Lindemann
& Tewan: Thai (Amori)
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I
love musical surprises. So when I opened the package containing
this CD and popped it in for a listen, I was blown away.
It begins with traditional Thai instruments playing what
sounds like a very traditional song, perhaps some sort
of royal ceremony, my uninformed mind suggests. A female
voice chimes in, and you settle in for a pleasant jaunt
though tradition. But
then... somewhere along the way you're jolted back from
your reverie as what sounds like a jazz combo kicks in.
What the heck is this?
This,
it turns out, is the musical brainchild of one François
Lindemann, Swiss musician and visionary of Thai jazz fusion.
"This isn't," he says, "in any way some form of world music,
but a true meeting between two worlds, an exchange, [saxophonist
Sapsanyakorn] Tewan being the musical go-between, our
ideas reunited." And so I sit back and enjoy the sonic
surprises. And it's not even my birthday.
The
LA Drivers Union Por Por Group: Por
Por-Honk Horn Music of Ghana (Smithsonian
Folkways)
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Both
strange and wonderful, this CD is a survey of a most unusual
style of music created by the LA Drivers Union of Accra,
Ghana, using a variety of squeeze-bulb horns and even air
pumps as well as various percussion instruments and a few
more traditional musical instruments. The style is called
Por Por (pronounced paaw paaw), and extensive
liner notes (with great photos) explain its context and
how it "tells a multi-layered story of musics involving
local
and regional
history, colonialism,
the diaspora, and globalization." Of course, you don't
need to get all intellectual to simply appreciate the unbridled
enthusiasm of the players and their unusual sound. A unique
slice of odd music that will capture the heart of any adventurous
cultural adventurer.
Sergio
Mendes: Encanto (Concord)
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I'm
not one to wax nostalgic about Burt Bacharach songs, but
honestly, is "The Look of Love" really improved by adding
a skanky rap by Fergie. In a word, no. Fortunately, the
new Sergio Mendes gets on somewhat firmer footing after
that shaky start. And I have to remind myself that Sergio's
heart has always been firmly in pop music (remember Fool
on the Hill?). So it's no surprise that he collaborates
here with artists including will.i.am, Carlinhos Brown,
Natalie Cole, and Juanes. He also does a number hailing
back to
his days with Brasil '66 -- "Dreamer" features vocals by
Lani Hall, who gave voice to that group's sound and trumpet
by Herb Alpert, who initially signed the group way back
when. So I'm contenting myself that there's a Latin/Brazilian
flavor to this album, and a few really tasty samba-flavored
tracks ("Odo-ya," "Catavento/ Catavento E Girassol," and
"Morning
in Rio") among the more poppy offerings. Perhaps not for
the focused ethnomusicologist, but if you enjoyed Sergio's
last album Timeless (with the Black Eyed Peas), you'll
want to give this a listen.
Chambao: Con
Otro Aire (Norte / Sony BMG)
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Con Otre Aire is the fourth
album from the Spanish-rooted group Chambao – I can’t tell you
too much about their evolution, as I’ve only heard
this and their previous album, Pokito a Poko. That release
was denser and more heavily produced, while the new offering
has a more rootsy, acoustic feel – one I find much
more interesting and enjoyable. Varied and lyrical, the album
builds on a flamenco foundation without being limited by
it. There’s plenty here to appeal to all kinds of listeners;
fans of the Gipsy Kings, Ojos de Brujo, and Estrella Morente
(who contributes vocals on “Lo Bueno Y Lo Malo”)
will certainly enjoy Chambao…while finding their music
quite distinct from those artists.
Inemo: Afro
Funky Beats (Black Mango Music)
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Tony
Allen: Afro Disco Beat (Vampi Soul)
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relatives seem to continually emerge from the extended family of African
musicians. Some
of them seem to wilt when out from under the shadow of their musical mentors/teachers/bosses.
Not a few, however, have carved out their own identity. Among the latter, Tony
Allen certainly stands as a towering figure, not only having created Afrobeat
rhythms in his time with Fela Kuti, but continuing in recent years to explore
new musical territory, often in collaboration with younger artists. His newest
release is a two-CD set of early music, from his first four solo albums with
Afrika 70 and the Afro Messengers. As was the fashion then, these are long
tracks, ranging from the eight-minute “Road Safety” to the 17-minute
political rant “No Accommodation for Lagos,” recorded in 1978 – the
year Allen and Kuti decided to pursue separate musical paths. Read the liner
notes for some insight into how a tardy Fela horn solo on this track caused
tension between these two Afrobeat giants.
