africa, afro-pop, andelusia, bamako, barcelona, blues, brazil, catalan, colombia, flamenco, folk, french, fulfulde, funk, groove, highlife, hip hop, italian, latin pop, mali, mestizo, miami, mp3, nigeria, portuguese, puerto rico, reggae, rock, rock en español, rumba, songhay, spain, spanish, tamasheq, worldbeat






Saturday, 30 December 2006
Ali Farka Touré (1939-2006) was one of ten sons born into the noble Sorhai family around Northern Mali and the only to survive past infancy. His nickname given by his parents, “Farka,” means donkey—an animal revered for its stubborness and determination.
“Let me make one thing clear. I’m the donkey that nobody climbs on!”
Picking up the guitar at age 10, he also learned how to play the gurkel and njarka, instruments included in many of his subsequent recordings. In the late 1960s, many American artists including John Lee Hooker toured Mali. Ali initially thought Hooker was playing Malinian music, little did he realize that American Blues was so deeply rooted in Malian music. Many Western reporters actually gave Ali the nickname “The John Lee Hooker of Mali,” which Ali didn’t like at all, despite his great respect for Hooker.
This was one of the most interesting things for me to discover on “Savane” as well as his other recordings—to grow up knowing blues, not having a clue about music from Mali, then discovering that one style preceeds the other. Much of Ali’s music reminds me of the American Blues I’m used to, a lot of the same rhythms, feelings. It’s relaxed, slow, driving, explosive, pensive, etc. I love hearing a lot of the underproduced clicks and pops of the stringed instruments, it’s real gritty.
Artist: Ali Farka Touré
Album: Savane
Label: World Circuit
Released: 2006
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Sunday, 29 October 2006
The now defunct British label, Strut Records (1999-2003), put together an excellent 3-disc compilation of Nigerian popular music of the 1970s. The compilation covers internationally recognized musicians Fela Kuti and King Sunny Ade as well as more obscure artists who helped define a music scene on the heels of Nigeria’s independence in the early Sixties.
Nigeria 70 serves as both a historical documentary as well as a rich and funky collection of excellent, body-shakin’ grooves. The third disc consists of 60 minutes of commentary from many of the artists who were responsible for the music coming out of Lagos during the Seventies. They discuss which cultural paradigms led up to Highlife and what it evolved into. This third disc is the history lesson in words. To the interested listener, the previous 2 discs can be considered a history lesson in song as well. However, these initial 2 discs could easily be the soundtrack to a really good houseparty too.
Artist: Various artists
Album: Nigeria 70
Label: Strut
Released: 2001
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Disc 1
Disc 2
Disc 3
Sunday, 12 March 2006
I serendipitously came across this album a few months ago and it’s been in red-hot rotation ever since. The first few things you’ll read about Amadou Bagayoko & Miriam Doumbia is that they are both blind, married to each other, and have been making music together since the early 1980s (Amadou previously played guitar for the Ambassadeurs du Motel de Bamako since the late-1960s). They met at the Institute for Young Blind People in Bamako, Mali. Years later, the husband and wife duo travelled to the Ivory Coast to make a few cassette tapes with Nigerian producer Aliyu Maikano Adamu. I imagine since then, their soulful music has spread from Western Africa all the way to my tiny New York apartment in the blink of an eye.
Manu Chao, the multilingual, globe-trotting singer extraordinaire wrote and sang on a few songs as well as producing the album. Initially, it seemed confusing to have Chao’s signature police siren soundbites peppered throughout the album, but the more I listened to it the less it bothered me. What blew me away early on was Amadou’s guitar, which is stirring, skillful, and smooth. Many of the songs have a multi-layered sound (especially the rhythmn section), but never getting too far away from the integrity of their troubador-like lyricism.
Dimanche a Bamako (Sunday in Bamako) starts of with a little boy greeting the couple, as if on the street: “Mariam and Amadou, hello. Are things going well? How are you?” (my amateur French translation). Mariam seems to sweetly answer his call. The next track, M’Bife Balafon, is a signature Manu Chao instrumental that serves as a nice interlude between the initial lazy and sweet beginning and Amadou’s blues-blazing guitar in Coulibaly. La réalité sounds like a tour song or an anthem to a road trip of a lifetime.
Artist: Amadou & Mariam
Album: Dimanche a Bamako
Label: Nonesuch
Released: 2005
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