Africa music reviews

Happy, soothing, uplifting, makes you want to dance. Fresh, genuine, charming and unpretentious. I take it with me on otherwise annoying business trips, listen to it in city traffic, while doing errands, etc.

This is the most relaxing African music I have ever heard. If you enjoy Kenny G, this is the African version of Kenny G. Good job

Unfamiliar with African music, unsure about a CD in a language you don't understand? Go ahead and try this anyway! This cd was the disc that forced me to go out and get a player oh so many years ago. It is absolutely beautiful, and lyric without the need to understand the words of the songs (how I wish that I did!). I'm afraid I do not know how traditional Samite is considered to be, or how original. Either way however, to my western ear his sound is well rooted in the richness of experience. Sweet, sad, soothing or joyous, it is never cloying or irritating. Although it is not a boisterous CD, rather soft really, I find that I can not use it as background noise because it always quitely draws my attention. Good music for weaving or potting plants, but not writing letters! This CD accomplishes a universality that I suspect many new age artists are seeking, but utterly without that awful vague formlessness or aimlessness that tends to pass for ephemeral in more consciously intellectual musical expressions. Highly recommended! (by me at least!)

Anyone who still doubts the relevancy of African music, or thinks that Western music is somehow superior, should be made to watch Doudou Ndiaye Rose in action. While I have not had that pleasure, SBS TV in Australia was kind enough to broadcast a program about the making of this CD on television recently. Fascinating stuff indeed. There was Rose conducting his compositions with a team of Western recording personnel looking on in awe. Not only because of the intricate and complex rhythms of the compositions, but also because of the way in which Rose conducted the orchestra of 50 Muslim drummers and 80 Catholic singers on the Island of Goree in Senegal - much like the way in which a conducter of a Western symphony would conduct his orchestra in a great hall. All these drummers were really one, with a perfect mastery of their art and what seemed like an amazing joy for living. Doudou Ndiaye Rose is a master musician and arguably the best rhythmatist in the world. It is fortunate that he has passed his knowledge on to his children, especially since so much of the traditional musics of the world are being lost. Ali Ndiaye Rose (one of Doudou's sons) is a guest lecturer at the Royal School of Music in The Hague, The Netherlands and since 1989 has worked and performed with the Percussion Group The Hague. (They recorded together on the Dutch CD "Skin Hits").

The CD "Djabote" is very well recorded and belongs in the collection of any serious African music listener.

If you are at all interested in percussion or african drums you can not go wrong buying this CD. It is by far the best drum CD out there.

No other drumming quite sounds like that of Doudou N'Diaye Rose. Large drum ensembles (50 drummers on this album) play together with a level of complexity and subtlety usually associated more with orchestral works than with drum music. Doudou hails from Senegal and is esteemed there as not only a master drummer but also as a living repository of the musical traditions of that nation. He is conductor of his ensemble as much as featured drummer, and a chance to see him play, even on video, should not be missed. He has been heard on tracks of some albums by Peter Gabriel- who in turn is the force behind the RealWorld label that recorded him. 'Djabote' features 12 engaging and unique compositions. There are singers involved as well, but the singing is enjoyable and perhaps used more judiciously and less intrusively (to Western ears) than is true of many other ostensibly "drum" recordings. If you can keep still while listening to this album, better check your pulse. ;-{) Whether you are already a fan of African drumming or are checking it out for the first time, it would be hard to do better than 'Djabote'.

The entire Ethiopiques series is wonderful. This, however, may be the best of the lot. Track after track on this disc carries you along with moody intensity. Ahmed, combined with his incredible orchestra, create a trance-like mood throughout, which completely envelopes the listener. Anyone who appreciates hypnotic music will love this collection.

This is a powerful CD, with raw intesity, complex rhythm patterns, a fabulous, energetic brass section, and the artistry of Mahmoud Ahmed, who's gritty, strong and sensual voice is terrific, and should have a wider audience.

There isn't a weak track on this CD, which is a reissue of recordings done in '75 and '78. In the same way that one can hear the echoes of North African music in Spanish flamenco, one can hear a common ancestry between the music on this CD and American jazz...if you're comfortable with 1969 Miles Davis, the dissonance and intricacy of this music (especially tracks 9 + 10, which combine to make a single 9'14 minute composition), won't seem foreign at all.
It's hard to pick a favorite track, but the voluptuous melody of # 11, "Fetsum deng ledj nesh" ("You are Sublime"), make it a front runner.

The booklet insert, in English and French, is excellent, with translations of the songs, photos, and a history of the music and political chaos that affected it at the time.
This CD is 61'25 in total time, and is dynamic, potent music...if you like jazz, or exotic "world music", you might find it to be, as described in the liner notes, a "jewel of African soul".

