MIRI (Out Here Records OH32)

Each new release from Bassekou Kouyate is eagerly awaited, and his fifth album will be out on CD & LP on February 1 2019. Surrounded by a host of guest artists, Kouyate returned to his hometown of Garana, Mali, which is a village on the banks of the Niger River. The title song means "Dream" or "contemplation" and is about his mother who passed away recently. The whole thing is very mellow as he gets away from the noise, traffic, turmoil and politics of Bamako to ponder life. Kouyate's wife Amy Sacko is the lead singer on half the tracks, and she surrenders the mike to Habib Koite, Afel Bocoum and Abdoulaye Diabate by turns. We also hear Majid Bekkas on oud and vocals on the opening cut "Kanougnon," and Yasel Gonzalez Rivera singing lead on "Wele Cuba," which, as you guessed, is a Latin number but, to me, feels out of place here. Bassekou grew up listening to Maravillas de Mali and other local bands doing covers of Cuban songs and often does a version of "Guantanamera" to end his live shows, hence the taste for a Latin groove. The album is dedicated to two former members of the group who made a huge impact on Malian music before passing away, soku (fiddle) player Zoumana Tereta and Kassemady Diabate. Mostly the musical accompaniment is three ngonis: Bassekou on lead, with a secondary player, Abou Sissoko, and Madou Kouyate on bass ngoni, plus two percussionists. The title cut is an instrumental with no frills and is very lovely. A guitar is added for "Konya" which is another high spot. Afel Bocoum, who used to be in Ali Farka Touré's band, sings about the plight of the Peul, sedentary farmers who exist from Senegal to C.A.R. but who ranks have been decimated by the unrest caused by Islamic fundamentalists who have destroyed their homes and stolen their cattle. (The booklet explains all the songs in French and English.) The album ends with a tribute to Kouyate's late mother, who used to travel around singing to support her family with young Kouyate on ngoni. Sacko's vocal delivery pays homage to her mother-in-law's singing style. A very fine effort.

MELODIES MANDE (Sans Commentaire)

In West Africa, the piano is called the White Man's balafon ("Toubabou balafola"), but the White man has his own balafon-like instrument, the Xylophone or Vibraphone, the sound of which which I really dislike. This is not an antipathy to all metalophones as I love the gender, the Balinese metal keys suspended over bamboo tubes and hit with mallets (pongels), but my favorite is the struck keys of the wooden thing called balafon, which is a legless marimba, without the resonating tubes, though it may have gourd resonators attached. It is a traditional Manding instrument, used in Mali to accompany story tellers. Livio Camara was director of the Instrumental Ensemble of Guinea for a decade. On this 4-track EP he is accompanied by a small trio of supporting musicians, playing electric bass and calabash along with Kandiafa on ngoni, a hot young musician (nephew of the great Mama Sissoko) who has been called the "Django Reinhardt of Mali" and who has his own album out Mali Country, which is hailed as a groundbreaking Afro-House recording, with remixes. Vocals are provided by another journeyman, Kabadjan Konate, who sang formerly with Vieux Kanté, the blind kamale ngoni player who died suddenly in 2005. Short as it is, this is a very sweet outing, and I look forward to more from them.

WANDE (Glitterbeat)

I am a big fan of Malian music so am always eager to hear the new releases and stay current with developments, but there's an increasing reliance on the novelty remix or collaboration, with producers eager to add guest musicians on classical or country and western instruments. Samba Touré gives us his own music, unadulterated, and it is very much in the mode of American blues, though he resists the label. This is his third release. I don't care what he says, it's a blues/rock/R&B album with Malian overtones, no question. I am not complaining: I like it a lot for what it is. He used to be accompanist to Ali Farka Touré, whose best-selling record was his 1994 collaboration with American Ry Cooder, Talking Timbuktu. Though I have told the story before, it's worth repeating that when Fred Hill and I interviewed Ali on KUSF on his first American tour, Fred had the idea of doing a "Downbeat"-style interview with fragments of music for him to comment on: Wes Montgomery, George Benson, Charlie Christian, etc. We played him some John Lee Hooker. He denied he knew it and blustered about having no idea what we were talking about. It made for an uncomfortable hour, trying to get him to open up about his influences. But there's no denying the Howling Wolf, Buddy Guy and B.B. King elements in this music. There's even J.J. Cale, Eric Clapton, Keith Richards, Johnny Otis and a load of other Western guitar influences clearly audible in this new disc from Samba. You can sing the lyrics to "Baby please don't go," or "Willie and the hand jive" over many of the grooves, which I inevitably find myself doing. I grew up on Chicago Blues-derived music so you can't fool me. There's tama (talking drum) on here, and soku too, but the last track is "Tribute to Zoumana Tereta": this sadly signals the demise of the great soku player-- another blow, though it is a fine moody closer. Overall it's a very satisfying set of spontaneous grooves.

SOKU FOLA (Kanaga System Krush KSKCD009)

If you ask yourself, Do I need another Malian album? then you should think about what kinds of Malian music you have in your collection. If it's all hot guitar slingers, you need some female praise singers; if it's all big rocking bands, you probably need some Fulani folk music. You have to maintain a balance. There's a permeable border between the traditional and modern Malian music, so I don't keep my "folk" or griot music separate from the modern stuff. Zoumana Tereta, from Segou, is in the traditional camp, sawing on his single horsehair fiddle, but he was always in demand to play with the modernizers. On here there's acoustic guitar (Vieux Parré), calabash and also bass played on a djeli n'goni. The repertoire is fables and praise songs, sung hoarsely (not horsely) by Zoumana. He grew up playing traditional music, including flute, around Bamako, and was the go-to guy for a touch of traditional fiddle, so appeared on literally hundreds of cassettes. He also toured the world, backing the likes of Oumou Sangare, Nahawa Doumbia, Sali Sidibe and, on the gentlemen's side, Toumani Diabaté, Samba Touré & Bassekou Kouyaté. This album, recorded in one day February 16, 2008 in Studio Bogolon, Bamako, is a perfect balance of the four components: acoustic guitar, the bass n'goni and slapped calabash and Tereta's horsehair fiddle.

I also found a 4-track EP by Zoumana, Bozo Fama, on bandcamp, that was released in February 2018.

BAMAKO SESSIONS (Riverboat Records TUGCD1111)

Invisible System (-- not the group Baiana System who had a hit with "Invisavel" last year --) is a one-man entity called Dan Harper who went to Mali as an aid worker in 1999, and fell in love with a local woman. Harper also moonlighted as a record producer, mastering the fine Lost in Mali compilation for Riverboat, and met many local musicians in the forest on the outskirts of Bamako. Recently he returned to his wife's home, and for a month kept open house where local musicians were invited to drop by any time and jam. Some brought ngonis, others kora or balafon. He rolled tape (metaphorically speaking) and edited the results into this disc. Harper played guitar with them and then took the tracks back to UK where he added electric bass and some rhythm tracks on synth and traps. The result is a patchwork, like a holy man's cloak striving to be green all over with patches of white sunlight glinting through. This is a mellow wandering album, good for light background listening but I find when you try to put your finger on it, it evaporates like a mirage.

MALI FOLI CURA (Buda music)

Founded in 2014 as BKO Quintet, and named for their hometown of Bamako, Mali, BKO have been touring endlessly and sharpening their chops in front of festival audiences. The line-up is billed as two ngoni players, djembe and drum set. But that has to be a guitar on the opening track "Tangwanana," though the blurb only calls it "griot's guitar." It sure is loud and electrifying. The success of BKO is in blending two distinct types of Malian music: that of the traditional griots, singers and story tellers, and the hunters. Each group has their own style of ngoni: the hunters play the donso ngoni and the griots the djeli ngoni. Adama Koulibaly plies the former and Abduolaye Koné the latter. The ngonis are amplified so the drummer has forsaken slapping a calabash for a full-on drum kit, raising the temperature of the set from folk-rock to hard rock. While most of the tunes go from "blazing" to "stun," they do slow it down for a final ballad, "Mon amour," and play with somewhat less ferocity. Great vocals and fine production push this ahead of the pack as one of the hottest new releases from West Africa.

