01. Ae Ae 03:33)
02. Djin Djin (Feat. Alicia Keys & Branford Marsalis) (04:20)
03. Gimme Shelter (Feat. Joss Stone) (04:10)
04. Salala (Feat. Peter Gabriel) (03:26)
05. Senamou (C'est L'amour) Feat. Amadou & Mariam (03:46)
06. Pearls (Feat. Carlos Santana & Josh Groban) (05:07)
07. Sedjedo (Feat. Ziggy Marley) (03:58)
08. Papa (04:36)
09. Arouna (03:37)
10. Awan N'la (03:31)
11. Emma (03:31)
12. Mama Golo Papa (03:43)
13. Lonlon (Ravel's Bolero) (04:53)

Angelique Kidjo is a world renowned, Benin born, Grammy nominated singer. Her diverse music has won fans across the globe, as she effortlessly blends traditional African pop music with contemporary, modern grooves. She has been appointed as Good Will Ambassador by UNICEF, and performed her music in front of world leaders and dignitaries as well as millions of fans. Her new CD, Djin Djin is a welcome return for this musical queen.Ms. Kidjo is an accomplished singer/songwriter in her own right, one who could easily sell millions of records at any given time. Any collaboration with the hot artist of the day, to help boost record sales is totally unnecessary. If any such artist were presented on a full length disc of hers, it would certainly help further establish and solidify Angelique's reputation. That is exactly what happens with this CD, as Angelique shares the stage with several celebrity musicians including Brandford Marsalis & Alicia Keys("Djin Djin"), Carlos Santana & Josh Groban ("Pearls"), Joss Stone("Gimme Shelter") , Peter Gabriel ("Salala"), Ziggy Marley ("Sedjedo"), and African music legends Amadou and Mariam ("Senamou (C'est L'amour)"). The result is a hybrid of musical styles and influences, all beautifully coming together. If you didn't have enough reasons to buy this CD before, you most certainly do now. ---amzon.com

Na albumie DJIN DJIN  Angelique Kidjo powraca do swoich korzeni. Kariera tej czterokrotnie nominowanej do Grammy Awards, cieszącej się wielkim uznaniem wokalistki i kompozytorki miała początek w benińskiej mieścinie portowej Kotonu, gdy Angelique miała zaledwie sześć lat.

Jako dziecko Kidjo fascynowała się ikoniczną okładką płyty Jimiego Hendrixa, dzięki czemu zaczęła śledzić afrykańskie korzenie w muzyce pochodzącej ze Stanów Zjednoczonych, Brazylii i Karaibów. W rezultacie powstała nominowana do Grammy trylogia albumów: OREMI, BLACK IVORY SOUL oraz OYAYA. Na DJIN DJIN Angelique Kidjo powraca do duszy Beninu i po raz pierwszy dzieli się nią z gwiazdorską ekipą gości w mariażu kultur, który znaczeniem wybiega daleko poza świat samej muzyki.

Tytuł albumu, zainspirowany tradycjami i kulturą ojczyzny artystki - Beninu położonego w Afryce Zachodniej, nawiązuje do dźwięku dzwonka, którym wita się w Afryce nadejście nowego dnia. Projektowi Kidjo blasku dodają gwiazdy występujące na płycie u jej boku. Dzięki połączeniu ich wyjątkowych talentów oraz wpływów afrykańskich i zachodnich album DJIN DJIN wysławia piękno różnorodności, a jednocześnie jedności kultur, jaką Kidjo osiąga w swej muzyce. ---empik.com

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01. Le monde comme un bebe (duo avec Henri Salvador)
02. Adje Dada
03. Bala Bala (La fois qu'y fallait pas)
04. Oulala
05. Congoleo
06. Mister Love
07. Mutoto Kwanza
08. Seyin Djro
09. Dje Dje L'Aye
10. Conga Habanera
11. Macumba
12. Djovamin Yi
13. Bissimilai
14. Bala Bala (version Africaine) [Bonus track]

Personnel: 
Angélique Kidjo (vocals); 
Jacob Desvarieux (vocals, guitar); 
Henri Salvador (vocals); 
Hervér Bault (guitar, cavaquinho); 
Mamadou Diabate (kora); 
Anne Sophie Courderot, Florent Carriere (strings); 
Steve Berlin, Luis-Eric Gonzalez (baritone saxophone); 
Luis Eric González (trumpet); 
Alberto Salas (piano, keyboards); 
Abou Sylla (balafon); 
Vincent Artaud (upright bass); 
Rene Camacho (bass guitar); 
Julien Chirol (claves); 
Andy Narrell (steel pan); 
Ramón Stagnaro (guitar, tres); 
Dominic Kanza (guitar); 
Justo Almario (alto saxophone, tenor saxophone); 
Francisco Torres (trombone); 
Walter Rodriguez (drums, percussion); 
Michito Sánchez (percussion); 
ames Felix, Tata Vega (background vocals).

