CD Review: Myanmar Meets The West

Khing Zin Shwe & Shwe Shwe Khaing

Voice Over The Bridge

EarthSync

Khing Zin Shwe and Shwe Shwe Khaing are both Myanmarese singers that have studied the classical and traditional songs of Myanmar's distant past. Using the Maha Gita, which is a classical work of songs praising kings as early as the thirteenth-century, the singers convey delicate moods and emotions with their angelic vocalizations. The addition of contemporary instrumentation 'updates' traditional music by immersing the listener in electronic washes of color with classical strings, piano, drums, flute, guitar, bass, and contrabass. The melding of East-meets-West is not an unfamiliar concept, though it is rare to find any music coming out of Myanmar today. Rarity aside, Voice Over The Bridge echoes the sounds of the East and the West with a sense of epic serenity. Listeners may also be interested in the film and music of the Laya Project (EarthSync, 2010), which features the music of Southeast Asia. Experience Myanmar for yourself! ~ Matthew Forss

CD Review: Kenya's Suzanna Owiyo

Suzanna Owiyo

My Roots

Kirkelig Kulturverksted

Kenya's Suzanna Owiyo is a percussionist, guitarist, singer, and most importantly, a nyatiti player. A nyatiti is an eight-stringed, plucked lyre from Kenya. The nyatiti was a mainstay in the Benga music movement in Kenya beginning in the 1960's. It is related to the krar, which is a five-stringed, plucked lyre from Ethiopia. My Roots' opening track showcases the nyatiti's mesmerizing sound similar to a combination of an electrified harp with the buzzing sounds of the mbira. Her Luo and English lyrics tackle alcoholism, violence, abandonment, and faith. Her voice is as strong as Angelique Kidjo (Benin) and as sensitive as Rokia Traore (Senegal). Drawing upon comparisons throughout Africa, My Roots is more than a contemporary Afro-pop album with a crystal clear sound; it is a groundbreaking release that features an instrument never-before-played by women. A few guest musicians appear, such as Zimbabwe's Oliver Mtukudzi, Ogoya Nengo, and Makadem. Fans of East African popular music will find My Roots a very satisfying experience. ~ Matthew Forss

CD Review: Tiken Jah Fakoly's 'African Revolution'

Tiken Jah Fakoly

African Revolution

Barclay

A musical 'revolution' is coming out of Africa and Tiken Jah Fakoly is its leader. An Ivory Coast-native, Tiken primarily sings about politics, war, and social change. The songs are sung in French and English. The music is similar in sound to contemporaries Carlou D or Toussaint, whom also have origins in West Africa. This is modern music with a modern beat. The instrumental repertoire is extensive, and includes bass, drums, guitars, ngoni, balafon, kora, soukou, tama, yabara, banjo, ukulele, assorted percussion, and electronic elements. The final product is an ear-friendly collection of songs drawing from reggae, cool jazz, pop/rock, and French music. The swaying rhythms, hard-hitting lyrics, engaging sounds, and sincere vocals make African Revolution one of the best releases of the year! Head to the Ivory Coast for soul-stirring, musical pleasure...or your nearest music store for African Revolution. ~ Matthew Forss

CD Review: Sameer Gupta's Bolly-Jazz

Sameer Gupta

Namaskar

Motema

A jazz drummer and tabla talent, Sameer Gupta brings us a collection of songs inspired by early Bollywood film scores. The Sanskrit album title can mean "show respect", or "welcome" in English. Namaskar is something worthy of respect and it has a very welcoming sound. There are connections with American/Latin jazz and Indian music, which I appropriately dub 'Bolly-Jazz'. Sameer is joined by Marc Cory (keyboards, ableton, piano), Pt. Anindo Chatterjee (tabla), Pt. Ramesh Misra (sarangi), Srinivas Reddy (sitar), David Boyce (sax, EFX, clarinet), Prasant Radhakrishnan (carnatic sax), Charith Premawardanan (viola), and David Ewell (acoustic bass). The music is jazzy with hints of Latin and classical, amidst a wandering rhythm sound of Indian delight. Importantly, the music does not contain any vocalizations. Anyone with an appreciation for world fusion, jazz, Indian, avante-garde, and related styles will find inner (and outer) happiness with Namaskar. Lastly, the liner notes contain English interviews with Marc and Pts. Anindo and Ramesh. ~ Matthew Forss