BOLON STAR (Mondo Tunes, streaming or download on-line)

When you think of timeless music, quite often you imagine the great Sahelian bands with balafon or kora, hand drums, and guitars behind those gravelly complaining vocals. I can't find out much about Bolon Star other than the fact they are Malian. Ernie Keita is the guitarist, Modibo the drummer. From their facebook page I can see their singer Yaya Soumagno learned from Lobi Traore. The band was formed by childhood friends around 2012 in Bamako, and they've put their music on soundcloud. They describe their music as Malian blues, Afro-pop and reggae. The reggae is credible (on "Babwa -- the Bobo" which has a nice breakdown), but the "blues" component really shines. Further web explorations suggest they are a backing band for some of the great Malian praise singers. This album was released in 2012 at the depth of the civil war, but nevertheless the band seems to be thriving and continuing to perform for local audiences. You can hear them and buy this fine set from iTunes or your preferred venue.

2017 (Clermont Music CLE019CD)

This is the second internationally released album by Malian singer Leila Walet Gobi. She has a youthful verve and a sharp delivery. A stand-out at the Festival in the Desert in 2013, she toured West Africa and then North America and signed to the Clermont label that represents Khaira Arby, Mamadou Kelly & other great talents. The tracks were laid down in the capital, Bamako, but, given the occasional power-outages and lack of recording technology, she decided to just cut a clean album and add effects in post. She is backed by guitar, bass and percussion. Then the looped beats & delayed echo to her keening vocals were added on the coasts of North America, in New York and Los Angeles. This of course changes the overall aspect of the sound, and propels it to the dancefloor. I wonder if they had a click track, since the beats which are so integral to the sound, are in synch with the bass and calabash. Ultimately a whole album of dance tracks is hard to take, I for one would have enjoyed hearing her without the relentless disco bomp on every track. But then I am older than you and no longer have the stamina to dance the night away. However there's a break after half an hour when a reggae groove steps up for "Akan nana," and the next track "Eh Khanzam" is irresistible with its chorus of (seemingly) "Num num num."

MOGOYA (Noformat NOF36)

Oumou is not yet 50 but has already made her mark as one of the grand divas of Malian music. The daughter of Peul famers from Wassoulou, she sold water on the streets of Bamako as a small child, but soon attracted attention for her singing voice. She got gigs as a praise singer at weddings and baptisms and this led to a career with the National Ensemble of Mali and then a European tour with the group Djoliba. World Circuit launched her international career with Ko Sira in 1993 and Worotan in 1996. The anthology Women of Mali: the Wassoulou Sound also boosted her career as the hypnotic rhythms of her homeland captivated the Western audience. Her lyrics take a frank critical look at customs like polygamy and excision; on the new album she sings about suicide on the moody single "Yere faga," which features the driving drums of Tony Allen. A reggae feel permeates "Kounkoun," yet overall there is a French sheen to the production, reminiscent of the recent efforts of Rokia Traoré who has emerged as the strong young voice of Mali. But Oumou reasserts her vocals chops and adds her own secret weapon in the form of Guimba Kouyaté, a young Malian guitarist who rips out some extraordinary riffs. Her backing band is an electronic group called Trio A.L.B.E.R.T. It may be a cliché but this is an album rooted in tradition with a strong progressive thrust into the future.

POLITIKI (Clermont Music CLE016)

Mamadou Kelly's third album Politiki shows him maturing into one of the great exponents of Malian blues. Backed by BanKaiNa, accomplished veterans of the Malian music scene (they've backed Ali Farka Toure and Alkibar), years of touring have sharpened their delivery to a fine edge. Without clutter you can hear Kelly's voice, a keening steel guitar and a djourkel, which is a mandolin-like instrument, atop bass, calabash and other percussion. It's a strongly assured sound, reminiscent of Ali Farka or Afel Bocoum but still very contemporary. The steel guitar is played by Cindy Cashdollar, a mistress of the dobro; the first woman inducted into the Texas Steel Guitar Hall of Fame, she has brightened up scores of albums, for Rod Stewart, Albert Lee, Van Morrison, Bob Dylan and many others. The djourkel is a "monochord" instrument, which I presume means it has open tuning. Percussionist Susie Ibarra has been performing in jazz, experimental avant-garde and world music ensembles in her less high-profile career. But John Zorn and Derek Bailey collaborations vouch for her credentials. Another guitar is added by Dan Littleton (ex-punk rocker) & his sidekick, bassist Jake Silver, so the line-up is four Malians and four Americans. Adding American blues, rock and folk musicians to Malian ensembles has been done before but this outing is a brilliant success.


I am very greedy when it comes to classic Malian, Senegalese and Guinean music of their golden era, which spans post-Independence in 1960 through the 80s. As much as I discover, there's always more, and I am grateful to people like Graeme Counsel, Florent Mazzoleni, Adamantios Kafetzis of Teranga Beat, not to mention Stern's, Kanaga System, Dakar Sound and all the independent labels who find this music and restore it for us. This latest reissue from Mr Bongo is simply stunning. Looking at the tracklist you might see "Mandjou" by Les Ambassadeurs, and tracks from Rail Band and Super Djata and think to yourself, I probably have these. But chances are you don't have more than two or three of these tracks, not because they are obscurities, but because they are super-rare gems. I know, you are saying, But I have the 6-disc Rail Band set from Sterns (STCD3033-34, 39-40, 43-44), but you still don't have "Mouodilo" (a solid funk track, it came out on 45 from HMV in Nigeria!), and you might have "Fatema" by Ambassadeurs or Sory Bamba's "Yayoroba," but that still leaves a stack of stuff you need, like the two impossibly scarce and fabulous Idrissa Soumaroro tracks with his band L'Eclipse de l'I.J.A., the overlooked but far from slack Tentemba Jazz, and the Super Djata tracks which have never been reissued to my knowledge (They don't even show up on Idrissa Soumaroro is less well-known than other alumni of Les Ambassadeurs du Motel, and there are two cuts from his solo venture (Ampsa, 1978) presented here, bracketing the whole package: they are in a steaming R&B vein with great organ, congas, funk & rock guitar: a nice change from Afrobeat. "Fama Allah" made me think of "You keep me hanging on" as covered by Vanilla Fudge. His band L'Eclipse consisted of some of his blind students from L'Institut des Jeunes Aveugles in Bamako, including Amadou (on guitar) and Mariam (on vocals) who later had a successful breakout career in Europe and America. Back then, the European and American influences were grafted onto traditional melodies and lyrics, though occasionally some broke from tradition, like Sory Bamba whose hit "Ya Yoroba" celebrated women with large breasts. With his swirling electric organ, his group, Kanaga de Mopti, were compared to Pink Floyd. Super Djata had a wider repertoire, stylistically, than the other bands and also came to their peak powers during the 80s when the other big name bands -- Les Ambassadeurs and Rail Band -- were dropping off in popularity. In addition to Rail Band's Djelimady Tounkara and Super Biton's Mama Sissoko, Super Djata's Zani Diabaté is one of the great African guitarists. Compared to Magic Sam, Freddie King and even Hendrix, he was also a renowned percussionist and dancer. The booklet shows the covers of five Super Djata LPs that I have never seen, nor heard of before. The three tracks here stand up to the best of Ambassadeurs and the other class acts present. The whole album shows many facets of some musicians as they appeared in different configurations. The producers refer to one of "the heaviest Afro Funk cuts, 'Moko Jolo' of Rail Band" (which is on their 1973 "blue" album, Serie Folk-Rail 1, but not included here). I guess they are leaving some stuff on the side for a further smorgasbord. It's a great jam, but currently only available on a 2011 Japanese import replica CD of the original album which has three other cuts which are not in print. But there's enough here to satisfy you and broaden your collection of fabulous classic Malian music.


