Youssou Ndour’s journey to Kingston began with the music pulsing from the Dakar market stalls of his childhood. It began during long hours of listening to reggae LPs from his uncle’s record store. It continued decades later, long after Ndour became one of the world’s best known and best loved African singers, as circumstances conspired and he found himself at Tuff Gong studios, walking in Bob Marley’s footsteps and jamming with Marley’s musical friends.

Dakar-Kingston (Emarcy Records; June 7, 2011) maps this road, turning Ndour classics and several new originals into reggae anthems, reflecting reggae’s deep impact on West African music and culture. Guided by veteran reggae producer and former Marley collaborator Tyrone Downie, Ndour finds the sunny and urgent, the laid-back and the hard-grooving sides of Jamaican music, supported by a multigenerational crew of Jamaican and African reggae voices.

Ndour, a pioneering performer whose strikingly expressive voice transformed both the mbalax music of his native Senegal and Western pop, is an experienced traveler. He has effortlessly climbed charts in North America and Europe thanks to duets with Peter Gabriel, Neneh Cherry, and Sting. He has traced the roots of his griot (traditional oral historian) heritage, and explored his Muslim faith and its sonic impact by collaborating with Egyptian musicians, winning a Grammy® for his efforts.

Triumphant after a successful Spring tour, and receiving the 2011 Tamani D’Or Award (Mali’s highest musical honor), Khaira Arby will make a stateside encore for a national tour of the US coming up in July.

Arby mesmerized audiences at this year’s SXSW in showcases for NPR, The Fader Fort, National Geographic Music, All Music is World Music (The World on WGBH Boston and KUT Austin) in standout performances at a festival known for once-in-a-lifetime shows.  This intensity comes as much from her home as it does her unique spirit.  Born in a village not far from the famed city of Timbuktu , Arby is firmly planted in the desert sand. Her creativity flows in part from the people of her home region of Northern Mali-the young musicians in her band all hail from Timbuktu-and from their past and present struggles. As Arby puts it, “Trab is our land, our home, Timbuktu. Its history, its mystery, everything…”

[youtube=http://www.youtube.com/watch?v=GGNBS6_0CCw]

Vieux Farka Touré premiered his new video for “All The Same” featuring Dave Matthews on PopMatters, which is directed by Sam Bathrick and produced by Adam Barton of Native Resonance.

Vieux is hot on the heels of the release of his third studio album, The Secret (Six Degrees Records), which has already entered the Billboard World Charts top 3 and Billboard Indie Chart top 200.  The album is produced by guitarist Eric Krasno (of Soulive fame) also features Dave Matthews, Derek Trucks, John Scofield, Ivan Neville and Vieux’s final collaboration with his legendary father, Ali Farka Toure.

Growing up in two countries — Chad as children and France as teens — the women of Les Nubians, Hélène and Célia Faussart, were shaped by both cultures.  On their third recording, Nü Revolution their pan-African vision remains as vibrant and clear as ever. Nü Revolution embodies, both through music and lyrics, a true sense of ‘World Citizenship.’   Featuring special guests ranging from African music legend Manu Dibango to indie soul icon Eric Roberson, with South African pop stars Freshly Ground, Ghanian-American MC Blitz The Ambassador and Polish MC John Banzaï along for the ride. Les Nubians manage to make the blend of so many diverse elements seem logical and organic; it flows quite naturally from their multicultural lives. 

MundoVibe’s John C. Tripp spoke with Hélène and Célia on the Nü Revolution via telephone from their new home of Brooklyn just after their first performance ever in the Caribbean island of St. Maarten.

MundoVibe: Congratulations on your third full-length recording, I’ve been absorbing it and I love it. It’s got a great message to it, it’s really uptempo, very celebratory vibe and I think it’s going to blow up for you.  So, this Nü Revolution, I want you to tell me about it because I want to be part of it.

Les Nubians: Well, Nu Revolution is a two year process to put together and Nu Revolution, why, I guess NU for “new universe” and we’re entering a new time, everything is kind of changing and no more types of frontiers because of the internet. I feel like because of the written histories we all went through, the recession crisis, all the wars and all the natural catastrophies we feel even more related to each other than ever. So, this is a new universe we’re living in. There’s finally worldwide citizenship that’s for real now.

