TONY: How can I pick across so many years and so many countries... Mali, Guinea, Guinea Bissau, Gambia, Senegal, Mauritania, Niger, Burkina Faso, Nigeria, Ghana, Benin, Togo, Sierra Leone... do we include Cabo Verde?
It's too much.
Let's just start with Mali, and not even the Tamaschek "desert blues" of northern Mali. This is not an exhaustive list but it does give a good balance of male and female artists, bands and solo artists. Some are well known, others not so much, yet.
You'll tell me that I've missed some absolute classics. But I'm going to (mostly) avoid the bigger names, as they already get the most publicity. Whatever... they're all good! Let's go.
Aminata Wassidjé Traoré, Tamala (Glitterbeat) §.
The perfect balance of traditional and modern. The northern Mali sound of raspy, insistently weaving fiddle, gentle synth, calabash gentle programmed drums, sweet backing singers and an up front vocal. The lead vocal rather than having the big griot sound has a rougher texture and rhythmic delivery, not dissimilar to Nahawa Doumbia, from the south of Mali. Weaving electric guitar and keyboard top off the sound.
Kokanko Sata (Honest Jon's)
Female kamelngoni player. So laid back, unhurried and full of space. Deep vocals and brilliant balafon (the buzzy, raspy wooden xylophone of the region).
Les Yalombas, The Sons of Sanandji (Remote Records).
A whole other less-known musical culture of Mali. There are so many layers in this music. Kind of call and response vocal between the lead and backing singers. Such a variety of bassy stringed instruments, dahn, guitar, kamelngoni, donso n'goni, bolon. We get shifting changes of tempo as the textures of strings pulse and buzz. Djembe, calabash, metal scraper and shaker. Sokou, the Malian fiddle appears on some tracks.
Mah Damba
Strong declamatory praise singer, backed by an acoustic traditional band. The interplay between lead and backing vocals, and with the musicians is great, letting all shine. It's a very accessible album, despite staying deeply rooted in tradition.
Jah Youssouf and Bintou Coulibaby, Sababou (Tall Corn Music).
If you read the information on the Bandcamp page you'll learn of a deeply depressing and tragic impact of poverty. Nevertheless this music is wonderful and a brilliant tribute. A great interplay between two amazing musicians, trading vocals above the subtle bass of the kamelngoni and percussion on calabash. Bintou's voice in particular stretches and floats, weaving patterns. But it's how they seemingly effortlessly fit together that astounds. It reminds me of the amazing interplay between another husband and wife team from Casamance in Senegal, Pascal Diatta and Sona Mane
Zani Diabate, Kaboko (KSK). §
If like me, you know Zani from his electric guitar days with the raucous Super Djata Band, this release is a revelation. He plays acoustic guitar, accompanied by Moudy Sissoko on a second acoustic guitar. The music is beautifully gentle, topped by the delicate voice of Oumou Diabaté. Intimate and relaxed playing and singing, very similar to the gorgeous album by Guinean singer Sona Diabaté backed by Seckou Bembeya.
Mamou Sidibe, Djougouya (Akwasba Music). §
I have it on a CD called Kanakoroto, with the tracks in a different order. Less western than her release on Cobalt, this is roots Wassoulou music: flute played in simple repeating patterns, acoustic and electric guitar, some keyboard and programmed beats. Various percussion move things along, djembe, calabash, tamani and shakers. There's kamelengoni and electric bass. Restrained and beautiful. Or pumping it out on a belter such as Mali Mousso. Her lead vocal is well paced and evocative, with great backing singers.
Gambari Band, Kokuma (Membran). §
All acoustic group of younger musicians with a lot of n'gonis and percussion. Kankou and Massaran Kouyate add lead and backing vocals across the album.
Kankou, Kuma (Cannery Row Records).
A slight oddity. Led by Kankou Kouyate's very distinctive vocal, the music is much more from Western rock and folk. Mark Mulholland plays a variety of guitars: acoustic, electric, slide, and bass, organ, banjo and bouzouki. Behind all this are Olaf Hund's subtle electronic beats. There's also harmonica on a couple of tracks. Kankou's wonderful rich voice is always up front and creates some very gorgeous patterns.
Sahel Roots, Diarka (Mieruba).
