Songlines Magazine (October 2015, #111) by Songlines Magazine

Instruments as architecture

Mark Allen Group St Jude’s Church, Dulwich Rd, London, SE24 0PB, UK +44 (0)20 7738 5454 info@songlines.co.uk www.songlines.co.uk SUBSCRIPTIONS

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+44 (0)20 7501 6683 Editor-in-chief Simon Broughton Publisher Paul Geoghegan Editor Jo Frost Deputy Editor Alexandra Petropoulos Art Director Calvin McKenzie Content & Marketing Executive, News Editor Edward Craggs Advertisement Manager James Anderson-Hanney Reviews Editor Matthew Milton Listings Editor Tatiana Rucinska listings@songlines.co.uk World Cinema Editor Yoram Allon Cover image Jean-Michel Sotto

WELCOME

ecently I came across one of the most beautiful musical instruments I have ever seen. It’s called a sasandu (pictured below right), it comes from Kupang, West Timor, in Indonesia and is now in the Museum of

Ethnography in Geneva (MEG). It’s a tube zither, like a Malagasy valiha, made out of a tube of bamboo with 18 metal strings. The world is full of beautiful instruments, of course. Afghan rubabs usually have wonderful mother of pearl inlay on the fingerboard and even more exquisite are Uighur instruments from Xinjiang. But what’s so beautiful about the sasandu, which was collected in 1890, is the way it looks so sculptural, but only in service of the sound. The decoration on a rubab or oud is simply decorative, it doesn’t affect the sound. Of course, it makes the instrument look beautiful, desirable and valuable, but the striking thing about the sasandu is the palm leaf resonator that’s constructed to project the sound. It’s a hemisphere of brilliantly stitched palm leaves – a sonic shell. The sasandu is an organic creation that is the perfect combination of natural materials and acoustics – both an aesthetic sculpture and an instrument. It’s almost an instrument as architecture. That’s where its beauty lies. There are also some magnificent Swiss instruments here: a bark trumpet, the like of which can’t have been heard for centuries, but also magnificent cow bells which you can hear any day in the Alps. The big ones are for special transhumance celebrations, when the cows come down from the summer pastures, but the little ones create a glorious Alpine gamelan when you find them up in the mountains. Again, it’s the perfect union of metallurgy and acoustics.

The sasandu is an organic creation... both an aesthetic sculpture and an instrument

Simon Broughton, editor-in-chief

Contributing Editors Jane Cornwell, Mark Ellingham & Nigel Williamson Interns Nerissa Carbonel-Deere & Jamie Kyei Manteaw

CONTRIBUTORS THIS ISSUE INCLUDE

Subscriptions Director Sally Boettcher Publishing Director Sian Harrington Managing Director Jon Benson CEO Ben Allen Chairman Mark Allen Published by MA Business & Leisure Ltd

© MA Business & Leisure Ltd, 2015. All rights reserved. ISSN 1464-8113. MA Business & Leisure Ltd is part of the Mark Allen Group www.markallengroup.com Printing Pensord Press Ltd Record trade distribution WWMD Ltd 0121 788 3112 Newstrade distribution COMAG 01895 433600 The paper used within this publication has been sourced from Chain-of-Custody certified manufacturers, operating within international environmental standards, to ensure sustainable sourcing of the raw materials, sustainable production and to minimise our carbon footprint.

Gwendolen Chatfield A broadcaster and musician with a background in social anthropology, Gwendolen’s mild obsession with horses and accordions sees her saddling up with the Creole cowboys in Louisiana (p57).

“

Jahnavi Harrison A musician and writer, immersed in South Indian dance and music, Jahnavi has just released her debut album, Like a River to the Sea. In this issue, she recommends ten essential Indian vocalist albums (p98).

Ton Maas Ton studied cultural anthropology in Amsterdam and works as a freelance music writer. He’s also published several books and articles on the dynamics of natural learning. Read his interview with Arifa (p50).

Songlines was launched in 1999 and is the definitive magazine for world music – music that has its roots in all parts of the globe, from Mali to Mexico, India to Iraq. Whether this music is defined as traditional, contemporary, folk or fusion, Songlines is the only magazine to truly represent and embrace it. However, Songlines is not just about music, but about how the music fits into the landscape: it’s about politics, history and identity. Delivered in both print and digital formats, Songlines, through its extensive articles and reviews, is your essential and independent guide to a world of music and culture, whether you are starting on your journey of discovery or are already a seasoned fan.

@SonglinesMag

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CONTENTS

Jerome Witz

29 Daby Touré

UPFRONT

FEATURES

REGULARS

REVIEWS

06 Top of the World CD 08 My World interview

32 Seckou Keita 38 Iness Mezel 42 Kaushiki

52 Beginner’s Guide:

60 62 66 75 76 82 84

11 13 18 23 25 26 29 31

with Phil Manzanera Bonus CD – Canada Now What’s New & Obits Who’s Touring Letters Soapbox Introducing... Ngawang Lodup & Khiyo Spotlight: Daby Touré Quickfire: Blick Bassy, Heidi Tidow & Chris Eckman

WIN

Chakrabarty 46 Dom Flemons & Martin Simpson 50 Arifa and Voices from the East

54 57 87 92 94 97 98

Faiz Ali Faiz Festival Pass: Konya Mystic Music Festival Postcard from Louisiana Gig Guide Subscribe Overseas Festivals Dispatch from Belize Essential Ten: Indian vocalists

Africa Americas Europe Asia Fusion World Cinema Live Reviews

Phil Manzanera’s The Sound of Blue album 08 Youssou N’Dour & Le Super Etoile de Dakar’s Fatteliku: Live from Athens album 15 Daby Touré’s Amonafi album 29 White God DVD 83

COMPETITIONS Submit your entry for each competition via the website: www.songlines.co.uk/competitions. Winners will be chosen at random. Only one entry per household. No cash alternatives. If you would prefer not to be sent details of other Songlines products and services, or products from other carefully selected companies, please tick the relevant box on the entry form. Closing date for this issue’s competitions: October 23 2015 (unless otherwise stated)