Photo: Hannah Kligman

“There’s a clave hidden in Scottish music, if you look for it,” explains piano player, arranger, and composer Neil Pearlman. It’s a secret place where Robert Burns does the boogie woogie. And where salsa brass and Tower of Power bass sneak into the frenetic triplets of island dances.

 Pearlman has found this sweet spot. The young freethinker of a musician unleashes Scotland’s unexpected grooves and Cape Breton’s unique piano style on Coffee and the Mojo Hat (Paddledoo Music; June 5, 2011). Doffing his plaid cap for “mojo,” Pearlman gently but firmly expands on tradition, honing high-precision technique and finding uncharted rhythmic affinities.

The possibilities of the piano—Pearlman’s chosen instrument since he was four—were limited by what Pearlman humorously calls “the boom-chuck” style of most accompaniment for traditional tunes. But not on Cape Breton, Canada’s Celtic roots hotspot, with its thriving music scene and a piano style all its own.

Inspired by stride and boogie woogie, Cape Breton piano players held their own with the region’s acclaimed fiddlers at community dances. They broke out the broken octaves, setting the right hand free to hit all the burls—the traditional, fast-paced triplets—that make Scottish tunes sparkle. Pearlman fell in love with the approach, which he taught himself in his early teens by watching Cape Breton performers.

Diego Garcia, the former frontman of acclaimed garage rock band Elefant, may have been born in the wrong era: he wears his heart on his songwriting sleeve. But more likely he’s just continuing a tradition of strong songwriting, albeit with a romantic sensibility.

Diego Garcia "Laura"

On his solo debut album, ‘Laura,’ he explores his Latin roots with a sound that conjures the spirit of 1970s troubadours like Sandro, Jobim and Jose Jose. It is the fusion of these Latin influences with the era’s “anglo” visionaries, artists like David Bowie, Leonard Cohen, and Bryan Ferry, which makes this  project truly special.

Minor keys, cello, nylon classical guitars, light drums, and wooden tambourines help create a vibe of tenderness and intimacy on “Laura”. With lush string arrangements, delicate Spanish guitars, and distinctly Latin flavor, the album is worlds apart from Elefant. What remains a constant is the romantic within.

Garcia’s new album was inspired by the loss of love. His music was a means of healing and closure and “Laura” is a musical diary during four years of torn feelings over the break up with the love of his life (don’t worry there’s a happy ending).

On Boubacar Traoré’s first studio album in six years, the kindly, gritty voice of the veteran Malian bluesman intertwines with wonderfully idiosyncratic, cascading guitar. Wistful and pensive, Traoré exhorts, gives thanks, and reflects on love, history, and duty, with a deceptive simplicity and a deep, subtle knowledge of Mandingo tradition and West African vintage pop.

A legend in Mali since his groundbreaking hits of the 1960s, Traoré—possibly the eldest internationally-touring guitarist from Mali—has been around. He knows exactly what he wants. He insisted that if he was going to do a studio album, he had to have his longtime friend, the nimble French harmonica player Vincent Bucher, play with him. Bucher’s rich, pure tone moves in and out of Traoré’s succinct phrases and unexpected rhythms effortlessly on tracks like “Mondeou.”

Traoré doesn’t fuss with his music in the studio: He’s known for whipping out one or two stunning takes and then heading back to the farm. Recorded live at Studio Moffou, the cozy recording venue designed by Malian star Salif Keita specifically for acoustic African projects, Mali Denhou beautifully presents the spirit of an African blues master, in the way vintage jazz and blues recordings captured the masters of the Mississippi Delta.

Alberto Gil & Cory Wong. Photo Credit: Unai J. Bolivar

Minneapolis based musician/producer Cory Wong is on a mission to spread the music of Peru’s coast as far and wide as possible. Last April, he traveled to Lima and assembled an ensemble to help document Afro-Peruvian music. The group was called Peña (a meeting place or grouping of artists/musicians) and two  albums from the sessions have been released since last October on Wong’s Secret Stash Records. A third Peña volume, released this April, remixes some of the original tracks.