In general, there is a rolling, hynoptic quality to Ethiopian music. When those qualities are joined by the voice of Mahmoud Ahmed, the mix is irresistable. The influence of soul/funk is clear. It is also clear that this music contains the roots of African American music as well.

There is a dark blue, almost scary feel to this stuff, like that of some the best early blues. Western ears may need to adjust to the dissonant horns. But there is much pay off. There is a richness here and seeming simplicity that can only come from a ancient culture. That the music seems so contemparary at the same time makes it all the more amazing.

It starts with the first track, Ere Mela Mela, and never let's up. This music is defines the term DOWN, with Mahmoud's hallucinatory arabic-sounding vocal over fractured horn-driven funk refracted to the nth power in a cracked funhouse mirror. Music for the opium den at 4 am. A must for all lovers of the truly original. One of the great world music classics. All hail Mahmoud Ahmed!!!

If you have never heard Ethiopian music before, then you are in for a real treat with this CD. While it focuses on the music of one particular artist (the famous Mahmoud Ahmed, who bears the unique distinction of being perhaps the only Ethiopian artist to ever win widespread fame outside of his home country) it is still the best place to start exploring the music of Ethiopia. It is beautiful and exotic, and yet at the same time easily approachable (and appreciable) for westerners. You can detect a strong Middle-Eastern/North African feel to his music, as one would expect, but there is also a Jazzy feel to it. Even despite its age this music is pretty sleek and stylish. Just listen to the track "Ere Mela Mela" and you'll be blown away.
This whole series, focusing on the musicians and styles of Ethiopia, is quite nice, and there is a further volume (number 6) exploring the music of Mahmoud Ahmed, but this CD stands head and shoulders above the rest. Check this one out first if at all possible.

this collection is with out any doubt one of the best EVER.Translations of some lyrics-and they express a true human experience very true and rarely found. THE MUSIC IS ALSO AMAZING.must must have. a 30 year old treasure!

My socks were knocked off when I first heard this album. Wow! This must be the best all time african party music ever. I know these guys from the Soukous Stars do these kind of music often but this one is tops. No wonder everytime its played at parties nobody sits down. Definately a must have for every african music lover. By the way there is suppose to be a part two does naybody knows when that is coming out?

Great lead guitar work by the incomparable guitar genuis Dally Kimoko throughout the CD. Dally really crushed it on this CD, i counted at least 7 different pitches from high shrill to low growl, his guitar can do whatever Dally wants period. Shimita El Diego delivers very smooth and high spirited vocals,"Baby Fine" showcases Shimita's graet ability to convey different emotions even in halting english. Ngouma Lokito's signature bass is easily recognizable but not as it was in "gozando" even though he lets loose a little on the third track "amour M'ba. Lokassa Ya Mbongo's arrangement and rythym guitar work leaves you wanting more and more. These guys are the best of the best and their name is no coincidence. All master instrumentalists with a joie de vie that makes this CD as great for dancing till you drop as it is for listening over and over again. Get this CD and go home happy!

After the hugely succesful "Lagos Night" CD nearly a decade ago, Soukous Stars: "El Diablo" Shimita and his gang have come back with another mega hit. Shimita and his gang set the Soukous standard with Lagos Night, and raises the bar a bit higher with Face to Face.

No Party is complete without this CD. Other "Soukous players", have copied and imitated the style of the "original" Soukous Stars, and they have all fallen short. And, I speak as someone who owns several of such copycat CD's. Enjoy the great voices of Shimita El Diablo and his gangs. You may need "bengay" to soothe yourself in the morning, after all that waist twisting!

I bumped into the DVD accidently while at a local book store and quickly searched the store computer to see if there was an album. I have never seen the show and I have to agree with both reviewers. The CD stands on its own. AND there is wonderful variety.

I own 2 Ladysmith albums and while they are excellent, there is little variation between albums and songs. This album has both wonderful a capellas and variety. The use of narrative, percussive instruments, sounds of boot stomping, and bottle top rattling, creates a wonderfully rich context for each of the songs.

If you own Power of One or any Ladysmith you will like this CD.

I'll let you know what the DVD's like when I buy it!

I recently saw this show live, and was a trifle hesitant to purchase the CD, for I was concerned that losing the visual would detract too much from the experience. However, the music of Gumboots can stand - or rather, dance - on its own. If anything, the CD has given me the opportunity to concentrate more on the rich harmonies and soaring melodies of the tradtional music featured. Though I would recommend that anyone with the opportunity to see the show should see it in order to get the full effect of Gumboots, this CD makes a great contribution to any collection, with or without the ticket stub!