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top of the world

01 La-33 ‘La Rumba Buena’ 02 The Soil ‘Unspoken Words’ 03 Moore Moss Rutter ‘The Kings’ Barrows/Mrs Foster’s Fudge’ 04 Faris ‘Oulhawen Win Tidit’ 05 Ballaké Sissoko & Vincent Segal ‘Passa Quatro’ 06 Alif ‘Holako (Hulagu)’ 07 Khiyo ‘Doyal Tomaro Lagiya’ 08 Mec Yek ‘Duj Duj’ 09 Cabruêra ‘Druídas do Agreste’ 10 Amadou Balaké ‘Yéllé’

Free tracks

THE BEST NEW RELEASES

PHIL MANZANERA’S PLAYLIST

top

of the world

TOP

OF THE WORLD

ISSUE 111 111 PLUS 5 tracks chosen by Phil Manzanera

On your free CD – the editor’s selection of the top ten new releases reviewed in this issue

11 Tony Allen ‘Secret Agent’ 12 Ludovico Einaudi ‘Core Meu’ 13 Pernett ‘Cumbia Computer’ 14 Raúl Rodríguez ‘Con la Guitarra en Blanco’ 15 Lila Downs ‘Cumbia del Mole (Live)’ Exclusively with the October 2015 issue of Songlines. STWCD87. This compilation & © 2015 MA Business & Leisure Ltd

Featuring Ballaké Sissoko & Vincent Segal, LA-33, Tony Allen, Mec Yek, Ludovico Einaudi, Lila Downs, The Soil, Faris, Khiyo and more... SLTOTWCD-111-onbody.indd 1

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STWCD87 This compilation & © 2015 MA Business & Leisure Ltd info@songlines.co.uk, www.songlines.co.uk Executive producer Paul Geoghegan. Compiled and sequenced by Elicia Casey-Winter & Jo Frost. Design by Calvin McKenzie. Mastering by Good Imprint. CD pressing by Software Logistics Ltd. The producers of this CD have paid the composers and publishers for the use of their music. Musique de Nuit (No Format!) & © 2015 No Format!. Courtesy of No Format!

05 Ballaké Sissoko & Vincent Segal ‘Passa Quatro’ (4:55)

10 Amadou Balaké ‘Yéllé’ (4:07)

15 Lila Downs ‘Cumbia del Mole (Live)’ (4:08)

top of the world plaYlist tracks 03 Moore Moss Rutter ‘The Kings’ Barrows/ Mrs Foster’s Fudge’ (6:07)

13 Pernett ‘Cumbia Computer’ (4:47)

06 Alif ‘Holako (Hulagu)’ 02 The Soil ‘Unspoken Words’ (3:09)

01 La-33 ‘La Rumba Buena’ (3:45)

TOP OF THE WORLD SELECTION

06 Alif ‘Holako (Hulagu)’ (4:09)

12 Ludovico Einaudi ‘Core Meu’ (5:31)

11 Tony Allen ‘Secret Agent’ (5:22)

PHIL MANZANERA’S PLAYLIST

10 tracks from this issue’s best new albums + 5 bonus tracks exclusively with the October 2015 issue of Songlines

From Aynama-Rtama on Nawa Recordings

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08 Mec Yek ‘Duj Duj’ (3:37)

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06 s o n g l i n e s

09 Cabruêra ‘Druídas do Agreste’ (5:45)

14 Raúl Rodríguez ‘Con la Guitarra en Blanco’ (3:17)

From La Ruta de la Pantera on Dionysiac Tour

04 Faris ‘Oulhawen Win Tidit’ (5:22)

01 La-33 ‘La Rumba Buena’

Colombian salsa collective La-33 return

Well versed in their own traditional

with their fifth album, exhibiting flair

Middle Eastern music, Alif offer a

and innovation across 16 tantalising

unique take on East-meets-West for

tracks of passionate Latin rhythms,

an irresistible and fresh album that is

stylish vocals and smooth brass. See p63

accessible to both worlds. See p76

02 The Soil ‘Unspoken Words’

07 Khiyo

The South African a capella trio

London-based band Khiyo’s self-titled

use only their soulful melodies and

debut is a refreshing take on Bengali

vocal percussion to pay tribute to

music. It is an album of covers, though

Sophiatown, the vibrant musical hub of

the originality is strong – a fitting

Johannesburg’s township culture. See p61

testament of Bengali identity. See p75

03 Moore Moss Rutter ‘The Kings’ Barrows/ Mrs Foster’s Fudge’

08 Mec Yek

From Nostalgic Moments on Native Rhythms

‘Doyal Tomaro Lagiya’ From Khiyo on ARC Music

‘Duj Duj’

From Super Diver City on Choux de Bruxelles

From II on RootBeat Records

Mec Yek, fronted by Roma sisters Katia

The 2011 winners of the BBC Radio 2

and Mielka Pohlodkova, deliver an

Young Folk Award further showcase their

entertaining collection of traditional Roma

vibrant and rich instrumental talents on

songs, a couple of originals and a cover of

their second album. See p72

Amy Winehouse’s ‘Back to Black’. See p71

04 Faris ‘Oulhawen Win Tidit’

09 Cabruêra

Faris Amine takes classic American

One of Brazil’s most notable groups

blues songs and repatriates them to the

return with a colourful and eclectic

African desert, uniting the traditions of

album. With funky grooves and samba

the Mississippi and Sahara seamlessly

influences, it marks their first major

together in perfect calibration. See p77

international release. See p62

05 Ballaké Sissoko & Vincent Segal ‘Passa Quatro’

10 Amadou Balaké

From Mississippi to Sahara on Wrasse Records

‘Druídas do Agreste’ From Colors of Brazil on Tumi Music

‘Yéllé’

From In Conclusion on Sterns Music

From Musique de Nuit on No Format!

