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Cheikh Lô’s "Jamm" Released in N. America June 7; Reconfirms Place Among "Finest, Most Soulful Singers in W. Africa" (Guardian)

  • Tuesday, May 24, 2011
    Cheikh Lô’s "Jamm" Released in N. America June 7; Reconfirms Place Among "Finest, Most Soulful Singers in W. Africa" (Guardian)

    Senegalese Sufi musician Cheikh Lô’s first album in five years, Jamm, will be released in North America June 7 by Word Circuit / Nonesuch Records. The record received critical praise in the UK and Europe when it was released there last year, with Uncut calling it the “African album of the year,” and the Guardian saying, “Cheikh Lô is back with an album that reconfirms his position as one of the finest, one of the most soulful singers in West Africa.” In a four-star review, Q called Jamm “true global music to make anyone feel better.” The album is available for pre-order now in the Nonesuch Store.

    On Jamm, which means “peace” in Wolof, Lô’s mbalax rhythms and signature blend of semi-acoustic flavors—West and Central African, funk, Cuban, flamenco—support his husky vocals, sung in four different languages (English, Wolof, French, and Jula, a dialect of Bambara spoken in Burkina Faso).

    For all its diversity, Jamm is rooted firmly in Lô’s own backyard, built around simple demos recorded with GarageBand software at the house of his friend and bass player Thierno Sarr. Lô’s lead and harmony vocals, acoustic guitar, and percussion have been augmented with additional electric guitar, drums, bass, sax, and Senegalese percussion from members of his regular band. In London, further touches were added by his old friends Tony Allen (drums) and Pee Wee Ellis (sax).

    Growing up with Senegalese parents in Burkina Faso near the border of Mali during the 1950s, Cheikh Lô played the musical genres of the time, including Cuban and Congolese styles. He gave his first performances as a young man in Bobo Dioulasso, Burkina’s creative capital and hotbed of musical activity, and later moved to Dakar. But it was not until he made his way to Paris in 1985 that he began to build the relationships that would make up his unique musical community.

    Since his first internationally distributed record, the Youssou N’Dour–produced Né La Thiass (1996), Cheikh Lô has received increasing acclaim worldwide. His last album, Lamp Fall, was highly praised; on NPR’s All Things Considered, African music expert Banning Eyre said Lô “proves himself one of the most dynamic creators in today’s African music” and the Associated Press called the record “a globe-hopping aural adventure.”

nonesuch's picture
on May 23, 2011 - 4:13pm
Excerpt: 

Senegalese musician Cheikh Lô’s first album in five years, Jamm, will be released in North America June 7. Upon its European release last year, Uncut called it the “African album of the year,” and the Guardian said, “Cheikh Lô is back with an album that reconfirms his position as one of the finest, one of the most soulful singers in West Africa.” In a four-star review, Q called it “true global music to make anyone feel better.” On Jamm, Lô’s mbalax rhythms and signature blend of semi-acoustic flavors—West and Central African, funk, Cuban, flamenco—support his husky vocals, with help from his regular band plus Tony Allen on drums and Pee Wee Ellis on sax.

Copy: 

Senegalese Sufi musician Cheikh Lô’s first album in five years, Jamm, will be released in North America June 7 by Word Circuit / Nonesuch Records. The record received critical praise in the UK and Europe when it was released there last year, with Uncut calling it the “African album of the year,” and the Guardian saying, “Cheikh Lô is back with an album that reconfirms his position as one of the finest, one of the most soulful singers in West Africa.” In a four-star review, Q called Jamm “true global music to make anyone feel better.” The album is available for pre-order now in the Nonesuch Store.

On Jamm, which means “peace” in Wolof, Lô’s mbalax rhythms and signature blend of semi-acoustic flavors—West and Central African, funk, Cuban, flamenco—support his husky vocals, sung in four different languages (English, Wolof, French, and Jula, a dialect of Bambara spoken in Burkina Faso).

For all its diversity, Jamm is rooted firmly in Lô’s own backyard, built around simple demos recorded with GarageBand software at the house of his friend and bass player Thierno Sarr. Lô’s lead and harmony vocals, acoustic guitar, and percussion have been augmented with additional electric guitar, drums, bass, sax, and Senegalese percussion from members of his regular band. In London, further touches were added by his old friends Tony Allen (drums) and Pee Wee Ellis (sax).

Growing up with Senegalese parents in Burkina Faso near the border of Mali during the 1950s, Cheikh Lô played the musical genres of the time, including Cuban and Congolese styles. He gave his first performances as a young man in Bobo Dioulasso, Burkina’s creative capital and hotbed of musical activity, and later moved to Dakar. But it was not until he made his way to Paris in 1985 that he began to build the relationships that would make up his unique musical community.

Since his first internationally distributed record, the Youssou N’Dour–produced Né La Thiass (1996), Cheikh Lô has received increasing acclaim worldwide. His last album, Lamp Fall, was highly praised; on NPR’s All Things Considered, African music expert Banning Eyre said Lô “proves himself one of the most dynamic creators in today’s African music” and the Associated Press called the record “a globe-hopping aural adventure.”

Publish date: 
Tuesday, May 24, 2011 - 10:30
Article Type: 
featuredimage: 
Cheikh Lô: Jamm [cover]

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