Africa Fe^te Makes a Splash Despite Plaza Water Hazard

The Watercourt at California Plaza is one of Los Angeles’ loveliest places to hear music. The airy, open setting, with its surrounding backdrop of tall buildings, the elegant reflecting pool, the multiplicity of spots from which to listen, all contribute to an environment beautifully suited for the summer-long series of free concerts scheduled in the plaza by Grand Performances.

On Thursday night, however, the opening date of the multi-act Africa Fe^te national tour, the Watercourt nearly became the victim of its own picturesque qualities.

It happened during the final moments of the opening set by Somali singer Maryam Mursal, when the fountains behind the band opened up with picturesque bursts of water. But what initially seemed to be a perfectly choreographed visual climax for Mursal’s invigorating music quickly caused serious problems, as much of the water found its way onto the stage area, in and around the electronic equipment, speakers and wires.

When Mursal finished her set, there was no recourse but to delay the program until the stage could be cleared of water to avoid any possibility of electrical hazards. The net result was that a show that already had been thrown off schedule by Mursal’s long program was pushed further into the evening hours, with the arrival of headliner Salif Keita delayed until about 10 p.m.

Fortunately, most of Africa Fe^te was worth the wait. Mursal, making her U.S. debut after much advance promotion praising her as a new world music diva, gave a stirring performance despite somewhat lackluster backing. Her dark, intense voice, which combined intricate, Arabic-style twists and turns of melody with a booming, declamatory presentation, was constantly gripping. And on the numbers in which she riffed back and forth with her all-Danish band, Mursal did indeed possess the charismatic fire of a rising star.

Senegal’s Cheikh Lo^ was more interesting for the quality of his music than the appeal of his presentation. A relatively laid-back performer--noticeably so after Mursal’s vibrant appearance--he sang well and played guitar effectively. But the real attraction of his music centered on the mbalax rhythms that underpinned many of his pieces. First developed by Youssou N’Dour, mbalax evolved from the Latin American music popular in Africa in the ‘60s and ‘70s. At times reminiscent of reggae, it also recalls the tango, often employing a 3/4 rhythm with a strong accent on the upbeat of the third beat. And it remains, despite Lo^’s passive performance, a fascinating musical form.

Perhaps predictably, Zaire’s Papa Wemba was the most visually dynamic of the Africa Fe^te artists. Garbed in fire-engine-red pants, constantly in motion, frequently dancing with his two backup singers, he brought the capacity crowd to life. But Wemba’s show-biz savvy and his clear ability to generate a high-voltage performance were only the externals of a style based on solid musicality, a gloriously versatile voice that moved easily into soaring high notes and solid, hard-driving musical backing.

In contrast, it is Keita’s voice, rather than his onstage movements, that makes him one of the great stars of world music. His high, penetrating, almost eerie sound, roving in and around the rhythms of his music, reached out to grab the listener’s attention. Unlike anything else in the program, it was a sound that moved past the percussive dance rhythms of world beat to retain a strong emotional connection with traditional African griot music.