This is not the famous all-policewoman band from Guinea called Les Amazones, but a supergroup spearheaded by disco diva Angelique Kidjo with some stellar other women singers in the line-up including Mariam Doumbia, of Amadou and Mariam, and one of Mali's finest singers Kandia Kouyaté (replacing Oumou Sangaré who dropped out). The backing band are in the disco-funk vein and despite the traditional instruments it's more of a European club groove. There's distorted thumb piano, hand percussion mixing with syn-drums, in fact a bit too much going on, including backward-sounding snarly guitar, jazzy vibraphone and home-made pots-n-pans behind the djembe. It makes me think of one of those all-star jams where all the bands get on stage for a big finale to sing "Get up, Stand up for your rights" or "We are the world." Not to say it's a mess, it's just a bit cluttered. Imagine Ethio Jazz and Mbongwana Star with Bootsy and Mad Professor. Now think of a bunch of people who want to be those people all playing simultaneously. They have an abundance of singers: the hard part was finding women instrumentalists, but they recruited Mouneïssa Tandina, a drummer, and Mariam Koné, a guitarist. Like the majority of the band they are Malian. Kidjo comes from Benin, and young singer Nneka is Nigerian: countries where polygamy is common. Most African countries are sexually backward -- girls are subject to genital mutilation for no reason other than evil patriarchal demands, domestic abuse is widespread and rape is a common weapon in war (& even god help us, by UN peacekeepers). The new Amazones' aim is to be a big hit at festivals and raise awareness for the burgeoning feminist movement in Africa. So it's worthy of our support.

WALI (Studio Nomade SNP2014-SD-01/1)

This is a 2014 recording which I've just discovered. It's one of those breathtaking discs which hits the ground at full speed and, if you are not ready, can knock you back. Sory plies the balafon, as well as djembe and back-up singing; "Petit Adama" Diarra plays guitar on three cuts and ngoni on another; Mariam "Baty" Kante is the main singer, with Fanta Camara leading on 4 tracks and singing back-up on the others; "Dartagnan" plays drumkit. There's kora, bass, electric guitar and then in the background some Frenchmen and Slovenians on keyboard, bass, horns and the like. The songs are all traditional, 3 to 5 minutes long, and packed with the classic sounds we love from Mali: the sweet choruses, plangent strings and above all the busy balafon bustling about recklessly and occasionally hitting the one with the kick drum or bass guitar to reassure us they are on the same page. I say traditional, but we also take into account the fact that montuno-style salsa piano has been adopted into the repertoire of West African music for at least half a century now. Carefully planned, right down to the packaging, well arranged and recorded: this is a real find.

DJAMA DJIGUI (Ben BD Production Interntional)

He's called King of the Djely Ngoni and with a name like Jimi you can expect some instrumental pyrotechnics on here. There' a guest artist (presumably the singer) named Fea. Other than that I have no info on this release except a 2016 date. There's typical Malian instrumentation: sokou (horsehair fiddle) played, I assume, by the great Zoumana Tereta, slapped calabash and Sissoko ripping out the riffs on his small ax. The lead cut, "Nama" winds up and up and in the last minute an electric guitar on fuzztone setting starts blazing to push it that bit further into the eaves. There are two talking drums dueling on the second cut (I believe Djimé is on one of them) and the fuzztone guitar returns on "Massani Cissé" but it's clear the Ngoni is the lead instrument. On "Badjourou" he brings in kora, could it be Ballaké Sissoko? I didn't get any info with this but a web search reveals Djimé is the younger brother of Baba Sissoko, a famous tamani drummer. The drum solos make a nice counterpoint to the instrumental work as well as the variations between the traditional instruments showcased here.

JAMAL (Studio Mali Recordings)

Alkibar Junior sounds comforting to me as a member of the drinking classes, and their music has the familiar strains of Niafunké which is the funky roots music of Timbuktu, Mali. There's that lovely dissonant horsehair fiddle on here in counterpoint to the crisp acoustic guitar, which is played by Diadié Bocoum, younger brother of Afel Bocoum. Singer Sekou Touré was a member of Ali Farka Touré's entourage. When the jihadis invaded their land in 2012 many people fled but the band members remained at home, practicing secretly in their bedrooms while outwardly looking like collaborators: growing their beards and tending their rice paddies. Like other recent traditional Malian music, post-Ali Farka, there are strong elements of rock and blues, especially when trap drums kick in. Jamal is a collection of praise songs for the various individuals who kept the community together during the past few years of hardship. To reinforce their ranks the band brought in the other members of Ali Farka Touré's band for support and a strong guest list, including Afel Bocoum (who produced), Mamadou Kelly, Hamma Sankaré, and Yoro Cissé; Leila Gobi and Ami Wassidje come in on backing vocals (names that will be familiar from the best albums issued recently by Akwaaba, Clermont, and so on), plus the great Zoumana Tereta who has played sokou (horsehair fiddle) on Bassekou Kouyaté's albums, also appears. I don't think it is hype to say this is destined to become a Malian classic.


Ali Farka Touré named his son, Vieux, or "Old man," which seems a strange name for a lad and one assumes that he will grow into it. Vieux Kanté, however, never got to be a respected elder, dying unexpectedly aged 31 in 2005. He had spent a decade mastering the kamalé ngoni and when he became proficient on it, he decided to expand it by adding more strings. After adding two he added a few more until he had 12 strings on his instrument making it more like a kora. He also worked on his technique, bending notes like a blues guitarist, popping the strings like Larry Graham and damping the strings to create bell-like tones. He could even make them squeak like a cuica! He was well-known in the club scene in Bamako with a regular hotel gig that usually ran into the wee hours, but never got to taste the rewards of international recognition that so many of his countrymen achieve when they are discovered and their music promoted outside Mali. Now posthumous recognition should be his with a fine set of original traditional music performed with a small group comprising electric bass, a djembe drummer and a vocalist, Kabadjan Diakité from the Orch National de Guinée and Super Diata Band of Zani Diabaté, who sings on three tracks. Kanté was born blind and spent a lot of his childhood sitting home with the radio on. He discovered his brothers had a kamalé ngoni (or young man's harp) in their room and soon took to recreating what he heard on the radio on this instrument. I did not know (prior to reading Banning Eyre's liner notes) that this instrument was invented in the 1960s as a smaller version of the hunter's harp, the donson ngoni. As Eyre says, "No Wassoulou music album offers such a variety of rhythms and textures as we hear here." And it is to Eyre's persistence and Stern's action that we can now appreciate this brief gem by a master of Malian music, one who created an instrument to match the music in his head.

DJELY BLUES (Label bleu)

Djelimady is now the elder statesman of Malian music. He has effectively taken up the mantle of Ali Farka Touré and has released a brilliant new solo album, with much less fanfare than surrounded the Donkeyman's later efforts. In the last century Djelimady was the leader of the Super Rail Band, one the legendary Malian bands which launched many stars to international prominence. But of course it was the singers Mory Kanté and Salif Keita everyone noticed, rather than the phenomenal guitarist, who himself was the son of griot praise singers. The Rail Band was founded by saxophonist Tidiani Koné in 1970, but the modest guitarist soon assumed authority. His style was a mix of George Benson and Chuck Berry as the band switched from traditional Mandingue melodies to more Western-oriented rock tunes. Students of guitar will also note elements of Bill Frissell and even the smooth Hank B. Marvin in his playing. But he also picked up a triplet run from his childhood study of the n'goni and adapted it to guitar. In 2001 he released his first solo album Sigui, which won the BBC World Music Award the next year. Solon Kôno followed in 2005. Now after a decade he has brought forth another solid instrumental set with his Les Paul guitar to the fore, but he has not left the acoustic sound behind. He is backed by acoustic guitar and light percussion: Sayon Camara plays rhythm and Yacouba Sissoko is on calabash. There's also Samba Kanté on electric bass. The "Blues" of the title is evident in his diminished chord runs. But there's also the Afro-Cuban element, which came from his youth but then was revived with his involvement with Eliades Ochoa and the Afrocubism project in 2010. And he told me he was inspired by flamenco as a young man: you can tell from the trills and flourishes that augment his playing. Here there's a remake of "Mansa," which was the title track of the Super Rail Band album recorded in 1995. Two or three saxes, two trumpets and three vocalists swelled that opus, not to mention Jean-Philippe Rykiel who snuck in on "claviers" like a drop of bleach in the colored wash. Now it's stripped to essentials. Here Djelimady performs "Sansenesougouro" from the new album.

