Brief Reviews: S-U

Said Mrad: One Thousand & One Nights

Mondo Rhythmica

Remixes of "some popular Oriental tracks with many themes taken from the feted Oum Kolthoum." And three of the tracks are from that period. They're easy to spot, being the most musical. The rest has its moments, but they're few and far between, more atmosphere and beats than real inspiration.

Smokey and Miho: The Two EPs

El Diablo

As it says, a pairing of the two Brazilian-influenced EPs released by the session guitarist and the Cibo Matto singer. It's all decent stuff, but never particularly inspired, although the quality of the musicianship is never in doubt. The five Baden Powell covers eclipse their own material.

Stella Chiwese: Double Check

Piranha

One disc is the classics, the other her deep trance material. both are journey, both are brilliant, a testament to why Zimbabwe's Stella Chiwese is not only wonderful on the m'bira (thumba piano), but also as a singer of the spirit. This forms the perfect introduction to the many facets of her work.

Susana Baca: Vestida de Vida

Pregon

A reissue of Baca's 1990 recording takes her around the Americas, with a sense of black music from across the continent. Obviously, there's plenty of Peru, but her travels are wide-ranging, even taking in a gorgeously teched version of "Summertime." Her art isn't as developed as it is these days, but still a graceful, soulful outing.

Susheela: Salt Rain

Narada World

At times this album takes flight, but like those early men in their machines, it never lasts long. Vocalist Susheela has a voice, no doubt about it, and a strong grasp of Indian traditions. But ultimately it falls somewhere between Khadja Nin and a more exotic Sade, smooth and creamy. But where are the knobby bits?

Texas Gladden: Ballad Legacy

Rounder

More Alan Lomax material, and Gladden, a ballad singer from Virginia, was indeed a find. As well as material like "The House Carpenter" and "Gypsy Davy," she was fount of obscure songs, country, vaudeville, a real sponge, and a fantastic singer. When you're talking american treasures, Gladden deserves a mention.

The Wailers: Dub Marley

Tabou

Interesting reissue of music briefly available in Jamaica in 1976, when the Wailers recorded instrumental takes on 10 Marley tunes, and also had dub mades. All 20 versions occur here, and while there are good moments, it's far from brilliant dub, and the instrumentals just make you want to hear Bob's voice on top.

Toni Price: Midnight Pumpkin

Antone's

The woman can sing, no doubt about it. But not only can she belt it out,, she can put expression in the perfect place of a song to wrench at the heart and soul. She's already a Texas treasure, and for years she's been deserving of national fame. But Austin's gain is the country's loss, it seems...

Travis and Austin Nevels: Freestyleguitar II

Freestyleguitar.com

This father and son duo can certainly play, but whether it fits into any folk or world category is debatable. However, if you want to be stunned by the ability of a couple of unknown musicians, this is definitely the place.

Trio Hugo Diaz: Classical Tango Argentino

ARC

Diaz himself has been dead several years, but his music lives on. His bandoneon, mixed with piano and some elastic bass playing, offers a very classical form indeed, straight backed at times, but also flowing in exactly the manner the dance needs. There must be a lot of material in the Diaz vault, but if it's all as good as this, that's fine.

U. Utah Phillips: I've Got To Know

AK Press/Daemon

Recorded in one session during the first Gulf WAr, this is as angry now as it was more than a decade ago. The mix of poems and songs works well, a radical's view of the world - a view Phillips has honed over five decades. This isn't simply a rant, it's reasoned argument, and he's a good enough performer to make it compulsive listening.

Ustad Mohammed Omar: Virtuoso from Afghanistan

Smithsonian Folkways

Timely reissue of a '70s disc recorded when Omar was in Seattle. Some brilliant rabab playing, while the accompaniment from Zakir Hussain (largely improvided) is incendiary at times. While Afghani music remains a mystery to most, this delves into the classical repertoire in stunning fashion.