"A latter-day African Nijinsky on fire with the soul of a preacher man possessed"
Derek Rath - Beat Magazine
"Baaba Maal opened his mouth and beautiful pearls and lilies and songbirds came flying out. It was one of the most beautiful things I've ever seen".
Michael Stipe speaking on Later with Jools Holland. 4/5/01.
"...Mr. Maal's music reasserts itself in bursts of speedy drumming and vocal lines that reach for the heavens..."
The New York Times
"...Maal's stated mission is to join African and Western music and spiritual ideas. It's been accomplished..."
Boston Globe
"...Maal presents a vision of African music taking it's place in the modern world, unafraid to mingle and be mingled with. The west may finally be ready for an African superstar, and Baaba Maal may well be the man..."
CMJ New Music Report
"One of the most accomplished performers in the high-pitched vocal tradition of West Africa, Senegal's Baaba Maal is also one of his country's biggest international stars, right up there with Youssou N'Dour"
Myles Boisen - All Music Guide
"lustrous and spellbinding". "An atmospheric blast from the motherland".
The Observer
"a dazzling acoustic album, and Baaba Maal at his best". *
*** Q Magazine
"Although traditional in sound, this is potent contemporary music that stings as
well as it soothes".
fROOTS
"This is an African acoustic classic-albeit with bright, classy western
production values and a hint of Latin percussion-and it confirms his reputation
as both songwriter and singer". POP CD of the WEEK.
The Guardian
"Simultaneously traditional and contemporary, this is a towering work of art".
Music Week
"Intimate, powerful and majestic".
Mojo
"magical, with Maal?s intense voice soaring passionately over the hypnotic
interplay of his group".
The Times
"undisputed master".
Wallpaper
"an album of acoustic beauty. Simple yet complex, ambient yet intense,.."
Seven
- Rootsworld Review of Djam Leeli
- Cleveland, OH Performance Review by Shane Meyer (2002)
- All Music Guide , Volume: 1 , # 1 by Myles Boisen
- RAS Records June 1996
- WOMAD 1999 - Australia & South Africa - By Teddy Andrews
THE NEW ALBUM - "MISSING YOU….MI YEEWNII" (Palm Pictures PALMCD 2067-2) Released 2/4/2001 (Courtesy Palm Pictures 2001)
Produced
by John Leckie (Radiohead, The Stone Roses etc.) and featuring Kante Manfila,
Mansour Seck, Chris Franck (Da Lata), Kaouding Cissokho and Roberto Cuao Riviera
and Janio Coronado from Sidestepper, “MISSING YOU….MI YEEWNII” is based
around a live ensemble approach, laid back intensity and 11 great tunes. This
approach will be reflected in this April’s live shows when Baaba will tour the
U.K. with an acoustic group giving audiences a chance to experience the pure,
vital energy of one of the world’s most powerful performers in unique and
intimate settings. This will be followed by a big London show in the summer
featuring the no holds barred aural and visual spectacle of the full strength
Daande Lenol. Baaba
Maal is a world renowned artist and spokesperson for Africa and “MISSING
YOU” is pure, unadulterated Baaba Maal - a direct blast of honest passion,
both simple and complex, chilled and intense, traditional and contemporary.
Palm Pictures Review of "Missing You"
Recorded after dark in the village of Nbunk, Senegal, under the light of the shimmering African skies, Missing You...Mi Yeewnii (pronounced - Me U-knee), is a return to the roots and foundation of master musician Baaba Maal. With the guidance of producer John Leckie (Radiohead, The Stone Roses) and the assistance of a state of the art mobile studio, this recording captures the essence of "acoustic Africa," with remnants of crickets and African village life finding their way onto tape.
With eleven great songs featuring musicians such as Kante Manfila, Mansour Seck, Chris Franck (Da Lata), Kaouding Cissokho, Roberto Cuao Riviera and Janio Coronado (Sidestepper), Missing You . . . Mi Yeenii renders a certain laid back intensity found when recording a live ensemble.
The collection of songs on Missing You were composed on acoustic guitar and, throughout the recording, Baaba maintains the songs' origins. In addition to the use of the instruments indigenous to Senegal, this offering includes many instruments that are represented in traditional music throughout West Africa.
On the albums' opening track "Yoolelle Maman" (Yo-lely Mama (n is silent), Baaba's vocals and guitar are enhanced as sounds of the village nightlife weave their way into the tale. Using the idea of Earth as a fatherland and Africa as the motherland, this song allegorically represents the universal relationship between children and their parents.