Made up of the last recordings by the artist

The masterful duo perform beautifully

from Burkina Faso before his passing last

arranged compositions of intertwining

year, this posthumous release is a fitting

kora and cello and hypnotising riffs on

end to the discography of one of Africa’s

their latest album. See p79

greatest singers. See p60

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+ Phil Manzanera’s playlist 11

11 Tony Allen ‘Secret Agent’ From Secret Agent on World Circuit

“Brian Eno calls Allen ‘perhaps the greatest drummer who has ever lived.’ He sits on the beat and his groove is infectious, challenging and so interesting. I’m really looking forward to playing with him.”

12 Ludovico Einaudi ‘Core Meu’ From Taranta Project on Ponderosa Music

“Einaudi is a consummate musician. Two years ago, he took on board la Notte della Taranta. When he did his concert, he created this music. It features a few of the musicians I’ll be using as well.”

13 Pernett ‘Cumbia Computer’ From The Caribbean Computer on Pernett Records

“Pernett is a very interesting young guy, a Colombian rapper, singer and musician. Totally mad and wacky. In the whole of South America, Colombia is where all the interesting music is coming from.”

“Being brought up in South America, there’s a lot of people who don’t have a lot, but once the music starts, it gives them a lifeline of happiness” Turn over for the full interview with Phil Manzanera

14 Raúl Rodríguez ‘Con la Guitarra en Blanco’ From Razón de Son on Fol Musica

“Rodríguez does something that is unique: merging the Cuban tres guitar with son and flamenco, to create tres flamenco. His groove is not something that you can learn, it’s in the duende he possesses.”

15 Lila Downs ‘Cumbia del Mole (Live)’ From En Paris, Live à FIP on World Village

“She is one of the best singers in Mexico and very famous in the whole of South

NEXT ISSUE: jamiroquai’s sola akingbola’s Playlist Jamiroquai’s percussionist chooses his five favourite tracks to be featured on the covermount CD of the November 2015 issue (#112).

America. I just adore everything that she does and the musicians around her are the best in Mexico.”

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BONUS CD – ADVERTORIAL

CANADA NOW

YOUR BONUS FREE CD

These 15 exceptional tracks illustrate that Canada’s world music scene is as unique and diverse as Canadians themselves. The artists, from all corners of the country, fuse the contemporary with the traditional – creating fresh new takes on the music of their roots. Celtic, Acadian, Indian, jazz, electronica, Ladino, Chinese, bluegrass, blues, throat singing, pow wow and reggae all come together in surprising and powerful ways. compositions inspired by folk and Chinese minority music. The group juxtapose China’s 5,000 years of history with string band music from around the world, including bluegrass, Balkan and Cape Breton ﬁddle tunes.

01 Ten Strings and a Goat Skin ‘Kick the Crow’ This trio weave the music of the Irish, Acadian, Francophone and maritime cultures. Their original creations with modern and world rhythms create a fiery and contagious sound that has them touring extensively throughout Canada, the US and Europe. 02 Kiran Ahluwalia ‘Hayat’ Born in India, raised in Canada and currently living in New York City, Kiran Ahluwalia embodies the essence of Indian music but with a strong contemporary edge. She sings of Sufi mysticism and the larger human condition, embracing many influences, specifically jazz and African desert blues.

Eccodek seamlessly weave together the sounds of Africa, Turkey, India and Jamaica atop a forward thinking musical mix of funk, jazz, dub and electronica. Their latest album, Singing in Tongues, was described by Maximum Ink as ‘an intoxicating musical trip into future globalism.’ 05 Les Poules à Colin ‘Ti-Mé’ Les Poules à Colin are ﬁve young musicians with natural talent and spontaneous energy, inspired by the Québécois traditional music they grew up with. ‘Ti-Mé’, an original melody on a timeless story of a young man going off to war, uses both turlutte song and podorhythmie (foot percussion) in a contemporary arrangement.

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04 Eccodek ‘In Conﬁdence’ At the forefront of the global electronic scene, with seven critically acclaimed albums,

07 Red Chamber ‘Dark Red Ruby’ Red Chamber’s repertoire includes chamber music from the Chinese Imperial court to contemporary

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08 Tanya Tagaq ‘Umingmak’ Inuk throat singer Tanya Tagaq is fearsome, strident and elemental – her music a genre unto itself. Tagaq’s unique vocal style may be rooted in a traditional cultural form, but her expression also aligns with avant-garde improvisation, metal and electronica inﬂuences that all inform her startling and powerful creative vision. 09 The Fretless ‘Dirty Harry’ The Fretless take string music to fascinating places, transforming ﬁddle tunes and folk melodies into intricate, beautiful, high-energy arrangements. This folk quartet not only deliver expert musicianship and eye-catching performances, but make you feel the deep passion they have for the music. 10 Ayrad ‘Moroccan Gospel’ Montréal-based sextet Ayrad explore a plethora of musical styles, fusing Andalusian and Berber rhythms with reggae and Latin grooves. They are known for their mastery of mixing world music, moving lyrics, inspiring melodies and plenty of improvisation. 11 Delhi 2 Dublin ‘TumbiWOW’ Delhi 2 Dublin are a Vancouverbased band who play an energetic mash-up of bhangra, Celtic, rock, dub reggae and electronica. Called the ‘United Nations of Rock’n’Roll’ by Hour Magazine, there is a real buzz about this band in Canada right now. They recently released ‘TumbiWOW’ as a single and video, and have a new album scheduled for release later this summer.

