"If
you begin with something as pure as the voice, the
expression of one's soul...and let the voice be inspired
by a multitude
of cultural influences, telling the story of our world...
a natural evolution occurs, boundaries disappear and
people come together sharing one vision, one voice."
That's
one of the most useful and accurate liner introductions
I've run across. Madrigaia, a seven-woman group from Canada
cast their musical net wide, singing songs from Brazil,
France, Uruguay, Poland, and beyond. And they carry it
off beautifully, with music that sounds natural and grounded
(I'm baffled how one critic heard a "new agey feel" anywhere
in this album.)
The
album opens with a chorus of powerful voices and what
sound like found instruments,
then a quick segue into a catchy wordless melody backed
by bass and percussion. Only looking at the notes do
you realize that the instruments include wine glasses,
mixing
bowl, and other household items. It makes sense for
a song entitled "Three Ways to Vacuum Your House: Part
I." Then it's off to Brazil and the classic Veloso tune
"Ile Aye," with subtle samba beat under clean harmonizing
vocals. (This song, by the way, won Madrigaia the "Best
World Fusion" distinction at the 5th annual Independent
Music Awards.)
And
the wandering continues. "Heart Song" draws on First Nations
influences
(think Ulali with
polyrhythmic
percussion). Further in is the dynamic Bulgarian tune
"More
Zajeni Se Guro," with sharp, dark voices and strange
rhythms. At this point, Madrigaia are just getting warmed
up. You've
still got the tango "La Cumparsita," the funky French
harmonies of "Tourdion" (with fabulous bass and udu), the
a cappella
"Chanson Démodé" and on and on.
The
year is young, but I have no doubt that I'll return to
this album's copious pleasures again and again, and it
will end up on my "Best of 2006" list. Pleiades
is consistently engaging, with strong sure voices and delightful
backing music. Run, don't walk, to get this album!
©2006
Scott Allan Stevens, Earball Media
|
For
an album coming from a relatively well-known Nigerian bandleader
(remember WOMAD USA?), known for a groove built on traditional
Yoruba rhythms, Africano is full of surprises.
It opens with a vocal piece called "Drum
Affirmation" (chants, not drums), then launches into "Africalypso,"
in which Lagbaja speak-sings about the history and diaspora
of African music. Good grooves, and great soaring vocals
by Ego Ihenacho, but there's something awkward about
the way she repeats each line word-for-word. Oh, about
the words. "Though I have used Pidgin English copiously
in the past," Lagbaja says, "none of the songs on this
album is performed fully in Pidgin. From now my focus is
on my
mother
tongue,
Yoruba and my second language, English. Pidgin takes a
back seat."
Next
up is "Who Man?," a tribute to womanhood that sounds more
like the old Lagbaja, though with a sparse backing groove
of drums, piano, and particularly bells. Then it's Afrobeat
& horn time, with "Mammoney Horns" and "Mammoney," a commentary
on the god of money with backing riffs from Benin's Gangbe
Brass Band.
Then
the album changes distinctly, with the love song "Rock
Me Gentle," the R&B ballad "Never Far Away" with Ihenacho
taking lead vocals over a soaring string section (and leaving
one wondering what makes this a Lagbaja song). Then Lagbaja
himself sings with the strings on the Yoruba jazz piece
"Aisan" before dipping into rock ("Dream Come True") and
rap ("Scream"). It's back to the old Lagbaja Afro-groove
on "Skentele Skontolo" before another string-backed ballad
("Emi Mimo") slows the pace down again. And the album concludes
with seven drum-only tracks, collectively called "Africano
101 - Naked Grooves."
Admittedly,
it's difficult to know much about the musical path of Lagbaja,
whose only broad US release was 2001's We
Before Me ,
which was
a compilation from previous albums. Still, it's curious,
to say the least, that Lagbaja's linguistic change
is accompanied by such a scattered musical offering. And
what happened to all that great sax?
Individually,
most songs on Africano are strong, but it feels
like two albums reluctantly merged: one
of Lagbaja's
deeply rhythmic Yoruba-based dance tunes, and another
of his realized dream for richer orchestration ("I had
wanted
to work with strings for years but never could afford
it.") along with the less successful forays into rock,
R&B, and
rap.
