|Price:||£12.91 & FREE UK Delivery on orders dispatched by Amazon over £20. Delivery Details|
AutoRip is available only for eligible CDs and vinyl sold by Amazon EU Sarl (but does not apply to gift orders or PrimeNow orders). See Terms and Conditions for full details, including costs which may apply for the MP3 version in case of order returns or cancellations.
- Choose from over 13,000 locations across the UK
- Prime members get unlimited deliveries at no additional cost
- Find your preferred location and add it to your address book
- Dispatch to this address when you check out
Frequently bought together
Customers who bought this item also bought
Seya (Joy) is the first album in six years from 'Mali's Star of Stars' and it reaffirms her position as one of Africa's great female vocalists and an African phenomenon.
The album was recorded in Bamako, and co-produced by Nick Gold, Oumou Sangare and Cheick Tidiane Seck. Musicians on the album include fellow World Circuit artist and kora virtuoso Toumani Diabaté, the great guitarist Djelimady Tounkara, afrobeat legend Tony Allen, Living Colour drummer Will Calhoun and Magic Malik on flute.
Seya sees Oumou Sangare attain a new level of sophistication, maturity and variety, all underpinned by her trademark funk-driven Wassoulou sound. As with her previous albums all the songs on Seya were written by Sangare.Oumou Sangare is the most popular female singer in Mali and alongside Salif Keita she is arguably the country's most famous musician. And this in a country renowned for its music where stars such as Amadou and Mariam, Toumani Diabaté, Bassekou Kouyate, Rokia Traoré and Ali Farka Touré have dominated the world music scene in the international arena.
On the international stage her albums and explosive performances have earned her an enviable reputation. Oumou is sought out for collaborations by a wide range of international stars including Alicia Keys, Béla Fleck, Trilok Gurtu and Meshell Ndeogeocello. She also counts Oprah Winfrey as a fan.
It's been too long since any album proper from the 'songbird of Wassoulou'. Although the compilation Oumou (2004) included previously unreleased material, (mostly cherry-picked from her Mali-only 2001 release Laban, and reworked), her last internationally promoted record was Worotan in 1996. Thankfully Seya doesn't disappoint - it's the best thing since her marvellous 1991 debut Moussoulou, which is one of the all time great treasures of Malian music.
Seya traverses a wide range of moods, from confident and celebratory to more austere, stripped down meditations. And while few artists give as good a groove as Oumou, the latter are often the best settings to appreciate her extraordinary voice; if Aretha Franklin had grown up in Bamako, she might have sounded something like this.
Apart from the declamatory Donso - an adaptation of a traditional Wassoulou hunter's song - the material is all original as usual, and the basis of her distinctive sound remains the twitching, funky sound of the kamel n'goni('youth harp'), mostly played by 'Benogo' Brehima Diakité. But with fifty musicians taking part, there's more variety of sounds and textures than ever. She's used electric guitar before, but never with the kind of squealing rock treatments heard on Senkele Te Sira and Kounadya, which also features a great retro Hammond organ solo by co-producer Cheick TidianeSeck. There's brass and the occasional deft use of strings, as well as guests such as flautist 'Magic' Malik Mazzadri and drummer Tony Allen, but none are allowed to overshadow the star.
Though it's difficult to pick highlights from such a consistent album, the driving opener Sounsoumba and the radiantly joyful title track, with its lovely swooping chorus vocals, are the most instantly appealing of the more upbeat pieces. Despite a great percussive thrust, Wele Wele Wintou is the one track with a vocal not quite up to Sangare's usual stratospheric standards, and the only song where the brass section feels a little out of place. But the hypnotic likes of Sukunyali, or the mesmerising balafon (wooden xylophone) tones of Iyo Djeli and Mogo Kele more than make up for minor shortcomings. --Jon Lusk
Find more music at the BBC This link will take you off Amazon in a new windowSee all Product description
Top customer reviews
Many African albums are influenced by Western sounds, with varying degrees of success, but Oumou Sangare has retained the traditional sound and feel of her homeland. No cheesy synths or guitars here, but gutsy rootsy sounds that reach out and grab the listener from beginning to end.
On this album as on others she sings about taboo subjects like polygamy, under-aged forced marriage, sensual love and the role of women in African society. Clearly she has a strong sense of values and that strength pervades this very confident and soulful album.
