Alune Wade: the Senegalese bassist and singer-songwriter with great records
Born in 1978 in Dakar, Senegal, Alune Wade has long established himself as a leading contemporary composer, bassist, songwriter, and singer. His recent two albums, released under the historic German label Enja (A&N Music), have garnered him even more international acclaim.
Wade was first discovered by renowned musician Ismaël Lô when he was just 18 years old. This early recognition catapulted his career, and as documented in his biography, Wade spent the following years performing alongside industry heavyweights such as Salif Keita, Oumou Sangaré, Bobby McFerrin, Joe Zawinul, Béla Fleck, Cheick Tidiane Seck, Deep Forest, Gregory Porter, and more. His talent was further recognized by American jazz and R&B bassist Marcus Miller, who selected Wade to play a pivotal role on his 2015 album “Afrodeezia” [Blue Note].
Wade’s solo discography, which began in 2006, has culminated in the last three years with his albums on Enja. His recordings exude a powerful energy that is also palpable in his live performances.
As you listen to “Sultan”, it becomes clear that Alune Wade is seeking to capture the essence of music from the equator and beyond, encompassing African, European, and American influences.
2022 saw the release of Wade’s fifth album, “Sultan” [Enja & Yellowbird Records], recorded in various cities worldwide including Paris, New York, Dakar, and Tunis. This album can be classified as a quintessential ethnic record, with elements of ethno-beat and ethno-jazz. It can typically be found in the “world music” section of record stores.
“Sultan” is reminiscent of the 90s, yet it incorporates many modern elements and blends, offering a more advanced mix than what was popular three decades ago. As you listen to “Sultan”, it becomes clear that Alune Wade is seeking to capture the essence of music from the equator and beyond, encompassing African, European, and American influences.
The track “Nasty sand” showcases a contemporary ethno-rock sound, with Guimba Kouyate’s electric guitar firing over a hypnotic beat reminiscent of Moroccan gnawa music. On another track, “Uthiopic”, Wade blends West-African and East-African patterns, creating a musical bridge between Senegal and Ethiopia. This track features standout performances from Daniel Blake’s saxophones and Josh Deutsch’s trumpet, underscored by a deep, funky rhythm.
The track “L’ombre de l’âme” blends jazz with Balkan sounds, featuring the clarinet of Ismaïl Lumanovski, while “Lullaby for Sultan” combines jazz with Ethiopiques, with drums provided by Lenny White. “Portrait de Maure” is another standout, offering a groovy, eccentric vibe influenced by the music of the southwestern Sahara.
The album “Sultan” doesn’t have a consistent lineup of musicians across all tracks. Instead, it features different performers on each song, all under the direction of Alune Wade. The end result is an excellent album that expertly mixes “national” musicians without ever missing the mark.
Nasty Sand
The latest work from the Senegalese musician is titled “New African Orleans” [Enja & Yellowbird Records, 2025], and it’s yet another unique offering from Wade.
For his sixth album, Wade records both original compositions and covers, with recording sessions taking place in Paris, Dakar, Lagos, and New Orleans. These locations were carefully chosen, as they reflect the foundational elements of his music. His influences range from West African tradition and Afrobeat to Hendrix’s rock, jazz, and neo-Orleans funk.
When you look at (and listen to) the covers included on “New African Orleans”, you can immediately get a sense of the album’s direction. The album features compositions by Dr. John (“Gris-gris gumbo ya ya”), Jimi Hendrix (“Voodoo child”), Fela Kuti (“Water no get enemy”) and Herbie Hancock (“Watermelon man”). These tracks aren’t simply symbolic; they provide Wade with a platform to create his own distinct sound – a “black” blend that can feel simultaneously timeless, contemporary and even futuristic.
This sound is distinctly Afrocentric, with prominent horns, keyboards, vocals and percussion, all underpinned by Wade’s powerful, resonant bass. This gives his tracks a unique depth and character. On one hand, there’s a danceable quality that might remind listeners of George Clinton (Funkadelic etc.), but on the other hand, there are soulful interpretations that bring a more relaxed, loving tone.
Highlights of the album include tracks such as… From the Senegalese afrobeat rhythms of “Same Fufu” to the mid-tempo funky ballad “Three Baobabs,” complete with nostalgic piano interludes and an overall West African vibe, this album transports listeners on a musical journey. The seven original tracks on “New African Orleans” are each more impressive than the last, making for an incredibly enjoyable listening experience. This is not solely due to Wade’s resonant bass lines. In a nutshell, it’s a fantastic album!
Same Fufu
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