KOKUMA (Membran)

Kouyaté, Coulibaly, Bah, Sissoko, the names are familiar, even the sound is familiar. Once again I am indebted to muzikifan's Washington DC correspondent for turning me on to a great new release. If you like traditional Malian music, and I know you do, then this will fit your idea of a great time. The musicians used to be Ngoni Ba, the backing band of Bassekou Kouyaté. In 2012 they parted ways with their cousin/uncle/brother and got caught up recording with Brian Eno and Damon Albarn's African Express. Back in Bamako the nine-piece unit has a regularly Saturday night stand at the Maya Hotel, playing their own version of traditional music. There's three or four ngonis (lead, regular, medium bass, and bass ngonis), as you'd expect, shaken clickety percussion -- the beads and gourd thing -- a thumping good calabash as bass beat, two women vocalists and a vibrant groove. Check out how powerful their traditional sound is on this YouTube teaser of a living room rehearsal (crappy camerawork but a real sense of their musical unity). And count the ngonis while you are watching!

WAATI SERA (Studio Mali digital release)

No surprises here! Indeed, it's a smoking hot new album from where else but Mali by an unknown young guitarist. Actually he is not totally unknown, but I missed his 2010 album Kassa (Makasound) and his breakout performance on the "Vegetable in the Dessert" compilation because I was too busy yelling at Robert Plant, Justin Adams and Blackfire to get off the stage. Yalomba is in the Bombino camp, open-ended jamming in the key of G (it sounds like) with a deep thudding backing band featuring trap drums and electric bass alongside a sampling of traditional instruments, but the overall sound is rock n roll. He is aiming for danceable Afro-Pop. Yaloma, a Bambara, is also a virtuoso player of n'goni and n'dan, relatives of the guitar, and his passionate performance guarantees him a spot in any line-up of Malian stars. He sings well in five languages as he also balances ngoni with electric and acoustic guitar, congas with xylophone and electronic beats. He believes, since the populace of Mali is largely illiterate, it is up to musicians to provide information and education and protect cultural traditions and values. The title track is reggae but don't let that discourage you. He is backed by Groupe Bwanzan on "Mali Za" one of the standout tracks but otherwise gives us a superb set of blazing guitar and impassioned vocals.


The new Kandia Kouyaté album went straight to the top of Stern's new release charts, which is a sign that there is continued, even growing interest in Malian traditional music. Ever since Oumou Sangaré stormed into our consciousness in 1990 we have seen a steady flow of fine female praise-singers, from Nahawa Doumbia to Dienaba Diakité, to Sabré Soumano, Sali Sidibe, Coumba Sidibe, and that's only a few of the myriad performers. A lot of attention went into this fine production: there's a variety of instruments and styles behind Kouyaté. When still only 20 she gave a private recital that circulated on cassette causing her reputation to precede her, followed by gifts of cash, gold and even new cars -- one enthusiast put a private jet at her disposal. I am assuming that her patrons get more than a thrill from hearing her voice, maybe they attach some spiritual significance to getting a namecheck in her song. Despite touring to Europe and the USA she was still not well known because she refused to record and was only known to insiders via bootleg cassettes of her live performances. Things changed when she was invited to sing on Sekouba "Bambino" Diabaté's 1997 album Kassa (Stern's). However, after a few early recordings for Ibrahim Sylla, released by Stern's, she suffered a stroke. She did not sing or even speak for seven years, but, at the end of his life, Sylla persuaded her to return to the studio in 2011 and create this album which took four years to come to fruition. The backing is mostly acoustic, with balafon, kora and guitars. Her song about ill-health, "Sadjouhoulé," can be seen here.

LOST IN MALI (Riverboat Records)

World Music Network's Riverboat subsidiary has launched a new series called "Lost in..." and this one, Lost in Mali is a great start. Instead of sampling the latest albums from Bassekou Kouyaté, Boubacar Traoré, Vieux Farka Touré or others, and remixing a set that would be very familiar to our ears, they have launched forth in quest of the unheard. The result is a fabulous tapestry of the sounds of the streets and salons of Mali from Bamako to Tombouctou. While there's no obvious successor to Rokia Traore or Oumou Sangaré on here, there is Petit Goro or Barou Drame who could emerge and fill the void left by Issa Bagayogo. One of the two producers manages Anansy Cissé and Samba Touré, so is out there on a professional basis looking for the next artist to click. The other runs a recording studio and label based in Bamako. It's a solid line-up as demonstrated in track after track. The levels of quality in the songwriting, production and performance are high and renewed indications that traditions are holding strong in Mali. I'm no expert but I think I hear a hunter's song in here. There are odd hits of rock guitar but fast clipped ngoni with hand percussion and kora are still to the fore. Fine sequencing and a truly great album.


This is only the second collaboration between these two: the producer Ségal who plays cello and legendary Malian kora player Ballaké Sissoko. It's another mellow outing with the two instruments perfectly complementing one another. The first half of the album was recorded live on Sissoko's roof, then a few days later they went into the studio to wax the rest. There is a lot of understanding in the give and take between them: tempo changes are surprising but only to us. It's been six years since their previous duets on Chamber Music. But we should count their appearance on Kasse Mady Diabaté's Kirike as another encounter, and Ségal also showed up on Sissoko's solo album At Peace. Between times he has also added his cello to recordings by Elvis Costello, Sting, Cesaria Evora, and Carlinhos Brown. Sissoko has worked with Toumani Diabaté, Taj Mahal, Rokia Traoré, and others. After years of touring the previous, very successful album, their collaborations have gained in strength: there are no other instruments but in the ambient night sounds you begin to imagine birds (maybe that owl hoot is real), flutes and other strings. Both are classically trained, Ségal brings Bach's baroque chamber confidence as well as jazzy bass-plucking chops and when he drops to bowed continuo, Sissoko knows where to bring the fire. Babani Kone sings on one track, though I would not have minded if they had left it entirely instrumental. You would not expect Bamako to be this quiet at night, but maybe the magical lullaby worked to lull everyone into a happy dream.

REBIRTH (World Village)

A new release from Les Ambassadeurs is cause for celebration. They evolved from other supergroups in Mali "back in the day"-- the mid-70s -- and subsequently went their own ways in the mid-80s. In the late 70s they were the trendsetters, swinging from James Brown funk grooves to Cuban cha-chas but always keeping their folklore in mind, particularly in the vocal styles. Notably from their ranks, Salif Keita moved to Paris and international fame. Cheikh Tidiani Seck was another member with a solid musical career, known today for producing the exceptional Hank Jones meets the Mandinkas album, Sarala. Most of them continued in music and when they ease into a brief set of their hits, it's a joy as rich familiar sounds emanate from the virtual grooves. "Mali denou" was a 1977 track on Les Ambassadeurs vol 1 from Sonafric and also kicked off CD2 of Stern's indispensable box set. "Tiecolomba Hé (Hoodlums)" from vol 2 was also on the Stern's compilation and had Idrissa Soumaro singing, rather than Salif Keita. He is back, singing and playing organ. "4V" didn't make the cut for the Stern's collection, but you may have the original take on Mandjou which came out (in Europe) on Celluloid in 1978. It's a Manfila Kanté composition. He was the guitarist (originally from Guinée) and I am not sure he is still with us. (Guenter Gretz tracked him down for Kankan Blues and Back to Farabanah in 1987.) Guitar is played by Ousmane Kouyaté who rips out some amazing licks right from the get-go. He was one of three original guitarists (the third was Amadou Bagayogo, who now performs as Amadou and Mariam). Ever since Les Ambassadeurs' day Kouyaté has been Salif's right-hand musician. Sekou Diabaté is back on bass. "Seydou" appeared on a Badmos LP issued in Cote d'Ivoire in 1980 and was collected in France on a Universal Music compilation. These are new recordings, however they have lost none of the old magic: in fact, sonically they are wonderful, you can hear so much in them, every percussive nuance, and Salif still pours it on passionately. I am guessing a tour and further recordings are planned.