The original cast recording of on RCA Victor (909026-63724-2) derives its title from a secret code beaten out on the gumboots of black mine workers who were not permitted to converse with one another. From a necessity it became an art and then in the 1970s into a show designed to preserve the cultural traditions of South Africa. Now that the show is one tour, RCA has issued this CD with its 22 tracks of music from the show with sufficient narration to raise this disc several notches over similar recordings of shows in which the visual aspects are as important as the musical ones.

While I generally find recordings of "traditional" African music somewhat monotonous (in the strict sense of that word), I have nothing but praise for the vitality and variety offered up in these selections. At the time of this writing, PBS plans a special on the Rishile Gumboot Dancers of Soweto; and this CD has certainly made me look forward to it--which is more than other such recordings have done. This is a winner!

My father originally introduced me, and my siblings to the music of Hugh Masekela and Miriam Makeba in the late '60's, early '70's. It is only now, however, that I have developed a true appriciation of their music. After listening to what is being offered on the local radio stations these days, this Hope CD makes my 40 mile drive to work, and home again, a breeze. I cannot keep this CD in my house, because once I play Hugh's music to anyone, they immediately ask to borrow the CD. I find all of Hugh Masekela's music enjoyable, however, this CD especially is a good representation of Hugh Masekela's musical repertoire, and is a must for anyone who has a broad appriciation for great music!

I often play Hugh Masekela for people and ask them "what type of music is this?" People take stabs at it but he is a mixture of so many influences, bebop, varioius African styles, pop, rock that he sounds like Hugh Masekela.

The very best music touchs our souls. Many people can sing about their hard lives or this or that cause. When Hugh Masekela sings his praises of Nelson Mandela, it is being sung by a person who was banned from South Africa and could not visit his dying mother. A person who, because of Nelson Mandela, could return to the home of his youth.

Some of the songs are in African languages, but most in English (on this CD). The song "Marketplace" about meeting a woman in the marketplace and bringing her home is one I recommend as a must have in any music collection.

I have over 3000 LPs and CD's and this is one I do not get tired of no matter how many time I listen to it.

This album was my introduction to Masakelas music. Recalling his name in a jazz frame left me unprepared for the feast that Hope turned out to be. If anyone can listen to Stimela, the albums 12th cut and come out with one unvibrating nerve, I wanna know who they are.From his old hit Grazin In The Grass to Stimela, his crafty mixture of African and jazz rhythms tantalize. And my God, that man's voice!

Robert Townson c�l�bre ici le 500�me cd � �tre �dit� par Var�se Sarabande en cr�ant une compilation receuillant les nombreux r�engistrements que Var�se Sarabande sut faire au travers des derni�res ann�es. Regroupant du mat�riel de Jerry Goldsmith, Bernard Herrmann, John Williams, Alex North et plusieurs autres, In Session propose un parcours �clectique au travers des ann�es de compositions de chacune des bandes sonores pr�sent�es au sein de la compilation. Le voyage commence � avec la musique rejet�e de 2001 d'Alex North, pour faire un parcours passant par Rebecca, Citizen Kane (F�licitons ici le FABULEUSE voix de la soprano Janice Watson et la direction imp�cable de Joel McNeely), Viva Zapata!, Psycho, The Sand Pebbles, Patton, Jaws, Platoon (Autre musique rejet�e du regret� Georges Delerue, pastiche du c�l�bre Adagio pour cordes de Samuel Barber), Star Wars: Shadows of the Empire (Musique compos�e par Joel McNeely pour le livre se d�roulant entre The Empire Stricke Back et The Return of the Jedi) pour finalement clore avec Tara's Bulba. Il s'agit ici d'une s�lection tr�s riche, des morceaux d'une dur�e appr�ciable et d'une direction et d'une sonorit� incroyable. Il s'agit ici d'un merveilleux cadeau de Robert Townson et Var�se Sarabande (Label qui c�l�bre en 2003 son 25�me anniversaire. Surveillez aussi la compilation de Var�se Sarabande (4 cds pour le prix de un!) qui verra le jour le 22 avril 2003) et c'est une compilation que toute personne sensible � la musique doit poss�der! Chapeau Var�se!

This disc is so chock-full of classic scores from classic films that every movie-and-music lover should own a copy. Thanks to Robert Townson for producing this collection and the entire Varese film score catalog. My favorite tracks from this disc are "Who's Afraid of Virginia Woolf"; "Star Trek: The Motion Picture"; and "Midway".

