Besides a few English lyrics, Serge “Massama” Dogo mainly sings in Ewe, Kabye, and French. Some liner notes would have been nice to explain the messages being imparted in each original piece. While I’m told that the songs are about justice, love and migration, there is also a pervading feeling of happiness, optimism and enthusiasm in this lively music. This 42-minute album from the Silver Spring, Md. band includes Serge Dogo (lead vocals, guitar), Michael Shereikis (guitar, vocals), Dave McDavitt (drums, percussion), and Trevor Specht (sax, flute). Five different bassists are featured on the album (Jon Aversa, Clement Aho, Didier Kangbeni, Tony Allelujah, Ary Zogdoule). Yeli Fuzzo raps on the second track, “Madjo.” Specht’s sax and flute are rather understated on the CD, and more of them on future projects would enhance the overall mix. In a more raucous vein, “Esso (Kamu)” has a meandering melody line that just doesn’t seem to take advantage of the flute’s capabilities. While his vocals seem rather inconspicuous, Michael Shereikis’ proficient guitar work is prevalent. He studied African style guitar while living in Central Africa and Abidjan (Cote d'Ivoire) in the 1990s. Another key member contributing to Elikeh’s total sound is David McDavitt, a percussionist who clearly has both the passion and aptitude for world music.

The many influences heard in Elikeh’s original music include roots, Afrobeat, soukous, reggae, funk, jazz and rock. At the center of attention on “Nyade” are Massama’s vocals and the rhythmic intensity of percussion and bass.  Born and raised in Togo, Massama started songwriting and playing reggae and rock while in high school.  At the Universite du Benin in Lome, he directed the University Orchestra from 1997-1999.  Relocating to the U.S. in 2000, Massama began performing with such groups as the Chopteeth Afrofunk Big Band and Togolese rocker Jimi Hope.

Original arrangements incorporate various West Africa rhythms. I appreciate the way they incorporate ethnic music idioms into a type of contemporary roots music blend with an American appeal for lively, danceable grooves. The band’s name refers to roots, and the fusion of traditional Ewe music sensibilities with electric Afropop sounds makes for a captivating mixture. The most traditional offering is the percussion-laden “Kpanlogo,” while more modern flavors of rap and reggae appear in “Madjo” and “Don’t You (Aiye)” in which Massama sings “Don’t you want to see me get high / Don’t you want to see me feel high and touch the sky.” Elikeh’s music also includes social commentary and philosophical overtones, and, with a tad more attention to production, it has potential for widespread mainstream appeal. Massama is well on his way to developing his own chic flamboyance and eclectic style. (Joe Ross, Roots Music Review)