While
dedicated Lagbaja fans will enjoy most of this album, others
may find his earlier albums a more consistent introduction
to the Lagbaja sound.
©2006
Scott Allan Stevens, Earball Media
|
Soweto
Gospel Choir: Blessed (Shanachie)
artist site : buy CD/hear samples
I
love this music. Powerful voices blending with an uplifting
spirit and message. Doesn't matter that their theology
might not mesh with mine. Doesn't matter if I don't understand
the lyrics (though five of the 18 songs are sung in English).
Doesn't even matter that they tread on well-worn stones
like Solomon Linda's "Mbube." The harmonies have viceral
impact - particularly "Nkosi Sikelel'iAfrika." I love that
they've included the protest song "Weeping," which first
entered my consciousness on the lips of Vusi
Mahlasela.
While I like Vusi's sparse, clearly articulated version
better, SGC's richer arrangement doesn't dilute the song's
powerful lyrics.
If you like South African gospel and want to expand beyond
Ladysmith Black Mambazo, get Blessed.
Uta
Bella: Uta Bella (Mia Mind Music)
buy CD/hear samples
Born
in Cameroon and now living in New York, Uta Bella released
the album Nassa Nassa in 1993, and merits
a passing mention in A
History of Bikutsi in Cameroon. She's toured throughout
Europe but hasn't made much of a name for herself in
the US. This new album may not change that. It's short
(35 minutes) and the bouncy
songs
include -
for
my taste
- too much
synth.
The track "Nassa Nassa" digs into funk bass,
but the sound is dated and only mildly interesting. Bella
could use some musical freshening up. Recommended for
die-hard Afropop lovers only.
Andromedaa: The
Reach (Mark Set Go Music)
artist site : buy CD/hear samples
Andromeda
is a global instrumental quartet. Well, perhaps not completely
global, but wide-ranging, with bits of Balkan, tango,
jazz, Appalachian,
European classical, Celtic, and who knows what else.
The result is an appealing collage of banjo, accordion,
bass,
jazz,
mandolin, violin, guitar and (sometimes) drums. Drawing
from their backgrounds and many musical traditions, Andromeda
has
created a unique, compelling instrumental music, the
12 original songs rich with musical conversation and
emotion.
Yiddishe
Cup: Meshugeneh Mambo (Yiddishe Cup)
artist site : buy CD/hear samples
Marracas?
Check! Floofy shirts? Check! Tongue in cheek? Check!
Six Jewish nuts cut loose with Latin, rock 'n' roll,
even bluegrass ("I Am a Man of Constant Blessings") stylings.
It may be schtick, but in your mind it'll stick. Big
fun.
Hradistan & Jirí Pavlica:
Hrajeme si u maminky (We Play With Mom) (Indies)
artist
site & song samples (including two free,
full mp3s)
The
Czech label Indies has fingers in many musical pies,
from traditional folk to experimental rock. This is the
first kids' album I've heard from them, and it's a charmer.
Accessible without sounding watered down, the 37 (yep,
37!) short songs include adult and kid voices with simple,
catchy melodies. The songs are organized by season: zima (winter),
jaro (spring), leto (summer), podzim (fall),
along with four ukolebavky (lullabies).
The words are from a book by Jirina Rakosnikova, I'd
be singing
along
if
I
knew
some
Czech.
The lyrics are included,
but no
translations
or song summaries, as the album is apparently intended
for a domestic audience.
Ladysmith
Black Mambazo: Long Walk to Freedom (Heads
Up)
artist
site : buy CD/hear samples
It's
been 20 years ago since Ladysmith Black Mambazo first
caught the world's attention with their amazing vocal
harmonies on Paul Simon's Graceland.