ONE NIGHT ON EARTH (Matsuli Music)

This is rather mindblowing. Look at the cover: there's a white guy pondering a six-string guitar (count the tuning pegs, there are six). Now listen to it -- there's a sample on the Matsuli page. What do you hear? Why, the familiar plangent tones of a kora! The kora has twenty-one strings and is played with both hands, thumb and index finger plucking out patterns that create polyrhythmic runs, not unlike a thumb piano. The music is not written down but passed on from generation to generation in the griot families of West Africa. What Derek Gripper has done -- and it is really amazing -- is figure out how to get the same sound out of a six-string guitar and by jove he pulls it off with aplomb. Gripper hails from South Africa and has explored a lot of different world music in his twenty years as a guitarist, including Indian and European classical music and pop styles from Cape Town and Brasil. Here he takes some compositions by Toumani Diabaté and rips through them in one long session (hence the title). The production preserves the atmosphere. Gripper tried transcribing parts of the music from Toumani's albums then decided he needed to improvise himself, to connect the dots. Each time he played he found new directions in the music and was able to create his own interpretations of the pieces instead of just mimicking the originals. Toumani himself is a major figure in world music. From a long line of griots, he recorded the first solo kora album in 1970 and at the time critics compared him to Segovia. Like Ravi Shankar he never repeats himself, but creates endless variations on every traditional piece he performs. When the composer heard these recordings in a radio interview he asked the DJ Lucy Duran to confirm she had seen the player do this on just one guitar. What Gripper discovered in transcribing Diabaté's performances was that the counterpoint of harmonic movement over a fixed bass pattern created the illusion of multiple voices and, like Bach's fugues, the melodic ideas swing against the structure, coming in the offbeat to give the impression of total fluidity. We are fortunate that Bach had the mathematical genius to transcribe what he was doing, but when he was just jamming up in the organ loft there is no doubt he was playing jazz. Years of practice and a true musical gift give some rare individuals the ability to transform this mechanical process into magic and Gripper's tribute to Diabaté certainly reaches that level.

BA POWER (glitterbeat)

This is fantastic, a massive line-up of talented ngoni players who hit the ground running and don't let up. Kouyaté has added even more ngonis, it seems, to his band so it is like a whole orchestra of them in all shapes and sizes -- five of them (lead, three medium and bass) with an added guest kamale ngoni on four cuts. Kouyaté's wife, Amy Sacko, sings lead and backing vocals and there is a roster of additional guests including fab muted trumpet on the second track played by David Jahr. This is the group's fourth album and they started well and got better as they have grown in confidence. Despite the intensity, there is still air in the sound so you can hear the percussion and little touches like the slide guitar on track 3, which is a ghostly whisper in the background behind the array of plinked ngonis. The tempos change and you even get a suggestion of a Bach fugue on track 6, "Waati." I swear I hear electric guitar all over this album, though there's only a couple of guests listed on individual tracks such as when Samba Touré adds electric guitar on "Fama magni." So I guess it's Bassekou using an effects pedal to blaze Hendrix-like on the proceedings. Touré is on the same label and so, oddly are Eno and Hassell. Hassell adds keyboard and trumpet in a couple of places. There's also the soku, or horsehair fiddle of Zoumana Tereta who pops up in all the right places, or albums. This is a great set. I didn't want it to end, but finally they bring it down to a slow number and go quietly off into the night.

GANDADIKO (Glitterbeat)

Samba Touré is a(nother) Malian guitar slinger. I liked his previous album Albala, which was recorded two years ago when the fundamentalist Islamic a**holistas had rampaged across Northern Mali while Bamako, the capital, suffered another military coup in the ensuing chaos. Samba Touré is back with a cool approach: his guitar slides in with some alternately snaky and atmospheric effects and a fine production that is best described as smoldering. His ngoni player, Djimé Sissoko is back, and this time he has added a roster of percussionists, as well as a sokou, played by Adama Sidibé -- replacing Zoumana Tereta who guested on the last album. Sidibé also plays the monostringed njurkel. Plus there's electric bass, and a guest Tuareg guitarist, Ahmed Ag Kaedi, who jumps in on the last cut, though mainly it's Samba multitracking. It's a great line-up: there's a lot happening, but it's all clearly defined. The recording was done by Philipe Sanmiguel and Konan Kouassi at Akan Studio Bamako. Touré sings about the general plight of Malians today as well as hopes for reconstruction. It is somewhat optimistic but a dark tone pervades: the title translates as "Land of Drought." The familiar context is laid-back blues guitar with some virulent Malian bursts from the ngoni and sokou in counterpoint, and the occasional twist to rock. This is the most wonderful development to come from the return of (the sound of) John Lee Hooker, Freddy King and Co to West Africa. It's a sharp and varied recording and if you are looking for some exciting new (but familiar) music from Mali, look no further.

MBALIMAOU (Lusafrica 762052)

This is Boubacar Traoré's third album on Lusafrica but the latest in a long string of hits that go back to the early days of recorded popular music in Mali when he had a big hit with "Kar Kar" in the 1960s. He did drop out for thirty years or so but came back in the 21st century as strong as ever, with his fine guitarwork, rough-hewn voice and melancholy lyrics. Now in his 70s, he took his bluesy voice into Studio Bogolan in Bamako with some much younger traditional musicians, including Oumar Kouyaté on ngoni, Babah Koné on calabash, and Yacouba Sissoko on karignan (metal guiro, or scraper). Ballaké Sissoko adds kora to a few numbers and the one-stringed horsehair sokou fiddle can be heard, played by Soumilah Diabaté on a couple of others. Then there's the French contingent: Vincent Bucher on harmonica and Fabrice Thompson who is busily excellent on percussion. If I had to use one word to sum up this album, I would say it's "stately." It's laid back with fine playing, and well recorded, but has none of the fireworks that animate the young contenders. The lyrics are included in French and English translation.

BAMAKO TODAY (Buda musique 3796618)

It takes a lot for a new artist to get attention in the media. Ironically this may be even harder for artist from Mali since that country has produced a whole new generation of fantastic artists since the death of Ali Farka Touré a decade ago, in addition to wider recognition for the legendary guitarist's contemporaries and collaborators. Listing the credits of performers can help but Westerners tend to confuse the various griot families of Sissoko, Koné, Diakité and so on. One name on here doesn't sound Malian and that is Aymeric Krol. He is the Frenchman of the group, and the drummer, playing traps alongside the traditional West African drums, djembe (slapped) and dunun khassonké (bass drum, beaten). There are also two six-stringed ngonis from the Donso region in Wassoulou. So the line up is mostly traditional. Then there are two guests, playing electric guitar on two tracks and acoustic guitar on one track. It's unusual to mix the guitar with the ngoni but here it is. Also the acoustic guitarist, Piers Faccini, insists on singing on his track "Donsulu" which starts out fine, but then goes off a cliff when he starts in with his sodden Incredible String Band impersonation. For me the ngoni doesn't need a guitar and there's no bass either, since the drummer has a strong kick on his bass drum. Unfortunately there is no explanation of the songs on here, however there is a bonus DVD and when I get around to watching it, it may elucidate what is going on. The music stands on its own. This is a tight ensemble and a lively engaging set.

KIRIKE (No Format! NOF26)

There was a time when I mainly listened to Congolese music (so much in fact my girlfriend thought of starting a Soukous Widows' Society), then Cuban music took hold and it seems lately the best stuff coming out as new music is Malian. Yes Guinea, Senegal, Colombia still get time on the turntable, with Jamaica, Ghana, Cabo Verde and India close to hand, but in terms of stuff coming in over the transom I find the Malians consistently good: their musicians are top flight, their singers and songs engaging, and their rhythms put me in a happy frame of mind. Kasse Mady is one of the older griots from a distinguished family. His voice reminds me of Salif Keita's at times. He has appeared with fusion groups as well as Afrocubism and the Symmetric Orchestra of kora player Toumani Diabaté. The ensemble here is more stripped down and there's no acoustic or electric guitars: just balafon, ngoni and kora (Ballaké Sissoko on two tracks, early and late in the set as a bracketing device), while producer Vincent Segal (who also appears on Ballaké Sissoko's At Peace) plays cello to give us a resonant bass line. Makan Tounkara is featured on ngoni (his own album of traditional music appeared from Buda and, like Ballaké Sissoko's, garnered a most favorable review here). Lansiné Kouyaté has also backed Toumani Diabaté and he appeared on Kasse Mady's Kela Tradition album, which Stern's issued in 1990. He is elegantly understated here, playing what seems at times to be a muted balafon, behind Tounkara's ngoni solos. These guys have grown up together since their youth in the National Instrumental Ensemble of Mali and have mellowed in unison. They no longer need Taj Mahal to raise their profile (that album with Taj Mahal was cited by President Obama as one of his favorites), and give us a delightful hour of chamber music from the soul of Africa.


