CD Review: Tarrus Riley's 'Mecoustic'

Tarrus Riley
Mecoustic
Soulbeats

Tarrus Riley is a Jamaican-American Rastafarian singer based in Bronx, NY. His style is easy-going reggae music with a soulful attitude and slight pop focus. The scintillating rhythms are smooth, infectious, and easy to listen to. The use of strings, guitars, horns, keyboards, and bass combine with bluesy and powerful vocals with accompanying backup voices representing a slight gospel edge. The English vocals contain a Jamaican presence that is always pleasant and relaxing. The militaristic march style of "She's Royal" is a heartfelt track all the way through. The piano sounds of "Eye Sight" are slightly jazzy, but Tarrus' vocals remind us we are in reggae territory. The typical staccato reggae beats are not particularly evident throughout the album. The poppy "Paradise" tune is a bright mix of sax, guitars, percussion, and backup vocals. Still, reggae fans will love the accessibility of all the songs no matter what their background or preference may be. Mecoustic is not about egos or selfishness; it's about music. ~ Matthew Forss

CD Review: Michel Sajrawy's 'Arabop'

Michel Sajrawy
Arabop
Dasam Studio

Nazareth-based, Palestinian-guitarist, Michel Sajrawy, offers a glimpse into a new world of Arab maqam and Western improvisation on his latest album, Arabop. The jazzy, experimental sounds are rich with Middle Eastern and North Africa melodies, but familiar to all. The instrumental repertoire is well-balanced with Michel on guitar and keyboards, Amiram Granot on sax, Maali Klar on soprano sax, Samir Makhoul on oud and vocals, Valeri Lipets on contra bass, Wisam Sajrawy on darbuka and shakers, Stas Zilberman on drums, Nehaya Damouni on chants, and Adnan Haddad on speech. The wildly-played guitar stylings are equivalent to Hossam Ramzy on the drums. At any rate, the songs are up-tempo, but reflective in a similar manner. The energized darbuka and electric guitars thunder with delight on "Tojann." "1 Count Before 40" is a more meditative, lounge jazz tune that is wholly instrumental. "Arabop" reflects a more jazzy side to the music with a jaunty sax line and playful melody overall. The highly-energize "Batumi" is a guitar lovers dream with an equal amount of percussive embellishments throughout. There is a slight klezmer undertone. Overall, Michel succeeds wildly with a stunning set of mostly instrumental music that is both jazzy, Arabic, and improvisational. This is maqam music for future generations. ~ Matthew Forss

CD Review: Ojos De Brujo Reworked

Various Artists
Ojos De Brujo Reworked
Urban World

Spearheaded by Al Lindrum, the music of Ojos De Brujo is reinvented, reworked, and rewired with the talents of a multitude of contributors, including Farrapo, George Vala, Empresarios, Makala, Suonho, Los Chicos Altos, Tony Seal, Duboffensive, and many others. Fans of Ojos De Brujo will be impressed with the jazzy, dub-ready, and dance-inflected compositions that have inspired musicians and listeners all over the world to create such beauty. The funky drum and bass, cumbia sounds, and dancehall song structures make the album shine with effervescent qualities. The vocals are Latin-esque and well-executed overall. The thirteen tracks span a wide cross-section of material, but in the end, Ojos De Brujo is the real winner here. The remixes are inventive and ear-catching. This is for the upbeat fan out there. ~ Matthew Forss

CD Review: Royal Band De Thies' 'Kadior Demb'

Royal Band De Thies
Kadior Demb
Teranga Beat

The Senegalese singers, James Gadiaga and Secka Will, present us with eleven hit songs recorded back in 1979. Previously unreleased, the songs run the gamut from Afro-jazz to funk to mbalax. The heady rhythms and pulsating beats are raw, organic, and full of energy. The trumpet or sax permeates the musical atmosphere throughout. There are nine members in the group, but the level of musicianship makes it sound like there are alot more members present. The instrumental rhythms and gritty, sparkling guitar riffs highlight Senegal's golden age of musical funk, rhythm, and popular music. There are liner notes outlining the musicians behind the music. Also, a 2-LP gatefold is available in September. The music is perfect for experiencing a night in Senegal wherever you might be! Highly-celebrated and never over-rated! ~ Matthew Forss

CD Review: Haram's 'Her Eyes Illuminate'

Haram
Her Eyes Illuminate
Songlines

Vancouver-based, Gordon Grdina's group, Haram, presents us with an improvisational and exciting avant-garde album of Arabic and Middle Eastern percussion with contemporary nuances coming from keyboard-like sounds coming from a violin. The violin, ney, darbuka, oud, riq, trumpet, bass, sax, clarinet, and drums are mixed with vocals to create awe-inspiring melodies and rhythms that are steeped in classical, Arabic, and klezmer styles. The ten long tracks are varied and engaging, but not overdone. The traditional base is paramount. This is essentially Arabic jazz at its finest. Gordon and his band Haram make the musicmaking process seem so easy, as the tunes keep coming with each track. The experimental and improvisational atmosphere is a delicacy for fans of Arab-jazz. Even though the album title means 'forbidden,' Haram will be accepted everywhere it is played. ~ Matthew Forss

CD Review: Tritulen's Self-Titled Release From Scandinavia

Tritulen
Tritulen
Etnisk Musikklubb

 The Norwegian trio of Ebba Jacobsson, Jonas Akerlund, and Anette Thorsheim bring us contemporary folk music from Norway and Sweden on their latest self-titled release. The music is composed and performed on guitar, accordion, and fiddle. The group performs love songs, spiritual pieces, and dance tunes. The mix of vocals and instrumentals makes the songs really come alive with Scandinavian charm and amazement. The fourteen tracks are rich with folk traditions and sweet melodies that are crystal clear and pure. The floating vocals and pensive instrumentation makes Tritulen shimmer with icy-smooth executions. The lack of electric embellishments does not necessarily make the music lackluster. In fact, the cozy nature of the intimate melodies and notes are perfect enough for packing large stadiums or a house filled with family members sitting around a roaring fireplace in the dead of winter. Fans of Scandinavian folk music will find Tritulen a perfect companion in times of musical yearning. ~ Matthew Forss

CD Review: Persian Azeri Trio's 'Persian Azeri Project: From Shiraz To Baku'

Persian Azeri Trio
Persian Azeri Project: From Shiraz To Baku
ARC Music

The Persian Azeri Trio consists of Iran's Pejman Hadadi on percussion and Hamid Motebassem on tar and setar. The kamancha is played by Azerbaijan's Imamyar Hasanov. Together, the trio perfect traditional modes of musicianship for a completely acoustic concoction of melodic modes, folk dances, and improvisational forms. The wholly instrumental works provide a perfect environment for each instrument to shine through and sound harmoniously with each other. There are plaintive moments, as well as more up-beat tempos that take on Central Asian charm. The efficient playing styles and instrumental arrangements are well worth a listen. Be careful; as the instrumental tones are addictive. Liner notes are in English and German. This is the sound of the Silk Road. ~ Matthew Forss