Specialist in All Styles

1	Bul Ma Miin 6:02
2	Sutukun 5:32
3	Dée Moo Wóor 4:18
4	Jiin Ma Jiin Ma 6:06
5	Ndongoy Daara 5:21
6	On Verra Ça 5:00
7	Hommage a Tonton Ferrer 5:54
8	El Son Te Llama 5:29
9	Gnawoe 6:21

Barnes & Noble

The rebirth of Orchestra Baobab, Senegal's legendary dance band, couldn't have happened at a better time, when thoughtful artists the length and breadth of the continent are at last turning away from European-influenced crossover and recovering their roots. The men of Baobab, who had disbanded in the '80s after a decades-long run, prove that those roots need not be folkloric. In the '70s, the toast of Dakar's Baobab Club pioneered an irresistible fusion of Senegalese music and Cuban rhythm, a loping, off-kilter, sun-drenched sound punctuated by genuine African adaptations: There were the high Arabic-inflected trills of late vocalist Laye Mboup, rooted in the "deep Wolof" songs of his tribe. There was the King Curtis-channeling saxophone honk of Issa Cissokho. And most important, there was the psychedelic guitar brilliance of Barthelmy Attisso washing Baobab's best tracks in echo-drenched wah-wah soloing. Reuniting after the hit reissue of their seminal Pirates Choice, Baobab convened with producers Youssou N'Dour and Nick "Buena Vista Social Club" Gold to bash out a "new" record, albeit one comprising many older Baobab numbers. No matter -- these new versions are so richly hued, played with such verve and lovingly overseen by two devotees of this pre-mbalax style of Senegalese pop that its impossible not to enjoy them. A young new vocalist in the mode of Mboup puts this Baobab closer to their heyday sound than ever, with guest vocals from N'Dour lending an extra dose of love, Senegal style. Meanwhile, BVSC's Ibrahim Ferrer, along with the guajiro standard "El Son Te Llama," punch up the Cuban half of the equation. All reunion albums should be as good as the aptly titled Specialist in All Styles. Mark Schwartz

All Music Guide

Putting a classic band together 15 years after their demise can be a recipe for disaster. In this case, though, World Circuit head Nick Gold has definitely done the world a favor. Orchestra Baobab might be best known for their classic Pirate's Choice, but this disc is every bit the equal -- it's most certainly not Buena Vista Baobab Club. For someone who hadn't touched a guitar in years, after becoming a lawyer in his native Togo, Barthelemy Attisso is all over this record, offering beautiful, inventive solos and playing whose fluidity, especially on "Gnawe" and "Dee Moo Wor," is wonderfully atmospheric. As any fan would expect, the Cuban influence remains very strong, but the Wolf roots are also strong, especially in the voice of young singer Assane Mboup. Guest turns from Ibrahim Ferrer and co-producer Youssou N'Dour on "Homage a Tonton Ferrer" -- a remake of "Utru Horas," their biggest song -- aren't going to hurt the album's visibility. But ultimately it's the band themselves who carry the record, playing better than ever (not only the superb Attisso, but also saxman Issa Cissokho). Back in fine style, indeed. Chris Nickson