CD Review: Dexter Johnson & Le Super Star De Dakar's 'Live a l'Etoile'

Dexter Johnson & Le Super Star De Dakar
Live a l'Etoile
Teranga Beat

Nigerian-born with ties to Dakar, Senegal via Bamako, Mali, Dexter Johnson & Le Super Star De Dakar, was a talented performer on saxophone. The Afro-Cuban jazz concoctions are steeped in sax, percussion, and rollicking good riffs, licks, and chords. The giddy guitars are somewhat Congolese-related, but the music is inherently West African with a good dose of North American jazz similarities. There are thirteen tracks that span Dexter's playlist from the early 50's and 60's style of jazz to Afro-Cuban classics and boogaloo compositions. Anyone familiar with Dexter's work should obtain this recording. It was the last recorded performance before their departure to Abidjan, Ivory Coast in 1969. There are a few singers, including John Gomis and William & Maissa Ngom, which add a good level of diversity to the tracks. This is primarily an Afro-jazz recording, so if you are seeking traditional West African music, you should look elsewhere. Overall, Dexter hits some high notes here with nothing to complain about. ~ Matthew Forss

CD Review: Zansa's 'Djansa' From Ivory Coast, Africa

Zansa
Djansa
Self-Release

The Afrobeat leanings of Zansa stem from the Ivory Coast influences on Adama Dembele's compositions and arrangements. The music is highly contemporary with guitars, drums, bass, keyboard, and vocals in Bambara, French, English, and Baoule. The West African elements are not only represented by the Afro-jazz leanings, but also from the indigenous instruments, including the djembe, congas, shekere, sangban, dundun, kinkine, kanye ka, tama, kola nut shaker, bell, as well as various electric strings to keep it interesting. The heady rhythms are diverse, richly-textured, and always moving. The dance beats are organic and steeped in African traditions and culture. Zansa is Adama Dembele, Casey Dean, Patrick Fitzsimons, Sean Mason, Ryan Reardon, Matt Williams, and a host of guest musicians. The dozen song track-list is great for percussion fans, as well as contemporary Ivory Coast music fans. ~ Matthew Forss

CD Review: Ivan Mazuze's 'Ndzuti'

Ivan Mazuze
Ndzuti
Etnisk Musikklubb

Mozambique's Ivan Mazuze is a saxophonist and composer with an academic expertise in ethnomusicology and jazzy performance side that shines throughout his latest release, Ndzuti, which means "shadow" in the ancient language of Xichangana in southern Mozambique. Ivan's jazzy repertoire contains a little Congolese and Cape Verde guitar work, Afro-Jazz leanings, and Norwegian heritage on the piano. Manou Gallo, from Ivory Coast, offers her singing talents, alongside Mali's Sidiki Camara on percussion and Cuba's Omar Sosa on piano. The light melodies, jazzy grooves, and African ambiance is plentiful and spirited. Fans of world jazz, Mozambique music, Afro-Jazz, Afro-Cuban music, and instrumental delights will find happiness in the sounds and vibes of Ivan Mazuze and his group ~ Matthew Forss

CD Review: Aly Keita's 'Farafinko'

Aly Keita
Farafinko
Contre-Jour

Hailing from the Ivory Coast, Aly Keita is a professionally-trained balafonist steeped in the ancient Mande traditions of West Africa. Ten tracks feature solo balafon music that is sure to excite the instrumental fan in all of us. The music is entirely void of vocals, which makes it a beautiful recording of balafon bounty. Fellow balafonist, Keletigui Diabate joins Aly on "Lafia." The lack of vocals provides a perfect backdrop for playing along or listening. Nearly forty-minutes of music provides a celebratory gateway into the world of African balafon music. Liner notes provide song details and inspirations. Perfect for African music fans, balafon fans, and West African aficionados of traditional, instrumental music. ~ Matthew Forss

CD Review: Fely Tchaco's 'Maturite'

FelyTchaco

Maturite
Fely Productions

A native of Ivory Coast, Fely Tchaco creates catchy, pop-driven songs in English, French, and Gouro languages. The relatively contemporary approach still retains a sense of traditionalism, especially on “Goba.” The piano comes out on “Woui le m’En fe,” and a danceable tune, “En Louh,” stands out. Global and local issues surround the content of the songs. The Afro-pop focused “Si J’avais des Ailes” is golden. The dance track, “America Land of Hope” is a nod at the social and political accomplishments of American history. The lyrically and rhythmically-centered songs are especially uplifting and relevant. Fely’s French influence is prevalent, yet distinctly African at the same time. Fely’s voice is superb and a beacon of light for the people of Ivory Coast and all of Africa. French and English song summaries are included in the liner notes. ~ Matthew Forss

