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Editorial Reviews
From the Artist
It seems ironic that an album that was recorded on three continents finds Habib focusing so intently on his roots. As always, Habib takes a unique pan-Malian approach, drawing on a wide range of cultural expressions from the diverse regions of his native land. A number of guest musicians added new flavors to the group's sound. For the first time, Habib invited female singers to lend their striking tonality to his compositions. Hassey Sarré, the late violinist for Ali Farka Touré and Afel Bocoum's, contributed haunting melodies and ornaments on "Barra". On the song "Nta Dima", Habib invited a troupe of traditional animal horn trumpet players in an effort to expose a fading musical legacy.
It seems ironic that an album that was recorded on three continents finds Habib focusing so intently on his roots. As always, Habib takes a unique pan-Malian approach, drawing on a wide range of cultural expressions from the diverse regions of his native land. A number of guest musicians added new flavors to the group's sound. For the first time, Habib invited female singers to lend their striking tonality to his compositions. Hassey Sarré, the late violinist for Ali Farka Touré and Afel Bocoum's, contributed haunting melodies and ornaments on "Barra". On the song "Nta Dima", Habib invited a troupe of traditional animal horn trumpet players in an effort to expose a fading musical legacy.
The overarching theme of Afriki, which means "Africa" in the Malian Bambara language, is about the strengths and challenges of Mali in particular and the African continent in general. He speaks to a young generation of Africans in the hopes of convincing them to cherish their traditions and recognize the positive aspects of life in Africa.
Product Description
After a six year absence from the recording studio, Malian guitarist Habib Koité and his band Bamada return with a stunning new album. Afriki finds the group in fine form, and features an appealing set of songs that reflect Habib's unique approach to the diverse styles of Malian music.
"His reputation as a guitar player has become almost mythical, combining rock and classical techniques with Malian tunings that make the guitar sound like a kora or ngonni." The New York Times
"the biggest pop star of the West African nation of Mali." Rolling Stone
"... in his case, the unfamiliarity of the language was no problem, largely because of his communicative manner - kneeling down at the stage edge to interact with the crowd - dancing in unison with his musicians - made such a clear - nonverbal connection with his listeners." The Los Angeles Times
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