Short 5-track release of traditional acoustic music of percussion, soukou (one string violin), djourou kelen and vocals. Alassane Samaké and Adama Sidibé keeping traditions alive.
Mangala Camara, Renaissance (Mieruba).
Acoustic music with guitar, gentle percussion and the intense vocal of Mangala. Bit of kora and flute giving a Cuban flavour. Riffing repeating patterns from African violin shape the track "Tchie ni musso." You may have heard him on the track "Mali Sadjo" on Toumani Diabaté's Symmetric Orchestra release.
Dieneba Seck, Manghoya Foura (Syllart).
Bursts of electric guitar, tinkling of n'goni, djembe and other percussion, keyboards, sweet backing singers. This is the perfect Mali roots pop album. Listen to the amazing djembe playing on final track, "Maremou Soninko."
Awa Poulo, Poulo Warali (Awesome Tapes From Africa).
Peulh (or Fula) music, from the daughter of famous singer Inna Baba Coulibaly. Hypnotic music from a repeating base of n'goni, guitar, flute and one stringed violin soku. The opening track features the vocal of Afel Boucoum. Awa's vocal is sweet and playful, not the style of the big-voiced griots. It's the perfect topping to the gently insistent and grooving music. Something magic happens on a track such as "Noumou Foli," where the music has a bubbling camel walking beat and the vocal glides back and forth.
Sidi Touré, Afrik Toun Mé (Thrill Jockey) §
Thrill Jockey are a record label that seem to have commitment to their artists. They've released five albums by Sidi Touré. The most recent is Afrik Toun Mé, a gorgeous pared-back acoustic recording. Sidi on lead vocals and guitar, with Mamadou Kelly on guitar and vocals, and Boubou Diallo on calabash percussion. It's so accessible: one for your friend who doesn't like anything challenging.
Vieux Farka Toure and Julia Easterlin, Touristes (Six Degrees).
It's such an unusual pairing. Kind of quirky American folk meets Mali roots. Both sides of the pairing hold their own and it really is a perfect meeting of cultures and genres. The opening track "Little Things", based on Malian song "Kaira," has Toure's Malian acoustic guitar in tasty spacious patterns, added to by n'goni and a drum kit with other percussion and a touch of organ. Then in comes a twisting vocal in English, slightly breathy and excited. Other tracks have electric guitar and Toure's vocals, more brass, more swirling organ and Easterlin's ethereal vocals. There are some covers and traditional American tracks on this album. I'm unashamedly ignorant of the originals (life is short and it's impossible to catch up with everything!), one is Bob Dylan's "Masters of War", but I can't judge how the versions compare.
Askia Modibo, Heritage (Mieruba).
Askia Modibo is best known for his Wass Reggae album released on Stern's. This album is rootsier with n'goni, percussion, backing singers and swirling organ. The backing singers are really great, playing a big part in the sound. There's a lighter reggae vibe even with the traditional instruments.
Bamba Wassoulou Groove, Farima (Label Bleu).
Bamba Dembelé was the percussionist in Super Djata Band. Here he brings together a younger generation. Three electric guitars lead the way, with bass, percussion and drums. Lead vocals are by Ousmane Diakité in that urgent Super Djata style. There's also a balafon and backing singers on some of the tracks. Most tracks pick a groove and then whip it along with spiraling guitar and percussion in a Zani Diabaté style.
Doussou Koulibaly, Nantou.
This album has a quiet beauty. Doussou's lead vocal is delicate and almost childlike. Doussou is also a rarity as one of the few female players of the kamelengoni. The band is acoustic and beautifully restrained, with a bubble of tamani drum, shakers and acoustic guitar. Gentle backing vocals add to the initimate and vulnerable sound. It has the openness and charm of early Nahawa Doumbia.
Mamani Keita, Kankou (World Village).
Mamani has a really recognisable voice and pattern of phrasing. You've probably heard her before on the two Tama releases and two Amazones D'Afrique releases, all on Real World. She's also had a number of solo releases; there are two available on No Format. Kanou is a striking album. Mamani's distinctive vocal leads the way, Djeli Moussa Kouyaté adds layers of fuzzing electric guitar, with Moriba Koita on driving n'goni and Madou Koné on percussions. It sounds like there's a bit of keyboard and programmed drums but these aren't credited. Perhaps just considered part of the production. I love the driving beat and clash between tinkling n'goni and wild fuzzy guitar.
