CD Review: Kimberly Haynes' 'Awaken Me'

Kimberly Haynes
Awaken Me
Wise Old Owl Recordings

California singer/songwriter, Kimberly Haynes, brings us eleven songs infused with delicate musical arrangements, graceful vocals, and spacious melodies on Awaken Me. Kimberly knows how to create beautiful songs with a soul. The music arouses new age leanings, world music fusions, Middle Eastern panache, and South Asian traditions for a truly unforgettable musical journey. The meditative opener and album title track, "Awaken Me," is a perfect introduction to the album, as it sets a steady tone amidst hang drum, frame drums, bass, bell, synth, and guitars. The Middle Eastern-influenced tune, "The Dreams," adds a more upbeat element with strings, guitars, and a gopichand. "The Light Of My Soul" strengthens Kimberly's pop presence with light percussion, fluid bass-lines, and excellent vocals throughout. The contemporary edge is rather reduced overall, but some songs are more pronounced and melodic. Kimberly's voice is akin to Canada's Susan Aglukark, but Donna De Lory and Natalie Merchant are similar influences, too. Awaken Me will cause everyone to wake up and listen to a small portion of beautiful music contained in this world. Let Kimberly be your guide to open that world for you! ~ Matthew Forss  

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: Brooklyn Gypsies' 'Sin Fronteras'

Brooklyn Gypsies
Sin Fronteras
Wonderwheel Recordings

The diverse sounds of Brooklyn's streets and neighborhoods have never been highlighted like this before. There are urban stylings, flamenco sounds, North African music, Middle Eastern melodies, and of course, gypsy elements. The result is a rather modern recording incorporating the talents of Carmen Estevez, Takuya Nakamura, Tina Kristina, Brandon Lewis, Troy Simms, and Zeb. With songs rich in Spanish, English, and even Russian vocals, you know this is going to be an interesting recording. If gypsy music originated in Brooklyn, Sin Fronteras would be the end result. There are dancehall, reggae, dub, electronica, and Arabic influences that add authenticity and depth. The syncopated beats, modern Middle Eastern infusions, and brass textures gives new meaning to the term gypsy music. Ten great tracks comprise the album. Brooklyn Gypsies know how to make music. ~ Matthew Forss

CD Review: Artem Uzunov's 'Let's Do It - Darbuka Stories'

Artem Uzunov
Let's Do It - Darbuka Stories
Sketis Music

This is a percussionist's dream. Artem Uzunov brings out the best of percussion utilizing a host of instruments in his repertoire, including the darbuka, dhol, cajon, dohola, bendir, riq, sagats, duduk, brazilian percussion, and guitar. There are twenty-one tracks with heart-pounding, bellydance-moving, and toe-tapping compositions that are primarily instrumental with only a few indiscriminate vocals thrown in. Each song is typically three to four-minutes long. The combination of darbuka and assorted instruments provides a more complex and deep rhythm section that is never boring or dull.  Some tunes are more involved musically than others, but that doesn't make the others less important. Fans of darbuka percussion, Arabic music, Middle Eastern music, and instrumental tunes will love Artem Uzunov's latest release. ~ Matthew Forss

CD Review: Atlas Maior's Double Release 'Palindrome'

Atlas Maior
Palindrome [2-CD]
Self-Release

Texas-based, world music fusion group, Atlas Maior, releases a double-album, Palindrome, which an improvisatinoal journey on the wilder side of fusion. The band is comprised of Charlie Lockwood on oud, Joshua Thomson on alto sax and flute, and Ted Camat on percussion. The result is very complex, yet laid-back release, with loads of aural textures that weave in and out of consciousness. The entrancing release arouses North African, Middle Eastern, European, and North American musical elements on the jazz, avant-garde, and new age sides of the spectrum. There are fourteen tracks in all with names as diverse as the song elements, such as "ouduo," "Booted and Looted," "Half-pipe Blowhole," and "oodaqq." The instrumental release is perfect for fans of adventurous world music. ~ Matthew Forss

CD Review: Olcay Bayir's 'Neva/Harmony'

Olcay Bayir
Neva/Harmony
Riverboat Records

Olcay Bayir hails from Turkey, but she currently lives in London, where the sounds of the world seem to congregate with such ease. Olcay knows how to channel this world music of sorts in her own recording of Turkish, Anatolian, Mediterranean, and Middle Eastern-influenced music. There is an element of jazz and neo-classical, which permeates throughout the yearning tracks. The music is ripe with folk elements and evocative vocal deliveries, which present listeners with an amazing listening experience. Olcay also incorporates traditional folk songs from Albanian, Armenian, Balkan, and Sephardic sources for a truly world fusion result. However, Olcay is well-centered with a creative vision that transcends space, time, and place. The music is made possible by the baglama, classical guitar, violin, darbuka, clarinet, bass, kopuz, and numerous other instruments. There are nine tracks in all that run about forty-eight-minutes long. There is an overall nostalgic romanticism with the music that is extremely enchanting and well-worth repeated listens. Hooray for Olcay! ~ Matthew Forss