12 Shauit ‘Kie Thinuau’ Originally from Maliotenam in northern Québec, Shauit sings in French, English, Creole, and above all, in his Aboriginal language, Innu. This unique artist offers honest and engaged songs influenced by reggae, pop and dancehall that appeal to both Aboriginal audiences and others around the world. 13 H’SAO ‘Allah Ni ke Oywa’ These Montréal-based musicians are known for the power of their voices and vocal harmonies, rhythms and authenticity. H’SAO are loyal to their Chadian roots, blending modern and traditional African influences, in a style best described as Afro-fusion or Afro-jazz. 14 Cris Derksen ‘Round Dance’ Aboriginal cellist Cris Derksen braids layers of classical symphonic sounds with traditional pow wow pieces. Her latest recording, the Orchestral Pow Wow Project, draws on music from the library of recording label Tribal Spirit. Originally from northern Alberta, she is of mixed Cree and Mennonite background. 15 Quique Escamilla ‘Huapango del Tequila’ ‘Quique represents a modern version of a Pan-American troubadour fusing traditional Mexican styles such ranchera and huapango with rock, reggae…’ (Songlines review, #106). His music is mostly influenced by Latin American rhythms mixed with North American sounds from rock, blues and jazz, creating his own blend of music of the Americas. For more information: www.canadacouncil.ca/audienceand-market-development-office

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S E C K O U K E I TA

A Man in Motion

Over the past decade Seckou Keitaâ&#x20AC;&#x2122;s various projects have been written about within these pages. His current album and tour features just him and the 22 strings of his kora. Jane Cornwell talks to him about his journey so far

All photos by Andy Morgan, unless stated

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KAUSHIKI CHAKRABARTY

Youthful Imagination Khayal singer Kaushiki Chakrabarty speaks to Jameela Siddiqi about her demanding yet expressive North Indian classical vocal style and how she got her remarkable start in this mainly masculine genre

he Indian classical vocalist Kaushiki Chakrabarty has had the kind of debut that other musicians can only dream about. In 1997, aged just 16, she received thunderous applause after her first public solo recital in an audience that included, among others, the late legendary tabla player Alla Rakha and his son Zakir Hussain as well as sarod maestro Amjad Ali Khan. But, Chakrabarty says, “it was some two years later that I discovered this was called a standing ovation.” This early success continued with a BBC Radio 3 Award for World Music win in 2005 that gained her international recognition, which was followed by several highly acclaimed albums. The daughter of celebrated classical vocalist Ajoy Chakrabarty, she admits that she had it easier than most other newcomers. But that’s not to say it wasn’t a lot of hard work with several hours of practice each day. She is a singer of khayal (meaning ‘imagination’), a North Indian classical

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vocal genre that demands full fluency in the raga being sung, as well as the ability to expand and improvise with a wide range of ornamentation while remaining within the strict confines of the chosen raga. It is an art that not only requires extensive musical knowledge and vocal dexterity but also the ability to compose musical phrases on the spot while delving deeper to unfold the multi-layered meanings of the song texts. While khayal is largely improvised, particularly in its slow, pulse-free introductory sections, the later (and faster-tempo) part of khayal recitals often consist of pre-composed song sections which, nevertheless, require a great deal of creativity to turn an average performance into an outstanding one. In Indian classical music terms, it is a relatively modern genre that gained immense popularity during the 18th century and, within a hundred years, had all but eclipsed its predecessor, dhrupad, an ancient song form that upholds the supremacy of the musical note, pure and unembellished.

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Kaushiki Chakrabarty

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Parimal Maity

Chakrabarty pictured with her tanpura, the drone instrument used to support the singerâ&#x20AC;&#x2122;s melody

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Festival Beginner’s pass guide

Simon Broughton

Faiz Ali Faiz

The leading voice in Sufi devotional music, known as qawwali, is breaking new ground with his various live collaborations and projects. Simon Broughton reports

aiz Ali Faiz sings like a force of nature. He launches his powerful vocals heavenwards with a wave of his hands or throwing his arms aloft. Qawwali, the form of Islamic music he sings, has a 700-year history and it’s become the most popular style of Sufi music because of its unstoppable melodic and rhythmic force. Alongside the lead vocal, qawwali groups have two or three more vocalists whose voices thrillingly overlap and intertwine. The ecstatic vocal melodies are backed by harmonium, clapping and drums.

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Faiz is one of the masters of the form. He’s a regular singer at the shrine of Data Ganj Bakhsh in Lahore and at festivals around the world. But he’s also been involved in some of the most interesting qawwali fusions with flamenco and gospel music. Born in Lahore in 1962, Faiz is the ninth generation of qawwali musicians in his family. He learned first from his father and then Abdul Rahim Faridi became his qawwali teacher and Ghulam Shabir Khan and Ghulam Jafar Khan were his gurus for Indian classical music. He formed his own

qawwali group in 1978. Faiz sings in Punjabi, Urdu and Persian, the language of Amir Khusrau (1253-1325), the creator of qawwali. He’s performed at the Nizamuddin shrine in Delhi, where Khusrau is buried and also in Hindu temples in Indian Punjab. There’s one name that dominates the qawwali music scene, of course, and that is the late, great Nusrat Fateh Ali Khan (1948-1997). Faiz first saw him in 1983 at a shrine near Nusrat’s home town of Faisalabad, where they were both invited to perform. Although Faiz had his own teachers, it was Nusrat who lit his fire: “My initial influence was from Nusrat,” says Faiz. “His singing empowered me and I sing under his inspiration. I try to follow the traditional Punjabi style of qawwali, which is the Nusrat style.” Faiz’s first international trip was to South Africa in 1992 where he stayed six months and sang at several of the country’s Sufi shrines. Since teaming up with the French

