Recorded after dark in the village of Nbunk, Senegal, under the light of the shimmering African skies, Missing You…Mi Yeewnii (pronounced – Me U-knee), is a return to the roots and foundation of master musician Baaba Maal. With the guidance of producer John Leckie (Radiohead, The Stone Roses) and the assistance of a state of the art mobile studio, this recording captures the essence of “acoustic Africa,” with remnants of crickets and African village life finding their way onto tape.

With 11 great songs featuring musicians such as Kante Manfila, Mansour Seck, Chris Franck (Da Lata), Kaouding Cissokho, Roberto Cuao Riviera and Janio Coronado (Sidestepper), Missing You…Mi Yeenii renders a certain laid-back intensity found when recording a live ensemble.

The collection of songs on Missing You were composed on acoustic guitar and, throughout the recording, Baaba maintains the songs’ origins. In addition to the use of the instruments indigenous to Senegal, this offering includes many instruments that are represented in traditional music throughout West Africa.

On the albums’ opening track “Yoolelle Maman” (Yo-lely Mama – the “n” is silent), Baaba’s vocals and guitar are enhanced as sounds of the village nightlife weave their way into the tale. Using the idea of Earth as a fatherland and Africa as the motherland, this song allegorically represents the universal relationship between children and their parents.

Traditionally sung by fishermen, the second cut, “Miyaabele” (Me-aah-bell-A), features lilting balafon played in waltz time with distinctly Latin American flavors. This ancient African song is a cry for African unity directed at all Africans and their leaders.

“Fa Laay Fanaan” (FaaLie Fun-arn, meaning “This is the Place I Want to Spend the Night”) places blame for the current universal strife on leaders of the world, Africans included. While decrying the abject poverty, lack of healthcare and widespread tribal warfare, Baaba reminds Africans of their positive contributions on many levels. Baaba’s vocals are embellished by the vocals of the extraordinary 18-year-old Griot Cisse Damba Kanoute (aka Mami) who made her international recording debut on Ernest Ranglin’s “In Search Of The Lost Riddim” (1998).

“Leydi Ma” (Lady Ma, meaning “Our Land”) is a blues-tinged tune that sings of the need to preserve the essential life source, while “Jamma Jenngii,” (Jumma Jengi, meaning “It is the Night”) is a tender love song comparing the beauty of nature to the intimacy of a special romantic relationship. “Fanta” (“Spirits of the River”) is an ancient tale about a beautiful woman, a spirit of the river, who proves irresistible to men.

“Laare Yoo” (meaning “My Friend”) is played in a rhythm especially popular with young people and suggests the use of friendship and discussion for positive ends. “Senegalle Ngummee” (Senegaal Goo-may, “Get Up”) is based on an ancient prayer for good health, a good spirit and strong soul.

While tradition considered Fulani women to be solely responsible for the well being of their families, “Mamadi” (Mama-D, “Tribute to Parents”) suggests that the family structure is beginning to change with men taking a more active role in the home. From the first note of “Kowoni Maayo” (Ko-woni My-o “By the River”), the contribution of Mansour Seck is felt. Recorded at Real World Studios, this lovely, bluesy tune reminisces about the town of Podor where both Baaba and Mansour grew up. As they both share the passion of the longing for their hometown, Baaba was insistent on having Mansour play on this track.

The final track on Missing You . . . Mi Yeewnii, “Allah Addu Jam” (“God Give us Peace”) is a plea for peace in the world with an emphasis on Africa. Starting with the sound of the hoddu, a 4-string African lute (Fulani) also called a ngoni (Manding) and Baaba’s voice, the song evolves into a full blown jam, showcasing the full strength of Daande Lenol (Baaba’s band). This climax provides a fitting finale for both the album and for Baaba’s live shows.

ABOUT BAABA MAAL: Baaba’s previous two releases Firin’ in Fouta and Nomad Soul earned critical acclaim worldwide, reinforcing his role as a seminal artist in the world music arena. With constant touring he has honed and enriched an already phenomenal stage show. Touring nearly every continent including the West Indies, the overwhelming universal response has been utter awe.

Aside from being a remarkable musician, Baaba is socially conscious and represents the United Nations Development Program as a spokesman on the issue of HIV/Aids in Africa. He has been featured on both Red Hot and Rhapsody, a tribute to Gershwin, and the forthcoming release, Red Hot and Riot a tribute to Fela Kuti. Both projects were put together by the HIV/Aids awareness campaign group, The Red Hot Organization.

Music was an integral part of Baaba’s childhood as he grew up on the banks of the river Senegal. Born to the Hal Pulaar people (known to the English speaking world as Fulani), his mother used songs she composed herself to educate and instill in him the value of intelligent and thoughtful lyrics. Technically speaking, he was not destined to become the master musician he is today by virtue of the fact that he was not born into the caste of artists and communicators known as Griots. Through time, travel and education, his experiences have resulted in profound self awareness, allowing him to deliver the message of empowerment, enlightenment and peace.

His early edudcation in St. Louis (the original French colonial capital) lead him to win an art scholarship in Senegal’s modern capital, Dakar. There he joined Asly Fouta, a group of 70 musicians. Thus began his study of local instruments which he later expanded through an extensive tour of West Africa with longtime friend, Mansour Seck. Going from village to village, they tapped the oldest person in each location to learn about the history of the village, the country and the music. The final leg of his studies was completed at the Conservatoire des Beaux Arts in Paris. Following his return to Senegal, he formed his band Daande Lenol “Voice Of The People.”

Complementing his comprehension of traditional music, he was also influenced by black American singers of the 1960s such as James Brown, Otis Redding and Wilson Pickett. He later discovered Jamaican musicians such as Toots Hibbert, Bob Marley and Jimmy Cliff when they toured Senegal in the mid 1970s which further broadened his musical expression.

Using his music as a vehicle to express his concerns and empower his people, Baaba Maal sings and speaks for Africa with unprecedented authority.