Keeping the dialogue going...

Cross cultural dialogue is very much what World music is about at the moment. It was during Glastonbury in 2007 when the fruits of an ongoing project, Africa Express, revealed themselves to an enchanted crowd. Some of West Africa's top artists played alongside Western artists, sharing and cross pollinating their experiences on stage. Thanks in part due to Damon Albarn's adventure in 2002 to Mail, his awakening to depths of Malian music and the fruits of that exploration, his album Mali Music, inspiring a lot more interest in the West African music scene. So, it is in the continuing of that tradition that Dub Collosus's, In a Town called Addis, adds a chapter in the cultural book being mapped out in World music. The album is an Ethio-Jamaican exchange. Music is varied and features traditional Ethiopian instrumentation set against dub basslines, right the way through to entire tracks of solo instrumentation, and then off again into funk and minimalist grooves that will just keep you bouncing on your knees. First rate recording means that you keep having to listen to tracks again and again so you ears can focus on another area of the sound and absorb it completely. The sample, here, captures to me the whole essence of this album, one of celebration, pushing musical boundaries and cultural diversification. Don't miss this one!

Cora Ruling....

After a long pause in this blog I am returning fresh with inspiration fuelled by new music explorations which has the Cora firmly placed in the centre of the stage. A new album by a previously unheard of artist in Europe, Amadou Sodia, 'Ca Va Se Savoir' , graces the ears with a Salif Keita style of sound - strong male vocals backed by female singers which provide a rhythmic echo, in the first track adiananco, moving the sound into a rolling swell. It's a great quality recording, capturing all the sounds of the instruments without cluttering the overall sound. Here a sample here.



Due to the unique way in which the Cora can have multiple melodies operating at any one time, and due the fact that it is a great instrument for creating layers of sound and because music in Europe has taken from the quantizing of sound to a 4/4 beat across all the music genres, the Cora has great potential for bringing traditional African music to a wider audience. African artists such as Ba Cissoko have already ventured into this territory with modest results. One of the first artists to do this back in 2002 was Issa Bagayogo, and his latest album is a true crossover into dance music and what is becoming the genre of cora house music! Its framing is still in Malian music but has more of a club house production which results in a sound that will cross over very well into dance and popular British music if marketed right. Again a superb quality recording that really brings out the different instruments articulating the landscape within. 'Tcheni Tchemakan' is featured here and is one of the best of the album called 'Mali Koura'.


A new album has also been released by Roika Traore, 'Tchamantche', which is a break from her first album, and has a more of a varied range of songs from blues to soul, and traditional malian pieces. There is no mistaking the sublime voice this artist has and I am reminded of the voice of Deborah Dyer (of Skunk Anasie) as she has the same ability to add a cold and chilling edge to her performance.. I have no doubt that this is one recording that needs to be enjoyed on a first rate audio system to appreciate the depth and emotion contained within each of the tracks.. You can sample 'Kounandi' here.


Last…it's back to pure Cora, however this time with a cultural twist. It comprises a talented trio of musicians from Madagascar, Mali and Morocco. Rajery, Ballake Sissoko and Driss El Maloumi respectively provide an intercultural exchange of sounds from these three countries. For those already familiar with artists such as Toumani Diabate, the late Ali Farka Toure, Ba Cissoko and other Cora kings, this album is a worthwhile addition to the collection. Here is a sample from the album '3Ma', the track 'Awal' here.

I’ll be back sooner next time, keep listening to World.

Portuguese and Westwards..Fado

Part one: We start our journey with a recently released album that I've been playing as much as when I was entranced by Antonio Carlos Jobin's 'the composer of desifinado plays' . It has a similar simple style with beautiful acoustic playing, but it does not derive its influences from the soft Samba sounds, but the more melancholic depths of Portuguese Fado.

Fado music has a strong reflective component to its narrative and its name is drawn from the Latin word "fatum" meaning fate, and the inexorable destiny that nothing can change! It is a music that looks back on history with awe, held strong in the belief that everything was wonderful once upon a time, and now it’s all gone wrong.

