Latest Reviews: M-O

Mamani Keita: Electro Bamako

Palm

With a title like that, you expect something like Issa Bagayogo's experiments in form and fusion. That's not what you get, however. Keita, a former backup singer for Salif Keita, has a good, if not superlative, voice. There's none of the distinctiveness to mark her our as someone truly major.And the music revoles more around jazzy downbeat than anything else, putting the voice in a completely alien context. It's pleasant, but overall never seems to fully find its feet and become something really individual.

Mariza: Fado Curvo

Times Square

Last time out there was a tentativeness about Mariza's singing. This time there's a confidence and power that marks a true star, and puts her among the elite of new Portugues fado music. While she obviously loves tradition, she's not afraid of breaking the rules a little (as on the chamber sound of "Retrato" or the jazz inflections of "O Deserto"), and breaking up the overall melancholic mood with a couple of perkier songs. Without any doubt, on this album a star is truly born, capable of both sensitivity and full-throated emotion. Mariza has really arrived.

Milagro Acoustico: Poeti Arabi Di Sicilia

CNI

It perhaps escapes thought, but it's natural that Sicily should have been home to Arab poets. Here there work is lovingly set to music by Italy's Milagro Acoustico, who've previously explored pan-Mediterranean grooves. It's meditative, explorative, and oftentimes beautiful, showing that the two cultures join far more than they split apart.

Minnie Moosika: Do Sa Sa

Self Released

English-based klezmer band that explores the tradition, although probably not as wildly on disc as live, as the final two, live cuts indicate. All excellent instrumentalists, it's obvious this is for the love of the music, and the pleasure they take in pushing things is quite tangible.

Mohamed Abdel Wahab: Cleopatra

EMI Arabia

From the first familiar notes of the title cut, this is an absolute gem. Two long pieces, and two short, that illustrate a little of the range of Wahab's compositions, from the classical to the modern touches of "Hayati," which finishes the disc. Magnificent themes and orchestrations, and a timely reminder that he was one of the great masters of 20th Century Arabian music. An essential purchase, even if the mastering could be better.

Natacha Atlas: Something Dangerous

Mantra

Is it dangerous? In some ways it represents a bit of retreat on her Middle Eastern journey; but at the same time an Egyptian spirit pervades even her cover of James Brown's "Man's World." Definite touches of R&B and hip-hop offer a new direction for her, which isn't always satisfactory - she's capable of much more - and her rootsier Egyptian material definitely fares well, even if her accent isn't always the best. At best this is treading water, and it'll be interesting to hear where she goes next.

Ndala Kasheba: Yellow Card

Limitless Sky

Famous in Tanzania for his voice and 12-string guitar, expatriate Congolese musician Kasheba, brings a touch of the rumba to East Africa, letting the sounds mix and create and very spicy stew. Backed by a full band, with several singers, and horns on some tracks, the sound is full, and quite joyous. A very adept guitarist, Kasheba might be one of the very few African 12-string players, his Congolese leads (often on 6-string) fluent over the East African rhythms, making for a marvelous pan-African collaboration that works well.

Niamh Parsons: The Old Simplicity

Green Linnet

Amother glorious album from one of Ireland's loveliest voices. For someone whose always shown real strength in the tradition, the best material here is contemporary, with "1917" and "He Fades Away" absolute standouts. Often backed by just guitar (guitarist Graham Dunne gets a pair of instrumental outings, too), this is a testament to what a majestic talent Parsons has developed into, someone who inhabits her material perfectly.

Nikitov: Amulet

Chamsa

Dutch klezmer, recorded in Brooklyn, New York, but this isn't about instrumentals - it's songs (mostly), sweetly sungs by Niki Jacobs, with guitar, bass, and violin. Spare, you might think, but in fact it's a very full sound, and an interesting range of material (some background on where they found the material would have been interesting). It's different, and perhaps klezmer isn't strictly accurate, but certainly well worth a listen on both historical and musical levels.

Nouvelle: Free Bossa

Stern's Brazil

For their fourth album, Nouvelle (formerly Nouvelle Cuisine) contine to do what they do so wonderfuly - deconstructing Brazilian music in a dangerous manner. Their takes on "Dock Of The Bay" and "I Loves You Porgy" are scarily good (although the former could be edgier), but it's on a version of Dori Caymmi's "Quem Vem Pra Beira Do Mar" that they shine brightest, while the title cut is an exercise in free verbal association. Charming, and a definite heir to Tropicalia.

Ojos De Brujo: Bari

World Village

Finally released in the U.S. after receiving so much glowing press in Europe, this record has a lot of hype to live up to. The Spanish band's very modern take on flamenco is certainly enjoyable, and they do plumb whole new areas with remarkable musicianship, wedding hip-hop and tradition with so many other things. Whether they're the saviors of flamenco's new frontiers remains to be seen, however; for the moment it seems more like an album to admire rather than love.

Oliver Mtukudzi: Nhava

Heads Up

Mtukudzi has reportedly lost his audience at home in Zimbabwe by recording a pro-Mugabe song, but his work on this disc is up to his previous standards, with catchy material thoughtfully presented, and more than a touch of jut in the arrangements. The power here is soft and cumulative, but that's fine; he doesn't need to overwhelm - melody does that for him. Low-key, perhaps, but eminently enjoyable nonetheless.

Ooleya Mint Amartichitt: Priase Songs

Wagram

From Mauritania, where West Africa meets the Arab world, Amatichitt evokes the raw desert bluess of acts like Tinariwen, singing over spare electric guitar and tindit. There's no doubt she evokes the barren landscape of the West Sahara in her songs and voice, although there's little in the liner notes to give much information about the songs. But enjoy them for what they are - praise songs, obviously, but hard to tell to whom - and the raw majesty and mystery of the music.

Otis Taylor: Double V

Telarc

My, the man's prolific, going for an album a year - and this as good as any of its predecessors. This time around he's ditched the band, playing most things himself, although finding unusual accompaniment in cellos and trumpets, with daughter Cassie on bass. Once again the songs cut to the bone, whether personal ("Mama's Selling Heroin"), historical ("He Never Raced On Sunday"), or from the imagination ("Please Come Home Before It Rains"). Taylor is rapidly growing into a giant among modern bluesmen.

Oysterband: Rise Above

Omnium

It's the Oysterband - they rock. What more do you really need to know? 10 songs, eight originals, two traditional, including a smashing version of "Blackwaterside," and they're still angry, even as they get older. The instrumental skills are sharper than ever, the songwriting clean and incisive. No mellowing out here, thankfully. Possibly their most consistent album in many ways, and eminetly satisfying.