When you have one of those "who are the greatest guitarists" conversations with your music buddies you are often surprised by how many names from West Africa crop up, not just in the context of Franco and Nico, but in global big leagues with James Hendrix, Jeffrey Beck, Francisco Gomes (aka Paco de Lucia) and John McLaughlin. Now to the list of Djelimady Tounkara, Mama Sissoko, Sekou Diabaté, Lobi Traoré and Barthelemy Attisso, we need to add Djessou Mory Kanté. He's not the Mory Kanté of Rail Band who went to Paris and hit big with "Yéké yéké," but in fact the younger brother of Les Ambassadeurs' guitarist Kanté Manfila. That bona fide legend Djelimady Tounkara shows up to trade licks on two cuts, but Djessou is in control and has opted not to have singers on here (he has backed both Salif Keita and Sékouba Bambino on recent hit albums) but goes instead for a more laid-back instrumental set that showcases the musicianship of a group that embrace the traditional sounds of Mali and Guinea. It's the best traditional West African album in ages and reminds me in places of the incredible Hank Jones meets Cheick Tidiane Seck and the Mandinkas album Sarala, on which his big brother appeared. There is organ on here as well as balafon (which is not credited, so may be sampled on the keyboards?), and also fine jazzy bass (Kerfala Kanté) and a top notch kamala ngoni, played by Harouna Samaké. Small details, such as the ending of "Djandjo," show how well recorded it is: as the track fades we are left with the djembe player and the balafon trading licks and you immediately want to turn it up to catch the dying glow of their little exchange. It's been too long since his earlier release, Guitar Sèche on Popular African Music from 1998. This Sterns release will certainly jump-start his career.

TOUNKA (self-produced)

Recent events have stirred the furor about the actual monetary value of music in the internet age. A decade ago the Irish rock-megaliths U2 had an album that snuck out somehow and caused problems (sorry to be vague about this, I know Bono jokes but don't really know his music) because eager pirates undercut the sales. So this time out Apple decided to give the new U2 album away free, and since I have the evil iTunes installed on my computer, it showed up uninvited in my "purchased music" folder, which is a joke because a) they don't have anything I would want to purchase and b) their bitrate quality is crap, so I simply deleted it all unheard. But the U2 = spam backlash was fierce. Because people are so turned off by Apple's marketing, many don't know that for their sins iTunes have also been hosting a live concert series, and I was able to watch a live performance by Chrissie Hynde at the Roundhouse in London (where I saw Soft Machine in 1968) and it was smoking (If you have iTunes you can still see one song from that concert on line, under iTunes Festival 2014). iTunes' line up has been pretty uninspired: tired acts like Blondie or Flaccid Old Domingo or that flash-in-the-pan joker in the mountie hat, when they could have made a splash with say Rokia Traore, or Nakany Kanté, heard here. I guess they need Google Play's Rob Leaver on their programming staff. On the other hand I have scores of acts clamoring to get my attention, with pitches and downloads of varying quality, in the hopes that the blessing of muzikifan will guide them to the top of the world music charts, which are diligently compiled by gnomes in Zurich and then broadcast, vaporishly, into subterranean grottos in the Swiss alps to reappear in unexpected locales. Anyway, regular North American correspondent Ken A sent a link to this artist Nakany Kanté. A Malian singer living in Barcelona, she has released a new album called Tounka, which you can preview on YouTube and download for free from bandcamp (link above). This is one I think you will want to keep. It is excellent traditional West African music, featuring kora, balafon, sax, guitar, kit drums and bass. Get it while you can, keep it, cherish it, play it often and pay for a ticket to see her if she ever shows up in your neighborhood.


Wittgenstein, I think it was, once said, "The piece of music must be played backwards for the spell to be broken." I don't think he was referring to literally spinning discs backwards looking for signs that "Paul is dead," or whatever, but that you have to change perspective to understand things. If we look at the career of Salif Keita it's good to see it in the context of his early work with the Rail Band and his long stint with Les Ambassadeurs which, in many ways, foreshadowed his solo career once he moved to Paris. The late Ambassadeurs work was very sleek and set the groundwork for the "Paris sheen" that was manifest on Soro, his huge worldwide hit. That album was a magnificent achievement but once other artist started to emulate it, with synth washes and studio effects, we lost a lot of the "realness" of African music and it moved to a musically generalized mush so you couldn't tell if an artist was from Cameroun, Mali, Congo, or had even been there. But Keita subsequently returned to some of the more folkloric sounds (e.g., in his album Folon) that marked his early career and his outstanding collaborations with Kanté Manfila, the guitarist. After his debut with the Rail Band he moved from the station to the motel. The Rail Band was based in the buffet bar of the Bamako railway station hotel, but a rich member of the military junta lured Manfila and Keita away to play at the more upscale motel across town, and thus Les Ambassadeurs du Motel were born (with an equally improbable name as their predecessors and now rivals). And they really became Ambassadeurs once they toured neighboring countries: they did come from Senegal and Guinea as well as Mali, so the diplomatic tag fit. A retrospective look back at Salif and Les Ambassadeurs allows us to see how threads of the traditional music became modernized and set the stage for later innovations. In addition to Kanté Manfila, the founding leader, the big boss lured in the cream of Malian musicians. (N.B. Kanté Manfila, the guitarist, must not be confused with his cousins of the same name. One was a singer with Balla et ses Balladins, known as "Soba," another - "Dabadou" - sang with Keletigui.) Salif was not the only vocalist, in fact he was the junior member. Beidy Sacko sang the Afro-Cuban songs (covers of Celia Cruz and Orquesta Aragon), Moussa Doumbia was the R&B specialist, and Ousmane Dia, formerly of the Star Band de Dakar, sang the Wolof hits. In addition we find, in one band, the great multi-instrumentalist Keletigui Diabaté and guitarists Amadou Bagayoko (later of Amadou & Mariam fame) and Ousmane Kouyaté. The songs, from 1975 to 77, have been compiled from scarce albums released on the SonAfric label in France. In addition to their three LPs they issued half a dozen singles, also collected here (though all but one, "Mana Mana" b/w "Ambassadeur," were gathered on the LPs 50.014; 50.030; 50.031, according to Stefan Werdekker of WorldService). A couple of reviewers have complained that they have been EQ-ed too much (one wrote "the quality of the releases is shameful -- spelling errors galore, cheap production, and a terrible flat sound that some tone-deaf fool has applied AFTER the recordings were made. Those Syliphone re-issues are a case in point..."), but a bigger issue is the bonus material. Two tracks have been added from Radio Mali broadcast tapes. The question the experts are posing is, Is it even Les Ambassadeurs? They could be by Keletigui, Bembeya Jazz or some other Guinean band. Nevertheless, for those who don't have the original vinyl, this is a superb set: the first disc is all Salif singing; but the second disc, which also features the other vocalists, really catches fire, opening with a ten minute workout in griot mode, before we jump into one of their R&B rave-ups, "M'bouran Moussou." The organ, played by Idrissa Soumaoro, is more prominent on the second disc, and we also get some trumpet-led descargas and the Latin soul of Ousmane Dia. His "Fatema," especially, is sparking. The flute and violin (uncredited) have been studying Afro-Charanga and stand alongside contemporaries like Nestor Torres, José Fajardo, Eddie Palmieri, Alfredo de la Fé and others. In a military purge in February 1978 the Motel's patron was imprisoned so the patronage vanished, and the majority of the band moved to Abidjan and regrouped as Les Ambassadeurs Internationaux. But here we have the fruit of their two years performing under the thatched cabanas on the banks of the Niger.

