Djam Leelii
After its release to wide acclaim in 1984, first on Rogue Records in the United Kingdom, and then worldwide by Mango the following year, the record slipped into oblivion. NowDjam Leeliiis available again, this time with some newly mastered tracks from the original 1982 sessions. It is the soul of West Africa, a model of brilliant guitar music and as sublime an example of Senegalese musical art as ever was made. Mansour Seck and Baaba Maal have been partners in music for a long time, always experimenting, always surprising, whether it's bold pop or subtle acoustics. This is one of the latter. Primarily two guitars and two voices,Djam Leeliiinsinuates rather than insists. There is a slight backing of electric guitars, a hint ofbalafonand a variety of small percussion, just enough to prod the music along, never rushing it. Even the excess of reverb seems to be in service of the surreal atmosphere they create here. For those who love West African acoustic music, and for those who love excellent musicianship in any form, this recording is a classic. Even if you already have an earlier release of the record, these three long tracks still make a second purchase worthwhile. Mixed in a drier ambiance, they feature grittier guitar sounds, a more urgent vocal combination, and some wonderfulkoraandbalafonwork by Mamad Kouyate and Jombo Kouyate. The closing track, "Taara," is one of the most gorgeous tracks of modern acoustic Hapulaar (Fulani) music available on disc.Djam Leeliihas stood the test of time, and it sustains the listener year after year.--Louis Gibson