Moffou

1	Yamore 7:40
2	Iniagige 4:30
3	Madan 6:07
4	Katolon 7:00
5	Souvent 3:08
6	Moussoldu 4:57
7	Baba 4:39
8	Ana Na Ming 6:15
9	Koukou 6:11
10	Here 9:00

Barnes & Noble

Salif Keita is bound to please legions of fans with Moffou, a breathtaking predominately acoustic album that feels classic from the first notes. The always adventurous Keita, cosmopolitan African ambassador to the core, has often traded on experiments, from the suave francofonie of Sosie to the blistering Funkadelicized rock of Papa. But on Moffou, he plays to his strengths: his earthy brand of pan-Africanism, a rock-solid band, and the gorgeous ululations that earned him the sobriquet "the Golden Voice of Mali" -- all of which are in full effect on the addictive "Yamore," which features Cape Verde's queen of morna, Cesaria Evora. Mysterious and stately with his distinctive albino complexion, Keita at last radiates these qualities on disc, thanks to the sympathetic production that emphasizes the timeless qualities of Malian music. Hey, it worked for Ali Farka Toure. His longtime guitar-hero compatriots, Kante Manfila and Djelly Moussa Kouyate, are remarkably restrained throughout Moffou, speaking of time, distance, desert light, and heat with the occasional shimmering glissando. The wide-open spaces give Keita's voice -- whether a falsetto whisper on "Iniagibe," a strident muezzin wail on "Madan," or pushing along a subtly hypnotic groove on "Moussoulou" -- its proper berth. Much as Keita (and Afro-pop fans) loved his work with Joe Zawinul, Vernon Reid, Wayne Shorter, and others, this is the way he should be heard. Welcome home, Salif Keita. Mark Schwartz

All Music Guide

Sometimes a return to basics can be the best way for an artist to move forward. For Salif Keita, that's definitely the case with Moffou. In spite of using a hefty number of musicians (17, plus six backing vocalists), the sound is very stripped-down. Even the supple electric guitar work of Djeli Moussa Kouyaté is mellow and low-key. The real beauty here is Keita's voice, carefully framed and used to maximum effect. High, almost piercing, it's a gorgeous instrument that can ride and transform a melody, whether the lulling gentleness of "Yamore" or the more upbeat -- but never frenzied -- "Iniagige." Overall, it's a record of swaying, seductive gentleness, one perfectly suited to Keita's style. After a few artistic missteps, he needs an album like this to reaffirm who he is and give a renewal to his sound. While it's strongly rooted, it's by no means strictly a Malian roots album; that's never been all of his music by any means. While ineffably West African, there's a lovely light sheen to the production that could only be European, and serves the sound well, smoothing it out but never losing the intimate flavor that's at the album's heart. Moffou reaffirms Keita's star status, and his reputation as one of the world's most glorious voices. Chris Nickson