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SARAWAK

record company Accords Croisés in 1999 he’s made several recordings and toured extensively. He recorded for the Bollywood film Kartoos (Cartridge) in 1999, where his voice was used alongside that of Nusrat. But, unlike Nusrat in this respect, he prefers to stick to the traditional qawwali form. Though, this hasn’t stopped him taking part in some exhilarating fusions and collaborations, notably the Qawwali Flamenco project, which premiered in Barcelona in 2003. Faiz’s qawwali party joined singers Miguel Poveda and Duquende and guitarist Chicuelo in a spectacular juxtaposition and combination of the two forms. “It was difficult at first,” admits Faiz, “but I like to be challenged. The flamenco singing style sounds similar to Rajasthani music and there are lots of similar rhythmic patterns. And Chicuelo, particularly, got our music.” A couple of years later he embarked on a different collaboration, Qawwali Gospel, with New Orleans-based Craig Adams with the Voices of New Orleans. Here the musical styles were very different, but the aim of the songs was identical – to praise the Lord. As Derek Beres wrote in The Huffington Post after their Brooklyn performance: ‘In meaning, they could not be more similar: devotional music in homage to the divine. And in this Allah and Jesus meet and dance.’ In 2009, there came yet another collaboration, this time with the maverick French guitarist and lover of Gypsy music, Titi Robin. They’d first met in 2006 and both been struck by each other’s music and this time it was a meeting of musicians rather than genres. The result was Jaadu: Magic (a Top of the World in #65) featuring compositions by Robin and arrangements of qawwali pieces. A sublime example showing that while Faiz Ali Faiz, as one of the greatest living qawwali musicians, stays true to the tradition, he can also take the music into new realms. + DATE Faiz Ali Faiz will

Lucien Lung

perform as part of the Transcender Festival at the Barbican on September 27, see Gig Guide for details

BEST ALBUMS The New Qawwali Voice (World Village, 2002) Faiz’s very impressive debut disc. He doesn’t try to show off a little bit of everything, but sticks to a traditional sequence of four songs, some nearly 20 minutes long that really convey the powerful ebb and flow of qawwali. And he’s not afraid to do the Nusrat staple ‘Allah Hoo’. A live recording from Gerona and reviewed in #16.

Your Love Makes Me Dance (Accords Croisés, 2004) The album takes its title from a famous lyric by the Punjabi Sufi poet Bulleh Shah, which is one of the five songs included in this ‘homage to Nusrat Fateh Ali Khan.’ He ends with a variant of Nusrat’s favourite closing piece ‘Mast Qalandar’. A live concert recording from Lille, reviewed in #27.

Various Artists Qawwali Flamenco (Accords Croisés, 2006) This is a pretty impressive package of two CDs plus a DVD of the performance at the Fes Festival of Sacred Music. Alongside Faiz’s group it features Duquende, Miguel Poveda and Chicuelo. They perform several numbers separately, but four are performed together. A Top of the World review in #37.

Faiz Ali Faiz & Titi Robin Jaadu: Magic (Accords Croisés, 2009) A unique disc on which Titi Robin (on guitar and buzuq) creates new compositions and makes memorable arrangements for a small instrumental group and the qawwali party. A Top of the World review in #65.

IF YOU LIKE FAIZ ALI FAIZ TRY….

Rizwan-Muazzam Qawwali Day of Colours (Real World, 2004) This group is led by two nephews of Nusrat Fateh Ali Khan who are also based in Lahore. They’ve recorded several albums for Real World and have been regular visitors to WOMAD festivals. The seven tracks include compositions by Khusrau, Rumi and Bulleh Shah. Reviewed in #27.

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Africa reviews Brian Chilala & Ngoma Zasu Vangaza! SWP Records (52 mins)

HHHHH

Jit-jiving Zambian styles from an upbeat crew Zambia lies geographically between Zimbabwe and the Democratic Republic of Congo and is one of the musically less prolific countries on the African continent. It does, however, have a home-grown popular music style known as kalindula – a hybrid of Zambian traditional melodies and rhythms – and the SWP Records label

have been doing a sterling job in releasing good Zambian recordings. Brian Chilala, former member of internationally acclaimed group Amayenge, recorded the tracks on this album with his backing group Ngoma Zasu in 2006 and 2008. They play a lively musical style with flavourings of Congolese modern rumba, Zimbabwean jit (or jit-jive), and a smidgen of South African gospel and reggae. The liner notes explain that Chilala is known as ‘The Rebel’ in Zambia for his often satirical lyrics that confront political and social issues. Punchy electric guitars and Chilala’s jaunty vocals, backed by three female singers, make for a very pleasant and uplifting recording.

Hopefully this disc will help the kalindula style to survive among all the hip-hop-related releases that generally dominate Zambian music. Martin Sinnock

Track to Try Nimwe Tulolela

Gangbé Brass Band Go Slow to Lagos Buda Musique (66 mins)

HHHHH

Band that’s blasting out of Benin, bold as brass As the album’s title suggests, there’s a marked Nigerian Afrobeat feel to this Benin crew’s latest, as well as a curious

touch of the New Orleans jazz parade that is probably inevitable if you’re a brass band. The opening song, called simply ‘Yoruba’, has Femi Kuti contributing vocals and saxophone with Lekan Babalola on percussion, making a bold statement from the start. The bass, drumming and sousaphone gives the mix a massive low-end presence, lending immense drive to the celebratory proceedings. The rest of the spirited horns include bugle, trumpet, saxophones and trombone, the last being played by lead singer Whendo Martial Ahouandjinou. Much of the album sounds like the transplanted manifestations of Yoruba culture heard in the Caribbean – in Cuba or Haiti for example. The best example of this is ‘Ashé’, which features just voices and percussion, making an arresting contrast midway through the album. As if all of this wasn’t a heady enough brew, the French pianist Jean-Philippe Rykiel (mostly known for his work with Salif Keita and Youssou N’Dour) guests on four tracks, bringing in jazz, salsa and South African gospel, as well as a couple of warbly, retro synth solos. Martin Longley

TRACK TO TRY Yoruba

Ismaël Lô Best Of

Wrasse Records (68 mins)

HHHHH

West Africa’s answer to Bob Dylan? Quite possibly...

