Africa Music

Another one of world music label Putumayo's regional compilations exploring the music of North Africa, this CD has everything you've come to expect from a Putumayo compilation. Focusing on some of the big regional names in Arabic pop music, as well as cross cultural fusion, this album will not doubt be of great interest to anyone who enjoys Middle Eastern/North African music. As could be expected, Algerian Rai plays a big part on this album, including the hot track 'Ya-Rayi' from Khaled's most recent album, but Faudel, Cheb Mami and Libya's Cheb Jilani all make contributions as well. Egyptian pop music is the other big influence here, with Amr Diab's hit 'Nour el Ain' and Algerian-born pop star Sameera Said. Another pop star, Tunisia's Amina, contributes the lovely French-language song 'Dis Moi Pourquoi,' and theres a Nubian song by Mohammed Mounir. More modern traces can be heard in Hamid Baroudi's Algerian electronica, the Latin-Arab stylings of Jomed, and the Eastender's cross-cultural fusion. All in all, if your looking for some more Arabic-tinged grooves from North Africa, then this CD is well worth checking out. It's great listening for the Summer.

From Putumayo, I'd expected something a bit more "ethnic" but a couple of the tunes were just pop tunes. A couple of the cuts are great!

I enjoyed "Arabic Groove";after 5 years,it is still marvelous."Sahara Lounge" is the best of Putumayo's Arabic compilations."Cairo to Casablanca" is the worst of Putumayo's Arabic compilations;it has too many repetitive songs.

Where does that put "North African Groove"?Somewhere in the middle.It's neither an absolute bore,but it's better combined with other Arabic albums and put on random shuffle.

Jomed's opening "Montuno Noreno" spicily combines Cuban&North African music,as well as electric effects.Samira Saeid's "Aal Eah" is a great dance song;she's the Moroccan equivalent of Britney Spears,but MUCH better.Amina's "Dis-Moi Pourquoi" has a great beat.Cheb Jilani's "Bahebbak"is a danceable love song.Hamid Baroudi's "Sidi" is disappointing;it's repetitive&dull,unlike his "Caravan II Baghdad" on Putumayo's out-of-print "New World Party" as well as his mesmerizing "Trance Dance" on Putumayo's still in print "World Lounge."Khaled's "Ya-Rayi" shows the "King of Rai" in top form.It's infectious.Cheb Mami's "Viens Habibi" is alright,but the "Prince of Rai" has done much,much better on his albums "Meli Meli"&"Saida." In this song,his sound is too Westernized;it fit in Sting's "Desert Rose" (his ululations made that song exotic),but this time his music is rendered dull.Mohamed Mounir's "Hanina" is excellent,bringing in Nubian rhyth,s.If you're curious,a remix of it by Jasmon is on Putumayo's "Sahara Lounge." It was interesting on my 5-CD player to first hear the Jasmon remix of "Hanina",then the original,thinking,"I've heard this before!"

"North African Groove" is a good introduction to Arabic music.If you want to hear some GREAT Arabic music,listen to Natacha Atlas and Cheb Mami.It's a musical world worth exploring.

Luckily, my local library stocks most of the Putumayo CDs, so I can try them out before I buy them. I have found the Putumayo CDs to be hit or miss. I love some and don't care for others. This is one of my favorites. Along with the World Groove, African Groove, South Islands Groove and Women of Africa.

Putumayo CDs rarely disappoint, and this one surely does not. Those familiar with Middle Eastern artists will be pleased to hear tracks from Faudel, Amr Diab, Khaled and Cheb Mami. Those *not* familiar with them are in for a treat. North African Groove features musicians from Algeria, Egypt, Morocco, Tunisia and Libya. You will also hear cross-cultural influences, with some of the songs having a Latin influence, or French. Simply stated, this is good music, great for dancing at a party or just to enjoy. Some are even of interest to belly dancers; I've seen Amina's track, "Dis-Moi Pourquoi" performed by a dance troupe. Do yourself a favor, get this CD, introduce it to your friends, and turn the world on to what great music the Middle East has to offer. (As an added benefit, a portion of the proceeds will be donated by Putumayo to Search for Common Ground.)

