Jon Lusk presents our occasional round-up of the very best world music releases
November round-up
Also singing in Arabic (see World Choice) is Paris-based Lebanese singer and song-writer Yasmine Hamdan, whose Jamilat Reprise is a less than obvious, often inspired remix/ reconstruction of her 2017 album
Al Jamilat (The Beautiful Ones). It has numerous influences courtesy of nine wellknown artists, from Acid Arab to Berlin techno artist Shed. Famdan herself is renowned for her work with Beirut-based indie/electronic band Soap Kills. (Crammed Discs CRAM 284p: ★★★★★)
Another engaging multi-cultural album with a Middle-eastern focus is One Sky by the Rahim Alhaj Trio, featuring Iranian santour (hammered dulcimer) player Sourena Sefati, Iraqi oud maestro Rahim Alhaj and Palestinianamerican percussionist
Issa Malluf. The leader’s original compositions are based on Iraqi maqams or scales. The players have a lovely, easy rapport, the music fluid with plenty of subtle charms. (Smithsonian Folkways Recordings SFW40585: ★★★★)
There’s also a wealth of technically masterful musicianship in the new eponymous album by Uruguayan keyboard player, jazz scat singer and arranger Hugo Fattoruso Y Barrio Opa. Jazz-funk fans will delight in Tato Bolognini’s polyrhythmic drumming, while roots music aficionados will appreciate the influence of the Afro-uruguayan candombe style which underpins several tracks. The infectious clave beats, that every February drive Montevideo’s carnival procession, are most obvious on ‘Candombe Alto’ and ‘Candombelek’. (Far Out FARO 0204CD: ★★★★★)
West Africa’s Ivory Coast isn’t the most likely source of a country-folk masterpiece, but Jess Sah Bi & Peter One delivered a beautifully relaxed one in 1985, so the re-release of Our Garden Needs Its Flowers is more than welcome. Much like Creedence Clearwater Revival – ostensibly one of their role models – this duo convincingly imagined themselves into another tradition very distant from their own roots. Over slinky, swinging acoustic and understated slide guitars, bluesy harmonica and easy-going hand and kit-drums, the two slip between local languages, – French and English with lyrics referencing the Anti-apartheid and more general African liberation politics of that era. ★owever, there’s no hectoring, and a peaceful vibe pervades the entire half-hour duration. This is a stone-cold classic with the warmest of hearts, and arguably the year’s best re-release by far. (Awesome Tapes From Africa ATFA 033CD: ★★★★★)
Another auspicious but entirely contemporary debut is
Joys Abound by singer Anandi Bhattacharya, whose father Debashish Bhattacharya is virtually synonymous with his invention, the chaturangui (★industani slide guitar). As producer and co-writer of much of the material, he naturally guests on chaturangui, echoing and answering his daughter’s melodic lines with breathtaking synergy on ‘Aurora’. There’s also obvious musical chemistry in the accompaniment by Ananda’s uncle Subhasis Bhattacharjee on tabla, djembe and other percussion. Although she grew up steeped in traditional music, Ananda was never shoehorned into purism, and the result is a confident fusion of influences from many sources. Joys Abound lives up to its name with brilliant sequencing, variety, and stellar performances, perhaps best exemplified by Ananda’s vocal on the closing calm of ‘Radha Enraptured’ (Soi Lo). (Riverboat TUGCD 1116: ★★★★★)