GUITARIST Lionel Loueke has created a unique and marvellous sound world of his own, combining guitar, voice and discreet electronic effects to potent effect, in the powerful company of his long-standing sidemen, double-bassist Massimo Biolcati and dr
ummer Ferenc Nemeth.
Loueke's striking assimilation of western jazz guitar with the music traditions of his native west Africa was evident, right from the opening title track from his current Karibu album, with his trademark singing or wordlessly vocalising along with the electric guitar lines, as well as bursts of distinctively clicking mouth-percussion.
His gentle solo introduction – he has a mellow baritone voice which switches into lithe falsetto – soon worked up a head of steam as Biolcati and Nemeth cracked in, guitar ringing and cascading or taking on organ-like tones in explosive bursts of chunky chording.
Elsewhere, a broody bass prelude from Biolcati developed into a whimsical ambulatory excursion with the other two, Nemeth's whirring drums slowing and accelerating like eccentric clockwork.
For the final number, Loueke placed a paper strip under his strings, making them buzz like a mbira, or thumb piano, while he electronically layered his voice to slightly spooky effect in outbursts of mellifluous song that made him sound like a one-man chorus.
Loueke has played here before, as part of Herbie Hancock's Band, but this, his Scottish debut under his own name, proved a memorable night.
The full article contains 239 words and appears in The Scotsman newspaper.