William Grant Still was the first African-American classical composer and during his time he composed many works which capture the essence of the American experience. He's not talked about much today with all the Mahler, Sibelius, and Brahms that floods the market, which is truly a shame, because Still had some great things to say musically. His music is hardly ever performed. Neeme Jarvi has performed some of Still's music, but Jarvi fails to capture the spirit of Still's music I think.

Now, thanks to the good folks at Naxos, we have this great disc of rarely heard Still compositions. I have never heard of John Jeter or the Fort Smith Symphony, which are located in Arkansas, but I have to hand it to this conductor and orchestra they handle this music beautifully. It's really refreshing to hear music that's hardly ever performed. In fact, two pieces "In Memoriam" and "Africa" are World Premiere recordings.

If you're at all curious about American composers and have already explored Ives, Barber, and Copland, then get pick-up a copy of this disc. I think you will be pleasantly surprised by what you hear.

This is a great CD that's not only extremely affordable but is also extremely enjoyable. The music of William Grant Still stands out as some of the finest music composed by American composers of the 20th century. In Memorium is particularly poignant. The rest of the CD is great too.

To tell the truth, I wanted to start this review by saying that William Grant Still is one of those one-work wonders of a composer of which the opera world has so many examples (Leoncavallo, Giordano, etc., etc.). But then I listened a few times more to "Africa," given its premiere recording here. Its melodies and musical gestures may be less striking than those in Still's one big work, the Afro-American Symphony, also included on this disc. On the other hand, "Africa" has some very compelling music, too, and is colorfully orchestrated in Still's signature manner. Just listen to the soft solo for timpani at the start: this sets the mood immediately for the first movement, entitled "Land of Peace." It is indeed peaceful music but with some added spice to keep the listener on his or her toes. The last movement, "Land of Superstition," seems to me rather bland given its title, but overall, this music is an attractive travelogue in the manner of Virgil Thomson's film scores from the 1930s, anticipating them in fact by several years. Along with Thomson, Still can probably be credited with pioneering the use of pop-musical influences to effectively create local color.

That truth is even more evident in the Afro-American Symphony. You have to sit up and take notice when a symphony begins with a blues refrain that's quickly answered by a quirky little jazz riff in the winds. It's like a little scene from a musical of the 1930s: chase your blues away, says that little jazz riff. But then you realize this is a genuine symphonic first movement in well-argued sonata form, and you've got to be impressed.

The notes to this recording point out that the bouncy third movement (with banjo obbligato, first time in a symphony certainly!) has a main theme very similar to George Gershwin's "I Got Rhythm." Actually, Still came up with his melody before Gershwin wrote his song, but Still and Gershwin supposedly influenced one another, so maybe Gershwin cribbed a bit from Still. Hearing the very dramatic episodes in the first and last movements that seem to forecast scenes in "Porgy and Bess," I wonder if Still didn't influence Gershwin much more than the reverse.

Be that as it may, I find, as with "Africa," that the symphony is let down a bit by the finale, though it does end with an appropriately dramatic peroration, leaving a bold impression. All things considered, this is one of the best symphonies written by an American and certainly one of the most American of all.

I have nothing but praise for the performances. The Fort Smith Symphony takes this music to heart and presents it with great feeling and with the kind of abandon that comes when musicians have lived with music for a while and have gotten it into their blood. Sure, this is a regional orchestra instead of one of America's Big Five, but if so, these excellent performances just speak to the general quality of American orchestras even out in the hinterlands. Conductor John Jeter probably deserves a good deal of credit as well. And while I'm at it, kudos to the Naxos engineers too. The recording has fine presence and detail. Given Naxos' price, this disc is the way to go if you want to acquire William Grant Still's classic.

It's one of the tragedies of the 20th century that Still's Symphonic Suite AFRICA has never been recorded in its symphonic version before. Two versions for piano don't begin to give an idea of its rich color and expressiveness. In spite of the no-name orchestra (so to speak) this is a good recording of a truly beautiful work. I don't think Still ever composed anything better. The opening track, IN MEMORIAM, is also a novelty. Sit back and enjoy!
Catherine Parsons Smith (author of WILLIAM GRANT STILL: A STUDY IN CONTRADICTIONS)

This is a great CD of the world premiere recording of the remarkable American classical music composer, William Grant Still. Performed by the Fort Smith Symphony, under the direction of John Jeter, it is beautiful and inspiring. The viola section plays exceptionally well.