Traditionally sung by fishermen, the second cut, "Miyaabele" (Me-aah-bell-A (A - As in A-B-C) features lilting balafon played in waltz time with distinctly Latin American flavors. This ancient African song is a cry for African unity directed at all Africans and their leaders.
"Fa Laay Fanaan" (FaaLie Fun-arn meaning "This is the Place I Want to Spend the Night") places blame for the current universal strife on leaders of the world, Africans included. While decrying the abject poverty, lack of healthcare and widespread tribal warfare, Baaba reminds Africans of their positive contributions on many levels. Baaba's vocals are embellished by the vocals of the extraordinary eighteen year old Griot Cisse Damba Kanoute (aka Mami) who made her international recording debut on Ernest Ranglin's "In Search Of The Lost Riddim" (1998).
"Leydi Ma" (Lady Ma meaning "Our Land") is a blues tinged tune that sings of the need to preserve the essential life source, while "Jamma Jenngii" (Jumma Jengi (Hard J as in Jack) "It is the Night") is a tender love song comparing the beauty of nature to the intimacy of a special romantic relationship. "Fanta" ("Spirits of the River") is an ancient tale about a beautiful woman, a spirit of the river, who proves irresistible to men.
"Laare Yoo" (meaning "My Friend") is played in a rhythm especially popular with young people and suggests the use of friendship and discussion for positive ends. "Senegalle Ngummee" (Senegaal Goo-may "Get Up") is based on an ancient prayer for good health, a good spirit and strong soul.
While tradition considered Fulani women to be solely responsible for the well being of their families, "Mamadi" (Mama-D "Tribute to Parents") suggests that the family structure is beginning to change with men taking a more active role in the home. From the first note of "Kowoni Maayo" (Ko-woni My-o "By the River") the contribution of Mansour Seck is felt. Recorded at Real World Studios, this lovely, bluesy tune reminisces about the town of Podor where both Baaba and Mansour grew up. As they both share the passion of the longing for their hometown, Baaba was insistent on having Mansour play on this track.
The final track on Missing You . . . Mi Yeewnii, "Allah Addu Jam" ("God Give us Peace") is a plea for peace in the world with an emphasis on Africa. Starting with the sound of the hoddu (a 4 string African lute (Fulani) also called a ngoni (Manding)) and Baaba's voice, the song evolves into a full blown jam, showcasing the full strength of Daande Lenol (Baaba's band). This climax provides a fitting finale for both the album and for Baaba's live shows.
WOMAD Auckland 28 February 1999, the last leg of the South Africa & Adelaide WOMAD circuit.
Baaba Maal was fantastic. The percussionist's, vocals of Baaba and the onstage vitality had all the hypnotic excitement that can only truly originate from one place. This was my first introduction to Senegalese music - the only other comparison to African music was Salif Keita's show at WOMAD '97.
Before Baaba, Ernest Ranglin did his instrumental set with an up groove ska reggae backbeat that was crisp and crystal clear. He layed it so down simple without the techno-traps - at least that is what I felt endeared the crowd to him - that's what reggae is to me when I hear the masters. Double bassman Byron White laid down some wicked wicked basslines. Baaba called Ernest on for his show. It too was FANTASTIC. The dominant presence of percussion set the stage for a celebration that kicked in with some tremendous dancers and the distinctive timbres of an acoustic guitar type African instrument.
One last thing the beautiful Cuban woman "Las Perlas del Son" were great. I wouldnt know a thing about Spanish but their vocal harmonies, sexy energy combined with the Latin sound of the tres guitar displayed a rare musical heritage down under. I love African, Latin and reggae besides our Maori music of which Te Waka Huia performed with all the mana that has made them famous. It was a really dynamic performance from these artists - and yes, our visitors really did enjoy Auckland. They're welcome back anytime.
RAS Records - June 1996
One of Africa's greatest voices, he has been described by The Beat Magazine's Derek Rath as "a latter-day African Nijinsky on fire with the soul of a preacher man possessed. [He fuses] Wolof, yela, reggae, rap and Cuban music, centuries of culture and tradition, several languages and cutting edge technology in a way that not only makes sense but also oozes passion and integrity." His collaboration with Mansour Seck, 1984's Djam Leeli (The Adventurers), is an understated and haunting acoustic masterpiece of roots blues licks from their true source. His recent Firin' In Fouta is a wonderful example of Senegalese music coming out to greet the world.