of funk, jazz, lounge, Latin, and afro-beat. The instrumental sections are also varied and infectious. The downtempo beat of "Nu Dutch" is a jazzy number, while "Seeds" is a funky and lyrically poetic song of urban origins. The tropical rhythms of "Grapefruit" is appropriately titled and travels into a world of downtempo-meets-big band by the end of the song. The final song, "Gangster", is a vocal ballad with funky origins and loads of swagger. Bewilderness is not as mysterious as it first appears. With each listen, something new is revealed and it is always good. Fans of urban funk, tropical funk, and afro-beat may need to listen to Mamarazzi sooner than later. ~ Matthew Forss

CD Review: Kat Parra's Sephardic Songs

Kat Parra

Dos Amantes

JazzMa Records

Sephardic songstress, Kat Parra, brings us another fine set of songs with an Afro-Latin twist. Kat sings in multiple languages, including Ladino, Spanish, English, and Portuguese. The lyrics provided in the liner notes are mostly Spanish/Ladino and English. Each song is subtitled with a general music category for easy reference. These categories include rumba, afro-peruvian lando, sephardic world jazz, afro-latin, north african jazz, afro-cuban, and afro-caribbean. Consequently, the album's musical arrangements mimic the abovementioned musical cultures. However, Kat's musicianship still retains a unique sound with limited brass and string compositions and a mix of woodwinds, keyboards, bass, varied percussion, and drums. The romantic sounds of Kat's voice and the instruments appropriately encapsulates the true essence of Dos Amantes (Two Lovers). A classy release from a classy vocalist! ~ Matthew Forss