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Product Description
Review
Perhaps it’s a case of quality not quantity, or the amount of dope he smokes, but Senegalese crooner Chiekh Lô doesn’t make albums very often. He has only released three since his bewitching international debut Ne La Thiass in 1996. And although he hasn’t really followed through on the promise of that first record, Jamm comes closer to doing this than anything since.
Lô’s music has always been roughly divided between a mellow semi-acoustic take on the surging poly-rhythms of mbalax – Senegal’s most distinctive and popular style – and the local variations on Afro-Cuban grooves loved throughout West Africa since the 1960s. Lô was born in Burkina Faso and spent his formative years there, so he’s always had quite a different take on them from other Senegalese artists, as well as several other influences.
These are brought to the fore on Jamm, which has a strong streak of nostalgia running through it, and an equal number of covers and original compositions, revealing more about his roots than any previous release. For a relatively short album, it’s surprisingly varied, or as he drolly puts it in the sleeve notes: "It’s a cocktail".
The opening cut Conia is typical mbalax, and finds him scatting tentatively to rather quaint effect. Il N’est Jamais Trop Tard is a relaxed mix of Manding and Congolese flavours, and the first of two songs by the great Guinean band Bembeya Jazz. Both this and the summery, swinging Warico feature some tasty electric guitar that suggests the influence of Orchestra Baobab’s Barthelemy Attisso, rather than Sekou "Bembeya" Diabaté. Lô has an endearing habit of slipping into a husky falsetto, but delivers his most forceful vocal on the Afro-Cuban number Seyni, the first song he ever sang in public.
Celebrity guest (and long term Lô collaborator) saxophonist Pee Wee Ellis has become a little too ubiquitous by the time you get to Bourama, an overblown festival crowd-pleaser. Even so, things rally with guest drummer Tony Allen’s signature double-kick Afrobeat rhythm and nifty cymbal work on Ne Parti Pas, which gives the song a nice lift without intruding. The lovely, understated closer Folly Cagni is another subtle gem, probably the track closest to the original demos that formed the backbone of the recording. Jamm is slow to reveal its charms, but charming nonetheless.
--Jon LuskFind more music at the BBC This link will take you off Amazon in a new window
Songlines magazine #70 - Top of the World album review
Albums by Cheikh Lo are rare enough to make them seem like events rather than mere record releases and Jamm - his fourth in 15 years - is a characteristically lovely set full of subtle rhythms and beguiling melodies. Now in his early 50s, this feels like a more mature, mellow Cheikh Lo than we've been accustomed to and at times - particularly on the tracks `Ne Parti Pas' and `Seyni' - it sounds like he's auditioning for a gig with Orchestra Baobab. Which, of course, is nothing but a compliment, as is the suggestion that on the lovely, lullaby-like `Folly Cagni' he sounds like Baaba Maal at his gentlest (such as `Cherie' on Maal's Nomad Soul album).
If there is one criticism it's that Jamm lacks that one, jump-the-broomstick track that suddenly rocks out and changes the record's pace in the style of, for example, the clattering, masterful title-track of 2005's Lamp Fall. Yet it's a small criticism, for there are so many lovely moments in these ten songs that such a track might have even spoilt the album's cohesion.
Above all, Lo's voice has surely never sounded better and the scat singing that comes in about a minute and a half into the hypnotic opener `Conia' makes the hairs on the back of your neck stand on end. Just as impressive is his singing on `Warico', an old song by Amadou Balaké from the 1970s, where Lo's words (all in Wolof, of course) joyously tumble over each other in that wonderful rasping falsetto that is one of his trademarks. Pee Wee Ellis adds tenor sax, most notably an outstanding solo on `Bourama', while Cheikh Tidiane Tall plays what can only be described as Afro-surf guitar on the Dakar beach party that is Lo's version of the old Bembeya Jazz classic, `Il N'est Jamais Trop Tard'.
© Nigel Williamson
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Customer Reviews
Most Helpful Customer Reviews
Format:Audio CD
One of the best pieces of music I have listened to in a long while.
While not my chosen genre of music I truly enjoyed listening to this guy!
A definite must have if your a fan of smooth easy listening and uplifting music.
While not my chosen genre of music I truly enjoyed listening to this guy!
A definite must have if your a fan of smooth easy listening and uplifting music.
2 of 3 people found the following review helpful
Format:Audio CD
My first review didn't get posted for some reason. Might I have been too rude? Can't remember....
So let me keep my review as bland as this music.
It's good but......over produced. Please World Circuit people have some faith in your artists and let us hear them without being filtered to sound a bit Buena Vista.
P W Ellis is unwelcome here, popping up and jazzily noodling in his soft bland way. Keep him off your albums please!
There are some good tracks here and the music is okay but it doesn't ever let rip and all the instruments are languishing under some kind of fog that smoothes all the edges.....
Hence, this will be popular at dinner parties.
And it contains a dreadful version of Bembaya Jazz's Doni Doni.
So let me keep my review as bland as this music.
It's good but......over produced. Please World Circuit people have some faith in your artists and let us hear them without being filtered to sound a bit Buena Vista.
P W Ellis is unwelcome here, popping up and jazzily noodling in his soft bland way. Keep him off your albums please!
There are some good tracks here and the music is okay but it doesn't ever let rip and all the instruments are languishing under some kind of fog that smoothes all the edges.....
Hence, this will be popular at dinner parties.
And it contains a dreadful version of Bembaya Jazz's Doni Doni.
0 of 1 people found the following review helpful
Format:Audio CD
Stripped down & thoroughly enjoyable album from Cheikh Lo, who is a truly talented multi-instrumentalist......it's a great laid-back, soulful African record but completely accessible to all. Brings back the summer vibe & a sunshine smile!
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Most Recent Customer Reviews
Senegalese magic
I went into HMV Oxford Circus a couple of weeks ago and as usual went to the world music section downstairs to browse as i normally do, to be honest i had known about cheikh lo... Read more
Published 20 months ago by Mr. A. Awojobi
BOUNCING CHEIKH
When you consider that Mr Lo has been around for some time,his star has not shone as one would think it would,his early albums were wonderfully ebuliant and full of life,"Jamm"is... Read more
Published 21 months ago by Finbar the looney
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