CD Review: Lorraine Klaasen's 'Nouvelle Journee'

Lorraine Klaasen
Nouvelle Journee
Justin Time Records

Hailing from South Africa, Lorraine Klaasen releases a new album of South African music, aptly-titled, Nouvelle Journee. The vibrant album artwork is only the beginning. The music is equally vibrant and rich in musical textures, harmonies, and instrumental arrangements. Lorraine's commanding vocal tone is melodic. The instrumentation is nothing short of amazing, as the accordion, bass, guitars, percussion, piano, and organ provide a slew of catchy arrangements. The rippling guitars on "Ke Tshepile Bafatsi," showcase Latin and Congolese influences. The R&B influences are not forgotten either, as "Home Sweet Home" conjures up images of Southern blues, gospel, and jazz. Though, upbeat music is Lorraine's specialty. Nouvelle Journee is a very classic, and contemporary album that touches the human spirit with a legendary and unforgettable voice. ~ Matthew Forss    

CD Review: Various Artists' 'Mozambique'

Various Artists
Mozambique
Wired For Sound

The compilation of musicians from Mozambique is a great release that showcases various musical styles that are both contemporary and infectious. The pop connotations are evident, but there is also a good degree of blues, soukous, zouk, and Afro-pop arrangements and influences. Over a dozen fresh artists contribute to this new release funded by the Open Society Initiative for Southern Africa (OSISA). You will hear Million Isaac Junior, Marcelino Banda Mpombeza, Alfredo, Harry Potter (yes, a band), Minesterio Evanjelico De Mbonje, Chaisoni Bicaus Bandeira, Atija, and many others. The music incorporates Congolese rhythms, Portuguese influences, and Mozambique melodies that are very vibrant and memorable. Seventeen different tracks represent a hearty mix of easy listening and toe-tapping responses. Nothing is a miss here. ~ Matthew Forss

CD Review: Kheswa & Her Martians' 'Meadowlands, Stolen Jazz'

Kheswa & Her Martians
Meadowlands, Stolen Jazz
Xippi

Kheswa & Her Martians bring us a writhing mix of South African jazz grooves abundant with piano, guitar, trumpet, sax, bass, drums, and some vocals. The opener, "Tshona," is an instrumental delight with giddy grooves, punchy sax, and classic piano chords matched with swishy percussion and South African charm. "Ntyilo Ntyilo" is a classic jazz song with great vocals and a bouncing piano melody that sparkles with post-Apartheid soul. "Malaika" is a popular song throughout Africa with many covers done over the years by many different artists. This tune is slow, classic, and jazzy with little instrumentation. "Simon" is a richly-textured with up-beat, jazzy rhythms. Vocally, Kheswa is akin to Benin's Angelique Kidjo. The entire album was recorded live at Joe's Pub in New York City on July 14, 2013. Fans of South African jazz, world jazz, and African music in general will love Kheswa & Her Martians. ~ Matthew Forss 

CD Review: Various Artists' 'Marula's Shade'

Various Artists
Marula's Shade
TRIAD

TRIAD Trust is an educational outreach program revolving around HIV education programs. Marula's Shade brings together a variety of South African singers and musicians proclaiming the plight of HIV and hope for the survivors. The music troupe represents a local compilation of artists with contemporary pop, rock, down-tempo, jazz, and urban hip-hop elements. As a way to activate the youth, music bridges gaps between social and economic contrasts. TRIAD Trust provides a great musical foundation of eighteen different songs that are highly enthralling, catchy, and provocative. Almost no genre is left out here, but there is a positive voice of hope, struggle, and love. South Africa's vocal traditions are known worldwide and Marula's Shade continues in that vein. Some songs contain spoken word elements, while others are clearly intelligent Afro-pop anthems, such as "Money For Love." Fans of motivational music, jazz, pop, dance, urban, rap, hip-hop, spoken word, and social activism will find Marula's Shade most appealing. ~ Matthew Forss 

CD Review: Wouter Kellerman's 'Mzansi'

Wouter Kellerman
Mzansi
Kellerman Music

Hailing from South Africa, Wouter Kellerman is a flautist with an ear for European and African melodies and rhythms. There are a variety of languages and vocal arrangements. For instance, there are reggae-fused vocals, backup vocals, scat singing, and others. The popular African song, "Malaika," is covered here in Swahili. Basic Afro-pop instrumentation is all here, but the songs possess a multicultural vein truly is "African and otherwise...," according to Wouter Kellerman. There are lush melodies, airy flutes, pensive piano, heady percussion, and world fusion sounds that awaken the spirit and lift the feet. With a diverse musical background, guest musicians from different countries, and a wide variety of instruments, Mzansi is a world fusion feast for the ears. Anyone with an interest in world jazz, African music, world fusion, instrumental, and rhythmic, musical wanderings will love Mzansi. ~ Matthew Forss

Music Review: Matt Rod's 'Rubix EP'