With her sophomore Sony release comes a theme with a broader international appeal from this gutsy and powerful West African (Beninoise) vocalist/songwriter. Those expecting an African-roots approach might be slightly disappointed as the sheer strength of the overall sound quality and musicianship renders 'l'authenticite' obsessives somewhat redundant in this instance.

The mostly latino session players are highly adept at turning their hand to virtually any style here on Oyaya. "Seyin Djuro" is an afro-salsa in the style of Ricardo Lemvo, whilst "Congoleo", the song picked for single release, is a joyful guitar-led porro with a Colombian 'costeno' feel. "'Bala Bala" is a Cesaria Evoria-ish bolero-son whilst"Oulala" isa pan-Caribbean wake-up call in the Juan Luis Guerra mould, with even a touch of steel-pan (a real one, thank goodness, not the all-too-common synthesiser version).

"Congo Habanera" is solid Miami-style latino pop (I thought of Gloria Estefan in her Mi Tierrra period). "Adja Dada" is an old-school mambo (i.e. slowish tempo)and "Djovamin Yi" takes us back to the afro-salsa style of the opener. Angelique's home-from-home - Paris - shines out strong on a sexy zouk-love tune ''Dje Dje L'Aye". "Macumba", belying the Afro-Brazilian promise in its title, comes over as funky, modern Cuban piece.

The only nod to Benin tradition is in the closing "Bissimilai", a folkloric female-choir song.

Angelique Kidjo has always been too strong a personality to corral in the dusty 'traditional world music' racks or - just as limiting - a series of 4/4 club-remix plodders. A big thumbs-up to her producers Steve Berlin and Alberto Salas, then,for such a radical and successful repositioning of her larger-than-life style and talent. --- John Armstrong, BBC Review

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1. Tumba
2. Afrika
3. Redemption Song
4. Agolo
5. Gimme Sheltre (with Dianne Reeves)
6. Malaika
7. Summertime
8. Batonga
9. Pearls (with Josh Groban)
10. Kdele
11. Move On Up (with Branford Marsalis)
12. I Think UR a Contra (with Ezra Koenig)
13. Lonlon - Ravel's Bolero (with Branford Marsalis)
14. Monfe Ran E (with Dianne Reeves)
15. Senamou
16. N'Yin Wan Nou We

Although documenting the current state of Angélique Kidjo’s stage show, her first live album also acts as an alternative greatest hits selection. The bounding, charismatic singer from Benin has been increasingly active on the touring circuit in recent years, whether solo, or as part of her Sing the Truth! collaboration with fellow vocalists Dianne Reeves and Lizz Wright.

Spirit Rising was recorded live in Boston by PBS, hopping around from Kidjo’s oldest signature numbers to a clutch of diverse cover versions, interpreted with a swift flow of guest stars. The band operates as a solidly balanced wall of Afro-pop brashness, but there are still speedy flurries designed to spotlight bass, percussion, guitar or piano, even if these outbreaks are just as swiftly dispatched. The prime focus is the songs themselves, and Kidjo’s always absolutely central vocal, invariably as rhythmic and punchy as the surrounding drum work.

Any Kidjo performance is always inflated by her natural exuberance, and this quality is carried across by the recording. If ever a festival is flagging, Kidjo can reinvigorate its crowds. Afrika and Agolo are the best-known songs from her old repertoire, and they appear here in sleekly dashing form.

Dianne Reeves guests on two songs, particularly shining on the Afro-stomp reading of Gimme Shelter, before filling Monfe Ran E with gospel-soul emoting. Some of the other covers are less successful, partially due to an unimaginative selection of over-familiar works. Hence Redemption Song, which has lately become a most fashionable Bob Marley choice. Curtis Mayfield’s Move On Up is invigorated by the guesting saxophonist Branford Marsalis, but Summertime is another overdone ditty, and Ravel’s Bolero even more so, as Kidjo enunciates its rhythms in such a closely-shadowing manner. It’s the opposite of scatting subtlety. When Senamou kicks in towards the end, it’s clear to see that this typically pan-African propulsion is where Kidjo’s best work lies. ---Martin Longley, BBC Review

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