Adama Coulibaly, N'goni Fola (KSK).
Solo ten-string kamale ngoni or six-string donso n'goni with karinya metal scraper percussion. Every song sounds as if Oumou Sangare will burst into song! Actually Adama's vocals are quite similar, apart from the donso n'goni tracks, where he sounds like a local cassette of hunters' music.
Editor's note: I believe he is now part of the power trio BKO.
Mamadou Diabate, Douga Mansa (World Village). §
Cousin of Toumani. Here on his second solo release. He also has some amazing albums with a small ensemble. And some great collaborations with Indian musicians and with slide guitar. Douga is a captivating solo kora recording.
Afel Boucoum, Lindé (World Circuit).
Perhaps the last big budget Malian release? There are 14 backing singers credited! This album is quite different to his other albums which are stripped-back northern Mali, in the style of Ali Farka Touré. All of his albums are great by the way, and worth seeking out. On this album though we get quite a variety of sounds on different tracks. Big band Segou de Biton brass style on "Avion"; reggae sound on "Bombolo Liilo". There are so many musicians; violin on some tracks from Joan Wasser of Joan As Policeman, kora on a few tracks from Madou Sidiki Diabaté, many guitarists including Mamadou Kelly and Oumar Konate, a zillion n'goni players, percussionists. Tony Allen adds his skittish drums on "Djougal". It's glorious!
Leila Gobi, 2017 (Clermont Music). §
Leila has a very distinctive nasal voice. I don't mean that to sound rude, it's just quite an unusual vocal sound for western ears. She contributed amazing backing vocals to a couple of Sidi Touré's wonderful albums. Here she leads with a band of guitar, bass and percussion, with a LOT of synth and programmed beats. The combination works really well.
Abdoulaye Kone, Kandiafa (Sans Commentaire)
Abdoulaye Kone has a couple of releases on Sans Commentaire. He's appeared on a few of Sidi Touré's albums. A singer and djeli n'goni player with a liking for American country and the gypsy jazz of Django Reinhardt... hence the album title Mali Country. Kandiafa's n'gonis are joined on various tracks by violin, double bass, calabash and other percussion. Despite the wider influences this is definitely Malian music. 14 tracks over 70 minutes. It's bright, joyful and pleasing. Traditional track "Mouroudjan Foley" is a real stunner of fiery n'goni. "N'goni Play Like Banjo: Feudin' Banjos", is a track that is perfectly described by it's title! Likewise for "N'goni Play Like Oud: Aliham Douli Lay". You can only get the CD, no digital, on Bandcamp.
On Planting Trees, Kandiafa is joined by Canadians Lewis Melville and the Woodchoppers. They bring quite a lot to the party! Pedal, steel, acoustic, electric and "twangy Fender" guitar, mandolin, bass, brass section, piano, organ, mbira, drums and vocals. There's a few more Malian musicians on percussion and guitar. It's apparently a reworked version of the original 2009 release. An unusual fusion. Again it's CD only, no digital, on Bandcamp.
Anansy Cissé, Anoura (Riverboat). §
A great second album on Riverboat Records after his debut Mali Overdrive. The sleeve notes tell us that Anansy gave up making music after "Anansy and several of his band members met an armed group on the road who beat them, broke their instruments and kept them captive..." Thankfully Ansany returned to making music and with a sound that is rooted in tradition. With a backbone of n'goni and calabash percussion, across the top are spacey or fuzzy electric guitar riffs, and occasionally a bit of a dubby sound. Sung in Songhai it has the desert blues vibe of northern Malian music. Zoumana Tereta adds soku, the raspy one-string violin to a couple of tracks.
Samba Toure has quite a few releases. §
A couple on Riverboat, before he switched to Glitterbeat. All are good, so don't hold back. My favourite is probably Gandadiko, a darkly brooding roosty release. Electric guitar washes and pulsing djembe. Trance inducing and hypnotic. Various percussion set up a groove, n'goni and njurka fiddle adding layers of colour.
Namian Sidibé's eponymous release is a beautiful uncluttered affair.
Simply, her strong vocal and one acoustic guitar. It's incredibly brave and confident. Namian's voice is strong and ranges between delicate to strident full-on praise singing. It's entrancing and addictive. A really good sign that Malian culture will continue into the next generation.
