Angélique Kidjo – Ahan ft. Ibrahim Maalouf

Angélique Kidjo – Ahan ft. Ibrahim Maalouf mp3 download

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Angélique Kidjo – Eyin ft. Ibrahim Maalouf

 

“Ogbo” (Flax) has an effects-laden trumpet sounding a clarion cry that launches Kidjo into her rapid chanting, soon joined by a full choir. “Alikama” (Wheat) is a bit less frenetic with Kidjo floating about a bed of horns and steady rhythms, yet Maalouf enters in fiery form, prompting Kidjo to slightly raise her intensity, only to end in an elongated gorgeous decrescendo. “Ife” (Desire) begins with just Kidjo and guitar before blossoming into a full orchestral accompaniment and then back to the simple accompaniment in repeated sequences – revealing the nuances of her amazing voice, a marriage of power, grit, and grace like few others. Maalouf takes the piece out with stratospheric high register notes. The seventh riddle “Obinrin” (The Woman) begins with Kidjo singing a cappella, soon joined by the sustained notes of the trumpet and unison passages with her vocals, trumpet, and keys that keeps building, as the orchestra and choir join. Snare snaps underlie Kidjo’s ebullient lines, expressing her pride as a woman, with the music receding to her last spoken words – “I am the Queen of the South, South, South/I am the Queen of…Sheba, Sheba, Sheba!” This will undoubtedly be one of the most important world recordings of the year.

Maalouf’s distinct trumpet sound traces in part to playing Arabic music with quarter tones, made possible by a fourth valve on his instrument. You hear his quarter-tone technique immediately in the opening “Ahan” (The Tongue) with polyrhythms swirling around his rapid-fire notes as Kidjo sings and Maalouf soars over the undulating backdrop. The lyrics are a dialogue between the Black African Queen and King Solomon, the most powerful of white men, seeking unity in the translated oft-repeated chorus “No, it’s not the blows, it’s not the chains”. “Eyin” (The Egg) follows with even more percussion, which reaches explosive effects amidst the chanting and fiery lines from Maalouf, who adds the Middle Eastern touch to the composition which reads as primarily African with its propulsive rhythms and animated vocals. “Omije” (Tears) takes it down to a more ballad-like structure with Kidjo first singing only to a piano accompaniment before the orchestral stings and Maalouf’s lyrical trumpet give it a gently swaying timbre. His mournful solo toward the end of the piece is an artful, gorgeous touch.

 

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