Archived Reviews M-O

Manu Chao: Proxima Estacion: Esperanza

Virgin

Chao's solo debut, Clandestino, was a subversive bit of joy that proved to be a sleeper. Its careful craft was hidden behind a ramshackle surface, with some great songs - an ideal mutlicultural hit. On this surface, this offers more of the same, playful and homespun. The only problem is it's all surface. This month Manu's obviously been listening to a lot of reggae and calypso, and he incorporates that into his sound quite neatly. But did we need two more songs with the "King of Bongo" chord changes? That starts to smell a little of artistic bankruptcy, rather than humor. Yes, reggae artists do a lot of different songs over the same riddim, but the riddims tend to be less distinctive. Think of this as a holding pattern until Chao decides where he really wants to go.

Matapat: Petit Fou

Borealis

A little madness indeed, but if madness is this appealing, then more and more. Playing traditional music of Quebec, this trio offers some remarkable musicianship on tunes that rarely get heard beyond the province. Some lovely dark accordeon from Benoit Borque, while Gaston Bernard offers some hefty skills on a number of instruments. Plenty of melody, and even some adventure, like the strong Indian flavor of "La Vieille Galope," while "Par Un Dimanche Au Soir" is redolent of older Fairport Convention. Borque is alos a step-dancing great, although that's more likely to comes across live, rather than on record. While there's plenty of Breton influence in the music, the years have given it a different sheen, making it into something distinctive and special. Matapat bring that out superbly.

Maria Kalaniemi & Sven Ahlbåck: Airbow

Northside

Kalaniemi's work has taken her some distance from traditional music(even if its feel remains a part of her sound), so it's good to hear that she hasn't lost her touch for the polskas and minuets that dot this album. Ahlbåck's fiddle work proves to be a good foil for her, and both practice a good deal of restraint on the tunes -what they don't play can often speak louder than the notes heard. Surprisingly, the majority of compositions here are originals, although they mesh so well the the traditional pieces that the seams barely show. It seems like a renewal for Kalaniemi, a sense of touch base with much of her past, and hopefully gaining fresh inspiration (not that she needs it) from this trip.

Mouth Music: Seafaring Man

Nettwerk America

Times have changed since Mouth Music began, but so has founder Martin Swan. After some faltering in direction, he seems to have found focus with this spare mixture of electronic and organic Celtic (or Celtic influenced) music that never dips into the Celtoid. At times symphonic, without going over the top, it can also lilt and offer wonderful Scots images. Even his dip into puery a beuil (the real Shetland mouth music) isn't frantic, but friendly. The sound of a changed and happy man.

Natacha Atlas: Ayeshtem

Mantra

The return of the former Transglobal singer is, well, something of a disappointment. The track which will garner all the attention is a cover of "I Put A Spell On You," but it turns out to be kitschy, Julie-London-goes-to-Cairo. A version of Jacques Brel's "Ne Me Quitte Pas" fares better, but the consistent letdown are the arrangments, where swooping Egyptian strings play Western styles - good for a crossover audience, but hardly the real thing Atlas seemed on the verge of becoming, more's the pity.

Nick Cave and the Bad Seeds: No More Shall We Part

Warner Bros.

Cave has established himself as one of the greatest singer-songwriters of his generation. With 1996's Murder Ballads, he actually extended the folk form, and he has an innate understanding of music from the Southern states - not bad for an Aussie who lives in London. He no longer plays rock music, but composes pieces of a distrubing power, such as "Oh My Lord," or look through an ironist's glass ("Gos Is In The House"). Few writers have the ability to cut through to that kernel of emotional truth, but Cave seems to succeed every time - making him into that rarest of beasts, a true artist. He may scare you, but sometimes that's what mirrors to the soul are all about.

Norman Blake: Flower from the Fields of Alabama

Shanachie

The O Brother soundtrack has given Blake much wider exposure than he's ever enjoyed before, and maybe he'll finally be recognized as a real American musical icon. This mix of traditional and original songs (and try a blind test on which is which) is enormously satisfying, with Blake turning in some superb performances on guitar, fiddle, and mandolin. As a singer he never tries to sound like anyone but himself, which generally works, although his voice makes "Sitting On Top Of The World" a bit dirge-like. Some inspired support by Bob Chuckrow blends in perfectly for an album as satisfying as anything Blake's done - the title track is a slightly sentimental standout, while "Bonaparte's Grand March" is wonderfully executed. And the gospel-ish closer, "If We Never Meet Again (This Side Of Heaven)" makes for a glorious finish. Blake deserves attention; the man's quietly plowed his furrow for many years now, and the harvest have kept coming in. This is one of his best.

Nusrat Fateh Ali Khan: The Final Recordings

American

To say it's Nusrat and Party, doing what they did best, is about as good a summation as you can give of this two-disc set. Rahat, his appointed successor, takes second voice, but the center is Nusrat, still very much at the height of his powers. Superb, clear production by Rick Rubin simply highlights how great this unit was, and how their material -ghazals and sacred music - could lift every spirit. Some incredible improvisations, and a timely reminder of the great man's powers.

Ökrös Ensemble - I Left My Sweet Homeland

Rounder

The music of Transylvania has rarely sounded so lovely - or so accessible. In many ways this is akin to recordings that capture the essence of Appalachia, a vanishing culture. There are laments and dances, songs and instrumental pieces, including (inevitably) some Gypsy tunes. Call the Ensemble the children of Bela Bartok, people who care about a past that's almost disappeared, playing with a sweet formality that can sometimes be unleashed into wild passion, and, with the title track, offering insights of rare beauty into history.

Old Blind Dogs: Fit?

Green Linnet

Old Blind Dogs might not be quite the adventurous outfit the press release claims, but they're an object lesson in Scottish music, and their two Robert Burns pieces serve as a timely reminder that socialist thought is nothing new in the world. Some lovely playing and low-key singing help make this an album that doesn't overwhelm, but grows to fit like a warm sweater. In fairness, the songs seem to far better than the instrumental pieces, which could use a little more bite, and sometimes the who things errs just a tad on the mellow side - but there's a genuine friendliness about it that's irresistible. The dogs might be knocking on a bit, and not seeing too well, but they still have good taste.

Orlando Cachairo Lopez: Cachaito

World Circuit/Nonesuch

The Buena Vista franchise continues to expand, this time with a disc from the ensemble's bassist. But anyone expecting more old-school Cuban music is in for a shock. This is a record of musical and sonic invention, which draws not only from Cuban tradition, but also from around the Caribbean, Latin America, and even the U.S.. Cachaito sets out his stall early on, when the strings on "Redencion" stray unexpectedly into dub territory. "A Gozer El Tumbao" can best be described as Cuban surf music, while hip-hop figures strongly on "Cachaito in Laboratory." In many ways it's closer to Marc Ribot's refracted take on Cuba than anything in the Buena Vista past - although there's plenty of superb straight-ahead blowing too, and some great jazz, with Cachaito himself leading from the back, his playing assured and solid. Surprising, but as satisfying as fine dining.

Otis Taylor: Respect the Dead

Northern Blues

Quite possibly the best bluesman in America, one operating at an intensity level few others can hope to match, and in a contemporary fashion that honors the roots of the music while still looking ahead. "Ten Million Slaves" works around banjo and voice, while the urgent "Hands On Your Stomach" brings atmospheric guitar over a scrappy picked chord and vocal. Taylor's writing works on an instinctive, elemental level with was the root of the blues, and he's the only current performer who seems to have found it. It'll be hard - and a pleasant surprise - to find a more important blues record this year.