ADDOH (Clermont Music)

West African electric guitar. Killer grooves. Solid guest line-up. I know, I know, I've said this before but countries undergoing strife and tribulation produce the best music, and Mali is really on fire right now, both in terms of book burnings and crazy wild guitar bands cutting out of the desert and finding the cool of a recording studio (in this case in New York) to release their pent-up rage and energy. Oumar Konaté is a young virtuoso who has broken out from Khaira Arby's band to take the world by storm. As a teen he joined the National Orchestra of Gao, from where he went on to the National Institute of Arts in Bamako, before playing behind such luminaries as Vieux and Sidi Touré. His international debut is solid and rocking. Professor Louie (from Woodstock, who has backed various members of The Band) cranks up the Hammond B-3 to good effect and there's a smoky lead guitar on "Bismillah (Welcome)" followed by a track that sounds a lot like Ali Farka, with bright metallic lead on Ibanez (a Stratocaster copy?) that includes Zoumana Tereta, longtime sideman on all the best Malian sessions, on "traditional violin" which is of course his one-string horsetail soku fiddle, sawing away on "Ir ganda hassara (Our country is destroyed)" which runs the litany of places -- Gao, Kidal, Timbuktu -- that have been Zerstört by the Fukwit Brotherhood of Islam. "Laissez nous tranquille (leave us alone)" relies a little too much on effects pedals: they ALL seem to be on. I envision Konaté with one foot up on a Marshall amp, posturing in the Rock God stance, then a mirror pivots in and we see countless versions of him receding to infinity, all posing in silhouette. Yes, Clapton never did this, but I don't think he multitracked this much either. Konaté is a bit more selective on the next two tracks which put his voice to the fore. "Ma cherie (Baby don't do me wrong)" is not only a good blues but has a convincing but restrained Muscle Shoals horn section (courtesy of the Ethio-American Debo Band) wringing the harmony. But then "Allahidou (The Oath)" is also over-the-top: again he goes for the "stadium rock" setting and starts at blazing outtro pace. On the other hand when he picks acoustically, as on "Haira (Respect your parents)" you can tell he knows his chops, so though this album tries on many styles musically it's well worth a listen.

MALI OVERDRIVE (Riverboat Records TUGCD 1079)

Are you tired of "desert blues" yet? Well here's a fresh disc that will make your ears perk up. Originally based in Diré in Northern Mali, Anansy Cissé wrote songs and gave them to others to perform, being happy to engineer and record them. But Cissé had to dismantle his home studio and move south to Bamako, the capital, when the rampaging fundamentalists showed up across the desert after the fall of Libya (and you know which part of the anatomy is the fundament, right?). There he met Philippe Sanmiguel who persuaded him to record some of his compositions himself, so Cissé called in his friends to accompany him on ngoni and calabash. He was also able to get Zoumana Tereta, the master of the plaintive horsehair fiddle, or soku, to add his talents to the session. While his main inspiration is traditional music of the Fulani and Songhai peoples, Cissé is also an avid listener to the Stones, Pink Floyd, Led Zep and Crosby, Stills, Nash and Young, so that modernity and traditions collide in his music. It's really wonderful to hear his effects-laden electric guitar soaring over the ancient voices of slapped calabash, bass and riffing ngonis (there are two on here). Lacking anything else compelling in my new CD pile I have been playing it several times a day. Fans of the late Ali Farka Touré, who wonder where Malian music could go, will be heartened by this departure. There are no tricks, but Cissé has sampled a speech by Nelson Mandela to add some English-language context for his non-Malian listeners.


I've said it before and I will repeat myself here: Mali is the default destination for African music right now. Rough Guide is the latest label to take us to the desert and desert us in the dunes for out just desserts. For their second trip to the landlocked nation, they've put together many of the current crop of great Malian musicians, mercifully light on the sound-alike Toureg guitar bands, and focussed on some lyrical and musically inventive artists. The trip kicks off with "Jama ko," the title cut of Bassekou Kouyate's last album with his group Ngoni Ba. Jammin'! The big names are here: Oumou Sangaré and Ali Farka Touré, and since they are digging back into the past for the late A .F. Touré I wish they'd included Issa Bagayogo who made a splash with his techno albums about the turn of the century. Maybe the licensing was too steep; most of the tunes come from the World Circuit or Cobalt labels. There is one Yves Wernert-produced track from 1998, "Na" by Ramata Diakité. We are also deprived of the lovely songstress Rokia Traore, who'd be first choice on any Mali comp I put together. The compilers also miss the oomph of Super Biton or Super Rail Band but opt instead for smaller ensembles -- more of the chamber music sound. But for me the great bands, like Toure Kunda and Ambassadeurs with Salif Keita, and especially the many regional bands that came up in the 1970s, defined the Malian sound as it emerged in our consciousness. However for a purely big band Mali comp there was African Pearls: Mali 70 that came out in 2008. The darlings of the labels for big bands these days are the Toureg bands with their open-tuning jams, featuring lots of Space Echo on the guitars and a twin-pronged lead in left and right channels: stoners must love it (Especially since the Allman Brothers are retiring this year!). Here Terakaft dose us with a cut from their Kel Tamasheq album which is great in a small hit. I rate Bombino and Tal National above all these bands, but they are from Niger, not Mali (What do we call them? Nigerois?) Current big names on the Malian scene, Khaira Arby and Fatou Diawara, are also well represented. But the older songstresses, like Nahawa Doumbia and Oumou Sangaré also hold up their end. Among the many great selections on here is Keba Solo. You may not want to hear a whole album of xylophone but the lead off track from his Kene Balafons CD is very enticing.

The bonus disc is also exceptional. It is the debut release of Samba Touré, titled Songhai Blues: Homage to Ali Farka Touré, which came out in 2009. I had not heard it before, but his third album made my top ten last year, so I am glad to hear more of his fine guitar and solid ensemble, with bass, spike fiddle, calabash and vocals. I am guessing it's Zoumana Tereta on the horsehair one-string who is in ripping fine form.

KEME BORAMA (Kanaga System Krush)

Tiécoro (pronounced Cheeko-ro) is a Malian griot (sometimes, when they are feeling perky, they are called jalis), a praise singer who sings and accompanies himself on acoustic guitar. Sissoko, brother of Djelimadi Sissoko, often played alongside kora player Toumani Diabaté at the Diplomat nightclub in Bamako until his death in 2012. Although this is his only recording it shows he fits into a long and rich tradition of story-tellers from the Kayes region. The simple guitar-accompanied tracks show what a fine guitarists Sissoko was, throwing in fills that show the influence of years jamming with kora players. "Ti ta ti" is his take on the traditional love song "Jarabi," and one of the highlights of this disc. There has been a spotlight on Mali in the last couple of years since the collapse of Libya and the arrival of fundamentalists across the Sahara who want to abolish sex, fun and music. Poets are witnesses of their time, they relate histories but they also comment on important current events, so it probably wont be long until some griot has the nerve to relate the story of the destruction of books and reign of terror of Muslim extremists in Northern Mali. In his life Sissoko also played alongside the legendary Zani Diabaté. Mali has received a lot of attention lately, and since Ali Farka Touré's breakout in the late 1980s a lot of music has made it to the West, but there is centuries of tradition behind this musical culture. There's a wonderful, well made short documentary about Sissoko and his music that KSK has uploaded to youtube here.

TAMALA (Akwaaba Music AKW047)

Some artists spend their formative years writing material then go into the studio and cut a great debut album. Aminata Traoré has been laying down tracks for over a decade, so some of the music on this, her debut album, has been hidden for 14 years, but it is consistently excellent. As we begin to understand the ethnic differences in the vast area of Mali we learn that the Songhai come from the north where the capital is the legendary city of Timbuktu. Obviously that is no longer a safe place for a woman musician so Aminata has moved to Bamako where she honed her talents backing well-known performers like Khaira Arby and Afel Bocoum. She self-produced this album with help from Mamadou Kelly. It is a traditional album realized in a contemporary musical context, aimed primarily at the domestic Malian market, and not at the Western market particularly. There's a full band backing her vocals, with electric guitar, ngoni, njarka, trap drums, bass and percussion. For some reason all the tracks are 4 and a half minutes long, as if they decided that was the optimum length, or the limits of attention, then they fade out. Still, there is a high level of talent evident here and some trippy beats, as on "Un jour," which is not your everyday Malian groove.