CD Review: The Toure-Raichel Collective's 'The Paris Sessions'

The Toure-Raichel Collective
The Paris Sessions
Cumbancha

As a follow-up to their 2012 The Tel Aviv Sessions, The Paris Sessions continues to bridge the musical worlds of Israel and Mali together. The collective is Vieux Farka Toure and Idan Raichel. Vieux Farka Toure is the son of the late-Ali Farka Toure, and one of Ali's best guitar jams, "Diaraby," is included. Most of the songs are instrumental jams that are jazz and African-influenced. The collective is joined by musicians, Niv Toar, Daby Toure, Abdourhamane Salaha, Seckouba Diabate, Eyal Sela, and Dialimory Sissoko. The piano adds a plaintive touch to the music, which is not necessarily a bad thing. The vocals are not too showy or overdone. In fact, the entire production is quite poignant, mature, and timeless. The music was recorded in France over Mali, due to the societal/political instability. At any rate, the result is a fantastic overview of Israeli and Malian tunes coming together in a sort of fusion that works. ~ Matthew Forss

CD Review: Ayelet Rose Gottlieb's 'Roadsides'

Ayelet Rose Gottlieb
Roadsides
Arogole Music

Born in Jerusalem, Ayelet Rose Gottlieb brings us a magical and historical release of Hebrew songs with some Palestinian vocals, a jazzy repertoire, and avant garde set-up that is both relaxing and innovative. The sauntering songs are loaded with jazzy effects, but the music is a kind of fusion that is born out of Middle Eastern, Arabic, and Ladino musical styles. The music is very dreamy, contemplative, and authentic. Ayelet's vocals are inspirational, playful, and mature. The music is sometimes giddy, too. Overall, the album is so diverse and varied that it is difficult to categorize it in one word. Anyone interested in Middle Eastern, Arabic, flamenco, Ladino, folk, roots, world fusion, avant garde, and world jazz will love Roadsides. ~ Matthew Forss

CD Review: Bio Ritmo's 'Puerta Del Sur'

Bio Ritmo
Puerta Del Sur
Vampisoul

Afro-Cuban salsa from Virginia? You bet. The guys of Bio Ritmo create foot-stompin' and head-bobbin' melodies ripe with salsa elements, vintage melodies, gritty guitars, punchy horns, and funky-experimental songs that are multinational and multi-faceted. There are glittering keyboard arrangements, down-and-dirty percussive set-ups, and fluid bass-lines. The last track, "Codeina," is more of a classical tune with strings at the beginning of the song, which then fade to make way for a Middle Eastern percussive section and vocal arrangements of a similar vein with a bit of electronica and jazz thrown in for fun. At any rate, the Latin groove, contemporary arrangements, and psych-funk-jazz concoctions are very enjoyable and a perfect companion for anyone seeking inventive and creative Afro-Cuban music with a few variations and influences. ~ Matthew Forss

CD Review: Painted Caves' Self-Titled Arab-American Release

Painted Caves
Painted Caves
Primitive Records

Milwaukee, Wisconsin-based, Painted Caves, presents us with an exciting Arab-American release of guitar fusion and world music on their self-titled release. The group is headed by Ali Lubbad on vocals, guitars, trap set, and Arabic percussion, while Mike Kashou plays the oud, bass, percussion, trumpet, piano, and adds background vocals. There are also other musicians on Native American flute, qanun, congas, didgeridoo, and conch shells. Anyone familiar with Wisconsin music will be familiar with the great Paul Cebar on backup vocals. There is an emotive fusion of instruments that come together to form interesting unions that seem to work just fine. The instrumental arrangements possess a little psych/experimental sound indicative of music from the 1970's in parts of the Middle East and South Asia. The tracks are named as cleverly as anything by Dengue Fever, which provides some influence here; especially on "The Behavior Of A Certain Snake," "Paper Tigers," "Man Is Coy Behind Animal Tears," and "Morse Code." Anyone interested in various traditional instruments played in a contemporary setting will love it. Painted Caves emerges as a great work of art! ~ Matthew Forss

CD Review: Various Artists' 'globalFEST Selector'

