World Circuit producer Nick Gold hates his artists to repeat themselves. Senegalís Cheikh LÙ ñ a laidback fellow at the best of times ñ would probably have been content to go on making the same kind of records for the rest of his career. His 1996 debut Ne La Thiass was a breath of fresh air, but the follow-up, 1999ís Bambay Gueej, merely refined the formula. Hence the six year gap while searching for a new direction for his third album. The opener, Souí, an old Bembeya Jazz number, lulls you into thinking nothing much has changed, although its Brazilian accordion shifts the location a few hundred miles off the Senegalese coast in the direction of Cape Verde. But then comes the startling title track, given an earthy soul groove by a Stax-style guitar riff, Pee Wee Ellisí sax and some explosively funky drumming by LÙ himself. Itís a dynamic combination of mbalax and Memphis and a juxtaposition made all the more thrilling by the fact that heís singing about the Sufi saint Cheikh Ibra Fall. Senegalese gospel, anyone? 

Kelle Magnisí is offered in two versions recorded in Brazil and London, but itís the former that scores strongest with its funky berimbau breaks. Senegal-Brazil is another departure, featuring a 40-strong samba percussion ensemble and swaggering trombone. Sante Yallaí and Toogayu MíBeddí both have a Cuban flavour, one slow and haunting ‡ la Chan Chaní, the other as light and breezy as Guantanameraí. Elsewhere there are touches of Congolese rumba (Nígalulaí) and reggae (Bamba Mo Woorí), while loveliest of all is Sama Kaani Xeení. With its sitar and flute embellishments, itís like a cross between Wasis Diop and late-60s Traffic. LÙís debut found its way into Songlines 50 Essential African albums. This replaces it, with immediate effect. 

*****

Nigel Williamson
Songlines


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