Words cannot convey what a collection like this means to a film music collector such as myself. Varese Saraband has been releasing quality film scores and music for the last 20 plus years. My vinyl and CD collections burst with so much great stuff from Varese. One day I was looking in the bins of my local record store and noticed this little gem of a collection. I looked at it and saw a virtual cornucopia of the great film score cues for only $ (and 2 discs). So I purchased it and opened it up. Much to my surprise, the booklet is chock full of information about each scoring session and pictures to boot. I also learned more about some of these wonderful pieces as well. Well thanks to Mr. Townson and this nice collection, I plan to purchase some of the recordings these cues were released on since I don't own classics like Viva Zapata, Alex North's 2001, Superman (not the Varese version, I do have the other release), and Patton. Guess I will have to save a few pennies, but it will be worth it. I recommend this collection to anybody who wants to discover and learn about the history of film music. I also think it's a great listen from the first song to the last on both discs. My compliments to Varese on a great collection of classics (and keeping it under $).

I'd never heard of Youssou N'Dour until I read about this album one morning in the newspaper, what a voice I was missing out on. This is quite simply an incredible album which everyone needs to have.

Apparently there's a different version (The Link) for the US market which doesn't have the Sting and Wyclef duets. In my opinion those two tracks are among the best offerings of the album here.

The opening tracks "Wiri-Wiri" and "Birima" are deceptively tribal - talking drums and other traditional percussion abound, only to be dominated and subjugated by Youssou's marvellous voice. This continues for quite some time. I've read the translations from the Wolof (thankfully provided in the liner notes) and they really do make you stop and think.

Sting's appearance on "Don't Walk Away" is positively amazing. His voice counterpoints N'Dour's perfectly as the two duet about love (I think). Sting's solid voice providing a launching pad for Youssou to take off on wailing voyages.

The entire middle of the album is full of danceable tunes which make you stop and think ("Dunya", "Please Wait" and "My Hope Is In You"), the latter of these three will move the unprepared listener to tears every time. Youssou has obviously taken a lot of time to write the lyrics he's performing here and the effect is chillingly good.

Wyclef's rap on "How Come" could be annoying for a listener who purchased the album for the African singing, however, it does continue Clef's tradition of trying new things (rapping over talking drums does have an interesting cadence to it). Clef also produces "Don't Look Back" and the remix of "Birima" - of these, the remix could certainly be discarded because Wyclef and Marie Antoinette (AKA Free) not only invade the intricate music too much, they also try being a lot more hard core than they ever have been or should be.

Peter Gabriel's work on "Red Clay" seems somewhat sub-standard at first but with repeated listens, it becomes another good piece on the album.

Another track which doesn't have to be here is "Yama" which goes on a bit too long and seems to repeat itself most of the time. Youssou's vocals even begin to seem a bit forced by the end of this one.

Those who make it through to the end of the album are rewarded with the impassioned tri-lingual song "New Africa" - definitely a highlight.

5 stars are richly justified for this album - get it instead of "Joko: The Link" if you're trying to decide, then thank me after you've stopped crying.

Every new Youssou N'Dour's record is an event in African music. This CD has a subtitle: from Village to Town, and I'd say "from Africa to International". The music is no more traditional Senegal mbalax; it became more contaminated. Looking at the collaborations, we meet in this CD Sting (Don't Walk Away), Peter Gabriel (This Dream) and the rapper Wyclef Jean (How Come and Birma). To be honest, in pieces like Don't Look Back N'Dour seems to lose african roots, and I remain with some doubt of the way he got. But pieces like Wiri-Wiri and This Dream, the best of the album, are perls without time. There are also some traditional beautifull mbalax, like Beycat and Liggeey. Youssou N'Dour is a Guide, and I can only say: listen at his music. N'Dour is opening the way towards the future evolution.

At the time when many people, so-called music expects, have written him off, Youssou N'dour released another well-polished album. And this time, he teamed up with his friends to give us the best. With this CD, you can dance, sing and cry because it is a gem. Don't walk away- a duet with Sting- proves to be the best. Also How come- a duet with Wyclif Jean- is well written, composed cross-over hip-hop song with a strong and positive message. N'dour is a true African ambassador in the world of music and this CD proves it beyond the shadow of no doubt.

Tiene un sonido bueno , pero se encuentra aislado del sonido normal de fondo, no lo consideraria como ambiental , es mas bien educativo.

I was also looking for "jungle" music for a kids party and this was perfect -- lots of loud roars and very active. The tracks (one for each animal) are very short but the kids liked the constant switching to a new animal.

I needed background sound for a jungle themed charity event. This CD fit the bill perfectly.