Recording Reviews Here's a small sampling of the reviews in the curent issue of Dirty Linen. Various artists Resting Place of the Mists - New Valiha and Marovany Music From Madagascar Shanachie 64075 (1996) Various artists The Moon and the Banana Tree - New Guitar Music From Madagascar Shanachie 64074 (1996) The valiha is the national instrument of Madagascar, and it's the star of this sparkling CD of 19 mostly-instrumental tracks which run the gamut from slow, reflective pieces to hopping dance grooves. A tubular harp-zither usually made of bamboo with strings stretched lengthwise along the tube, the valiha is played by plucking the strings with the fingertips of both hands. The majority of the selections on this disc feature the valiha leading a duo or trio with either flute or guitar, and Malgasy valiha's rectangular box-shaped cousin, the marovany. Trio Ratovo, led by valiha-maker Ratovo, contributes four tracks, one of which contains both the prominent metal-strung valiha and a less-common one with bamboo strings. The 11-member ensemble Akombaliha, the first valiha orchestra recorded since the 1930s, plays with the vigor and "pluck" of a hot steel drum band on "Ketaka." Sylvestre Randafison, the grand master of the valiha, appears three times and his gentle, peaceful "Mokatejy" evokes the sweet sound of Austrian zithers. Other gems include a waltz by Doné and Dédé with flute and an unusual valiha with double-courses of strings, and on decidedly angelic "Faly" by an artist who has fingers on only one hand. Certain pieces remind me of Portuguese guitar music, the west African kora, Caribbean rhythms, and harp-led Mexican son jarocho. Madagascar's valiha is one versatile and beautiful-sounding instrument! If that's not enough to whet your appetite for the sounds of Madagascar, just a taste of the guitar album The Moon and the Banana Tree will make you ravenous for more. The menu includes 11 different artists; a wide range of styles; acoustic and electric guitar; 21 selections, a few supported by percussion, 10 with vocals. Etienne Ramboatiana, Madagascar's most revered guitarist, contributes two class acoustic solos — one spirited, one gentle. The flashy Haja's specialty is "guitare étoufée,"meaning he stuffs a piece of suede or foam under the strings at the bridge to dampen their vibration. Ralant's song "Ragasy," about a young guy on the make, struts along softly yet proudly. Germain Rakotomavo adds two clear and crisp numbers. Solo Razaf deploys some jazzy vocal elements and guitar licks on "Paddies." One cut features Johnny, guitarist for Tarika Sammy, wailing away on electric bass guitar! — Al Riess (Buffalo, NY) Karan Casey Songlines Shanachie 78007 (1997) Cathie Ryan Cathie Ryan Shanachie 78008 (1997) These two releases mark a new phase in the careers of several of America's greatest Irish music talents. Both Casey and Ryan are acclaimed singers who have fronted top Irish-American bands; Casey is the singer with Solas, and until recently Ryan toured and recorded with Cherish the Ladies. Each of these albums, however, is a solo debut. Both were produced by Seamus Egan, a top musician who may become a top producer in Irish music. Casey's CD presents a variety of songs, most of them traditional, all of them terrific. A lot of her material comes from the vast repertoire of Chapelizod singer Frank Harte; the humorous ballad of "Roger the Miller," the sad and beautiful song "She's Like the Swallow," and the political tract-in-song "Shamrock Shore" all came to her from Harte. Other sources include Paddy Tunney, Andy Irvine and, in the case of the single Gaelic song on the album, Aine Ui Cheallaigh. Clearly, Casey is a woman who knows where to go for good songs, and her instinct doesn't fail her once in that regard. Her singing, likewise, is effective. On most of the traditional songs, her sweet voice is a little waiflike; this actually works very well on such mystical and mysterious pieces as "She's Like the Swallow" and "The Song of Wandering Aengus." And when it's called for, as on two of Leon Rosselson's energetic protest songs, she conjures up some forceful anger. As for the overall sound of the album, it's "enhanced acoustic": lots of acoustic guitar, flutes and percussion, with the occasional string arrangement, bouncy fretless bass, and the sparing use of electronic effects. It adds up to an impressive debut from an artist with a lot to offer the traditional music community. Ryan's album bears some obvious resemblances to Casey's. On her traditional songs, which include "Ned of the Hill," "Óró Mo Bháidín" and "Dark Moll of the Glen," the arrangements feature a mixture of acoustic Irish instruments with fluid fretless bass and percussion that is quite similar to Casey's in overall sound. However, Ryan's album emphasizes contemporary songs. Their arrangements are touched by pop and country, featuring piano, lap steel, Dobro, and other instruments; this lends her songs a feel that is both more contemporary and less ethnic. However, like Casey, Ryan leaves a critic little to complain about. Her mature and confident voice is excellent at handling both traditional and contemporary material. Her self-penned pieces "When Detroit Was Burning" and "It's a Long Road That Has No Turn" are most impressive. Her renditions of songs by Dougie MacLean, Gerry O'Beirne, and Ralph McTell/Dave Swarbrick are equally enjoyable. Most importantly, she seems comfortable, in her element, and it helps her CD shine. — Steve Winick (Philadelphia, PA) Mory Kante Tatebola Misslin/World Music Dist. DME 18 (1996) Bringing kora and balafon into the realm of pop music is not a task to be taken up by unskilled hands. Fortunately for