Various Artists: North Africa Various Artists: North Africa (World Class - 1999) World music fans (and anyone interested in cross-cultural sound blending) are hereby advised to head for North Africa. This release from World Class explores the resulting sonic blends from centuries of Islamic/Arabic influence on the indigenous music of northen Africa. Various Artists have contributed their own seasonings to this musical melting pot of various styles and sounds (which thankfully tend toward rootsiness rather than too-slick new-aginess). Opening on sprightly oud strumming, Amin Amin by Steve Shehan and Baly Othmani is quickly enveloped in lush overtones and a background chorus from "The Baly Vocal Enesemble". Speaking of the oud (a small Arab lute), get used to it. The oud appears as often in these tracks as the guitar in American folk, and to similarly acoustic effect. Flutes and vocals swirl together when Abdelli performs Walagh (I Observe), a soulful folk styling backed by mandola (a cousin of the oud), percussion and synth, to name only part of the instrumentation. A jolly symphonic reel is backed by ethnic beats and cymbals in Said Chraibi's lilting Andalusian Oud Music, Parts 1 & 2. The wholly instrumental piece revels in its multi-ethnicity. With the zippy, lo-fi sounds of Kafivo Kaladeri (Opposites), Waaberi presents an emotive oud and bongo piece, powered by the considerable vocals of Maryam Mursal. In his one-man folk performance, Kamza El Din's nimbly plucked oud strings and plaintive vocals are the only sounds heard in Desse Barama (Peace). A buoyant oud and frame drum carry Rera, probably the most downright "fun" piece, led by Setona's whispy vocals with almost-doowop backups. Percussionist Hossam Ramzy (who appeared on Peter Gabriel's "Passion") applies his estimable arts to the sultry, rhythmic air of El Hawzi another wordless track, with ear-opening flute accompaniment by Aziz Bim Salim. Rasha contributes her emotive vocal stylings Aquis Mahasnik Biman (With Whom Can I Compare You?); the backing oud is very similar in sound to a rockingly strummed acoustic guitar. Spiritedly clanging and thumping, Maqsoum (2:38) is an unfortunately brief ethnic beatfest from Mahmoud Fadl. Absolutely frenzied picking and strumming by Hassan Eraji (a blind Moroccan oud virtuoso) and Arabesque stir the infectuous and dense Thrikraiat Al Andalous; between the dizzyingly thrummed strings, serpentine violin strands weave throughout the piece's latter half. Comparatively more restrained, Conte De L'incroyable Amour (10:50) traverses various stylistic terrain, meandering through softer passages supplied by the oud, clarinet and darbouka sounds of trio Anouar Brahem. Sort of an exploratory ethno-jazz excursion, the track is a subtle and impressive final leg of our North Africa adventure... Extensive liner notes are helpful in factually grounding these heady sounds, acting as an informative guide on this aural tour of North Africa. For purely ambient listening, the vocals may distract (though the five instrumental pieces are more than flavorful enough to warrant the need to own this disc). These transportive sounds though are recommended, vocals and all, as an enlivening and educational 8.4 listening experince. This review posted June 25, 1999 AmbiEntrance © 1999-97 by David J Opdyke (except CD cover art, rights retained by original owners).