Various Artists
globalFEST Selector
Magenta

globalFEST is a not-for-profit organization that promotes world music from around the globe that is marked by a music festival every January in New York City. The thirteen-track release covers the gamut of musical styles--ranging from electronica, Middle Eastern dance, African blues, and beyond. The album is quite contemporary, but still retains an ethnic charm full of lively instrumentation that is traditional. The North African trance music of Hassan Hakmoun is evident on the first track, "Balilli." Brooklyn Qawwali Party brings the late-Nusrat Fateh Ali Khan's music to life, instrumentally speaking with a side of jazz, on "Sochan Dongian." Kailash Kher brings us a South Asian-tinged concoction of swirling electronica elements on "Rang Rang Ma." Other great tracks are included, such as "El Madi" from Noura Mint Seymali, "Khadadaa" by Namgar, and "San Kuily" by Alif Naaba. There are thirteen different artists presented here. Twelve of the tracks are previously unreleased, but the result is far from ho-hum. Every track is diverse, upbeat, and catchy. Great stuff! ~ Matthew Forss

CD Review: Atash's 'Everything Is Music'

Atash
Everything Is Music
Ars Mundi

Everything Is Music is titled from a poem by Rumi, a Sufi poet of the 13th century, which combines swirling, Middle Eastern rhythms with hypnotic flamenco, Indian, and Mediterranean influences. The mature vocals are not too boisterous and very akin to Cheb Khaled. The band is spearheaded by Mohammad Firoozi Dashtestani, who hails from Iran. The Farsi singer aids the help of fellow musicians, Roberto Riggio on violin; Dylan Jones on bass; Abou Sylla on balafon, djembe, and conga; Jose Manuel Tejeda on acoustic guitar; Jason McKenzie on drums and tabla; John Moon on violin; and Indrajit Banerjee on sitar. The nine tracks are a global goldmine of infectious sounds and world rhythms. The Austin, Texas-based band finds no trouble getting their music across to the local crowds, as well as an international audience. The music cuts through borders and beliefs by creating organic, yet accessible, music tunes. Rumi would be proud! ~ Matthew Forss

CD Review: Amanda Homi's 'Till I Reach Bombay'

Amanda Homi
Till I Reach Bombay
Self-Release

London-born and New York-based, Amanda Homi's Indian descent and world travels shines through on her latest release, Till I Reach Bombay. The danceable elements of "Dancing Girls" is very fitting and addictive. The classy pop-infused "Samba Feliz" brings to life a tropical and Latin medley. The upbeat "Shoes" is a marvelous and quirky Latin-themed composition with comedic lyrics. The South Asian-infused, "Till I Reach Bombay," is a dance-themed track with contemporary elements. There are Latin, Middle Eastern, Central Asian, and Mediterranean elements throughout. Vocally, Amanda has an operatic side, but there are plenty of pop, dance, and neo-classical components. Nothing is awry here. ~ Matthew Forss

CD Review: Mehmet Sanlikol's 'whatsnext?'

Mehmet Sanlikol
whatsnext?
Dunya

Hailing from Turkey and based on the East Coast of the U.S.A., Mehmet Sanlikol takes a cinematic side of jazz-inspired, lounge tunes with lively trombone, trumpet, sax, piano, bass, drums, and Central Asian/Middle Eastern percussion. The instrumental tracks are long, varied, and very moving. The edgy percussion, horns, and dramatic overtones resemble the suspenseful spy film soundtracks of the 1970's. The album contains nine diverse tracks with varying degrees of jazzy ambiances that possess avant-garde nuances and swishy, percussion-heavy interludes punctuated by punchy horn-driven arrangements. The swirling melodies and rhythms are energetic and engaging without a lack of direction and substance. All of the tracks are instrumental in form. The jazz-noir melodies are poignant and creative without negative side effects. Anyone with an interest in instrumental jazz and Turkish fusion will love Mehmet's compositions. The entire album is dedicated to Aydin Esen. ~ Matthew Forss

CD Review: Anna Hoffman & Romancero Sefardi's 'Juego de Siempre'

Anna Hoffman & Romancero Sefardi
Juego de Siempre
Sketis Music

Sung in Ladino, the language of Sephardic Jews, Anna Hoffman & Romancero Sefardi bring us a dozen sensual and emotive tracks with vibrant voice, percussion, and other assorted instrumentation. Anna is the vocalist, but she is joined by a plethora of instrumentalists skilled on guitars, kalimba, table, oud, saz, buzuki, sax, trumpet, tabla, santur, daff, riqq, udu, violin, rabab, and others. The musical repertoire is slow, sauntering, and utterly provocative for the senses. The melody and rhythm is chiefly Sephardic with Mediterranean and Middle Eastern elements abounding. The emotive vocal delivery, jazzy horns, and meandering percussion and strings makes it an ideal album for fans of Sephardic, Jewish, Spanish, and Middle Eastern music. Anna's voice is timeless. The time is now to hear it. ~ Matthew Forss

