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Many will be familiar with the scene in the Pulp Fiction movie in which the briefcase is opened in the diner. The viewer is not party to its contents, only the stunned reaction of those around it and an ethereal golden glow from within. Pitiful analogy but N'Dour has had that effect with some of his previous releases for the Western market. You know something great, something earth-shatteringly great, is going on in there, but you're not allowed to see what it is. With Nothing's In Vain, as with his Senegalese releases, the listener is actually let in on the secret.
The product of some 18 months' work in his own Xippi studio in Dakar, with co-producer (Super Etoile bassist) Habib Faye, this release shows N'Dour's mastery of his own musical vision. Whilst other African musical stars are currently 'unplugging', Youssou has opted for a different approach. There is a significant focus on traditional Senegalese instrumentation, but with contemporary arrangements and studio wizardry still very much to the fore. As ever, the bedrock of Super Etoile players is also in place.
Particularly striking on this CD are those fantastic slow, engulfing builds from sparse and atmospheric soundscapes to urgent, driving anthems. Genteel kora and xalam introduce Tan Bi, the opening track, which swells around its babbling stringed undercurrent and the recurrent riti (one stringed-fiddle). Again, on Li Ma Weesu, a light, airy ambience is usurped by a surging wall of sound. More magic moments come in the form of the swinging Western Manding dance-style on Moor Ndaje, with rippling balafon and cascading koras; the soft fluttery riti echo of Youssou's earthy vocal lines on Genne, and, personal favourites, a spikey, fresh reworking of Mbeggeel Noonu La, and the sombre and brooding Parisian/ Dakarois torch song Il N'y A Pas D'Amour, complete with café-style accordion.
Whilst mainly gushing praise is due, there are a couple of frankly absurd moments. So Many Men is a nauseatingly saccharine and overblown duet with French pop star Pascal Obispo. Interestingly, this is one of two of the late additions made to the album, along with Africa, Dream Again which is also a tad lightweight. But these are only fleeting moments in what is a truly fine representation of the man's musical worth.
Definitely worth a glimpse into the glowing briefcase!
Sarah Coxson for fRoots magazine 2002
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