World Music Reviews

by Francesca Nemko & Lynette Diaz




“Afriki” by Habib Koite & Bamada (Cumbacha, CMD-CD-5)

 

Habib Koite is one formidable musician:  according to a bio, at an early age joined the Bamako National Institute of Arts and became a conductor after only 6 months of playing.  After graduating, he formed his own band and this CD  is his 6th since l995,  showcasing his extraordinary range of  universality.  He is joined by  23 additional musicians, supplementing his group, Bamada.  The work here is meant to be a tribute to the challenges and strengths of Mali in particular, and the African continent in general --  speaking especially to the younger generation.



Koite plays guitar and sings in a soulful, affecting way on each of the  eleven tracks,  except “Titati,” which is a solo guitar offering.  He is an intense and outspoken  person, and his printed lyrics describe some of his concern for his fellow artists as well as the universal collective.  For instance, right off the bat, he points out,when speaking about his “little black girl,” that he does not want to lose her “like I lost the great ‘calicedras.’ (trees).



Although Koite is featured throughout, he gives plenty of space to his associates, playing such ethnic instruments as the N’Goniba, N’Goni, Djouroukele, Kamale (none of which I’ve heard of before, and was unable to identify), as well as some far more familiar sounds of the violin, congas, trumpet, trombone and saxophone.  All these are subtly blended and mixed to produce an orchestrated texture – yet, without losing its indigenous quality.  That final track, by the way, seems to sum up what Habib Koite is all about: it’s derived from a Mandinka love song, based on the proverb that says: “Try to know those who love you.”



I’ve played this CD several times (a couple just as I was falling asleep) and found it soothing as well as meaningful in our troubled times. – F.N.

 

 “Reflections” by Miriam Makeba (Heads Up, HUDC 3087)

 

 This recording will represent my eulogy to one of the greatest African musicians of the past century – Miriam Makeba, who sadly passed away on November 9, 2008.  I remember Miriam personally from my time in her native South Africa, when she was just getting her start; and later when I moved to the U.S. and she made many visits here.



In her almost five decades of entrancing audiences world-wide, she has been appreciated by everyone from the Pope to presidents to Princes and Kings and Queens.  The liner notes here tell us that the title, “Reflections,”  is  most apt for this collection of favorite songs (of which there are many, by the way).  I’ve always thought of her as BIG – not necessarily in physical stature, but in the quality of her voice, her presence, the messages she delivers and the wide disparity of fans she has gathered.  She sings in several languages, notably French, Portuguese and even Yiddish, as well as Engllish.  Listen, for instance, to her splendid renditions of well-known Brazilian compositions, such as “Mas que Nada,” and “Xica Da Silva.’  That last one features a lovely flute solo by Kelly Petlane.    My favorite is “Love Tastes Like Strawberries” (Yum Yum – my reaction),which is a kind of street-vendor cry-turned love song.  The final track, “Where Are You Going?” (written by her one-time husband, the well-known trumpeter, Hugh Masekela) really sums up who Miriam was.    With its very jazz -derived arrangement, vocal and strings backing, she may remind one of the late great Billie Holiday.  Makeba’s voice here is the smoothest I’ve ever heard, showing her extreme range of emotion.



This is a wonderful tribute to an artist who will be remembered for a long time, and sadly missed on the music scene.  – F.N.

 

“eXtraOrdinary rendition” by Rupa and the April Fishes (CMB-CD-7)

 

Sometimes in world music you find a sound that brings out the deepest part of your heart and lays it out on a dance floor. It compels you to move whether you want to or not. And if it’s so inclined, it will throw in social and political ideas in the lyrics just to keep you on your toes. “eXtraOrdinary rendition,” by Rupa and The April Fishes, meets all of the above criteria with both boldness and grace.



Rupa Marya, the bandleader, is a native San Franciscan who was born into a 1970s immigrant Indian family. Aside from California, she was also brought up in India and southern France. These different environments would later influence her musical style and give her an identity she describes as “mosaic.” In her youth, Rupa discovered her talent for both science and music and thought she had to make a choice between pursuing only one. While studying to become a doctor at the University of California in San Francisco, Rupa and friends would also play music in local cafes and clubs. She now has her own medical practice in addition to touring with the band.



What started as solo gigs for Rupa soon turned into the formation of a bona fide band. The April Fishes is made up of some of the Bay Area’s best musicians including cellist, Ed Baskerville.  The name of the band was inspired by the French term, “poissons de’avril,” which is related to the English term “April Fools.” Their sound is influenced by French chanson, Gypsy swing, Argentinean tango, Latin cumbias, and American folk.



Each of the tracks on “eXtraOrdinary rendition” are like stops on an express train around the globe. Rupa writes in English, Spanish, French and even Hindi. Specifically, she says writing in French helps people understand her music better because it conjures up more emotion.



On “une americaine a paris,” the listener is exposed to Rupa’s multicultural background while jiving to a highly energetic song. If you were listening to this album while sitting on the couch, by the time you got to this track you would be off of it dancing.

An excellent showcase of Rupa’s voice comes on the sexy and seductive track “La pecheuse” or “The Fisherwoman (The Sinner).” Her voice here is nothing less than captivating. When you hear it you understand that the sound starts in a deep place of the gut, travels up through a passionate heart and comes out sounding like the voice of a dark angel.



The album ends with the song “Wishful Thinking,” the only one with English lyrics. It’s a beautiful way to wrap up the sounds of the album as it incorporates a taste of the whole journey the listener has just been on. It’s the little bow and curtsy of a finale.

This album is like a heavy hors d’oeuvres sampler of world tastes and fusions. It’s a must on the list of world music aficionados.  – L.D.

 



“Still Crooked” by Crooked Still (SIG 2013)

 

With the constant shape-shifting of American culture occurring, it seems that the identity of its folk music morphs as well. While bluegrass has long been a staple of our national musical style, the interpretation of it is modernizing. The young, alternative, bluegrass band, Crooked Still, is a great example of this and may be why The Boston Globe called them, “the most important folk group to emerge from Boston since the early 60’s.”

Their latest album, Still Crooked, balances unknown traditional material with the band’s own original music. According to their website, the entire album was recorded live in one big room, with everyone playing together. Remarkably, most of the songs were captured in one or two takes. The main focus of the recordings is old time bluegrass, but it’s infused with dark folk and world music elements.



The music itself is beautiful. Aoife O’Donovan, the lead vocalist, delivers a memorable performance with her distinctive voice. The cello is used extensively as a solo instrument, which is a rarity in bluegrass.  And the banjo, played by Greg Liszt, marks many bright and vivid listening moments.



Crooked Still’s fusion of old and new proves to be a distinctive glimpse into the new direction of bluegrass. “It’s hard to pin down our music,” says bass player Corey DiMario. “We play improvised old time music, bluegrass, folk and our own songs within the broad context of a string band. Like a lot of today’s bands, we have modern and traditional influences that confuse the boundaries. We want to keep blurring those lines to make something all our own.”  – L.D.