This is Putumayo's first "Odyssey" album,surprisingly,it is still in print(!) It explores the acoustic side of Middle Eastern music.Unfortunately,it's quite repetitive."Ya Malaam"&"Zwit Rit" go on.And on.

Khaled,as usual,is great in "Ki Kounti." Rasha's "Leila" is not THAT bad;it's hypnotic instead of boring."Nahawand"&"Through the Veil" are North African jazz.Like some smooth jazz, this album falls into the trap of being repetitive.

"Cairo to Casablanca" ended up being an album I eventually took to a used CD store.Perhaps someone else will enjoy it.I didn't.

Another good CD. This is a blend of Middle East and North African music. If you like the Mediterranean groove buy this CD, also check out Afro Latino by Putumayo series, they are all very good. Actually these recordings were the ones who got me interested in moving to Morocco. Get yourself a seductive Mediterranean girl and dance to the beat. Buy it you will remember me.

The first seven selections on this CD are quite enjoyable and atmospheric. Makes me sort of want to get up and belly dance. Then we get to the eighth cut and it is excruciating. This is by an Algerian artist named "Rasha" who performs her composition "Leali." This is just meandering up and down the scale. All I could think of was Arnold Schoenberg Goes Arabic. It is nerve-wracking. I have managed to sit through that one twice, but I will never do so again by choice. This is so awful that it ruins the whole CD. The remaining three selections are probably not bad, but listening to Rasha just puts me in such a bad mood that it's difficult to listen to the rest of the CD. After Rasha, I'm just ready for this CD to be over. If I were technical minded enough to figure out how to program my player to skip Rasha I might like this CD. But as it stands now, I don't think I'll be listening to this one again within the next few years.

I was looking for a compliation of this exact geographic area and this CD hits the spot. Excellent combination - well done!

Putumayo has 3 excellent Mahgreb region/North African music anthologies, "Cairo to Casablanca", "Arabic Groove," and "Sahara Lounge." Although these feature Arabic societies, the music is not really Arabic, but rather reflects the eclectic mix of people, cultures and history of North Africa (languages from French to Berber come up in these three CDs). For instance listening to El Mediouni's "Ya Maallem, I'm struck by the similarity in rhythm, harmony, and melody to music of other Mediterranean cultures (and what a beautiful trumpet solo on this piece, obviously the piston trumpet not originally a product of North Africa!). Putumayo anthologies are thoughtfully constructed, the artists are all stars from their respective countries, and the songs are ordered to listen to from start to finish (like LP records used to be). World music fans, by definition, like variety, and "Cairo to Casablanca" is different. The haunting sound of North Africa melodies (I think the distinctive sound comes from harmonic minor scales based on the 5th note of the scale instead of the root)is at once exotic and soothing. Fix yourself and some friends up with a hookah, Moroccan mint tea, a couscous-tagine dinner, add this CD and say: "ssalamu'lekum!" (Peace be with you). lla yhennik !

This is a must-buy for fans of Masekela's wonderful mix of African music with jazz and rock elements. Even though he's only playing flugelhorn on this CD, his music is as mesmerizing as ever. His musical skill and the beauty of his art remain undiminished by the passing years.

Arabic music is awesome and quite interesting! When I go to a store run by Middle Easterns, they had their music playing on radio. I started listening to it and it got some unique beats, I always liked their instruments. So then after a while, I went to this site and search for Arabic music. All of the Desert Roses Volumes are amazing! My favorites on this volume are Chie Begam by Andy, Lirrili by Amina, Pomegranate by Transglobal Underground, and I'm Yours by Soraya. Arabic music is very powerful and amusing, especially female voices of Arabic, they sound so alive! I didn't know Arabics got that blend of their music and ours. Excellent!!

I love world music and Putumayo CDs.
I also loved that Desert Rose song and the amazing voice of Cheb Mami with Sting.
I bought this CD expecting a sexy "One Thousand and One Nights" music style, or a good fusion of traditional and modern sounds, but instead, what I got was a KITSCH POP version of arabic songs.
Some of the songs are just bad taste, you just want to forward them as quickly as possible.
I should have guessed just by the look of the cover. It reflects the music as well. The painting might be nice, but the mix with the modern computer added photo image and the strange balls of roses just don't work well together. The same goes for the songs.
I don't recommend it, unless you're looking for cheesy disposable pop.

