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Similarly, the music of Souad Massi of Algeria lives in several places at once. Massi found herself a pariah as the front woman of metal band in Algeria. While her music was not overtly political, her forthrightness was seen as inappropriate for a young woman and she encountered more and more hostility. A trip to Paris led her to immigrate there, where she was exposed to world of different sounds.
The title of her third album, "Mesk Eli" (Wrasse), means "honeysuckle," the scent of which evokes nostalgia for Massi. In the title cut, she sings, "I miss the streets of my childhood known by heart /And I even miss those people who hurt me." Although much of the album is tinged with sadness, Massi also shows she -can have some fun on several tunes.
The Middle Eastern influ- . epce appears in varying de- grees throughout "Mesk Elil," though she stretches to record sub-Saharan African music as well as an electronic remix to close the album.
Singing in Arabic is not going to land her on the American pop charts, but Massi is a highly likable singer-songwriter who is turning Algeria's loss into the world's gain.
Senegal's Julia Sarr arrived on U.S. shores in a big way last year, debuting at Carnegie Hall as part of Youssou N'Dour's series there. Though Sarr has been a backup singer for African artists, her debut is without precedent. She collaborated with French flamenco guitarist Patrice Larose to create "Set Luna" (Sunnyside), which drew equally from their respective cultures, ultimately meeting hi a newly discovered middle ground.
One can point to the Islamic influence in flamenco and Sene gal, but "Set Luna" is really unique collaboration between two well-matched musicians. Sarr's microtonal flourishes are perfect emotional counterpoints to Larose's fluid, romantic piay- ing. They are in the "nuevo flamenco" camp, where passion is more subdued and a gentler sound eclipses the raw emotion of traditional flamenco.
Cristina Branco of Portugal was quickly labeled as one of the rising stars of fado as the world discovered this beautiful, dramat ic music. Even as she released critically acclaimed fado albums, Branco acknowledged that she came to the music only a few years prior and had more catho lic tastes. Now with "Ulisses" (Universal) she takes her own journey, singing in English (Joni Mitchell's "A Case of You") and in French.
Branco still touches some fado bases, but this time out she adds an atypical piano, whose crisp clarity takes the sound out of taverna and into the concert hall. Though born and raised in Portugal, Branco like the storied Portuguese mariners before her has set off to explore the world.
However they have traveled, these young women are simulta neously embracing the outside world without turning their back on home.
Marry Lipp can be reached at MartyHpp@hofmaiZ.com. 04/02/06
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