Nahawa Doumbia, Yaala - 48m 13s

Tracks & Durations

1. Sounoroma	4:48
2. Niana	5:18
3. N'Tamagnoko	4:02
4. Minia	4:56
5. Sisse	5:22
6. N'Tana	4:59
7. Yaala	4:41
8. Yirini	4:35
9. Foly	6:59
10. Demisen	2:27

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

Review

Nahawa Doumbia has been one of Mali's most uniquely passionate singer-composers since the 1980s. As she is from the Fula tribe, she is unfettered by the praise-singing conventions of the Jeli (hereditary musician) caste, and her lyrics address more universal human concerns like loneliness, taking pride in one's work, educating the young, food gathering, and making peace with the inevitability of death. On Yaala ("Work") the bottom-heavy urgency of the arrangements are midway between the spare acoustic settings of her earliest releases and the razzle-dazzle Paris-session fiestas of the late '80s. The pentatonic (five-tone) scales seethe and rock, and French guitarist Claude Barthélémy manages to be a full collaborator without intruding; his riffs slither amid resonant wooden xylophones, chesty a cappella choirs, liquid flutes, and rattling percussion like a jewel-toned serpent. But the overwhelming presence on the set is Doumbia's clarionlike voice and increasingly iconic presence, which has attained an extraordinary spike of primal power and technical aplomb. Her phrasing is seemingly offhand yet flawlessly ornamented, and her grasp of light and shade, matter and the immaterial, has never been more subtly focused. --Christina Roden

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