Nuru Kane, Sigil - 1h 2m 13s

Tracks & Durations

1. Toub	3:24
2. Niane	2:55
3. Colère	6:23
4. Talibe	4:26
5. Diarama	4:48
6. Gorée	5:10
7. Bamba	4:28
8. Çigil	5:37
9. Cheikh Anta	4:13
10. Nabi	4:49
11. Djoloff, Djoloff	4:18
12. Mariama	3:31
13. Mami	8:02

Note: The information about this album is acquired from the publicly available resources and we are not responsible for their accuracy.

Review

Born in the Medina district of Dakar, Senegal, Kane's sound reflects an age-old connection between various Arabic cultures and those of West Africa, as Islam found its way below the Sahara even as black slaves were being driven North. Initially inspired by a visit to Morocco, where he encountered and became mesmerized by gnawa trance music played by descendants of his long-displaced cousins, Kane later mastered the guimbri, a three-stringed bass played by devotees of the sect. The present release, which was produced by Martin Swan of the noted Scottish folk band Mouth Music and recorded between Scotland and Paris, is redolent of the composer's ties to gnawa, Ali Farka Toure's Malian "blues" and the Mbalax created by Kane's famous countryman, Youssou N'Dour, all flavored by teachings of the Baye Fall, a dreadlocked Muslim brotherhood. Aside from the resonant, flexible beauty of the bandleader's baritone, the overall impression is of an almost regal confidence. It is plain in every note he sings that he knows exactly who he is and what he wishes to impart. Suffice it to say that the album is a must-have and Nuru Kane is definitely a force to be reckoned with. --Christina Roden

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