Baaba

He's jammed with Dave Matthews and features in the 'Black Hawk Down' soundtrack. At last, one of Senegal's most precious musicians, who combines western beats with firmly-entrenched traditional African rhythms, is finally getting world recognition.

But not only is Baaba Maal a world-famous artist, he's also my friend. Don't snigger – I know you have them, those musical heroes whose voices you crave in your less-than-glorious hours. In my most homesick days in London I would rush home to my tiny bedroom, tumble into bed while the rain poured down outside, and put my old scratchy Baaba Maal record (bought at a Camden record store for two quid) on the turntable.

Though I couldn't understand the language, I understood the music. It sounded to me like he was giving me advice, delivered in a matter-of-fact, life's-like-that-but-it's-okay kind of way, that made my sadness happy and let the African sun shine in. I was up and dancing in no time. If music is redemption from sadness, then Baaba Maal is one of its foremost prophets.

It is music that has a long history. While most Senegalese performers belong to the Wolof ethnic group (like his fellow musician Yasser N'dour), Baaba Maal is a member of the Pulaar (or Fula) minority from Northern Senegal and this tribe's music is generally considered more lyrical and melodious.

His music, according to his biography on the BBC, echoes "the Pekan songs of Northern fishermen, Gumbala chants of ancient warriors and Dilere weaving tunes. Most pervasively, the musical framework is based on the Yela songs of indigenous women pounding grain - taught to him by his mother".

But for the layman, it's all just punchy bongo drums, knee-lifting keyboard beats and achingly beautiful strings of the acoustic, electrical and traditional Senegalese guitars that combine with a voice that soars to soul-thrilling heights.

(Sinaed O'Conner's voice has been compared to the voices of the dead risen to speak, and Baaba Maal is of the same ilk – indeed, Sinaed guest featured on his album 'Nomad Soul'.)

REM's Michael Stipe described Baaba's voice: "Baaba Maal opened his mouth and beautiful pearls and lilies and songbirds came flying out. It was one of the most beautiful things I've ever seen".

So now, to 'Baaba Maal – the Early Years'… it's a broad and highly enjoyable introduction to the artist, but an album for the fans too because it gives a pretty good cross-section of his work, from the more traditional songs, to those with a heavier Western slant, combining elements of jazz, pop and reggae.

Highlights include the beautiful opening track 'Yero Mama' ('Name of a Prince') where the intricate traditional guitar plucking weaves its way between Baaba's chanting, 'Daande Lenol' ('The Voice of the People') – named for Baaba's group, it's this song that is testimony to the true scope of Baaba's voice.

His lyrics "I salute you Africa/… Unity is better than division/Dialogue always leads to more understanding" (from 'Daande Lenol') and are evidence of Baaba's continued dedication to his heritage, that of modern Senegal and, in other songs, more ancient Islamic history.

'Bouyei' ('The Boat') is a lovely folksy song whose roots lie in the fishing community from where he comes. It is these traditional songs that I enjoy the most. It's all a matter of preference, however, and there's no prerequisite to listen to this other than being someone that enjoys music.

This album, like Baaba's music, is sunny and sad, and happy and wise all at once. Buy it – it'll open a whole new world to you.