Having said that, what this album manages to achieve, due to the dexterity and skill of Mario Pachecho's finger plucking and the ensemble's collective mastery in their own instrumentation, and where so many other Fado albums might leave you reaching for the gun and family photo, is to throw a glorous ray of light over a music that by its own definition is sad. What's also impressive is the collection of soloists that have been pulled together and feature on this album; Mariza, Ana Sofia Varela and Rodrigo Costa Felix and just some of the heavyweights on board.

Mario Pacheko himself is a master of the Portuguese Guitar, an instrument with origins in taken from the Western European Cithern and comprised of 12 steel strings with a sound more akin to a harpsichord than anything else . Compared to the sunny tones of Modeste or the meditative Afel Bocoum, the Portuguese guitar has a much colder edge which is why it compliments Fado music so well, adding even greater historical distance to the music’s lyrical content, and the past it reflects on.

The album this is all featured on, is entitled, 'Mário Pacheco - Música e a Guitarra' and the recording quality of the performance is first rate and it also comes with a DVD of the entire concert. If you buy one Fado album, make sure it's this one.

A scene from the night is captured below...what an amazing night it must have been.

Fire on the Mountain

I'm hurredly typing this out and have decided to put articles up piecemeal otherwise I will never get never get around to publishing updates. It's already March!

The first three months have really been a blessing, and it's all about the music. Italy and Mexico are the two countries selected to be included in the testing of a new music channel, NatGeoMusic, a station that plays only world music. There has been some commentary in the music press due to the fact that the record labels have to supply the videos to the TV channel for free and the artists therefore get no royalties for airplay. Critics argue that World music is already a struggling niche market and therefore artists need whatever money they can get to survive. In response to these voices, of which I am wholly understanding, the reality is that a potential listener can install and download the entire album from scratch in about the same time it is taking to write this article. Therefore I think it is better for World artists to get free exposure where possible. As a result of the music channel I have discovered new artists and bought their albums. The music industry needs to wake up a little to on-demand reality of the music marketplace and stop applying the old its old ways, otherwise people will just continue to download and everyone looses out.

In my view the best of all the programming schedules is a show called "from A to Zanzibar", which showcases artists with an African focus.

One of the artists that is being featured strongly goes by the name of ASA. She's from Nigeria and is a mix of Tracey Chapman and Bob Marley. Really great lyrics and here's a track from her album.




SEU JORGE: A new brazilian offering from a man called Seu Jorge entitled 'CRU' was released at the tail end of last year...Here is the title track from his album! plus the lyrics which follow the video.....pure positivity!


Here are the lyrics...
I was right
I can tell u
It wasn't nice, wasn't cool
I wanna cry, it hurts
Thinking she's not coming, just hurts
But I'm just fine, gonna have some fun
It's about begginings, gonna move on with my life
And I ain't fooling around,
And u know how it is, I´ll go.
but I can come back, whenever u want...

In the next post we'll be sticking with the Portuguese flavour with an absolutely amazing voice from Capo Verde and a compilation from one of Portugal's Fado legends that is in the same league as Antonio Carlos Jobin.

Music for December - Season's Greetings

This is a long overdue update to the Tolerant Traveler.

It is a good time of year for presents and gifts and WOW have I had the good fortune of listening to some amazing new music.

First out of the bag is a group not to be underestimated. Revered throughout Senegal, Orchestra Baobab have regrouped and issued a very special album out now on World Circuit records. But let’s rewind a second; are you in the dark about Orchestra Baobab?

Run now to your music store and purchase immediately "Specialist in all Styles" which offers the glamour of Tarantino's 'Pulp Fiction', the soul of James Brown, and the poignancy of the arias of Anita O'Day. Their new album simply called "Made in Dakar" opens with a number unmistakably Baobab, ‘Pape Ndiaye’. But for me the real track of pleasure is 'Nijaay' with an opening guitar riff that rolls down the octave like Bach's Toccata & Fugue in D Minor.