Matt Rod
Rubix EP
Self-Release

The South African-native and California-based singer, guitarist, and songwriter, Matt Rod, releases a set of four singles with different melodies, styles, and influences. However, Matt's primary influence tends to incorporate dance music elements, especially on "I'm No Lady" and "Someone To Hold My Hand." "Someone To Hold My Hand" features the gentle guitar opening and airy vocals indicative of Jack Johnson or John Mayer. The music features Mario Jose. The breezy melody is infectious and soulful. The dance-friendly, "I'm No Lady," features the vocals of Christina Brehm and Vice V for a truly upbeat concoction of catchy vocals and melodies rich with sonic textures of keyboards and other electronic devices. "Days Of Our Youth" features the hip hop vocals of Vice V and a sweeping melody that is refreshing and contemporary. "Like A Record" features the vocals of Hannah Juliano. The music is more pop/rock than dance overall. The folksy vocals and classic rhythms incorporate drums, bass, and guitars. The vocals are reminiscent of Carrie Underwood, but they are a little more mature and rock-centered. Overall, this is a fine set of singles that reflect a wide range of contemporary styles. ~ Matthew Forss

Johnny Clegg - Edmonton Folk Music Festival 2012

Johnny Clegg, a photo by raise my voice on Flickr.

I am so glad I was able to catch some of Johnnny Clegg's show at the Edmonton Folk Music Festival on August 12.

Clegg is a powerhouse of singer/songwriter music that infuses traditional Zulu language and African sounds into music that has a message. His incredibly physical performance had the audience waving their hands and dancing along.

Clegg was one of the most politically-charged performers of the weekend and represented the spirit of what a folk festival is all about.

Ladysmith Black Mambazo - Edmonton Folk Music Festival 2012

Ladysmith Black Mambazo, a photo by raise my voice on Flickr.

I know people who came to the 2012 Edmonton Folk Music Festival just to see Ladysmith Black Mambazo. Seeing this incredible band from South Africa that has been around for over 50 years was one of the weekend's highlights for me as well.

Performing in their native Zulu language, the music penetrated the hill at Stage 3 with energy, accented by the group's dance moves. Truly unforgettable.

CD Review: Mikea's 'Taholy'

Mikea
Taholy
Contre-Jour

Mikea is Theo Rakotovao from Madagascar. Mikea plays the kabosy, which is a box-shaped, wooden guitar with four to six strings. The kabosy is a more rustic version of an acoustic guitar. Still, the melodies and notes are remarkable. Taholy is inspired by the blues traditions of southern Madagascar. The result is a beautifully-produced album of ear-friendly tunes and tones that possess charm, nostalgia, and island reminiscence. The kabosy is accompanied with bass, percussion, flute, and maracas. Mikea is aided by some back-up vocals on a few tracks. The ambulating rhythms are more traditional than Tarika, but not unlike Rajery. The vocal interplay is reminiscent of South African zulu music. Mikea's voice and guitar interplay are quite similar to Australia's Gurrumul, too. Overall, Mikea soars high above expectations with Taholy. If you are interested in the string and vocal music of contemporary Madagascar society, then look no further. ~ Matthew Forss

CD Review: Witch's 'Introduction' Is Not So Scary

Witch

Introduction

Normal Records

Witch was a psych-rock music group from Zambia. Their songs from the first record in 1973 are released here. The psychedelic-driven songs contain equal parts of funk, blues, and folk. However, Introduction is a window into the Zambian rock music movement of the 1970's. The classic tunes are sung in English, but the underground tone is purely African. The tongue-and-cheek title track that introduces the band members and instruments with a guitar-fuzz rhythm and English vocals. "Feeling High" is a languid tune with a familiar blues rhythm. The bass-heavy "No Time" is a funky, guitar-driven song with an upbeat tempo and classic vocals. Nine tracks in all 'introduce' listeners to rare gems of Zambian rock music. Fans of funkadelic, Afro-rock music on dusty LP's from the 1970's will find Witch to be a perfect accompaniment in a fine music collection. Don't let the name scare you from enjoying the best re-issued Afro-psych-funk to come out of Zambia. ~ Matthew Forss

CD Review: Ashton Nyte's "The Valley"

Ashton Nyte

The Valley

Intervention Arts

South African-born singer and guitarist, Ashton Nyte, transcends musical heights from beyond this Earth. Based in the USA, Ashton's voice is probably too low (baritone) for most, but it sounds similar to Jace Everett or the Crash Test Dummies. Whether The Valley is indicative of Ashton's low voice or a career plateau, the songs are clearly something worth taking in. Ashton's languid vocals and alternative guitar tunings make The Valley an introspective journey borrowing elements from David Bowie, Tom Waits, The Wallflowers, The Devlins, Soul Asylum, and other groups. The folk-rock crowd looking for great songs should look no further. Ashton's spiritual insights also find a home from time to time throughout the album. Follow Ashton into The Valley and prepare to spend some time playing these tracks over and over...and over. English lyrics are included in the liner notes. English vocals throughout. ~ Matthew Forss