MANSA AMERICA
Reviews

 

Fula Flute
Mansa America

We’ve heard plenty of reggae, soul, hip-hop and rock artists from all parts of the world singing the praises of Barack Obama in recent months, but Fula Flute do it in proper West African praise-song style, and the stirring Mande tune Obama opens this consistently excellent second album from the group of North Americans and West Africans. The luminescent Abdoulaye Diabate – a US resident who can hold his own against any from his native continent – extols the virtues of the new President over a swaying latticework of kora, ngoni, balafon and the breathy, raw sound of Bailo Bah’s tambin flute. Fashioned from a conical vine, the instrument has a tremulous imperfect quality that gives depth to the dozen tunes on Mansa America. Bah sings too, his voice a lighter, airier complement to Diabate’s, and at times a squealing adjunct to the wilder flute forays.
There’s a seductive, pulsing rhythm throughout, with French-Canadian member Sylvain Leroux (also flute and vocals) and American Peter Fand (bass, bolon harp) as integral a part of the groove as the West Africans, a credit to the gratifying thread of natural musical empathy that runs through the collection – no attempt to bolt styles together here, this is straight down the line traditional Malian/Guinean fare all the way. With occasional added colour from a small horn section and guest ngoni player Cheick Hamala Diabate, Mansa America holds the attention exquisitely from first to last.

— Con Murphy; fRoots Magazine, issue #311, May 2005

 

 
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