This 13-song album retraces some of that their path as
something of a greatest hits album, albeit one shared
by copious guest singers. But as much as we like fusions
and cultural mash-ups, Ladysmith Black Mambazo are great
artists who make great art, and adding to great art doesn't
necessarily make it better. Melissa Etheridge fits right
in on "Diamonds on the Soles of Her Shoes," as brilliantly
re-interpreted by Joe McBride. The other collaborations
are good, if not great, including guest artists Zap Mama,
Sarah McLachlan, Taj Mahal, Emmylou Harris, Lucky Dube,
Hugh Masekela, Vusi Mahlasela, and others. Standing out
for the wrong reasons is "Rain Rain Beautiful Rain,"
on which Natalie Merchant sounds uncomfortable and out
of place. If you want the best of Ladysmith Black Mambazo,
get one of their albums sans guest vocalists, orchestras,
or chillout remixes.
Julia
Sarr & Patrice Larose: Set Luna (No
Format / Universal France)
buy CD/hear samples
My
ears are beautifully baffled by this album. Beautiful
throughout, it might be described as Afro-Brazilian flamenco,
with West African Muslim vocals. The players help explain
the unique sound: Julia Sarr is a Senegalese-French singer,
and Patrice Larose is a French guitarist with more than
one finger in a flamenco pie. Set Luna (Wolof
for "So I've Observed") is a work of haunting grace and
beauty. Sarr's emotion-laden voice works perfectly with
flamenco guitar, just as the sharp sound of djembe echoes
the usual flamenco percussion on cajon. Yet this is not
a flamenco fling with African overtones; it is a unique
collaboration by two skilled musicians who blend like
siblings. Youssou N'Dour sings on "Set Luna DJamonodjî,"
Leïty M'Baye sings and
plays percussion on "Yitté" (the
most "African sounding" track), and Mino Cinelu contributes
subtle percussion throughout.
But Larose's deft fingers and Sarr's soulful voice are
the
stars of this show. Don't expect Afropop; expect beauty.
Duo
En: En-Affinity (Koto World)
artist
site : buy
CD/hear samples
Seattle-based
John Falconer and Elizabeth Falconer not only husband
and wife, but are married musically as well. Their closeness
is on display in this subtle, gorgeous album of duets
between Elizabeth's kotos, and John's shakuhachi. Great
music for background or meditation, it also bears up
to active listening. The couple aren't dabblers; they
have studied the music from master teachers, and have
lived in Japan. And they've managed to achieve a balance
between precision and relaxation in this fresh recording
with ancient roots.
Various
Artists: Golden Afrique Vol. 2 (Network)
artist site : buy CD/hear samples
As
if Africa wasn't producing enough wonderful contemporary
music! Following the delicious Golden
Afrique Vol. 1,
Network has pruduced another 2-CD set, this one highlighting
music from the "golden era of African pop music," 1956
to 1982. Shimmering guitars, horns, even accordions populate
this era, always with an eye toward the dance floor.
Artist include Franco, Sam Mangwana, Tabu Ley Rochereau,
Manu Dibango, and many others. This hearty meal will
take some time to digest.
Guy
Mendilow: Live (Earthen Groove)
artist
site : hear audio samples
Well-known
in Boston (where he was voted the Best World Music Act
by Boston
Phoenix readers) Guy Mendilow should find a
much broader audiences with this brief
(32 minutes) but solid album. Not yet 30, Mendilow learned
and absorbed music growing up in a succession of countries
where his musician/professor father worked. Recorded
live at two shows in Boston and one in Eastampton, New
Jersey, this album of nine songs has moments of uneven
sound (note to producers: don't include sing-a-longs
when the audience is inaudible) but still clearly highlights
Mendilow's talent. One of his
skills
is choosing
collaborators:
Yulia Van
Doren
sings beautiful harmonies on several songs, and on "Awendeje" [mp3
sample] and "Le
Avot Sheli" the electric
mbira of Andy Bergman (who plays sax on other tracks)
is a fine complement to Mendilow's berimbau and overtone
singing.
A melodic, acoustic vibe ties the album together, though
the songs have African, Israeli, Ladino, and Shaker roots.
The Shaker contribution is an astounding version of "Simple
Gifts" [mp3
sample] performed solo with guitar and overtone singiing.
