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.

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)

All Kneel, The Cora

One secret of West African music

The Cora is the godly 21-stringed harp from West Africa. It can be found principally in countries such as the Gambia, Senegal, Guinea, and Mali where artists such as Toumani Diabate, Ba Cissoko and Baba Sissoko bring to life this instrument in all its colours.

The beauty of the Cora is the way it can operate at so many different levels. It can play high, middle, and low notes like most instruments, but the Cora can transcend these boundaries by giving the musician the option to play across all three tonal ranges simultaneously.

The result is mind-blowing: a single musician can provide a bass drum rhythm, add the melody, and then freestyle all at the same time.

I discovered the Cora 6 years ago walking through London's busy Leicester Square where I stumbled upon a musician getting elastic with his Cora. I can only say that it just stopped dead me in my tracks, and since then I've never looked back.

Here is small selection of Cora based music that I hope demonstrates how versatile this instrument is, and why it is a giant in its own right:

Ali Farka Toure and Toumani Diabate - Kala

Issa Bagayogo - Dya

Toumani Diabate - Single

See below how Toumani Diabate leaves the Cello struggling for air: