Djam Leelii

Maal and Seck recorded the album in Paris in 1984. It was meant for sale on cassette in West Africa, and its interlocking acoustic guitars and Pulaar vocals brought a following among Fulani groups. The cassette reached Britain through Lucy Duran, the broadcaster Charlie Gillett and John Peel. Ian A. Anderson, editor of Folk Roots, put it out on Rogue, which was the first label to release Maal's recordings in the UK. The record was credited to both men, and a 1998 reissue on Palm raised the track count from eight to twelve.

Reviewers were warm. The Washington Post praised Lamtooro and Muudo Hormo for achieving a spiritual grace and calm, and the Chicago Tribune heard American folk-blues, ethereal ECM-style jazz and even modern classical music in its accessible melodies. Robert Christgau wrote that for postindustrialized listeners it adds up to "background music with soul." Folk Roots named it the best album of 1989. In a 2018 review the Guardian's Robin Denselow said it brought Maal to an international audience.