But my favorite is the first song I heard by Mendilow
- the sparse, rhythmic, "Experiment"
[mp3
sample] featuring overtone singing, berimbau, and
jaw harp by Bergman.
A nice live album indeed, but I expect
his upcoming studio album to be even better.
[Note:
as of this writing in January 2006, Guy Mendilow: Live has
not yet been released. Check for it on CDbaby alongside
Mendilow's previous album Soar
Away Home.]
The
Afro-Semitic Experience: Plea for Peace (Reckless
DC Music)
artist
site : buy CD/hear samples
And
on the eighth day, the Lord saw everything that was
made. And while it was indeed very good, the Lord's brow
became furrowed. For lo, the Africans played their drums
hither, while the jazz cats jammed yon, and the gospel
musicians raised a joyful noise on their own. And the
Lord spoke with a mighty voice that shook the trees and
shuddered the very foundations of the earth, saying "Get
Ye Together!" And behold, the various and sundry musicians
ran together in a heap. Jazz idioms kissed the feet of
gospel steel guitar riffs, klezmer motifs anointed the
head of Latin rhythms. The Lord smiled, her toes tapping.
Amen.
Frank
London's Klezmer Brass Allstars: Carnival Conspiracy (Piranha)
artist site : buy CD/hear samples
Klezmer
at Carnival? If you're feeling like you missed the lecture
on Jews in Rio, don't despair. While some Brazilian reference
sneak in, this album is just another fine excuse for
klezmer trumpeter London and his crazy gang to make some
great
party music. "The concept," London says, "is to party
until you are beyond rationality, and then forced to
stand
on one
leg
and
explain the meaning of existence and give a dvar Torah
on the dialectic of social order and repression while
being tickled. It's a drinking game. It has no meaning
and is as serious as your life."
Fabulous
singing, wailing, and yelping by Marjana Sadowska grace
the boisterous opener "In Your
Garden Twenty Fecund Fruit Trees." Other such whimsical
song
names adorn tunes mixing bits from the Balkans, Bavaria,
...heck, wherever brass bands are found. "Another Glass
Of Wine To Give Succor to my Ailing Existence" involves
something that sounds like a barking cuica, though
no mention of the instrument is to be found in the credits.
Backing artists include Maracatu
New York (a Brazilian percussion ensemble) and
Kol Isha (a collective of women who sing traditional
mystical
Hasidic
music).
As
if the music wasn't entertaining enough, London's liner
notes add a touch of the surreal to the album.
Carnival
has power to elicit cathartic laughter in even the most
constipated. Not the "Heh-heh-heh
we stole the election and made billions of dollars pillaging
the environment and launching an illegal war" laughter
so fashionable in these times; but true Ambivalent and
Universal Laughter which does not deny Complexity but affirms
it. Laughter that purifies from dogmatism; liberates from
fascism and pedantry, from fear and intimidation, from
didacticism, naiveté and illusion, from the single
meaning, from sentimentality. Laughter which Restores the
Almighty Ambivalent Wholeness of our Existence.
Esteemed reader, you have purchased the greatest recording
of all time, a CD so powerful that it will cure you of
all ailments from impotence to flatulence.
And
so on... (read London's complete
liner notes). London may be nuts, and the music hard
to describe, but Carnival Conspiracy will have you up and dancing in your
own private Carnival.
Sui
Vesan: Merging with the Brook (World
Village)
artist site : buy CD/hear samples
Punk yoiking
from Slovakia? Sue Vesan has that sharp vocal style
common to the Nordic and Eastern European
lands, but what to make of the music? "La Lo La Lo" opens
with minimalist percussion sparse driving guitar riffs
under Vesan's stacatto vocals. Bold, take-no-prisoners
vocals. Vocals like Laurie Anderson meets the Bulgarian
Voices, or the lost acoustic experimental-rock album
of Mari Boine. Suffice
to
say, Sui Vesan is
a unique vocal talent, and her sparse arrangements show
this off beautifully. While I wish the CD included lyrics
or song summaries, the fascinating music stands on its
own. Adventurous listeners, you'll love this one.
©2006
Scott Allan Stevens, Earball Media |
