Mamadou Diabate Albums (5)
What The Critics Say
Usually, Western audiences hear the 21-string African kora within a group context. But the masterful Mamadou Diabate can pull off a solo performance with no overdubs, as he does on this welcome addition to the expanding world music catalog. Given the orchestral nature of the instrument, Diabate can extract endless cascading or speedy chorus after chorus. His fluency in the language of his music, ability to tell musical stories as any griot should, and impressive command of the kora make him a distinctly unique musician. He's also one who has been sought out by American jazz musicians for his ability to stride away from strictly traditional music and freely improvise in modern and contemporary jazz contexts. Fond of the 6/8 time signature, Diabate emphasizes it on the first three tracks: the self-assured "Touma," the occasionally cascading "Jamanadeira" (with its triplets and 16th-note figures), and the alternately patient and anxious title track. "Djimbaseh" is also in 6/8 but adds extra beats for a complex but joyous dual presence. The village dance numbers are the celebratory 4/4 "Kora Boloba" and the witty, minimalist, but darker "Kita Baro." Diabate's masterful dexterity and effortless fluidity on the kora are no less than stunning, as he can change gears at will and play as impressively as any electric guitar hero. While Diabate is not a staunch developer of themes, his style is refined, spirited, unrushed, and proud. For those who prefer a simpler romantic approach, Diabate offers "Diarabi Kele," and jumps into a reggae beat with spontaneous flurries of notes during "Sanfene Foli." This highly recommended recording is a high watermark for the African sounds American audiences are still discovering. ~ Michael G. Nastos, All Music Guide
What The Critics Say
When one thinks of contemporary African pop, the kora isn't the first instrument that comes to mind. A string instrument with a harp-like sound, the it has been a part of traditional African tribal music for centuries -- and for the most part, traditional settings are where you can expect to find it. Nonetheless, the kora hasn't been excluded from African pop, and it is used for both traditional and more modern sounds on this rewarding CD by Malian kora virtuoso Mamadou Diabate. Coming from a family of Manding griots, Diabate is well schooled in traditional tribal music but is also open to more modern elements. Much of Tunga is quite traditional -- "Djanjo," for example, is a piece that goes back to the 13th century -- but "Dounuya" has strong blues leanings, and it is among the tracks that employs an electric bassist, Cheick Barry. The other bass player heard on this album is Ira Coleman, an acoustic jazz bassist who has played with such greats as Joe Henderson, Herbie Hancock, and the late Betty Carter, and joins Diabate on five of Tunga's nine tracks. Whether he is incorporating Western elements or favoring a traditional approach, Diabate brings a lot of charisma to this engaging, mostly instrumental album. ~ Alex Henderson, All Music Guide
