Cheikh Lô, Né La Thiass (World Circuit) 9+
I've been waiting so intently for a new release from Baaba Maal, that I almost missed this great debut album by Senegalese artist Cheikh Lô. I was surprised to see it was produced by Youssou N'Dour, who was responsible for 1992's Set, one of the worst, overproduced African albums of the decade. Perhaps with that album, the creator of mbalax learned what not to do, and this is a sign of more good work to come out of his Xippi Studios in Dakar. The album combines folky acoustic with lively electric sounds. In addition to mbalax rhythms, I swear I hear some Cuban rhythms in there too. Indeed, Cheikh Lô acknowledge that among his influences was Zairean Bolera, which has its roots in Cuban Son. He is not new to the Senegalese music scene, having played in groups since the late 70s, and worked in the studio with Papa Wemba in the 80s. He went on hiatus through the 90s, carrying the songs for Né La Thiass (gone in a flash) in his bag until the time was right. His lyrics are extremely religious. He referes to himself as a Baye Fall, a follower of Cheikh Ibra Fall, companion to Cheikh Amadou Bamba, a founder and alleged miracle-performing prophet of the Mourides Islamic sect. Bamba rekindled Senegalese Islam in the 19th century, a time when French colonizers were suppressing it. The Baye Fall are recognizable by their patchwork clothing and dreads. The music on this album speaks beyond religious and language barriers, and is hands down the African album of 1997.
