A recent prime example of compelling, cutting-edge African music is “Tassoumakan” (meaning “Voice of Fire”), the latest from Malian singer/songwriter Issa Bagayogo.  Known in his homeland as “Techno Issa” for what he calls “Afro-electro,” the West African continues his mission of mixing centuries old Mali song traditions with modern beats and instruments.

Rather than record in such world music capitals as London or Paris, this opus was recorded in Mali’s capital of Bamako under the guidance of French keyboardist/producer Yves Wernert.  The result is a natural blending of Mali songcraft with acoustic African and Western instruments, Afro beats, pop and electronica.  Bagayogo plays the n’goni (a Malian six-string lute) while he plies his deep, crusty, virile voice to songs.

He engages in call and recall with a ubiquitous female chorus and occasionally breaks into spoken-song delivery, a technique of tribal griots considered an ancient precursor to rap.

“Tassoumakan” sounds so old, yet so new.  A universal dance that transcends its deep African roots, it offers the serious music fan a myriad of visceral and cerebral rewards.