Kadi Yombo, published in 1989, is certainly the most successful album in the quest for a fusion between tradition and modernity. Combining beating rattles with a layer of synthesizers, Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed.