us, there's Mory Kante. He's been playing around Mali since the early 70s, so he has had plenty of time to polish his chops. One of his earliest groups, the Rail Band (so called because it was employed by the Bamako Railway Company in Mali), was one of the first to experiment with electrification of traditional Mandingo music. Since then, he has compiled an impressive discography, working with such artists as David Sancious and Carlos Santana. This release features a nice variety of danceable music mixed with a few soulful ballads. Kante and company grab you by the lapels with the first cut, "Tatebola" ("Taking all things into consideration"), with its screaming synth intro and relentless drums. In "Mali-ba," the second cut, the balafon plays a sparkling ostinato over the trap set's gentle groove. Kante's amazing kora solo on "Mille" will erase any preconceived notions of that instrument as merely a gentle, mellow vehicle for griots. He steals back Paul Simon's "Call Me Al" horn riff in "Mariage," a song with a more generous sense of fun than Simon could dream of. The last cut, "Africains," is an all-out jam between kora, balafon, percussion, and rapid-fire vocals. Throughout the CD, the vocals are nicely arranged, with a good interplay between Kante's Youssou N'Dour-like singing and the voices of his quartet of female back-up singers. No translation of the lyrics is provided, so we are left to guess what these people are having so much fun singing about. Strings are used tastefully overall, their quasi-classical touches not sounding at all out of place with the African, pop, and rock elements of this music. From beginning to end, this is a well-paced collection of songs. — Peggy J. Latkovich (Cleveland Heights, OH) Taj Mahal An Evening of Acoustic Music Ruf Records 1009 (1996) Taj Mahal is recorded live, largely solo, playing a program mostly of blues material. Taj plays guitar, and on two cuts, piano; Howard Johnson joins him on a few cuts playing tuba and pennywhistle. The recording is from a 1993 date in Bremen, Germany, with an enthusiastic audience. Taj's performance is a little loose in places but energetic and well-paced. As an album it "works" to the extent that you are able to place yourself in the audience; unless you are able to sense and enjoy the live ambiance, many of the songs do not stand out. The album opens up with "Stagger Lee," a loose version of "Dust My Broom," and the traditional "Take This Hammer," which are performed on guitar. Taj switches over to piano for "Blues With a Feeling," breaking off at the beginning to give the German audience a humorous lesson in the differences in beat structures between European music and African music and/or how to clap on the off-beats; this is definitely a highlight of the album. He follows up with a rousing version of "Big Legged Mamas Are Back in Style Again," ending his piano set. Also included are satisfying versions of "Come On in My Kitchen," Rev. Gary Davis' "Candy Man" and "Sittin' On Top of the World." The last five cuts on the album, on which Howard Johnson joins Taj, are very loose... well, all right, they're a bit sloppy and may tend to irritate those who stubbornly adhere to conventions regarding keys, pitch and rhythm. Just remember that (somebody famous said) "a foolish consistency is the hobgoblin of small minds," and enjoy.— Andy Allen (Towson, MD) Peggy Seeger Classic Peggy Seeger Fellside FECD105 (1996) Peggy Seeger An Odd Collection Rounder CD 4031 (1996) Hearing the tracks from Classic Peggy Seeger, drawn from four late 50s, early 60s Topic recordings made in England (later issued on Elektra in the U.S.), after years of languishing on long out of print vinyl, is a joy. Seeger, from a musically well-endowed family, may have been naive and relatively inexperienced on the earliest of these recordings, but the deceptively simple charm she developed later in the 60s is also quite evident. Over the course of the 75 minutes presented here, she progresses from the directness of "Cumberland Gap" (with her trademark staccato banjo) and the floating quality of "Come All Ye Fair and Tender Maidens," to twangy duets with Tom Paley such as "Who's That Knocking At My Window" (Seeger on autoharp), and "Kicking Mule" (Paley on banjo). Also notable from the later recordings is "The Heartless Lady," a jaunty, dulcimer driven reading of the Child ballad to Peggy's own tune, which in hindsight was a pointer to her future career. On An Odd Collection, fifteen new songs and four old standards from Seeger's own pen (several co-written with northern Irish partner Irene Scott) display a woman who is long overdue recognition as a pioneering feminist and socialist performer with a huge heart. Few writers could match the tenderness of "Old Friend" (a tribute to Ralph Rinzler), "Emily" (based on a true battered wife tale), and "Lost" (about her departed husband), or the sharpness of "Judge's Chair" (about an unwanted baby), and "You Men Out There" (written for the 75th anniversary of women's suffrage). Her 1970s "Housewife's Alphabet" (a rewrite of "Sailor's Alphabet") appears again, suitably modified, its gentle humor is typical of the subtle and often misunderstood brand of women's lib Seeger has become identified with. On the other hand, "It's a Free World" doesn't beat about the bush with its hilarious, all-natural, organic solution to the scourge of insensitive smokers. The wisdom that comes with age is never far away on this album, but it's always tempered with irreverence and disarming wit. — John C. Falstaff (Atlanta, GA) This is from the current issue of Dirty Linen The Dirty Linen Pages are all copyright ©1997 by Dirty Linen, Ltd, Baltimore, MD