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: Gino Sitson's 'VoiStrings'

Gino Sitson
VoiStrings
Buda Musique

Gino Sitson, a Cameroonian-native, is a vocal acrobat with diverse vocal stylings indicative of jazz, Afro-soul, and European classicism. There are various body effects and miscellaneous vocal effects that produce a variety of sounds--all of them pleasant. The music is very laid-back, sweeping, and neo-classical with some African percussion and rhythm influences. Gino's vocals are accompanied by piano, double bass, drums, cello, and viola. There are two covers on the album, which include Faure's "Elegie Opus 24" and Herbie Hancock's "Maiden Voyage." Of course, Gino makes both tracks his own. There are fourteen original tracks. Fans of world jazz, African vocal music, neo-classical, and even South American bossa nova would relish the sounds on VoiStrings. ~ 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: Yom's 'Le Silence de L'Exode'

Yom
Le Silence de L'Exode
Buda Musique

Yom is a composer and clarinetist with a passion for making music inspired by the Old Testament's Book of Exodus describing the forty years of Jewish people wandering in the deserts of Egypt. The result is an album of plaintive, yet powerful sounds that evoke magical feelings of hope, love, and conquest. The music is rather laid-back and poignant with all of the music created by clarinet, cello, double bass, zarb, daf, and bendir. There are no vocals. The music is very cinematic in parts and aimless in others. The rather varied tones represent a mix of emotions and feelings in the listener. As a result, the tunes are not named in order for the listener to determine his or her own exodus journey. It is a rather consistent one-hour journey that is both nostalgic and refreshing. The instruments move about in dizzying ways at times, while other times the music is very dreamy. At any rate, anyone will find Yom to be an excellent guide for those seeking salvation in music from a heavenly source. ~ Matthew Forss

CD Review: Makan Badje Tounkara's 'Sodjan'

Makan Badje Tounkara
Sodjan
Buda Musique

Mali's Makan Badje Tounkara is a gifted composer, arranger, singer, and n'goni soloist. Makan is joined by bass n'goni, djembe drum, tama drum, fle gourd, krin scraper, and several vocalists. Nana Coulibaly, Gedon Diara, Adama Diabate, Fatoumata Kouyate, Modi Tounkara, Yakouba Sissoko, Djifili, Modibo Diabate, and Mamadou Tounkara round out the personnel. The lilting strings and plucked lutes combine with light percussion and energetic vocals to produce a very organic result. The n'goni is the star of the album. Having been popularized by Bassekou Kouyate and Ngoni Ba, the n'goni is a charming little instrument with aural sound qualities and raw outcome. The melodies are slightly blues-tinged, but Afro-folk melodies are the main concern here. There are a few wholly instrumental tunes, but vocals are presented on almost every track. Fans of Malian folk music should not leave this one behind. ~ Matthew Forss

CD Review: Mathieu Sourisseau & Etenesh Wassie

Mathieu Sourisseau & Etenesh Wassie

Belo Belo

Buda Musique

Ethiopia's Etenesh Wassie and France's Mathieu Sourisseau form a collaboration of mostly Ethiopian-derived songs and traditional musical structures. Mathieu's contribution is on acoustic bass, while Etenesh's contribution is her voice. Of course, guest musicians provide additional musical accompaniment on trumpet, guitar, bass, and cello. This is not a rock or modern recording. Instead, the traditional vocal tunes of Ethiopia are explored with various avant-garde instrumental accompaniment. The fusion, or avant-garde feel of the album rests on the vocal outbursts of Etenesh and the gritty or choppy guitar playing. In effect, Belo Belo is almost an Ethiopian grunge recording with some throat-singing thrown in on "Ende Matew Style." The mix of soft and heavy tones accurately displays the wide vocal and instrumental range. At any rate, the music encapsulates the charm of a French cafe with the charisma of an innovative performer transcending both time and generations. Liner notes are in French and English. ~ Matthew Forss