Frank Yamma – Countryman (Wantok Music)

The world has experienced ethnic music from the land down under for years. The tribal-rock beats of the aboriginal group Yothu Yindi, the blind-aboriginal guitarist, Gurrumul, the band Tiddas, and the traditional folk music of Australia’s Xavier Rudd showcase only a sampling of the talented musical attributes, styles, and influences born out of the nation in the Southern Hemisphere. Now you can add Frank Yamma to the mix.

Frank has been musically-active since the 1990’s. He is an aboriginal Pitjantjatjara from Central Australia. He sings in five different languages, including English on his latest album, Countryman. The international influence of fellow ‘countryman’ singer and guitarist Gurrumul, seems to be the closest, aboriginal comparison. However, Frank’s achingly beautiful voice is at times sorrowful, hopeful, bluesy, and rootsy. In fact, ‘I Didn’t Know Who You Were That Day’ almost sounds like a song that Jakob Dylan of The Wallflowers-fame would create. The piano-guitar anthem, ‘Remember The Day’ and the equally-delightful ‘Make More Spear’ are soothing cauldrons of ear-friendly melodies with all the charm and warmth of an Alice Springs sunset on a summer evening. The grittier, folk-rock ballad, ‘Calling Your Name,’ is the most pop-focused production without all the fake electronic wizardry and pointless dance grooves. Essentially, it is pure roots-folk music with an earthy, yet melodious feel that would be a perfect radio-friendly single release. A more rock-centered guitar solo occurs on ‘Inside.’

As a storyteller, Frank delivers the plight of aboriginal and ecological existence within Australia’s deserts and urban centers, while touching on issues of aboriginal and non-aboriginal populations. The incredible authenticity and sincerity shine through on every song. Twelve tracks of English and non-English-lyric songs provide a mix of aboriginal influences with limited percussion, guitar, piano, and strings, which seem to mimic the vast enormity of Australia’s Outback. If you are waiting for the downsides to the album, you will be sorely mistaken. In fact, the worst part of the album is the end, because that means the music is over. Thankfully, you can play the album over and over again. Frank Yamma’s Countryman is virtually an exploratory and auditory window into the soul of aboriginal guitar music.

Reviewed by Matthew Forss.

The moods and colors of Malian kora virtuoso Ballaké Sissoko and French cellist Vincent Segal’s “Chamber Music” are as delicate and intricate as one’s favorite fusion cuisine. In a strikingly seamless manner the two string musicians from very different cultures have recorded music that touches and replenishes the spirit and soul. Recorded in three sessions at Salif Keita’s Studio Mouffou in Bamako it is a testament to beauty in simplicity. No overdubs were used, and most of the tracks feature only Sissoko and Ségal.

Hailing from a long tradition of Malian kora players, Sissoko has worked with renowned musicians such as Toumani Diabaté and Taj Mahal. He met the French born Ségal by chance, and the two began jamming together, uncertain of what kind of music might result. As a former member of the French National Orchestra, Segal’s Western classical training does not prevent him from exploring a wide variety of extended techniques, rendering his cello a flexible partner to Sissoko’s kora.^[1] A childhood spent in the Pigalle district of Paris surrounded by immigrant communities exposed Segal to African music from an early age. As such, he possesses a natural sensitivity to Sissoko’s West-African style.^[2]

This remarkable openness and fluidity flows through Chamber Music, with each musician contributing individual compositions in addition to collaborating on an overall sonic venture. One is swept away on their journey, one which gives many moments for pause and quiet on “Chamber Music” as if time has slowed and one can savor the moment. ‘Mako Mady’ is such a song, with the deep and rich timbre of Segal’s cello overlayed by Sissoko’s dancing kora strings. There’s also a joy to this recording, as if spring is just bubbling up. ‘Ma-Ma FC’ captures the simple essence of such feelings with its loping rhythm and intricate interplay. The sole vocal song, ‘Regret – À Kader Barry’ with Awa Sangho on vocals is imbued with depth and relection, even without knowing the lyric’s meaning. The title track ‘Chamber Music’ is a near perfect melding of instruments, with Segal defining the composition, joined by Sissoko’s weaving textures.

There is a spirt of Africa that imbues “Chamber Music” in a very subtle way, a timelessness and calm of places untouched by the flurry of modernity. A romantic notion perhaps but this is a deeply romantic recording. Not since Kronos Quartet’s “Pieces of Africa” has classical chamber music so seamlessly melded with African traditions. — John C. Tripp

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Various Artists

Le Pop Volume 6

The last decade has seen the rise of French electronica and disco: one doesn’t have to try hard to conjure up their favorite dance groups or DJs like Daft Punk, Dimitri From Paris or Air. The French may have become synonymous with thumping beats but there’s a whole other French sound that has been equally fruitful, the chanson Française. This is not the French music your beatnik parents grew up with though. The sixth incarnation of the French compilation “Le Pop” shows just how far and wide the French song has come with sixteen tracks from across the French diaspora, from Paris to Louisiana. There’s an uptempo and feel good vibe to the selection, with but a couple songs showing a more melancholic side (Fredda’s ‘Fenêtre À Collioure’ is one). For the most part it’s a sweet, sassy and wild ride in an open convertible with the tunes blasting.

La Patère’s ‘Chocolove’ is a whimsical, jaunty pop tune with sweet female vocals and banjo. Olivier Goulet’s ‘Alors Il Y’a La Lune’ is a smokey and vocal-driven song with Mali-esque blues guitar. Caracol’s ‘L’amour Est Un Tricheur’ is a catchy reggae-blues track with chocolate-rich female vocals. Jérôme Minière’s ‘Avril’ is a sensuous male-female duo that reminds me of Thievery Corporation’s ‘Lebanese Blonde’. Féloche’s ‘La Vie Cajun’ is the most “urban” song here, a scratch-laden and swamp-infused track with a dash of masala. Emmanuelle Seigner’s ‘Dingue’ is one of the collections more infectious songs with upfront vocals and a memorable chorus.

If there’s one influence that permeates “Le Pop 6” it would be Manu Chao: you might not be able to pinpoint it but you can feel his influence. Of course there’s also a smattering of Serge Gainsbourg, Django Reinhardt et al. If you’ve been sucked into the vortex of French dance music and want a breath of fresh pop-vocal air, “Le Pop 6” is a welcome treat of French chanson. And don’t worry about the words, you’ll still find yourself humming these songs. –John C. Tripp

Tracklisting and videos at the break

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