Daara J is eloquent proof of the cultural exchange that brought Senegalese rhythmic poetry (tosso) to America on slave ships and carried New York-style rap back to Senegal in the 1970s. The trio's American debut (their third official album) reflects this cross-fertilization in its title: Boomerang. "Historically, people in Senegal would use tosso to talk about their environment, their living conditions, the situation of the country and their hopes for the future," notes Daara J rapper Fada Fredy. This conduit for political commentary worked beautifully in American hip-hop, and it's clear in Daara J's rap. The group tackles the pitfalls of globalization, the degradation of the environment and the hardships and joys of living a "traditional" lifestyle with pointed lyrics and a sense of humor.

Cs Fada Fredy and Ndongo D originally defied their parents' wishes and their non-griot heritage to become musicians in the nineties. After teaming up with DJ Aladji Man in '97, they dubbed themselves Daara J, meaning "school of life." At first, Daara J rapped over whatever beats they could get their hands on, including American rap songs. With the advent of a drum machine, the trio had more musical freedom, but had to fill in the instrumental parts with their voices. This quasi-acapella style became their trademark. As Daara J became successful enough to buy instruments, they retained their rich vocal texture and melody. The reggae, funk and Cuban influences that defined Daara J's style from their humble beginnings remained, even as the group moved from small venues in Dakar to international tours and music festivals.

Contributed by: Miller Nuttle