Archived Reviews S-U

Samba Mapangala and Orchestra Virunga: Ujumbe

Stern's/Earthworks

Now based in the U.S., but originally from the Congo, with lots of time in Nairobi, Mapangala has a unique an interesting take on music, that combines both the richness and rhythmic liquidity of rumba with the dryness of the more East African sound, thanks in large part to guitarists Caien Madoka and Bopol Mansiamina, who conjure up plenty of magic. Mapangala's voice remains as strong and flexible as it was in the '70s - no mean feat, and his self-penned material is strong, catchy, and lyrically thoughtful. In other words, it's a winner.

Sawt El Atlas Donia

Tinder

Heavily awaited disc from a well-touted Moroccan band turns out to be a bit of a disappointment, some by-the-numbers Arab pop. The only real edge comes with "Andalucia," which connects the dots between North Africa and flamenco - nothing new, but done well and with spirit. Beyond that, there are touches of rai, but nothing that hasn't been done better, and with a great deal more power, by others. So why all the hype? A good question. On the basis of this there's no reason to be particularly excited. Vocalists Kamel El Habchi and Mounir Mirghani have expressive voice, but the backings often rely too heavily on the keyboards - a very '80s state of affairs.

Seba Ewa!

Tinder

Some Algerian pop that might not have the substance of the best North African music (albeit out of France), but which stands as a very lovely guilty pleasure. The brothers Seba have a way with a melody, an even better way with arrangements, great sense of hooks, and Abdel-Ouab Seba has a nexceptional voice. Wed all that to some very catchy writing that remains roots-oriented, and you have something that's difficult to resist, even for the most hard-hearted purist. So it's not Rachid Taha - you can sit back and enjoy it anyway, and you don't even need to draw to curtains while you get your pleasure.

Simon Shaheen & Qantara: Blue Flame

Ark21

Over the course of the last 20 years, Shaheen has been a major force in Arabic music, both classical and modern, someone who's helpec raise awareness of the music. His own work has covered a wide range, but never more so than on this disc, which isn't fusion per se, but a true intermingling of many musical genres, while managing to keep the Arabic root strong. That he's a virtuoso on both oud and violin is amply illustrated, but he's back by a top-knotch team here, and his compositions, all for this group, shine brilliantly, one of the highlights being "Fantasie For Oud And String Quartet," where a phrase from Egypt's Mohamed Abdel El Wahab forms the kernel of a beautiful piece. But even a cover of the Police's "Tea In The Sahara" takes on new meaning in his hands, going form the mundane to the gauzily sublime.

Shaver: The Earth Rolls On

New West

Losing his wife and son - life hasn't been good to Billy Joe Shaver. But this, the last to feature son Eddy on guitar, shows a man who's not afraid to raise his voice and rail against the spirits. He might not be the monster talent some have made him out to be, but he can write a song and that cracked Texas vocal has a way with a lyric. Is it country? Who knows any more. But it is satisfying in a way most albums aren't, honest, brutally truthful, and the string of Eddy Shaver's guitar work will be sorely missed.

Takashi Hirayasu and Bob Brozman: Nankuru Naisa

Riverboat/World Music Network

A second meeting for this pair, and it's definitely different this time around. Not only is the material mostly original, there's also accompaniment in the forms of bass and percussion, with a few other instruments from time to time. While the chekky sensibility occasionally peeks through, as on "Kozo No Machi," overall it's darker and somewhat more meditative - which isn't a bad thing by any means. The songs, penned (at least in part) by Hirayasu are of remarkable quality, and his singing and sanshin playing would make for a great album alone. With Brozman's inventive fills, runs, and filigrees to round them out - and the other instruments - they spring from black and white into full color.

Ted Hawkins: The Unstoppable Ted Hawkins

Catfish

Recorded live off the soundboard in the late '80s, the title begs the question - why would anyone have wanted to stop Hawkins? He wasn't a great guitarist, by any means, but he was a singer who could put the totality of a song across, a true soul artist. This is definitely rawer than this shows toward the end of his life, but none the worse for that. And anyone who can take material like "Country Roads" or "Please Come To Boston" and make them not just listenable, but vital, has a very special talent. He was no sluch as a writer, either, as his contributions to this show. But the man could interpret in a way given to few, whatever the song ("Zip Pe Dee Doo Dah," anyone?), and make you feel it in your heart.

The Black Cat Orchestra: Mysteries Explained

Irene Records

Seattle's Black Cat Orchestra are one of those bands who occupy an unusual, maybe even eccentric, niche. Like a palm orchestra in a Terry Gilliam movie, you're never sure where they're going to go next, and this draws heavily on Mittel European traditions, but mixing them freely with classical, jazz, and whatever else comes to hand for something astonishing. And make no mistake, this really is an orchestra, with musicians who've learned their craft brilliantly, as well as pulling from any number of traditions, like Luis Gonzaga's Brazilian folk, the klezmer of "Ikh Hob Dikh Tsufil Lib," or Argentina's "Desde El Alma." Records like this, eclectic, thoughtful, and enjoyable on several levels, are extremely rare - a joy to hear.

The Blind Boys of Alabama: Spirit of the Century

Real World

Between the Sacred Steel players, the Holmes Brothers and now this stunning disc, gospel is undergoing a real revival, both in visibility and artistically. But the Blind Boys, who've been around almost forever, are an instution that refuses to sit on its laurels. This burns, not only on the traditional material, but also on cuts written by Tom Waits, Ben Harper (whose work also featured on the Homes Brothers' disc) and - wait for it - the Stones. Definitely not what you'd expect, but neither is the stellar instrumental support from bassist Danny Thompson, guitarist John Hammong, and wiz of the strings David Lindley. But they support - the main act is the voices in the Jubilee style, and, in all honesty, they've never sounded better, the patina of age roughing up the edges even more, and the fervor almost palable. A killer version of "Amazing Grace" set to the tune of "House of the Rising Sun" might be the obvious centerpiece, but there are no duds or filler here. Meat to the very last bite, to fill the soul.

Tim Eriksen: Tim Eriksen

Appleseed

The leader of Cordelia's Dad steps out for a solo disc, recorded in just five hours, although you'd never know it had gone so fast. For the most part he's picked happily unfamiliar traditional songs, sparsely (but brilliantly) accompanied - or sometimes just sung. And when he kicks in on the instrumental, it's a sharp reminder of just how good a picker he is. This is hardcore folk, in more ways than one, and it demands a great deal of the listener. But that's fine - music like this shouldn't be background sound. From the sacred to the profance, Eriksen is a major talent in American music, and if this finally gets him his due, all well and good. Even his own two writing contributions fit in perfectly. Towering.

U-Roy - Rightful Ruler: The Best of U-Roy

Music Club

It's always worth remembering the real roots heroes, and U-Roy is right up there in the history of reggae, one of the prime toasters of the '70s, who could deliver his speeches like he really meant it, and helped lay the foundation for today's DJs. But he also knew how to pick his tunes, with a fabulous version on "The Tide Is High," and guest appearances from the likes of Peter Tosh, Delroy Wilson, and Alton Ellis. The big names don't detract from the man himself, however, Rastafied and sanctified, and with the kind of skills many would kill to have. And just to top it all off, this is budget-priced, meaning it belongs in every sensible music collection.