Volume 1

The first Peña effort was a collection of 17 tracks that eloquently displayed the different styles within the genre and was accompanied by a documentary DVD, impressively packaged in an lavish wooden box. The album quickly received critical praise from tastemaker’s like NPR Music, PRI’s The World, All Music, Blurt, Afropop, etc. and landed on many year end lists.

MundoVibe caught up with Peña’s Producer and Musician Cory Wong to discuss the history of Afro-Peruvian music and how Peña came to document it.

MundoVibe: It was just a year ago that you visited Lima, Peru to record and release Peña. What was the inspiration for you to venture to Peru and to make this recording?

Cory Wong: It came from a long standing relationship with my guitar mentor Andrés Prado. He is from Lima and lived here in Minnesota for several years and is now back there. He instilled in me a passion for Afro-Peruvian music and taught me a lot about the culture and where this music has come from. I wanted to do a project like this for a long time and last March I was at lunch with Eric Foss and we just decided that it was time to make it happen. 2 weeks later he, Unai Bolivar and I were standing in Lima with a bunch of gear ready to go!

“The secret” features production by Eric Krasno (of Soulive fame) and features Dave Matthews, Derek Trucks, John Scofield, Ivan Neville and Vieux’s final collaboration with his legendary father, Ali Farka Toure.

Traveling down Linden Blvd towards JFK Airport, Vieux Farka Touré had a realization. Having just left The Bunker recording studio in Brooklyn, he was discussing the sessions with his manager, Eric Herman. A newly constructed song, played in part by his father— the great Malian guitarist Ali Farka Touré—came on over the car stereo, and Vieux said, “This is what we call ‘the secret of the blues.” The two friends laughed, though it quickly dawned on him that his off-the-cuff remark was a perfect summation of his third album.

The Secret (Six Degrees Records) was born.

The worthy successor to Ali Farka Touré.  — Bassekou Kouyaté


Mali’s Sidi Touré sings the traditions of his Malian culture and beyond on his Thrill Jockey debut “Sahel Folk”

[soundcloud url=”http://api.soundcloud.com/tracks/9708322″ params=”show_comments=true&auto_play=false&color=ff7700″ width=”100%” height=”81″ ]

Sidi Touré made his first guitar as a child, constructing it from his wooden writing slate in the ancient town of Gao, Mali. Once the heart of the Songhaï empire and burial place of its Askia kings, the town rests between the Niger and the encroaching ocean of sand known as the Sahara Desert. The Songhai empire was the last of the great empires of the Sahel, reaching its zenith under Soni Alibert (Sunni Ali) in the mid 400’s. Sidi Touré was born here in 1959, but to be born a Touré, a noble family who trace their lineage directly from the Askia kings, carried a significance and onus of a past that reaches directly into the present. Like another Malian noble turned singer, Salif Keita, Sidi Touré faced a conflict between the inexorable pull of music and the expectations of family and society. Touré’s family had been sung about, and sung to, by traditional griots for centuries, but until a small boy challenged the rules, the Touré’s did not sing!

[vimeo http://vimeo.com/16190968]

Quinn Luke (Bing Ji Ling) releases his third solo album, Shadow to Shine, featuring members of Antibalas, the Dap Kings, Scissor Sisters, and the Phenomenal Handclap Band. Enjoy a free download of “Move On,” the first single from Shadow to Shine at the end of this article.

Quinn Luke aka Bing Ji Ling

The nom de plume of one Quinn Luke, Bing Ji Ling is a NYC–based producer/ musician with a rich legacy of work behind and in front of him. Having co-produced, written, recorded and performed two full length records, an EP, and a slew of singles (not to mention numerous collaborations and remixes), Luke thought the time was right to work with outside producers for the first time.

Produced by Embassy Sound Productions (Sean Marquand and Daniel Collas, the men behind Phenomenal Handclap Band), the forthcoming LP, Shadow to Shine, is an infectious concoction of Soul, Pop and Psychedelia full of summer jams destined for heavy rotation. Featuring members of Sharon Jones and the Dap Kings, Scissor Sisters, Antibalas and Phenomenal Handclap Band, Shadow to Shine is a work of stunning, soulful talent, marking the finest chapter in Luke’s already accomplished career.