I loved Arabesque and Arabian Travels, but this is not trance. This is more like Arabian pop music. The vocals are irritating to me. Sting even shows up on one track. If you are looking for world trance, or something to chill out or relax to, forget this one.

This compilation of Arabic pop hits around the same time as Sting&Cheb Mami's "Desert Rose" hit and Putumayo's "Arabic Groove" album,not surprisingly.It's disappointing,since it focuses more on westernized Arabic hits than genuinely Arabic ones.For its surprising blandness,there are highlights-
1)A remix of Cheb Mami&Sting's hit song "Desert Rose." It's very danceable,and in sync with the spirit of the original.Cheb Mami and Sting had one of those rare great celebrity duets.They powerfully melded their styles,making something wonderful.
2)Khaled is always great.His songs are never a disappointment--no wonder he's called the King of Rai.
3)Amina's "Dis Moi Pourquoi" is an excellent dancefloor song.It was a hit in France,and musically,it works.It's French chanson meeting Tunisian pop.
4)Speaking of French chanson,Natacha Atlas radically re-imagines Edith Piaf's "Mon amie la rose",transforming it from a Gallic weepie into a sensual Arabic serenade.
5)Hakim,who is considered a prince of rai,has a great song.
6)Cheb Mami's "Hay wadi hay galbi" is amazing.While Khaled is almost Arabic R&B,and Hakim is a Middle Eastern boy band sort,this song shows off Cheb Mami's musical gymnastics.It's quite stunning.After hearing this,I got his "Saida" album.

Instead of getting this,I reccomend Putumayo's "Sahara Lounge" (its best Middle Eastern compilation)and "Arabic Groove." "Desert Roses" has a half-dozen hits,the rest are forgettable.If you like Middle Eastern music,explore Putumayo's compilations instead.

I just bought this CD along with a bunch of other and I absolutely love it. It's great for belly dancing too as well as just listening to while you're doing housework.

Kora music is a genre which i really enjoy and who better to listen than the J.J.Cale of Mali (If Farka Toure can be the Muddy Waters of Mali) Toumani Diabate'. Chancing upon this disc which combines the traditional music of Mali , played on the Kora with elements of Jazz/ Blues, i had high expectations for this one. I was not let down. This music represents some of the most delightful sounds on the planet. There's a liveliness and joyousness, that keeps you mesmerized.

If you have never heard of Kora music, you must listen to this one, you owe it to your yourself, the only thing i can think of that is better than listening to this CD, is seeing the man play this live. Its incredible, soothing, clear blue skies music, a time in your life when life was much much better and happy.

recommend strongly. 5 Stars

I am humbled and honored to have had the opportunity to see Mamadou Diabate and his group in concert, which of course prompted me to buy TUNGA. As previous positive reviewers have expressed - Mamadou is arriving on the scene as one of the world's most skillful and talented musicians. Mamadou and the group embody centuries of jeli tradition. I have no doubt that they will continue to enlighten the world with this beautiful music - I look forward to future works from Mamadou.

I saw Mamadou and his band twice at the National Folk Festival in Bangor, Me. I was overwhelmed by the power of the music. Mamadou and the entire band signed my CD and were as gracious as they were intensely awe inspiring. The music here is simply beautiful throughout.

Last night I experienced the music of Mamadou Diabate. The music and sounds that eminated from his Kora had me seated in awe as I listened and watched wholeheartedly to this wonderful musician. I would recommend this CD to anyone.

Diabate is the master of the kora, essentially a 21-stringed harp made out of a giant gourd or pumpkin. To see him live and watch his fingers barely move across the strings is to see genius at work. He's a hulk of a man, standing at around 6'7", and his hands are huge, but the delicate way he plucks the strings brings to mind the classic Gentle Giant. This is beautiful music, sometimes soft and gentle, sometimes blazing and incendiary, always wonderful.

This album is solid from beginning to end. I can press play, and I don't want or need to skip a single song. I especially enjoy listening to it on Sunday mornings. It is also a great introduction to African music. I'm trying to expose my young child to different types of music, and he loves this album. Great choice!

what is the name of the lifesavers song and where can you get it

you can't go wrong with this cd. it's excellent uplifting and thoroughly enjoyable music.

