“Diaraby” by Ali Farka Toure
“Diaraby” is another song that cements the status of Ali Farka and Ry Cooder’s “Talking Timbuktu” as a classic recording. The 1994 album propelled Mali’s leading guitarist onto the international limelight while at the same time providing a sort of confirmation that Blues music most likely originated from West Africa and reached American shores via slaves who brought their oral traditions with them.
The genre commonly employs the “call and response” technique (often between vocals and a guitar), which is a typically African musical feature. It is unfortunate that the recording industry often refuses to categorize this type of music as “Blues” and instead opts to give it the generic “World Music” tag, which doesn’t really mean anything if you ask me……Politics….Politics.
The interplay between the two guitars is beautifully offset by the rhythm created by the percussive instrument. The vocals tell the story of a couple fighting to overcome obstacles to their love, the biggest of which seems to be their respective families (and yes I do speak the language).
R.I.P King Toure. You are forever.
Title: Diaraby
Artist: Ali Farka Toure and Ry Cooder
Album: Talking Timbuktu, 1994
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“Kaira” by Toumani Diabate
The Kora is one of West Africa’s most beautiful gifts to the world. Its 21 strings attached to a calabash make it look like a Harp, but its sound has so much more soul…so much more depth.
Toumani Diabate is the son of Mali’s original Kora “King”, Sidiki Diabate who recorded the first ever full-length Kora album in 1970. Toumani followed his father’s footsteps and took them even further with his first album “Kaira” which was recorded in London and released internationally in 1988.
The fact that the entire “Kaira” album was recorded in just one afternoon takes nothing away from its quality and in my opinion, just adds to its magic. Inspiration and improvisation are necessary ingredients when making timeless music.
I don’t love the Kora just because of its sound but also because of what it symbolizes: the artist, his instrument, his skill and the spiritual presence of our ancestors passing down stories, wisdom and what it means to be who we are.
I’m immensely proud to have any sort of connection to this.
Enjoy.
Title: Kaira
Artist: Toumani Diabate
Album: Kaira, 1988
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Loading ...“Folon” by Salif Keita
‘Folon’ is the bambara word for “the past”.
If Ali Farka Toure was Mali’s lead guitarist, Salif Keita is definitely the country’s lead singer.
The lyrics celebrate Mali’s adoption of democracy, after 23 years of military dictatorship that ended in 1991. The song is meant to encourage the country in its efforts to remain on the path of democracy and of respect for civil liberties.
Driven by a typically ‘Mandingue‘ melody on an acoustic guitar and by Salif Keita’s majestic vocals, ‘Folon’ attempts to heal a nation’s old wounds by highlighting how much progress has been made since the days of oppression.
Title: Folon
Artist: Salif Keita
Album: Folon, 2007
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“Diarabi” by Amy Koita
Diaraby: the bambara word for love and I suppose the number one theme in all of music (probably art). While the definition of love is always up for debate, it is undeniable that the concept has always brought out the very best in artists. Music, painting, writing (the list goes on) all tend to validate their expression using the presence, absence or desire for love.
There is great irony in the fact that I’m actually sitting here writing about a song I used to HATE with a passion when I was a kid. I was deep in my Micheal Jackson phase and wasn’t trying to hear some lady singing about love. The song was released as the first single to Amy Koita’s album Tata Sira in 1986 and to this day, it is still considered one of Mali’s biggest ever hits.
So I didn’t really give the song a chance until I was about 19 (15 years after the song’s release) when I met one of the engineers who actually mixed the song back in 1986. He took me through the process of making this record and on second listen I began to pay attention to the details of the music and how the instruments played off each other.
An electric guitar, a Ngoni (traditional West African guitar), a balafon (xylophone looking african percussion instrument) and a flute found a way to blend seamlessly into some pretty incredible melodies. The more I listen to this song the more I understand why it’s considered a classic.
I had the opportunity to make amends for my previous negativity towards the song (cut me some slack I was only 4 years old when this first came out) when I sat at the same table as Amy Koita at a charity event in Bamako in 2007. I was finally able to express to her my newfound affection for “Diarabi”.
Welcome to Mali.
Title: Diarabi
Artist: Amy Koita
Album: Tata Sira, 1986
Loading ...“Ai Du” by Ali Farka Toure
In the spirit of properly representing my Malian roots, it’s only right that one of the first gems being showcased, comes from my favorite Malian artist: the late great Ali Farka Toure (October 31, 1939 – March 7, 2006).
Widely considered the best African guitarist there was in his genre, Toure was ranked number 76 on Rolling Stone’s list of the “The 100 Greatest Guitarists of All Time”….but I’m not going to make this about his career achievements…or I’d have to start talking about his two Grammy awards etc…etc…etc….etc….and we could be here for a WHILE!!!
Ai Du is the kind of music you get lost in…the right tempo, understated drums, haunting melodies, incredible guitar work and of course the harmonica as if to remind us that we are indeed listening to the blues……gorgeous…even sensual. I have yet to run into someone who has seen the movie “Unfaithful” (Richard Gere, Diane Lane, 2002) and who hasn’t wondered about that “African song playing in the background when she’s (Diane Lane) in the bathtub”……
To those promoting the theory that North American Blues is a direct derivative of West African Music, ‘Ai Du’ is definitely another point in your favor.
R.I.P Mr Toure….your sound echoes on…………
- Title: Ai Du
- Artist: Ali Farka Toure & Ry Cooder
- Album: Talking Timbuktu, 1994
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Ssidy is what my friends call me. I was born in Senegal of Malian parents (hence my Mali nationality). I grew up all over the place…Bamako, London, Accra, Cape Town, before I went to college in Miami and finally got a job in Sydney where I’ve been living since August 2008.
When I’m not working on The Timbuktu Project, or as a financial analyst (full-time), you can usually catch me somewhere on a football pitch or involved in anything music related. Music is everything to me. Whatever mood I am in, there is always a song that captures the moment perfectly. Anyone who has spent more than 10 minutes around me will probably attest to this: I listen to all types of stuff.....possibly because no single genre holds enough songs to quench that musical thirst of mine... 