Rokia has five or 6 albums under her belt now, but none are as consistently brilliant as her first two CDs, Wanita and Mouneissa on the Indigo label. They were sweet, beautifully sung and backed her guitar backed with balafon, calabash and ngonis. Touring and performing for over a decade has sharpened her delivery, given her a more rock sensibility, while moving back to Bamako from Belgium has refocused her on her own culture. Consequently most of her new album is top class, balancing her acoustic guitar with bass and drums and the odd interjection from ngoni. Her band is in top form, especially Mamah Diabaté, on ngoni (The others on the album are not in her touring band). They alternate between ballads and rockers, and the ballads have great rhythmic propulsion, nice space for the acoustic bass to come forward and the busy ngoni to embellish the medley. The weak spot is the title cut (despite a power riff that drives it) and the closer "Sarama," in which Rokia sings and raps in English, which is not her forte (despite the earnestness of her message). Sure, she is trying to reach out to a broader audience but people who like Malian music and enjoy listening to it don't care if they cannot follow the meaning. It helps when a song's synopsis is given, and indeed the booklet to this CD includes all the lyrics in English & French translation so you wont miss anything if you want to know. The song "Mélancolie" is in very understandable French, but her English is poorly enunciated and lacks the charm of say Björk's accent. It's funny to imagine her as lonely (the middle of 7 children) but she has moved all over the world with her diplomat father's postings and is caught between many worlds. She's an intelligent and insightful songwriter but her culture expects singers to come from certain social classes and families. She writes about birdsong in the early morning on "Tuit tuit," one of the delights here, and the production also heightens the mood of "N'Teri (Dear friend)," a reflection on the passage of time. Perhaps a spell in New York, Toronto or London would help her English, if that's where she wants to go with her singing, and a live album would broadcast her charismatic appeal to a larger audience.

ADIBAR (Clermont Music)

One of the great things about Malian music is its diversity. The harmonies are often sublime, the tunes intriguing and then you have the added appeal of instruments like the n'goni, ndjarka and the calabash -- they are simple, you might even call them primitive, but in the right hands capable of subtlety. While there is no n'goni, and no programming, this album reminds me of Issa Bagayogo's fine work. The harmonies and propulsion of the songs is interwoven with superb guitar, played by Kelly himself (so deft it sounds as though he has been multi-tracked), who used to be second guitar in Ali Farka Touré's outfit. Brehima Hama Cisse adds ndjarka (one-string spike fiddle) and djourkel, which is a mandolin-like instrument. On percussion we hear Ousmane "Hama" Sankare, who also formed part of the band that backed Ali Farka on his many albums and tours, so the core group has been together and performing professionally for a long time, although very much in the background. They deserve their moment in the spotlight. "Hama" Sankare had a narrow escape when the fundamentalists came to town: they burned his instruments in the street, but he was able to flee to Bamako before they went further and cut off his hands. The French army restored order in Northern Mali but the Malians need to return to sanity and a normal way of life without fear of extremists. Kelly's men are joined by Baba Traore, a young and talented bass player. While the songs concern everyday events, like going from town to town looking for work, they are really about universal issues: keeping your cool in a country that has fallen apart, while a song about taunting the poor and disabled is a call for tolerance. Enjoy a set of pure acoustic Malian music: it is lovely.

ALAFIA (Thrill Jockey Thrill 247)

This is a fine, first class session of traditional Malian music. Sidi is a singer-songwriter in that rich tradition. He thanks National Badema, though there is no suggestion they are on here. He did front the Songhaï Stars early in his career, and has played with Kassemady Diabaté and Bassekou Kouyaté. Early in his career he was regularly compared to Ali Farka Touré, but this is now his third solo album. His last album, Koima, made my top ten last year, so I am glad to hear another set of his consistently great, cooking music. In addition to his guitar there is another acoustic guitar (the exceptional Kalil Touré), an n'goni, electric bass, calabash percussion, call and response vocals, and a brace of kolos on one number (this must be another n'goni-like instrument). During this troubling time for Mali he has been commuting between Bamako and Nantes, France, to make this recording, and writing songs about the ongoing instability and strife in his native land, Songhaï, in Northern Mali. This is fantastically energetic music, Baba Salah plugs in his electric guitar to rip the roof off (it's only thatch) on the second track, "Ay Takamba." Flautist Cheick Diallo as well as some younger talented musicians also appear. The n'goni player, Abdoulaye Koné, gets a lot of space too, making for a well-rounded and varied album.

ALBALA (Glitterbeat GB004 CD)

Now for something completely mellow, or so it seems on the surface. Samba Touré was a member of Ali Farka Touré's band and this is his third album under his own steam with his talented sidemen Djimé Sissoko on n'goni, and Madou Sanogo on congas and djembe. Samba plays electric guitar which makes a nice counterbalance to the quirky banjo-like tones of the n'goni. If you are missing an Ali Farka fix this will do the trick: it's very reminiscent of the great man's recordings. Samba Touré is from Northern Mali and sings in Songhai. As you know Northern Mali is where the deal is going down: fundamentalists, who snuck in from the sands of Libya, are attempting to impose Sharia Law and we know what that means: no music, no education for girls, lots of amputees at the whim of militias and bullsh*t-artists who call themselves Men of God: these evil unwashed pimps even destroy sacred texts in order to keep everyone in ignorance. This is not restricted to Muslims, it's endemic among all sons of Abraham and we must shun extremist Christians and Jews as much as these Muslim fakers. So the songs are dark and mournful, but since I assume you don't understand Songhai, it's like listening to Mississippi Delta blues at low volume. That is to say we love and enjoy Mississippi Delta Blues and even sing along ("With my 22-20, I'll cut that woman half in two . . ." etc) but we don't for one minute associate those lyrics with their true evil import! So I think you can listen to and "enjoy" these songs about Rapists, Thieves and Betrayers. There is also a special appearance by Zoumana Tereta who is the maestro of the one-horse-hair fiddle; he's appeared frequently with the Bassekou Kouyaté group. The album is also infused with atmospherics, courtesy of Hugo Race who is a member of The Bad Seeds (I've never heard of them, but presume more worldly folks have), subtle touches of sounds from synth and treated guitar. He is most noticeable on the last cut, "Bana," which is really trippy with an insistent ominous guitar phrase that gets under your skin.

MON PAYS (Six Degrees)

A friend called to say he had found a great John Lee Hooker album. What's so great about it? I asked. There are no guest stars on it! he replied. It's funny how big name collaborations inevitably fall flat, Muddy Waters or Howlin Wolf expecting the Stones' charisma will give their sound a boost while the guests think that being alongside their legendary heros will carry the event. So I am happy to report no big names on the new Vieux Farka album. His last outing was a wretched collaboration with Idan Raichel that literally sounded like two guys jamming on "open E" endlessly as the tape rolled. I threw it out. Raichel shows up here on piano on one track but is not noticeable. There is a kora player, Sidiki Diabate, who is excellent and the son of Toumani Diabate: so there is a generational connection here as their parents famously collaborated on a couple of Ali Farka's final albums. The album is sincere, and a collection of new songs about the state of things in Mali, a country long celebrated for openness and toleration which has now seen a resurgence of slavery and fundamentalism as Al Quaeda in the Maghreb has started seizing towns and imposing Sharia Law in the north. You can kill fighters but you cannot eradicate fundamentalist belief, so fighting it with song seems like a viable approach. Education vs ignorance, music vs grim recitation. This new album, Mon Pays, is all acoustic (apart from bass guitar) with calabash, occasional djembe and other percussion. Ngoni and kora make excellent contrapuntal balance to Touré's guitarwork in this fine production.