Oh, such sweet, sweet memories!! My husband played this CD in our delivery room when our son was born seven years ago. "Time to meditate. I send a messenger to tell you that I want to meet you! Come along, come along to kiss me!"

EVERYONE loves this music! Children, women, men... Am I leaving anyone out? It's sweet, thoughtful, masculine, sometimes playful, sometimes deadly serious, but always hauntingly soulful and lovely music.

Thought I would give Ladysmith a try based on the good reviews it received here and was not dissapointed. The tracks are very rythmic and uplifting. The recording is very good.

Her recording of 'Pata Pata' has been a favorite of mine for years. I used to play it while I did my house cleaning. It was a record. Over the years I had to give up my records, but now I have her on CD. She had a great voice.

As one who knew Miriam Makeba and I also have the album "PATA PATA".
I found it to be a great and wonderful work of Miriam Makeba as I did
when it came out. She truly deserved the name Mother Africa.

Ms. Makeba's voice and melodies are rich and intriguing. Sometimes for me her voice evokes shades of Edith Piaf and Earta Kitt. Ms. Makeba though, is a force of nature and captivated me on this album. The intricate voices and rythmns are joyful and they caught me up into them.

There's little one can say about Miriam Makeba to those who don't have the privilege of knowing her. You have to listen first. I consider myself twice as fortunate, as I was a small boy when her songs started to play on the radio in Brazil. This album in particular has a long story with me, but to make it short, I'd say that if you like the vibe and charm of real African music, it's a must.

Want to get behind the scenes of Nigerian life in the music business? This is a great music and documentary video that you can enjoy over and over.

Live at the Shrine is a great film about Femi Kuti and the scene surrounding the Shrine in Nigeria. Unfortunately, the sound mix is awful. Femi's band is pushed way into the background of the mix so you would never know he has like a dozen musicians up there. The sound is totally flat and lifeless, nothing at all like the electrifying live shows I've seen. The CD has exactly the same mix, too. Usually I'm not one to complain, especially about dry technical issues, but this seriously undermines an otherwise enjoyable concert film. What a shame.

This CD + DVD addresses femi Kuti's greatest weakness as an artist - that the musical quality and sheer energy of his live performances generally have not been propery translated to his recordings. His studio CDs are so boring when compared to his live shows. More than ironic, this is tragic since Femi has for sure on of the best live shows around in music anywhere in the world.

I would recommend this to anyone, it is a fantastic recording and well worth the money.

I first watched the live concert at the Shrine on cable and I was hooked by the raw power and intensity of the music.

I also listened to the audio cd. I would rate the audio quality a 7 out of 10 - considering the live event and audience participation. But forget about audio fidelity because the music and the rythm takes over everything. The DVD alone is worth every penny. Femi Kuti has great stage presence and the reaction of the audience tells the story. I like the way the live event on stage and back stage was shot. It is very direct. You see the artist living, creating and performing all in the same environment - the Shrine - a concert-hall & night-club & living quarters - that has achieved cult status. In the interview Femi talks about the difficulties of shooting a live concert. He humbly states that the emphasis on the program was on feeling rather than technical accuracy. IMHO Femi is very successfull with vocals, sax and keyboard. But on vocals my vote has to go to his father Fela. The base lines that drive the music are fresh and original with every listen. The feeling I get from this music is a great sense of freedom and abandon. The performance is highly charged, spontaneous and explodes with energy. The reactions of some of the audience member's star-struck with Femi are quite interesting. The audience throws plastic bottles and chairs to show their appreciation!

Femi communicates strong political themes and does a pretty good job continuing his father's legacy.

[...]

Femi Kuti and Positive Force rock!!
Politically engaged, fine muscianship and electrifying stage presence. Femi is here to stay. CD 5 stars DVD 5 stars. You will listen to it everyday and want to get all of his stuff!! I look forward to the day when I can attend a "Sunday Jump" at the New African Shrine in Lagos, Nigeria. "Bring me the man!"

