The cello is not most peoples idea of a glamourous musical instrument. Even in the world of classical music, where there have at least been pieces of music written specifically for it, it plays second fiddle (couldn't help it) to its sexier kin in the string section, the violin. Outside of the concert hall it receives even less recognition, for while instruments like the trumpet, saxophone, clarinet, violin, and even its larger cousin the double bass have become staples in the world of jazz, you don't often hear a cello leading a jazz combo or showing up in your average rock band.

What most people don't realize, save those who have taken the time to sit and listen, is the astounding variety of sound and the wondrous richness of tone a cello can produce. As a child my parents decided, in spite of an almost complete lack of aptitude, I should play an instrument as part of my education, and I somehow ended up paired with a cello. For three years I learned proper bowing and fingering techniques, but it was soon obvious I was no match for the demands of the instrument. I surrendered to the inevitable and stopped inflicting myself upon the poor long suffering music teachers in my school system. However, even my pitiful scraping of the strings were enough to convince me that in the hands of someone who knew what they were doing the cello would sound wonderful.

All of which brings me to the intriguing new project released earlier this month by Six Degrees Records entitled Chamber Music. Normally the term chamber music refers to pieces performed by a condensed version of a symphony orchestra with the number of musicians reduced from its usual over a hundred to around thirty or forty. In this case though, we're dealing with something even less traditional as cellist Vincent Segal of France is joined by the kora-playing Malian, Ballake Sissoko. While this may seem like a strange combination at first glance — a 26-string traditional harplike African instrument being paired with an instrument from the European classical repertoire — the gap between the two men and their instruments isn't actually that large.