Florent Mazzoleni

top

of the world

Amadou Balaké In Conclusion

track 10

Sterns Africa (51 mins)

HHHHH

The last recordings of Africando’s late, great singer In the latter part of his life the singer Amadou Balaké, who passed away in August 2014, was a prominent member of the African salsa supergroup Africando. Prior to Africando, he released some splendid LPs under his own name, including several for the Ivorian label Sacodisc/Lassissi – some of which has subsequently been made available on CD. In Conclusion is an appropriately respectful release of Balaké’s final recordings made in 2013 in Ouagadougou, the capital of his home country Burkina Faso. He is accompanied by young local musicians and on three tracks he revisits some of his past repertoire. Throughout a career that commenced in the 60s he has performed a mixture of West African styles, featuring local warba (or waraba)

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rhythms and the Mande music popular throughout Mali and Guinea. In addition there are Afro-Cuban and blues influences, along with the funk of Afrobeat. Despite the variety of styles there is a strong sense of cohesion and completion in the song selection. It’s all incredibly earthy and flows magnificently, with no superfluous production or intrusive instrumentation. Some tracks are led by ngoni (lute), some by balafon (wooden xylophone), with guitar backing, occasional saxophone and trumpet and a swirling organ. Amadou Balaké has an eminently likeable voice, with just the right amount of smokiness and a slightly raspy character. It’s a faultless release that stands as a fitting tribute to a truly great artist. Martin Sinnock

TRACK TO TRY Naaba

There was a time, back in the 90s, when it seemed that Ismaël Lô was destined to become one of the best-known musicians in West Africa. After all, he was a singer-songwriter with a compelling, soulful voice who accompanied himself on acoustic guitar and harmonica: he inevitably became known as the ‘Bob Dylan of Senegal.’ His album Ismaël Lô, released in 1991, was a revelation, thanks to the cool, often exquisite songs, several of which make a welcome re-appearance here. They include the charming, harmonica-backed ‘Tajabone’, a gloriously melodic tribute to a Muslim festival, and the more brooding and thoughtful ‘Raciste’. The worst songs are left until last, making them easy to avoid: two tracks from the 2001 Dabah album, on which he is backed by a guitar and keyboards rock band, and an over-lush reworking of ‘Tajabone’. Better by far is his remarkable vocal workout on

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Africa REVIEWS ‘Jammu Africa’, and several reminders of his attempts to achieve greater commercial success. There’s a fine, drifting duet with Souad Massi, ‘Noir et Blanc’, and the quietly pained ‘Without Blame’, which he co-wrote with Roger Waters and on which he is joined by Marianne Faithfull. ROBIN DENSELOW

TRACK TO TRY Noir et Blanc

Miriam Makeba The Indispensable 1955-1962 Frémeaux & Associés (3 CDs, 169 mins)

★★★★★

How do you prefer your Miriam: folky or jiving? Once music goes out of its 50-year copyright, open season follows on the reissues market. Two issues ago I reviewed Mama Africa, a compilation bringing together the first two solo albums Makeba recorded after she found asylum in the US: 1960’s Miriam Makeba, and The Many Voices of Miriam Makeba, released two years later. This three-disc set goes one better, encompassing all of the material from those two LPs and adding to them 41 tracks recorded in South Africa prior to her departure. The US-recorded material finds her either in simpler folk vein, accompanied by a single guitar and Harry Belafonte’s backing singers, or by a small folk-jazz combo that included Hugh Masekela on trumpet. It is intriguing to contrast these recordings with the material she recorded in Johannesburg between 1955-59, with the Manhattan Brothers, the Skylarks and then solo. While the New York recordings have been clearly Americanised to fit the aesthetic of the folk revival that was at the time exploding in the coffeehouses of Greenwich Village, the South African recordings fizz with a much more authentic township swing. Yet it’s ultimately more complicated than that, for the Zulu/Xhosa tribal sway of the Manhattan Brothers had in turn been influenced by American vocal groups such as the Inkspots; while tracks such as ‘Hush’, recorded with the Skylarks, betray the clear influence of American gospel singing. The cross-pollination in both directions is fascinating and thrilling; it’s one of many reasons why these recordings are indeed indispensable. NIGEL WILLIAMSON

TRACK TO TRY Miriam’s Goodbye to Africa

Sam’M Oa Na Mba Map Musique (46 mins)

★★★★★

Parisian world-jazz chic from the promising Cameroonian Trained at Paris’ Conservatory of Music, guitarist Samuel Mbappe – Sam’M – hails from Douala in Cameroon. He grew up in the mountain town of Foumban in the west of the country. His early influences are from the world of jazz as well as mainstays of African music like his fellow countrymen Manu Dibango and Francis Bebey. This is an exquisitely performed album of world music, cocktail jazz and makossa (popular urban Cameroonian music) flavourings. It features some of Paris’ ‘usual suspect’ musicians, such as bass player Guy Nsangué, percussionist Valéry Lobe, accordionist Regis Gizavo, and sax and flute player Nicolas Gueret. However, it is Sam’M himself who has composed and arranged most of the session and his attention to detail in the production is commendable. Although he studied jazz, it is primarily as a singer that Sam’M is heard here. He sings in the Douala language and has a pleasant voice, which benefits from a large ensemble of fine musicians and a great set of arrangements. MARTIN SINNOCK

TRACK TO TRY Abela

Daby Touré Amonafi Cumbancha (41 mins)

★★★★★

Prick up your ears for a story from Touré Right from the opening track, ‘Woyoyoye’, a slice of the Afro-pop perfection Daby Touré is known for, it is clear that everyone’s favourite Paris-based Mauritanian singersongwriter is back. And with plenty of stories to tell. Amonafi translates as ‘Once Upon a Time’ in Wolof. Even if the literal meanings of these lyrics – sung in Wolof, Pulaar, Hassinaya and other languages – pass us by, Daby still manages to convey the emotions and journeys undertaken. Here are the sort of catchy, lovingly crafted songs we heard on Stereo Spirit and Diam, the Real World albums with which he made his name before a Faustian pact with Universal saw him singing largely

TOP

OF THE WORLD

The Soil Nostalgic Moments

TRACK 2

Native Rhythm Records (48 mins)