This two-disc EMI Classics recording includes all of Camille Saint-Saëns' numbered Piano Concertos (1-5), and also includes his shorter "Wedding Cake" and "Africa" piano concertos. I've been enjoying this two-disc set immensely, and the recording quality is excellent. Even though the piano concertos do not follow each other in sequential order (Nos. 1, 2 and 4 are on Disc 1 & Nos. 3, 5 and the rest are on Disc 2), they do make sense.

There are other complete Saint-Saëns piano concertos sets on the market, but I think that for a price of less than $12 - you will be hard pressed to find any recording that gives you more bang for your buck. Enjoy!

I rather enjoy this collection of piano concertos by the wonderful Camille Saint-Saens. Each one is quite different from the others, and it makes it a lot of fun to go through all of them. Of special praise is the inclusion of the Wedding Cake and the Africa Fantasy. All of this together with superb performances by Collard and the Royal Philharmonic makes for a fantastic experience. You won't be disappointed.

We heard the Piano Concerto No. 5 in F on National Public Radio and decided that we must have this piece of music in our CD collection. We selected this CD since the two CDs allowed us to purchase all 5 of Camille Saint-Saens' Piano Concertos. This CD has become one of our favorites and we play it often, discovering more interest in the work of Saint-Saens with each playing.

Camille Saint-Saens' sense of drama, his lyric runs, his ability to evoke mystery, all make this listening experience highly recommended. I am fascinated by the way Saint-Saens creates rich variations of his themes as he takes us from movement to movement. Saint-Saens has the ability to develop ethereal melodies and variations on themes that are hypnotic and mystical. His piano runs are pushed for dramatic effect. The creative and amusing variations of his themes are pleasant and amusing.

This CD is highly recommended. In addition to the 5 Piano Concertos, Saint-Saens' Wedding Cake Caprice and the Africa Fantaisie are included. I found Jean-Phillippe Collard's interpretation to be masterful and rich, capturing the vast complexity and variation that Saint-Saens created in his compositions.

The reviewers before this one provide excellent discussion of this set, and I would agree that it is a top-notch set of recordings and performances. We love this set, play it often, and would not part with any recording upon it.

The two versions of the popular and lovable Concerto No. 2 that are compared, those of Jean-Philippe Collard (this set) and Cecile Licade, are certainly different. Collard is decidely gentler, a bit slower and more "laid-back" in common parlance. Licade's is spritelier, a bit faster and of slightly higher energy. Does this make one better than the other? Subjectively it may, but it really depends on the person listening, and both performances are technically excellent and completely satisfying. If I *had* to pick one of the No. 2s, I would pick Licade because of the higher energy, but I would sorely miss Collard - and Collard comes with 4 other splendid concertos and a handful of other delightful pieces, while the Licade is paired with two other Saint-Saens concertos (violin and cello, both superb by the way) that are available elsewhere.

In any case, please do not feel that you are missing out on anything in Concerto No. 2 by purchasing one or the other - both are fine performances and beautifully recorded. None of these recordings or performances require any apologies.

I've heard Ciccolini's and Hough's sets of these concerti, but this is my favorite by a wide margin. Hough's has been highly praised elsewhere, and I certainly agree that his technique is astounding. He plays these concerti faster than anyone, and that is precisely my complaint. Hough seems so busy moving through these works at warp three hyperdrive that he takes just about NO time to stop and smell the roses--and there are plenty in this music.

Not that Collard is slow. He can glitter just well as Hough, but he also knows when to seduce--listen to the second theme of the scherzo of No.2--the way he and Previn teasingly hang on to a note just a microsecond before playfully plunging into the phrase itself. They don't make a big deal of this, and these performances are NOT "mannered," but the listener is drawn in, and the sensation is almost physical. This is only one instance of the felicities of agogics and phrasing in these performances.

I have not heard the Licad performance so esteemed by another reviewer at the expense of Collard's. Personally, I've never heard anything by Licad I've liked. Her CD of Gottschalk was panned by FANFARE. Of course, that doesn't mean she couldn't be good in No.2, but there's nothing wrong with Collard.

It's just a pity this couldn't have been rounded out to a trio of CD's to include the Rapsodie d'Auvergne and Allegro appassionato also recorded by this team. I own both this set and Hough's, but I listen to this one a LOT more. Also, the price is certainly more attractive than Hyperion's, although for me that is NOT the issue.