For the second group we travel back Mozambique (land of the legendary Dilon Djindi, featured on TT 26/2/2007) and a group called Massukos. Their album, "Bumping" is a ball of energy, with a foot-tapping funky Hammond on ‘NDjango’ set against a dub-style groove. Back in Mozambique they are considered national treasures due to their instrumental artistry as well as their humanitarian work. They have been hailed as the next ‘Buena Vista Social club’, but this album leaves the tinny sounding drums very much in Cuba, and replaces them with solid African percussion. Other tracks such as ‘Pangira (unplugged)’ will just stop you in your tracks as the beauty of this guitar and voice cappella has this effect. The video below shows off one of their live performances and I encourage you to visit their website, http://www.massukos.org/, to discover more about this fantastic group.



Last, is a group from Tokyo that I discovered completely by chance. On myspace, http://www.myspace.com/setsubunbeanunit, they define themselves as "Traditional Space Funk" and I have to say that their music is a complete fusion of sounds and musical era’s from all music cultures. Think of Miles Davis's inspirational album ‘Bitches Brew’ crossed with Pink Floyd’s effects boxes against a backdrop of crackly old 72rpms from the 1930's. Interesting!



Have a great break during this festive season, see you for more great music in 2008.

London African Music Festival - and the Ngoni-ists

The London African Music Festival, takes place from the 18th - 30th May in the cultural hub that is the South Bank Centre. Featured artists include Ba Cissoko - a group that plug their Cora's into guitar effects boxes for some truly magical playing (see photo left) - Kekele (TT article ), giants such as Africando (TT article), and old faithfuls such as Roy Ayers. If you are in the metropolis this is something not to miss out on, see the full list of artists here.

Returning to the music releases, last month saw the Malian Ngoni master Bassekou Kouyate's album Segu Blue. Those familiar with the regions local artists may have noticed him appearing with Toumani Diabate where he accompanied on the Cora. Kouyate also had the honour of playing most of the Ngoni solos on Ali Farka Toure’s final album, Savane.

For those a little mystified by the Ngoni, it is an African lute with a plucked and drier sounds when played alongside the Cora. Segu Blue is receiving wide praised as it is the first time a Ngoni quartet has been captured in a single recording, it's clear also that the appearance of Kouyate is adding extra weight to this new world music entry.

For the uninitiated to Ngoni music I do have reservations about whether this is album represents a good entry piece for them as sometimes the recording suffers a little from being over cluttered due the number of Ngoni's in full swing. However for those of us deeply involved in Malian music this is a wonderful album that brings together some truly inspired vocalists and musicians capturing and documenting for us another classic slice of West-African music.

I'm sharing a single track, Sinsani from the album here, which features the sublime vocals of Kasse Mady Diabate. In true griot tradition the song tells a story, this time of a great ruler during the last days of the Bamana Empire. Malamini Sisse was dedicated this song by the griots to record the generosity and kindness he had showed to them.

Bassekou Kouyate (feat. Kassy Mady Diabate) - Sinsani

The Living History Book - Griot Tradition

The word "Griot" appears often in the sleeve notes of some of the albums featured on the TT in this first month. So, an explanation of this important character and their position in West African society is worthy of some further investigation.

In the days of the great Malian empire in the middle of the 14th Century the Griot's role was fundamental. They were the wise men who at the very senior level provided advice to kings and guidance on present-day dilemmas and problems, while at the grass-roots level mediated marriage rites or disputes that arose between families.

On top of this their hereditary linage meant that could lay claim to being living, breathing history books of the era and their position was elevated by this fact.

In the Epic of Sundjata, King Naré Maghann Konaté offered his son Sundiata a griot, Balla Fasséké, to advise him in his reign. Balla Fasséké is thus considered the first griot and the founder of the Kouyaté line of griots that exists to this day.

Over time the griot also became official musicians of society and would be called on to entertain the king and his entourage, as well as help to prepare warriors for battle with rousing stories - in fact a warrior king (jatigi) could not be without his griot.

Today the griot is still a revered character in West-African society.

Griot artists include: Mory Kanté (Guinea), Ba Cissoko (Guinea), Kasse Mady Diabate (Mali), Toumani Diabaté (Mali), Baba Sissoko (Mali).

(Picture featured: Fernand Allard L’Olivier, 1883–1933 Belgian, Kiyu Agricole date unknown, Oil on canvas)