f102 JEAN-PHILLIPPE RYKIEL


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www.frootsmag.com or tel (+44) (0)117 317 9020 SUISTAMON SÄHKÖ


Etkot, Pectopa Ja Etnotekoa Kihtinäjärvi LC14502/Nordic Notes NN120


Reviewing the first Suista- mon Sähkö CD, released in 2015 as part of Anne-Mari Kivimäki’s series revolving around the history of the evacuated villages of Suista- mo in the Russian, once- Finnish part of Karelia, I wrote, “Its insistent patterns


and melodic phrases, dark wild nightmarish- ness, restless high-energy industrial power, fierce and silky vocals and danceability could well evoke comparisons with Trä-period Hed- ningarna, and that’s no bad thing indeed, particularly if they can carry it off, without too obvious lap-toppery, as a live band.”


Well, a live band is what indeed it became, gigging substantially in Finland and occasionally Estonia, Russian Karelia, Norway and Germany, and here’s the second album, following the same path and more so.


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& LANSINE KOUYATÉ Kangaba-Paris Buda 860335


Lansine's balafon was one of the exquisite sounds that made Kasse Mady's final album such a source of enchantment. Jean- Phillippe's long musical career includes recording with some of Africa's leading


musicians and his keyboard playing has been heard on many albums including those by Youssou N'Dour, Salif Keita and Papa Wemba. Hopes of what this album will offer rise...


Expectations are fully realised as one track after another provides a series of delights. The title track, which you can hear on this issue’s fRoots 71 compilation, opens with some introductory phrases on the bala- fon including some virtuoso runs. It is termi- nated by a full and resonant chord on the piano; already the album is delivering that “Wow!" factor.


This pair have a musical relationship that goes back to the 1980s. A previous attempt to produce an album together, one that includ- ed quite a lot of electronic content, never reached fruition. It was whilst they were informally jamming together that the idea of this straightforward balafon/piano album came about. All the compositions are credit- ed to Kouyate, the arrangements to Ryfiel, but perhaps it is more likely that these inven- tive and imaginative musicians tossed ideas back and forth and then developed those that seemed to have the most to offer each of them. What is more certain is that each of them has a respect for and familiarity with the other's musical background, so that when Lansine is developing improvisations on a Manding groove, Jean-Philippe will find the right underplayed chords that will support and augment. Similarly, when Jean-Philippe is creating within his jazz vocabulary, Lansine reverts to those repetitive accompanying pat- terns that are integral to the balafon's tradi- tional role.


It is this instinctive empathy that they both bring to this project; this respect from where the other is coming from that makes this such enjoyable listening.


budamusique.com Vic Smith


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