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Critics Award |
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Youssou N'Dour (Senegal)
Song : Moor Ndaje
Nominated album : Nothing's In Vain (Nonesuch)
Visit : &
Elsewhere in 大象传媒i : Album review
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Many will be familiar with the scene in the Pulp Fiction movie in
which the briefcase is opened in the diner. The viewer is not party
to its contents, only the stunned reaction of those around it and an
ethereal golden glow from within. Pitiful analogy but N'Dour has had
that effect with some of his previous releases for the Western
market. You know something great, something earth-shatteringly great,
is going on in there, but you're not allowed to see what it is. With
Nothing's In Vain, as with his Senegalese releases, the listener is
actually let in on the secret.
The product of some 18 months' work in his own Xippi studio in Dakar,
with co-producer (Super Etoile bassist) Habib Faye, this release
shows N'Dour's mastery of his own musical vision. Whilst other
African musical stars are currently 'unplugging', Youssou has opted
for a different approach. There is a significant focus on traditional
Senegalese instrumentation, but with contemporary arrangements and
studio wizardry still very much to the fore. As ever, the bedrock of
Super Etoile players is also in place.
Particularly striking on this CD are those fantastic slow, engulfing
builds from sparse and atmospheric soundscapes to urgent, driving
anthems. Genteel kora and xalam introduce Tan Bi, the opening track,
which swells around its babbling stringed undercurrent and the
recurrent riti (one stringed-fiddle). Again, on Li Ma Weesu, a light,
airy ambience is usurped by a surging wall of sound. More magic
moments come in the form of the swinging Western Manding dance-style
on Moor Ndaje, with rippling balafon and cascading koras; the soft
fluttery riti echo of Youssou's earthy vocal lines on Genne, and,
personal favourites, a spikey, fresh reworking of Mbeggeel Noonu La,
and the sombre and brooding Parisian/ Dakarois torch song Il N'y A
Pas D'Amour, complete with caf茅-style accordion.
Whilst mainly gushing praise is due, there are a couple of frankly
absurd moments. So Many Men is a nauseatingly saccharine and
overblown duet with French pop star Pascal Obispo. Interestingly,
this is one of two of the late additions made to the album, along
with Africa, Dream Again which is also a tad lightweight. But these
are only fleeting moments in what is a truly fine representation of
the man's musical worth.
Definitely worth a glimpse into the glowing briefcase!
Sarah Coxson for fRoots magazine 2002
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