CD Review: Mr. Ho's Orchestrotica's 'Where Here Meets There'

Mr. Ho's Orchestrotica
Where Here Meets There
Self-Release

American-based and globally-derived, Mr. Ho's Orchestrotica brings us a chilling romp through world jazz, chamber music, Middle Eastern percussion, and classical music with an instrumental ability that almost rivals the works of Gershwin, Bach, Tjader, and Gillespie. Actually, those greats have music on here, but Mr. Ho's Orchestrotica reinvents various preludes, songs, and dances with a contemporary spin. Musicians Brian O'Neill, Geni Skendo, Shane Shanahan, Jason Davis, Tev Stevig, and Noriko Terada provide a wealth of instrumental accompaniment. The final result is intriguing, but not overdone in any way. The glistening vibraphone melodies, Arabic percussion, fluid flutes, and various overdubs make Where Here Meets There absolutely amazing no matter where you are. Fans of global jazz, instrumental music, classical, percussion, dance, and easy listening will find Mr. Ho's Orchestratotica very enthralling. ~ Matthew Forss

CD Review: Hewar's 'Letters To A Homeland'

Hewar
Letters To A Homeland
Dreyer Gaido

Syria's Hewar combines traditional Middle Eastern music with scat singing, opera, classical music, and jazz, which resound with joy and talent. "Hewar," which means "dialogue" in Arabic is a fitting title for music that brings people together no matter where they live. The group brings Armenia's Jivan Gasparyan to the forefront, along with special guest, Andreas Mueller on double bass. The group is primarily comprised of Kinan Azmeh on clarinet, Dima Orsho on vocals, and Issam Rafea on oud and vocals. The album was recorded live at Morgenland Festival Osnabrueck on October 7th, 2011. The nine tracks represent a plethora of musical achievements that are definitely worth listening and sharing with others. Anyone familiar with classical, operatic, jazzy, and Middle Eastern tunes will love the vocal stylings and instrumental arrangements on Hewar's latest release. ~ Matthew Forss 

CD Review: Salaam's 'Train To Basra...And Other Stories'

Salaam
Train To Basra...And Other Stories
Self-Release

With ties to American blues and Iraqi folk music, you know this is going to be a good one. Salaam is spearheaded by musician, lyricist, violinist, viola player, oud player, joza player, Dena El Saffar. She is backed by a splendid array of musicians, including Tim Moore on dumbek, tupan, and riqq; Amir El Saffar on trumpet; Lety El Naggar on ney and sax; Stephen Harms on bass; Sam Finley on guitars; Svetla Vladeva on accordion; and a few others. The result is a richly-textured work that includes Central Asian, Middle Eastern, and North African roots. There are even liner notes describing the song background. Vocals are not present on this album, but the instrumental arrangements intermingle and literally speak volumes. Twelve moving tracks round out the album. Fans of Iraqi music, instrumental Arabic music, Middle Eastern music, and percussion music will find it deeply satisfying. ~ Matthew Forss

CD Review: ArHai's 'Eastern Roads'

ArHai
Eastern Roads
Balkanworlds Records

ArHai began with Jovana Backovic, a vocalist, keyboardist, and programmer from Serbia. Her bandmate, Adrian Lever, is a tambura player, guitarist, pianist, and double bass player on the album. The duo enlist the help of additional instrumentalists, including tabla, percussion, electric bass, and vocals. The music is folktronic with a good amount of world fusion ranging from South Asian to Scandinavian influences, but Middle Eastern and Mediterranean regions are not too distant either. The background vocals on some tracks are reminiscent of Enigma-type tracks. However, this is not a dance album. Still, there are some 'danceable' tracks that are very moving. If contemporary folk music is what you are after, then ArHai serves it up deliciously. ~ Matthew Forss

CD Review: Syriana's 'The Road To Damascus'

Syriana
The Road To Damascus
Real World

Syriana is a group headed by Nick "Dubulah" Page with songs written by Abdullah Chhadeh, Bernard O'Neill, and Nick "Dubulah" Page. The album is not to be confused with the 2005 film Syriana. Instead, The Road To Damascus paints a colorful picture of lush Middle Eastern melodies, rhythms, and instrumentation. For example, the oud, qanun, double bass, guitars, piano, keyboards, percussion, and a few vocals round out the musical repertoire. The violins are added by the Pan Arab Strings of Damascus. The album is mostly instrumental, which allows the tracks to shine beyond borders. The thirteen tracks do contain some cinematic tendencies, but the majority of songs are steeped in roots, folk, and classical music. Fans of Middle Eastern music will love the sultry nuances of Syriana's music. ~ Matthew Forss