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Striking 41 year old Oumou Sangare is nicknamed ‘The Songbird of Wassoulou’ because of her exquisite vocal gymnastics. Rightly so.
The Mali songstress has been thrilling, and challenging, her country-folk (especially men) with songs that have been inspired by the music and traditional dances of the Wassoulou region, south of the Niger river.
Seya (Joy) is her first album in six years. It deals with polygamy, underage forced marriages, sensual love, and the role of women in modern African society.
The reason for her absence? She wanted time to generate sufficient interest in her lyrics, which in a patriarchal society have, well, let’s say, ruffled some feathers. Apparently, her songs are popular with young Mali teenagers of both sexes.
During her protracted hiatus she’s opened a hotel, developed a farm, and a car import business. She’s been a busy lady, including recording Seya in the capital city of Bamako.
The Wassoulou style has developed over generations by hunters in the region, who apparently possess many mystical powers.
Ok, most people won’t understand the lyrics, unless you check-out the CD booklet of course.
This feisty and formidable lady (standing almost 6 feet tall) continues to push the boundaries with her happy and breezy songs, many of which have an uplifting and sometimes danceable funky groove found on Kounadya, a story about lucky stars looking down on all aspects of life, including a good husband and children.
Wele Wele Wintou is a bit more frenetic but equally danceable, with the percussive beats going into overdrive.
On a slower groove, Iyo Djeli, a reflective and pondering song paying homage to a wise and old woman – Djekani Djeli of the 1960s- is spell-binding.
For me, it’s her more subtle songs such as the intricate Donso (hunters) that display a deeper indigenous feel. The lyrical content refers to the death of an animal and how each part of the animal might help the tribes live a better life.
Like many of her songs, Senkele Te Sira is a stirring song about creating harmonious relationships, all rolled up in sumptuous harmonies.
There are some beautiful musical moments on Seya, but the swaying shifts of Djigui that grab me. The choral backups are heavenly, with fluttering flute making it a killer track.
The real success of Seya is down to some fine arrangements and production by Cheikh Tidiane Seck which the bridge the divide between traditional and cosmopolitan Africa.
That said, Sangare’s voice is an instrument of its own, both passionate and sensual: she certainly knows how to use it.
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Review & concert pics copyright © Elly Roberts, 2004-2010.