Inemo
Samiama – or simply Inemo – is also from Nigeria, but the
coat tails he followed were worn by Majek
Fashek, with whom he played in
a band called Jah Stix. His resume includes work with Tony Allen and Congolese
collaboration master Ray
Lema, but most importantly he has created, in Afro
Funky Beats, a great African dance album. The lyrics aren’t always,
well…,
deep, but then why would you be looking for social commentary in a song called “Zebra
Jammin’” anyway? Enjoy this one for what it is: a pulsing Afrobeat/Afropop
dance party that gives your brain a break.
K'naan: The
Dusty Foot on the Road (Wrasse)
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K’naan raps so smoothly, you’d
think he grew up deep in the heart of US hip hop culture.
In truth, he hails from the streets of Mogadishu, Somalia.
And like Sudanese rapper Emmanuel Jal, he has learned the
language of hip hop fluently, yet he comes at his music from
a unique cultural and musical perspective. K’naan raps
over organic sounds on several tracks: “Wash It Down” has
no music other than hands drumming on water; “The African
Way” uses only hand drums as support for his rapid-fire
wordplay. Other tracks include acoustic guitar, but most
tracks on the album are shockingly stripped down for a hip
hop recording. K’naan is certainly a better rapper
than singer (proof of which is in “Be Free”),
but this live recording shows that he clearly has the showmanship
to get the London crowd singing along. If not for the sprinkling
of mild profanities, Dusty Foot would certainly be getting
more US airplay; K’naan’s sharp, raw, powerful
music deserves that, and more.
Pacifika: Asuncion (Six
Degrees)
buy CD/hear samples It’s
not often that a new Latin alternative/pop band grows
up among the towering Douglas firs of British Columbia.
But Vancouver-based Pacifika isn’t letting their
northern climate get in the way of making catchy tunes.
Admittedly, their global influence stems from the origins
of the band members: singer Silvana Kane was born in
Peru; Toby Peter grew up in Barbados, and Adam Popowitz,
well, he’s actually Canadian, though with a rather
diverse resume. Together they make music that wouldn’t
be out of place in an Ibeza lounge, or as an opening
for Trio Mocoto or Zuco 103. Layers of sound often
overshadow the ethnic roots of the musicians, but Pacifika
isn’t in the business of ethnomusicology – they’re
creating gently global music for a culture that’s
only just starting to emerge.
various
artists: BalkanBeats Volume 3 (Eastblok)
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My
friends in New York say that Balkan music is all
the rage there these days. This compilation may make
you ask why it would ever have been out of style.
This is pure dance fun with a heavy Balkan twist,
from bands you know -- Slavic Soul Party, Shantel,
Goran Bregovic -- and a few others you'll be happy
to discover. Watcha Clan's lilting "Balkan Qoulou"
is a personal favorite, also "Parno Graszt's "Drunk
of Sorrow" and The No Smoking Orchestra's "Dobrila."
The overt electronic programming is kept to a blessed
minimum, letting the fantastic Balkan rhythms stand
largely on their own. With these beats in their ears,
even the hardhearted and lead-footed will have trouble
staying off the
dance
floor.
The
Darbuki Kings: Lawrence of Suburbia (Darbuki
Kings Records)
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Somewhere,
in a desert between Persia and the Gobi Desert,
a group of dusty, sunburnt men wanders. The air
is dry, the sun hot, and an unnatural stillness
hangs around their necks like a heavy wooden yoke.
They’re searching for something, but they
can’t find it. Not under scorpion-infested
rockpiles, not in the shade of a tree at the oasis,
not in the cold, clear night sky. They can’t
find it because I have it, right here in my CD
player. It’s the soundtrack that their journey
lacks, a collection of middle eastern rhythms and
melodies that sent my mind into its own desert
until I found an oasis of understanding, a certainty,
really, that this is indeed a soundtrack. It’s
the music behind the story, but not the story itself.
Storytelling
albums have a strong central voice of some kind,
whether instrumental or vocal. The
Darbuki Kings are clearly impressive musicians
(Robin Adnan Anders, a.k.a. Adnan Darbuki, is
a founding member of 3 Mustaphas 3 and Boiled
in
Lead). But they don’t seem to want to step
out of the background. This is apparent in the
album’s dry, distant sound quality, as
well as in their arrangements and playing. It’s
a fine piece of work, but with an emotional distance
that keeps it from being a CD I’d grab
just to listen to. But it's great mood-setting
music for your
next Silk Road theme party.
©2008
Scott Allan Stevens, Earball Media |
,
a broad compilation of some hot Afrobeat and close
musical relations.