The Golden Voice of Mali has occasionally been accused of bombast, but Moffou should silence that particular criticism. It's an exquisite return to roots, and a sharp contrast with the rock and funk grooves of his previous effort, Papa. While that album featured guests such as Grace Jones, Moffou kicks off with a rustically understated duet with Cape Verdean diva Cesaria Evora. It also reunites Keita with Guinean guitarist Kante Manfila, his old colleague from Les Ambassadeurs. Keita's own surprisingly skilled fretwork can be heard on the three solo guitar-and-voice tracks that punctuate the album. The singer barely raises his voice throughout and he's backed by a soaring chorus of five female singers. Together, their call-and-response interactions underline how closely Moffou brings him back to his Maninka roots, even though none of the songs are directly based on traditional tunes. The arrangements are largely acoustic, with local instruments such as kamalengoni (youth harp) and n'goni (the West African precursor of the banjo) featuring prominently alongside touches of accordion, piano, marimba and subtle percussion. The production bathes everything in an atmospheric patina of effects, which conjures up a sensuous sub-Saharan ambience. Though there are a couple of more upbeat songs such as "Madan" and "Koukou", this is essentially a rather calm reflective set. His best work since Soro, and a must for fans of stylish but unplugged West African music --Jon Lusk.