Lionel Loueke's West African roots are displayed fully on this recording with his regular mates
Ferenc Nemeth (drums/percussion) and
Massimo Biolcati (bass). Featured artists on several tracks are percussionist
Cyro Baptista and vocalist
Gretchen Parlato, the alluring singer's bossa-tinged, soaring, or bird-like sounds a perfect complement for
Loueke's understated throat work. Pay attention to
Parlato in the future; she's a special artist. Of the selections, six are coupled with short ritual vocal/percussion preludes (one postlude) that segue into the main compositions. Of these pieces, one is quite reminiscent of sweet Brazilian master troubadour
Milton Nascimento, another in 6/8 (a favored rhythm of
Loueke) is centered in modal minimalism, another is a highlife tune, and a fourth has
Loueke's late-night guitar sounding more like a kora, while a trio number "Benny's Tune" is the closest to mainstream jazz, and quite reminiscent of
Kenny Burrell's sparse sound. A virtuoso musician,
Loueke displays harmonics on the perky two-minute "Danse des Animaux," uses melodica on the shortie "Dispute des Loupes," and showcases the harmonica of
Gregoire Maret for the ballad "Moesha I." There are stand-alone pieces with acoustic pianist
Herbie Hancock, with whom
Loueke had been working with at this time. The no-time wafting beauty in unison with
Hancock on "Le Reveil des Agneaux" and the more demonstrative, forcefully counterpointed "La Porsuite du Lion" display the most improvisation. The closing title track uses choppy rhythms and electric wah-wah guitar to contrast
Parlato's warbling, an atypically arresting finish. One suspects
Loueke and friends are merely scratching the surface, with hopes that he will not be swayed by more commercial considerations, following this diverse worldly path he has chosen while broadening its swath and depth. ~ Michael G. Nastos