The funky Wassoulou sound, recorded in Bamako, arranged and produced by Cheikh Tidiane Seck (who must know just about everyone in the African music industry) is sophisticated and intricate so there is depth and joy ("Seya") on many levels.
This is Oumou Sangare's fifth release including the Oumou compilation from 2004. She has been praised as The Songbird of Wassoulou, this being the style of music which developed from ancient hunting songs and is associated with the Wasulu region south of the Niger. On this album Oumou writes her own material, some based upon traditional songs, but make no mistake, this is modern music with modern themes.
In her songwriting she assumes the responsibility of her position, as she sees it, by using lyrics to address complex and traditional social issues such as the forced marriages of young girls, emigration, family unity, hope and support within the community and general respect for women. Indeed the song Koundaya is about using God given luck well, as though she reminds herself to do so. The lyrics are rich with metaphor, morality tales, proverbs and local sayings. I imagine that Oumou might have some resistance within her community from conservative elements.
Although the lyrics may appear weighty, the overriding impression is one of joy and hope. Seya itself means Joy. The music is exuberant with both male and female call and response, buoyant and colourful with a mix of traditional and modern instrumentation, and above all Oumou's supple, muscular voice sweeps, soars, dives and punctuates. It is a rhythmic vehicle, as well as melodic, unforced and natural.
She is accompanied by 49 musicians over the 11 tracks, including Pee Wee Ellis, Tony Allen, Cheick Tidiane Seck and Bassekou Kouyate, and the blend of the traditional n'goni, balafon, flutes and percussive instruments with organ, guitar, sax and trombone is organic, not ornate, vibrant but not jarring.
The CD is attractively packaged and includes English and French lyrics with an explanation of each song, although not Oumou's singing tongue(s), however you can easily enjoy the music without following the lyrics. If you are new to African music this is an excellent starting point. Mali is blessed with rich music from it's cultural diversity; there are 32 ethnic groups. If you wish to delve further into the variety which Mali offers I suggest you try the following, mainly recent, releases:
the late Ali Farka Toure - Savanne, Talking Timbuktoo (with Ry Cooder),
Rokia Taore - Bowmboi, or the latest Tchamantche,
Salif Keita - The Mansa of Mali....A Retrospective, or Moffou,
Bassekou Kouyate and N'goni Ba - Segu Blue
Toumani Diabate - In the Heart of The Moon (with Ali Farka Toure), The Mande Variations
Amadou & Miriam - the popular Dimanche A Bamako (produced by Manu Chao), or their latest Welcome To Mali (I haven't heard it yet, but it had good reviews),
or the desert blues band Tinariwen - Aman Iman: Water Is Life, or Amassakoul.
These are all differing styles and all appealing, and this is just Mali! To delve further into 'world music' check out Songlines (with free CD of sample tracks from recent releases) or fRoots (also with CD) magazines and/or the Rough Guide books called World Music. There is a whole world of music waiting to enrich your life; enjoy!!
For me, with SEYA Oumou has reached new heights in musical excellence. While she has continuously performed in Mali since her last CD, Oumou, and also produced a CD for the local market only, we have had to wait six years for a new recording. It was worth the wait for sure! Internationally, Oumou Sangaré had moved into the spotlight and become a household name for Mali music since 1989 with her CDs 'Moussoulou', Ko Sira, and Worotan(1996), my favourite among the earlier recordings.
Oumou is one of the best known female voices and artists from Mali. She brought Wassoulou music to the international stage. The distinct Wassoulou sound comes from a ethnic region that spans part of South western Mali and neighbouring regions in Guinea and Ivory Coast. The tunes are rooted in traditional griot music, often performed by strong female voices, such as Oumou Sangaré and carrying social messages. Oumou Sangaré, like many other Malian vocal musicians in the 'griot' tradition, takes her popularity as a responsibility to raise social concerns, in particular concerning women, such as forced marriages, polygamy, the need for harmony in domestic partnerships as well as respect for elders and community solidarity.
Staying true to her musical style and addressing the important social themes that have always been her preoccupation, the music is also innovative, vibrant and affecting. Her voice has matured and is even richer than before. For this collection, she has assembled an impressive team of backup performers and vocalists, complementing harmoniously her often soft and gentle voice. In partnership with Cheikh Tidiane Seck, who arranged some of the pieces, she has produced a really exquisite album. [Friederike Knabe]
Would you like to see more reviews about this item?
Most recent customer reviews
What other items do customers buy after viewing this item?