Bassidi Koné, Kaira (Remote Records).
Bassidi is an amazing djembe player. The speed and precision of his playing is utterly astonishing. This is the backbone of the music. But there are also loads of guests to add some flavour and broaden the sound. A very Cuban feel with brass section on "An Kan Ben", with Seckou Bah on bass and vocal by Namian Sidibé (see previous entry). Bassekou Kouyaté on n'goni, Kankou Kouyaté on vocals, on the track "Toukarangue". Mamadou Diabaté on kora and Safi Diabaté on vocals on the opening track "Kaira". There's acoustic guitar from Modibo Diabaté, vocals from Namian Sidibé and breathy flute on "Bajuru".
Makan Tounkara, Sodjan (Buda Musique). §
Another brilliant traditional album. Makan plays n'goni and is accompanied by other traditional instruments. A variety of singers add stunning vocals. Each has a distinctive, unique voice. Nana Coulibaly on 2 tracks, Fatoumata Kouyate on 3 tracks, Diibi Kanoute, Gedon Diarra, and Adama Diabate on one track each. "A Ye Willi" bops along like a cool jazz thing, with the bass of n'goni ba, topped by Makan's lead n'goni much closer to a banjo sound, and unusually he adds lead vocals. "N'goni Kan" is a solo instrumental piece which really demonstrates the complexity of sounds that Makan can create from plucking and bending the strings. "N'ganou" is another tasty track. The pulsing n'goni ba sets a stately groove, with Gedon Diara, Nanou Coulibaly and Fatoumata Kouyate adding gentle vocals. Half way the pace picks up. Adama Diabate leads the way on "Sabou" with her distinctive voice and phrasing. A metal scraper sets a beat with the n'gonis filling out the sound. (Adama has a great album Jako Baye which also had Makan prominently adding the n'goni, on Stern's Africa). "Togna" is another delicious instrumental to close the album. Such a groove is set by the bass and subtle percussion, with Makan riffing over top.
Djeneba & Fousco, Kayeba Khasso (Lusafrica).
An album of understated beauty and unhurried pace. Male and female trade lead vocals, acoustic guitars and also occasional wild bursts of electric guitar. Somewhat surprisingly a cello is used very evocatively. There's a tendency for a reggae/dubby vibe. Ballake Sissoko adds a subtle touch of kora to the opening track "Regrets", and Adrien Arnaud gives a French accordion vibe on "Kayeba Khasso". There's an arresting version of "Miniamba" with the lead vocals up front in mix backed by electric guitar and cello. Another traditional track, "Massane Cisse" appears here as "Fousco Et Djeneba". "Djeliyaba" has Fousco delivering some declamatory praise singing, before switching to Djeneba to do the same. The musical backing is wonderfully sparse, with percussion of a shaker marking the slow beat and a bit of guitar. "Hakilima" picks up the pace and rockiness with bursts of electric guitar and punchy drumkit. There's a rousing organ not credited to anyone in the sleeve notes. On top of this is some more full-on griot praise.
Djime Sissoko & Djama Djigui, Kabako (Caligola).
Djime has played n'goni on albums by Samba Toure and his uncle Baba Sissoko. Here he leads a band with n'goni, great percussionists and lead vocals by Aichata Bah. It's roots. It's acoustic. It's amazing. The musicians trade riffs on n'gonis; some acoustic, some gently electric, some pulsing bass. And the percussionists bubble and boil on tamas. Zoumana Tereta is here with his raspy one-stringed violin. There's a variety of guests adding distinctive vocals, such as the deep voice on "Djine". "Bi Tiew" lets the percussionists shine, as vocals quickly give way to a bit of a workout. The recording is great with no dominant djembe as can often be the case.
Aboudoulaye Dembélé Yaro, Poo Pa Poo (Hambe prods).
A beautiful, brief 6-track album. Acoustic music with a tinkling and pulsing kamale n'goni as the backbone. Topped by a bit of percussion and delicious gentle vocals. Very listenable!
Boubacar "Badian" Diabaté (Lion Songs). §
Acoustic guitar, 6 string and 12 string, played with confidence and acres of space. Exquisite mandingue lines that you can sit back and lose yourself in. Hypnotic and truly transcendental.