Boubacar Traoré Albums (6)
What The Critics Say
In Europe and the U.S., the Malian singer/songwriter Boubacar Traoré tends to be marketed as a sort of bluesman -- perhaps because his band prominently features the harmonica, and perhaps because his songs are dark and spare. But his latest album seldom if ever makes use of any of the conventions of the blues; the 12-bar chord progression on which the blues is based never appears, and Traoré's guitar style owes far more to the kora-wielding griots of his native country than to the emotive, string-bending bluesmen of the American south. That said, there are moments when echoes of the Delta do resonate at the back of his songs, as on the repeated minor-scale riffs that power the regretful title track and "Horonia." But throughout the whole album Traoré's sound is gentle and subdued, even on relatively upbeat songs like "Kanou" and the softly chugging "Dounia Tabolo." His backing ensemble, which includes accordion, marimba, gourd, and small harp as well as harmonica, supports him with exquisite delicacy and taste, most notably on the lovely patriotic anthem "Indépendance." Also worth noting: the quiet but thornily intricate rhythmic pattern underlying "Sougourouni Saba." Highly recommended. ~ Rick Anderson, All Music Guide
What The Critics Say
While not a new album as such, this movie soundtrack confirms Boubacar Traoré's iconic status in his native Mali. The music is his journey, from his home city of Kayes to Bamako, and through his life, with a special focus on his late wife, Pierrette, who's beautifully celebrated on this version of "Adieu Pierrette." Plenty of people come out to help, including guitarist Ali Farka Touré on "Diarabi," "Duma Me Yelema," and "Improvisation 2," while rising star Rokia Traoré and her band back him on a live version of "Sa Golo." Essentially, this is a celebration of the man, his life, and the music he's made, which makes it only fair that it should close with a pair of vintage tracks, including the 1963 cut that first made his name, "Mali Twist," which he used to perform on the radio every morning for the newly independent country. Traoré's songs and playing are hauntingly bluesy, although they're not really the blues. But they come from some deep, mystical place within. If ever anyone sang with his heart, it's Boubacar Traoré. ~ Chris Nickson, All Music Guide
What The Critics Say
Like Ali Farka Toure, Traoré (known also as Kar Kar) is a master of the singular, bluesy Malian style. Loping, gentle grooves with subtle polyrhythms run through these very personal songs delivered in Traoré 's plaintive, rugged tenor. The title track is particularly powerful, interweaving his love for his brother with his respect for General Soumare, one of the leaders of Mali independence. A moving work. ~ Tim Sheridan, All Music Guide
What The Critics Say
A nice album from one of the original Malian bluesmen -- the great Boubacar Traore (known originally on Radio Mali as Kar Kar). Originally, hits like the "Mali Twist" made him famous in his homeland, though he disappeared for some time from the limelight, emerging more recently after his wife's death to record albums like this one. The style is vaguely similar to other Malian bluesers, such as Ali Farka Toure: a relatively stripped down format with little to no accompaniment. The accompaniment on the album comes from a calabash (gourd used as percussion). The combination of his voice and tender picking style leads to a rather sentimental mood for a few of the works, and the faster ones have more of that reminiscent John Lee Hooker/Ali Farka Toure style. The main difference is in the vocal abilities -- Boubacar is actually singing, much more than the others; melody is important to the vocal section of the songs. For fans of African blues, this would be a definite pick. For newcomers, it might not be too bad of an introduction at all, though more of an easing in could be found in perhaps Taj Mahal's efforts with Toumani Diabate. ~ Adam Greenberg, All Music Guide
What The Critics Say
Traoré sings his own songs to a solo acoustic guitar backing that stylistically and emotionally echoes traditional koras without actually imitating them, rather as the early Congo guitarists picked up on finger-piano patterns. ~ John Storm Roberts, Original Music, All Music Guide