CD Review: The Psychedelic Aliens Have Landed

The Psychedelic Aliens

Psycho African Beat

Academy LP's

Ghana's psychedelic-funk bands of the 1960's and 70's were influenced not only by other West African bands, but American rock and soul acts, too. The Psychedelic Aliens formed in 1968 and released only three short records over the next four years. So-named for the diverse ethnic composition of the group, The Psychedelic Aliens embodied an Afro-psyche-funk sound with touches of rock and soul for an outstanding album of historical proportions. The entire album contains only eight tracks, but this is attributed to the band's few recordings. The music does not disappoint. Anyone with an interest in African music from the 1960's-70's should obtain Psycho African Beat. After all, The Psychedelic Aliens have landed and their music doesn't sound so 'alien' to any of us. ~ Matthew Forss

CD Review: Huun Huur Tu 'Step'pes It Up!

Huun Huur Tu

Ancestor's Call

World Village

The galloping sounds of Tuva's throat-singing and instrumental ensemble, Huun Huur Tu, are revisited as more modernized sound palettes accentuate the group's characteristic style of ancient melodies. Keep in mind, the group's traditional instruments are still here, including the igil, doshpuluur, flute, byzaanchi, igil, and drums. The addition of the guitar eloquently steers the songs into a glorious setting of listenable comfort. For the most part, the songs are reinvented from their earlier Orphan's Lament (Shanachie, 1994), but one selection, 'Konguroi', makes an appearance from Sixty Horses in My Herd (Shanachie, 1993), as well as 'Saryglarlar' from Eternal (Electrofone, 2009). There is a slightly modernized tone to the songs without showy electronic elements or techno/dance noises. Essentially, Ancestor's Call is culled from thousands of years of throat-singing traditions for a new generation. This is a slight departure from Eternal (Electrofone, 2009), which featured the electronic wizardry of Carmen Rizzo. At any rate, Huun Huur Tu 'step'pes it up like no one else! ~ Matthew Forss

CD Review: Peruvian Collective: Pena [CD+DVD]

Pena

Pena [CD+DVD]

Secret Stash Records

Pena is not an ordinary album of Afro-Peruvian music. The brainchilds behind the Pena ‘collective’ of musicians are Cory Wong and Eric Foss. Both men run Secret Stash Records in Minnesota, USA. Pena was born after a trip to Lima, Peru yielded a wealth of excellent opportunities to record several musicians over a seven-day period. Cory’s background in Afro-Peruvian songs and guitar playing allowed for many musical moments that were rather spontaneous, while meeting and rehearsing with the musicians. On Pena, Cory’s guitar is joined by Andres Prado, Eric Kurimski, Alberto, and Javier Choy on guitar, Chico Chavez (percussion), Sofia Koutsovitis (vocals), Jorge Roeder (upright bass), Jorge Perez-Albela, Manuel Vasquez, and Hugo Alcazar on cajon. The songs are lightly seasoned with South American, African, and Latin sensibilities, but they are genuinely Afro-Peruvian. A diverse blend of virtuoso performers provides introspective musicianship on every track. In the same manner, a thirty-five minute DVD accompanies the album. The DVD provides commentary from Cory and Eric, footage of recording sessions, Peruvian instrument history, and various performances of every musician included on the album. What makes Pena particularly unique involves the way it is packaged – in an attractive mahogany-colored, wood case. If you want to experience the life-affirming qualities of the Afro-Peruvian musical heritage, then look no further. ~ Matthew Forss