★★★★★

A well-grounded trio we’re sure you’ll dig The sepia-tinted cover shots and period costumes provide a visual counterpart to the title of this album, the second by this South African vocal trio. And the music inside pays homage to the heritage of Sophiatown, the vibrant musical hub of Johannesburg’s township culture until it was ethnically cleansed in 1955 and its black population forcibly relocated. The uplifting harmonies knowingly evoke the era’s vocal groups, such as the Manhattan Brothers and the Skylarks. They channel the spirit of songs like ‘Mbube (The Lion Sleeps Tonight)’ but update it in a contemporary style, mixing

hip-hop, R&B and Afro-pop with jazz and swing to ensure that The Soil never sound merely retro. Totally a capella, with no instrumental accompaniment, the music’s rhythmic bass lines come, doo-wop style, from the resonant human beatboxing of Luphindo ‘Master P’ Ngxanga. They ground the enticing voices of his brother Ntsika and female vocalist Buhlebendalo Mda, who has the star quality of a South African Lauryn Hill. Ladysmith Black Mambazo turn up as guests on one track and by the time you read this, The Soil will have made their debut performance at WOMAD. You don’t need a crystal ball to predict a festival sensation. NIGEL WILLIAMSON

TRACK TO TRY Unspoken Words

GET THIS ALBUM FREE Readers can get Nostalgic Moments when subscribing or renewing with Direct Debit. See CD flyer for details in French and shoehorned into duets with Francis Cabrel and Maxime Le Forestier on 2012’s so-so Lang(u)age. Daby’s relief at being his own man again is palpable. While still very much a French album, with its polished edges and slick (almost too slick) production, Amonafi finds him emboldened, stretching out on tracks such as the

rollicking, percussion-fuelled ‘Kille’, the melodic, hook-laden ‘If You’ and ‘Little Song’, with its jaunty, upbeat rhythms. What with his wide-ranging voice, virtuosic guitar work, and knack for songwriting, Amonafi repositions Daby as a force to be reckoned with. JANE CORNWELL

TRACK TO TRY Woyoyoye

ISSUE 111

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› SONGLINES

19/08/2015 09:39

September-OCTOBER 2015

Gig Guide

Songlines picks... Antonio Forcione’s Sketches of Africa (London, September 14-15) The Italian guitarist brings his African project to Soho’s Ronnie Scott’s club. Calan (Wales, September 22) A fresh, modern approach to traditional Welsh music and step dancing comes to Cardiff. Yiddish Twist Orchestra (pictured) (South, September 25 & Midlands, October 1) Put on your dance shoes and get ready for some quirky, retro Yiddish twisting! Terakaft (London, October 6) Performing songs from their latest album, Alone, the Touareg band return to London’s Rich Mix. Musicport Festival (North, October 16-18) The world comes to Whitby, Yorkshire for its annual celebration of global sounds.

London 29 Aug Lapa in London: Celebrating the Music & Culture of Rio de Janeiro The Forge forgevenue.org; Notting Hill Carnival FREE thelondonnottinghillcarnival.com; Piers Faccini & Vincent Segal + Emily Barker QEH Roof Garden 0844 875 0073; 30 Aug Atif Aslam The O2 0844 856 0202; 31 Aug The Deslondes The Islington 08444 771 000; 1-30 Sep K-Music: A Celebration of Korean Music serious.org.uk/kmusic;

Odi Caspi

See p18 for tour highlights

Totally Thames totallythames.org; 3 Sep New Sounds of Venezuela Rich Mix richmix.org.uk; 4 Sep Inside Out Iran Rich Mix richmix.org.uk; 5 Sep Naseem Shahrivar & the Sarvestan Ensemble + Ali Akbar Moradi Purcell Room 0844 875 0073; Savita Devi + Radhika Copra Cadogan Hall 020 7730 4500; Kanika Kapoor, Shalmali Kholgade & Harshdeep Kaur RFH southbankcentre.co.uk; 5-6 Sep Discover Indonesia Southbank Centre southbankcentre.co.uk; 6 Sep Klezmer in the Park Regent’s Park Band Stand FREE jmi.org.uk/events;

London Mela Gunnersbury Park londonmela.org; 7 Sep Ross Couper & Tom Oakes Green Note 020 7485 9899; 10-13 Sep Africa Utopia Southbank Centre southbankcentre.co.uk; 11 Sep Rajan & Sajan Mishra 020 7730 4500; 11-13 Sep Kings Place Festival kingsplace.co.uk/festival; 12 Sep Carolyn Saint-Pé & The Sparrows of Paris Green Note 020 7485 9899; 13 Sep Moein Barbican 020 7638 8891; 14-15 Sep Antonio Forcione’s Sketches of Africa Ronnie Scott’s 020 7439 0747; 17-20 Sep Darbar Festival Southbank Centre

darbar.org; 18-27 Sep The London African Music Festival joyfulnoise.co.uk; 19 Sep Amahoro II Rich Mix richmix.org.uk; Pankaj Udhas The O2 0844 856 0202; 21 Sep OSS Green Note 020 7485 9899; Rupa & The April Fishes Jazz Cafe 0844 847 2514; 22 Sep The Dovetail Trio Green Note 020 7485 9899; 24-27 Sep Transcender: Ecstatic, Devotional & Psychedelic Music barbican.org.uk/transcender; 28-30 Sep Bebel Gilberto Ronnie Scott’s 020 7439 0747; 29 Sep-3 Oct London Latin Jazz Fest Pizza Express

www.songlines.co.uk/gigs All information correct at time of going to press. Email listings for print and online consideration to listings@songlines.co.uk issue 111

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› songlines

19/08/2015 09:21

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Nicolas Diop

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spotlight spot DABYligh TOURÉt DABY TOU RÉ