CD Review: Kouame Sereba & Erik Wollo's 'Bako'

Kouame Sereba & Erik Wollo

Bako

Etnisk Musikklubb

The Norwegian-based, Ivory Coast singer, Kouame Sereba, continues his unique ambient afro-beat style of music on Bako (The Travel). The electronic accompaniment and guitar work from Erik Wollo adds a more contemporary feel to the album as a whole. Keep in mind the music is not trance or techno. It is not rock either. The contemporary sound is more indicative of Sa Dingding's Harmony (Wrasse, 2010) or Huun Huur Tu's Eternal (Electrofone Music, 2009). The modern beat of "Ha Yah" and "Kilimanjaro 2" reflect some of the Real World label productions in scope. Even though the musicians are based in Norway, the music of Norway is virtually nonexistent on this mostly African music release. Of course, it still contains the electronic blurbs, catchy melodies, and percussion familiar to most Europeans, North Americans, and Africans. The more solemn "Koloyni" and "Mameri" represent a softer side. Nevertheless, Bako is an excellent journey of modern instrumentation and traditional vocals that bridge together continents and one another with amazing results. ~ Matthew Forss

CD Review: Abdoulaye Traore & Mohamed Diaby's 'Debademba'

Abdoulaye Traore & Mohamed Diaby

Debademba

Chapa Blues

The France-based duo of Burkina Faso-native and guitarist Abdoulaye Traore with Ivory Coast-singer Mohamed Diaby present Debademba (Big Family) as an astounding release of African blues, fusion, Andalusian rhythms, and Afro-Latin influences. The duo is joined by other singers, including Awa and Fatou Diawarra. The fusion-rhythms of "Agnakamina" seems to include some slight South Asian moods, while the fast percussion and fluid flutes on "Ma cherie" display the virtuosity of the performers. The cheery, blues-driven "Toulamanga" and "Loundotemena" evoke the spirit of Ali Farka Toure and other names in West African guitar music. "Kiefali (Guerrier)" is a classic, folksy and bluesy kind of song perfect for listening to on a road trip in a Land Rover from point A to point B. The final song, "Thomas Sankara", is a salsa-type tune named after the former revolutionary and president of Burkina Faso of the same name. Though mostly instrumentally-driven, Debademba is still vocally strong and an enjoyable listening experience. Fans of Afro-Latin music, salsa, guitar, blues, folk, fusion, and Afro-Franco projects should include Traore & Diaby in their music library. ~ Matthew Forss

CD Review: Ballake Sissoko and Vincent Segal

Ballake Sissoko and Vincent Segal

Chamber Music

Six Degrees

Mali's kora player, Ballake Sissoko joins forces with France's cellist, Vincent Segal, for a candid, instrumental journey between two compatible instruments. The mood of Chamber Music is one of relaxation, peace, and contemplation. The instrumentation is primarily composed of kora and cello, but the balafon, ngoni, and bolon also make an appearance. The only vocal track is sung by Ivory Coast's Awa Sanagho, whose sound beckons the sincerity of Rokia Traore or the heartiness of Oumou Sangare. The absence of keyboards, guitars, and drums provides an intimate backdrop to the heart and soul of the music. For instance, the songs are tightly connected to strings, physically and figuratively, which tie the music together in a fun and interesting interplay. Furthermore, all of the songs are composed by Ballake or Vincent, which preserve the natural and creative integrity of the music without resulting in a slew of rehashed hits or cheap and easy songs. This is classy music for everyone! ~ Matthew Forss

CD Review: Ekow Alabi - 'Going For Gold'

Ekow Alabi

Going For Gold

Piranha

Ghana's Ekow Alabi is joined by a plethora of backing musicians on vocals, horns, guitars, flute, kalimba, keyboards, organ, and others. Going For Gold is essentially an Afro-pop release with contributing musicians from Nigeria, Ivory Coast, and Kenya. All of the songs feature vocals. A few tracks, notably 'Oye Kor', 'Accra Jumping', and 'Asante Sana', include great rap lyrics. However, Going For Gold is not particularly a rap or hip hop album. In addition to Afro-pop and Afro-beat, Going For Gold touches on a few reggae-infused tracks, including 'Wonsa Beka' and 'Rasta Efutu'. Most of the songs are sung in Akan, Ga, Swahili, and English. The complex instrumentation and expert lyrical delivery presents listeners with a very good musical package. Ekow Alabi's latest release is good as 'gold' to all who listen. ~ Matthew Forss