CD Review: Morocco's Majid Bekkas

Majid Bekkas

Makenba

Igloo Mondo

Hailing from Morocco, Majid Bekkas is a classically-trained guitarist, keyboardist, oud player, singer, and guimbri player that explores the blues and soul music of North Africa. The accompaniment of guest musicians, including Minino Garay on bass and percussion, Aly Keita on balafon, Serge Marne on djembe drum, Joseph Bessam Kouassi on talking drum, and many others, gives Makenba a more universal appeal beyond Africa's natural borders. In fact, "Ali Ya Ali" is a distinctively traditional tune with Caribbean and Gypsy elements. The saunteringly beautiful "Sahara Blues" is an epic in its own right. The tune spans the sounds of the Sahara, while faint Latin American sounds shine through. Of course, Gnawan trance music is a part of the repertoire, but it does not delve into boring doldrums as the Master Musicians of Jajouka often do. Though not necessarily a fusion album, Makenba is varied enough to keep it interesting without sacrificing creativity, musicianship, or culture. ~ Matthew Forss

CD Review: Ghanaian Highlife from San Diego - Akayaa's 'Masoh'

Akayaa

Masoh

Obonu Music

Ghana's musical heritage is performed by San Diego's Akayaa. Born in Ghana's Frafra tribe, Akayaa sings in Fra-Fra and Twi languages. Twelve tracks of Ghanaian highlife are represented on Masoh, which means 'father' in Fra-Fra. Energetic drumming and vocals are staples in West African music. The guitars, percussion, flutes, and vocals present a beautiful scene of happiness and longevity. The joyous music celebrates animals, introductions, arranged marriage, ancestral blessings, lullabies, childhood, and the continent of Africa. The songs are not in English, except for a few words, so a Fra-Fra or Twi dictionary may be necessary. Still, the musical tempos and rhythms transcend any translational barriers. A queen of Ghanaian music and respected teacher of singing, drumming, and dancing, Akayaa brings a unique energy and unwavering devotion to all her music projects. Masoh is a pivotal album of California Ghana music. ~ Matthew Forss

CD Review: South Korea's Youn Sun Nah

Youn Sun Nah

Same Girl

Hub Music

South Korea's Youn Sun Nah is an innovative singer and musician. Borrowing several tracks by Rodgers & Hammerstein, Ulf Wakenius, Randy Newman, Terry Cox, Philippe Sarde, Sergio Mendes, and Metallica, Youn Sun Nah reinterprets the iconic songs of the abovementioned musicians and makes them her own. "My Favorite Things" is a solo vocal track with kalimba. The vocal sounds of Youn Sun Nah is somewhere between Scotland's Karine Polwart and England's Katie Melua. Two original tracks, "Uncertain Weather" and "Pancake", showcase her songwriting abilities. Singing in English throughout, some of the songs border on Indian, Latin, and European styles. For instance, "Breakfast in Baghdad" features scatting vocals amidst a flamenco/Indian rhythm. One traditional tune in Korean, "Kangwondo Arirang", is a solemn ballad with voice and guitar. A nice French tune, "La Chanson d'Helene", sounds like something from a romantic Paris cafe. Overall, the sparse instrumentation and almost-avante garde elements at times signify the creative spark of Youn Sun Nah. Hopefully, Same Girl will spawn a future album of more original music. ~ Matthew Forss

CD Review: Asani - Listen

Asani

Listen

Self-Release

An Edmonton-based trio, Asani, which means 'rock' in Cree, is a Canadian vocal group that sings in Cree, English, and French. "Nitohta" is a fine folk song with hints of throat-singing. The soulful "Okisikowak" is another gem. Instrumentally, the music is fairly simple with marimba, percussion, drums, and vibraphone. The bluesy "Boil Water Advisory" at first sounds like a comedic tune, but it is based purely on reality and is a serious problem among many communities. The traditional instrumentation and vocal harmonies are definitely above-average. The Aboriginal Award winning group sings songs of Canadian life and Aboriginal legends. The final track, "O Canada", is the Canadian National Anthem, but this one celebrates their Woodland Cree heritage. The twelve tracks are pleasant and educational at the same time. Asani proves you do not need a guitar to create beautiful and moving music. ~ Matthew Forss

CD Review: Kel Assouf - Tin Hinane

Kel Assouf

Tin Hinane

Igloo Records

The Tuareg blues bands have flourished after the rise of the late-Ali Farka Toure. The Tamasheq-language group, Kel Assouf, is made up of members from Niger, Mali, Togo, Algeria, Mauritania, France, and Ghana. The music is a mix of flute, voice, guitar, karkabou, kora, bass, calabash, percussion, and pandeiro. The sounds of the Sahel are breezy and the vocals are superb. The Tinariwen-esque playing styles resemble other North African guitar groups, including Etran Finatawa, Tidawt, Toumast, Tartit, Tamikrest and Terakaft. The jaunty "Afrik" and the beautiful "Tiliadene N'Ashra" rivals that of "Tinariwene" and the solemn "Talit". Kel Assouf is Tamasheq for 'son of the desert' and Tin Hinane is Tamasheq for an ancient Tuareg queen. The importance of the guitar as an instrument of rebellion pervades North Africa and permeates the tracks of Tin Hinane. The incorporation of traditional instruments provides a fine balance between ancient and modern elements that shine through on every track. Travel to the Sahara and let Kel Assouf welcome you into their world. Liner notes in French with Tamasheq song titles. ~ Matthew Forss

CD Review: Chopteeth - Live

Chopteeth

Live

Grigri Discs

Chopteeth is back with a live set of resurrected Afrofunk and Afrobeat tunes from Africa's greats including Fela Kuti, Tabu Ley Rochereau, Le Shimandou de Beyla, and Peter King. Of course, the band focuses on other tunes by Ignacio Rios, Rudy Gomis, Ndeye Mbaye, Barthelemy Attiso, Arthur Kennedy, Michael Shereikis, and Duke Ellington. The D.C.-based band is a purveyor in the golden age of African funk music. The classic 1970's tunes are mainly instrumental with plenty of brass, drums, keyboards, electric guitar, and bass. The ten songs were recorded at a few different locations around D.C. The audience participation is minimal with only a smattering of applauses or shouts. The groovy beats are a perfect accompaniment for a thriller or suspense film soundtrack. Chopteeth is a delectable band that always brings the brass with the sass. ~ Matthew Forss

CD Review: Grammy-nominated Chandrika Krishnamurthy Tandon

Chandrika Krishnamurthy Tandon

Om Namo Narayanaya: Soul Call

Soul Chants

A recent Grammy-nominated album, Om Namo Narayanaya: Soul Call, is a delicious journey of ancestral significance that draws upon ancient syllabic chants to formulate songs with different Indian ragas. A classically trained Indian vocalist, Chandrika K. Tandon, brings a soothing and intriguing voice backed by incredible instruments including sarod, sitar, esraj, violin, tabla, and various drums and flutes. Each track begins with a relatively slow pace with limited instrumentation and vocal accompaniment, but every song satisfies the soul by picking up the pace after a short time. The classical compositions are relatively modern in form and do not follow the typical raga pattern of solo sitar and vocal accompaniment. Chandrika K. Tandon's vocals are never grating or unwarranted. The Sanskrit chants and modern instrumentation strike a perfect balance between old and new without resorting to pulsating dance music or a boring and dry solo sitar and voice performance. However, a faster paced "Basanth Mukhari" might border on a Bollywood anthem with some flamenco and Central Asian elements thrown in. Overall, Soul Call is an excellent soundtrack for hope and peace in the New Year. ~ Matthew Forss