The West African singer is a curious contradiction as Daniel finds out when he talks to him Brown

about his comeback The West African and new release singer is a curious contradiction as Daniel finds out when he talks to him about Brown his comeback and new release

monafi is much more than Daby explore my Senegalese-Mauritanian Touré’s fourth solo album. The singer roots and realised just I was two and I was has made its 13 songs how little we know moved all over the a personal and of our political voyage into place. own history. It’s my I learned five languages the depths of his responsibility to to exchange, learned soul, remind his past and his uneasy Africans of what to observe and draw slavery had done relationship with from the experiences to them the world that surrounds and how people like life flung at me. I’ve him. It’s not been my grandfather resisted.” spent the last four an easy ‘Soninko’ exploration. “I needed years balancing between is a tribute to Daby’s to rub myself up long stretches at ancestor who close to shares home the horrors I see in composing and recording, his name and whose the world, to manage ingenuity was a and reflecting on people rampart who are so different my bitter-sweet roots against the soul-destroying to myself,” he explains in the border village effects of with disarming frankness French colonisation I grew up in. Now, as Daby Touré Sr I want to get back from his home city spawned on stage of Paris. “The closer one of the best-known again, not just to I get to its violence share my music, musical families and but to in injustice, the better West Africa. “I’m exchange with people I am armed to get really moved by his afterwards. I need out of the His story. cycle of hate I’ve their contact, it’s real, strength inspires known. And that, it’s an antidote to me as I live a life deep down, where I politics.” is what this album am reminded every Our exchange draws is all about.” day that I am a black to an end. It’s been man Amonafi translates who doesn’t belong troubling, frank, from Wolof as ‘Once here in France. But yet curiously, Daby my sounds Upon a Time,’ but grandfather overcame uplifted. “I’m surrounded it’s no fairy tale. Daby’s such prejudice, he’s by the right people; an compositions tell inspiration, like I Amonafi is me through-and-through, of jobless African hope I will be to my youth, child.” that’s a people fleeing by How does he tally lifesaver.” And the boat northwards, such bleakness with lanky musician draws mothers his begging with their a veil trademark smile on the conversation, children in the street, on Amonafi’s intriguing moving on to the the next indifference of citizens cover illustration? challenge his artist’s life will bring Daby laughs: “Yes, to the horror of conflict, we’re all him. the disappearance people of contradiction. of village life and I’m at a stage where the pearls of wisdom it provided. a new departure + ALBUM Amonafi is reviewed means getting closer But also the defiance to my of women, the dignity family, my roots, + DATES Daby Touré plays this issue, p61 of unemployed, the a new record label. at the London proud I’m a heritage of Africa. happy mix of African African Music Festival “What can I say?” and Western without on September he sighs. “I being more 25 at see people everywhere the Canada Water one than the other, just serving themselves. Culture always on Selfishness dominates, the move, on the + WIN We have three copies Space look-out for people it’s revolting. And of Daby Touré’s and ignorance, too. I went memories which album Amonafi to inspire me. It’s an to Africa to further give away. To enter, instinct I’ve built up since answer: What does my parents separated Amonafi mean in when English? See p5 for competition rules and deadline

monafi is much more than Daby explore my Senegalese-Mau Touré’s fourth solo album. The singer ritanian roots and realised just I was two and I was has made its 13 songs how little we know moved all over the a personal and of our political voyage into place. own history. It’s my I learned five languages the depths of his responsibility to to exchange, learned soul, remind his past and his uneasy Africans of what to observe and draw slavery had done relationship with from the experiences to them the world that surrounds and how people like life flung at me. I’ve him. It’s not been my grandfather resisted.” spent the last four an easy ‘Soninko’ exploration. “I needed years balancing between is a tribute to Daby’s to rub myself up long stretches at ancestor who close to shares home the horrors I see in composing and recording, his name and whose the world, to manage ingenuity was a and reflecting on people rampart who are so different my bitter-sweet roots against the soul-destroying to myself,” he explains in the border village effects of with disarming frankness French colonisation I grew up in. Now, as Daby Touré Sr I want to get back from his home city spawned on stage of Paris. “The closer one of the best-known again, not just to I get to its violence share my music, musical families in and but to injustice, the better West Africa. “I’m exchange with people I am armed to get really moved by his afterwards. I need out of the His story. cycle of hate I’ve their contact, it’s real, strength inspires known. And that, it’s an antidote to me as I live a life deep down, where I politics.” is what this album am reminded Our exchange draws to every day that I am is all about.” an end. It’s been a black man Amonafi translates who doesn’t belong troubling, frank, from Wolof as ‘Once here in France. But yet curiously, Daby my sounds 029_Spotlight_SL111.indd Upon a Time,’ but issue 111 › so grandfather overcame uplifted. g l i n e s 29 29 “I’m nsurrounded it’s no fairy tale. Daby’s such prejudice, he’s by the an compositions tell inspiration, like I Amonafi is me through-and-thr right people; of jobless African hope I will be to my youth, ough, that’s a child.” people fleeing by How does he tally lifesaver.” And the 19/08/2015 09:26 boat northwards, such bleakness with lanky musician draws mothers his begging with their a veil trademark smile on the conversation, children in the street, on Amonafi’s intriguing moving on to the next the indifference of citizens cover illustration? challenge his artist’s Daby laughs: “Yes, to the horror of conflict, life will bring him. we’re all the disappearance people of contradiction. of village life and I’m at a stage where the pearls of wisdom it provided. a new departure + ALBUM Amonafi is reviewed means getting closer But also the defiance to my of women, the dignity family, my roots, + DATES Daby Touré plays this issue, p61 of unemployed, the a new record label. at the London proud I’m a heritage of Africa. happy mix of African African Music Festival “What can I say?” and Western without on September 25 he sighs. “I being see people everywhere at the Canada Water more one than the just serving themselves. Culture other, always on Selfishness dominates, the move, on the + WIN We have three copies Space look-out for people it’s revolting. And of Daby Touré’s and ignorance, too. I went memories which album Amonafi to inspire me. It’s an to Africa to further give away. To enter, instinct I’ve built up since answer: What does my parents separated Amonafi mean in when English? See p5 for competition rules and deadline 029_Spotlight_SL111.

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