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ALLAN TAYLOR
convey is “simplicity, accessibility, transparen- World Circuit release, the collaboration with
cy, good playing and uncomplicated aware- Vieux’s father Ali, In The Heart Of The Moon –
Leaving At Dawn Stockfisch SFR 357.4057.2
ness-conveyance”. As well as with his flugel- the second CD is split between two collabora-
horn playing, which remains immaculately tions. Kulanjan – on which Toumani provided
The latest album from Allan, his 20th, is her-
deft, he does this vocally. He’s got a great sweetly expressive support to the cast of
alded as showing a return to the more folk-
voice, entirely natural-sounding and though Malian greats that leavened Taj Mahal’s gruff-
inflected style of troubadour song that
sometimes a little quirky as regards pitch, he and-ready blues – is well-represented by the
characterised his earlier years. Whatever,
gets without flash or artifice directly to the range of four tracks chosen. The first of the
Allan remains the consummate craftsman-
heart, his lyrics fresh, real and unforced. Songhai albums with flamenco group Ketama
in-song, and he hasn’t in any way aban-
and double-bassist Danny Thompson was a
doned the key themes and concerns that
Distributed in the UK by Proper.
surprisingly natural, fluid fit, Diabaté proba-
he’s developed and made very much his The second album, Beatin’ Aroun’ De
bly as melodically sinuous on the three tracks
own over a long and illustrious career. Leav- Bush, is a repackage of a cheery 1992 CD,
chosen here as anywhere else in the collec-
ing At Dawn is absolutely quintessential showing a wide range of influences – jive,
tion. However, the slightly less successful sec-
Allan Taylor, instantly recognisable for its unaccompanied click singing, cool funk, hints
ond Songhai album feels slightly over-repre-
telling combination of a uniquely expres- of disco and more than hints of bebop. Still
sented with its three tracks, although this
sive, warm and inviting vocal delivery and sounds great.
www.spv.de
double-CD package is designed to balance the
an attractive, precisely captured instrumen-
Rick Sanders great man’s full range of output, and the
tal backing, centred as ever around Allan’s
careful way Williamson has sequenced the
own intricately moulded and mellifluous
tunes makes that a minor quibble. There sure-
guitar playing. But it’s also the product of
ly won’t be a better individual artist collection
an artist of total maturity and integrity,
TOUMANI DIABATE
this year than the one put together here.
delivering work of the highest self-imposed
King Of The Kora: An Introduction
standards and exhibiting (in every single
www.demonmusicgroup.co.uk/nascente
Nascente NSDCD002
aspect of its presentation) supreme confi-
Con Murphy
dence without complacency. If you are only aware of Toumani Diabate’s
This new batch of songs was written (with
kora playing through his recent World Circuit
just one 1993 exception) between 2001 and
albums, Boulevard De l’Independence and
2007, each one a prime example of Allan’s sec-
Mande Variations, then you might be inter-
AURÉLIE DORZÉE
ond-nature ability to directly share his emo-
ested to know that journalist Nigel Horror Vacui Home Records 4446048
tions in simple yet always profoundly literate
Williamson has compiled this handy, well-
language, thereby taking the listener on a
sequenced and -presented introduction to
DIETRICH
journey that feels personal yet contains uni-
the peerless output of possibly the greatest
versal truths aplenty. Allan’s musings are affec-
individual musician of our generation.
Evok Home Records 4446052
tionate and eloquent, yet often more complex The double-CD selection is split evenly Here’s another pair from the Belgian label
than they appear, primarily because they’re between the two sides of Diabaté. CD one that seems to offer nothing but high quality,
shot through with the perceptiveness and real- showcases the relatively unadorned, tradi- very thoughtful stuff.
ism that are the hallmarks of a true observer. tional Toumani (as solo or as part of a duet or
Aurélie Dorzée made quite an impact as
Leaving At Dawn is full of songs that fol-
trio), and the second CD finds him in ensem-
a member of Trio Trad and in the Aurélia trio
low the songwriter’s eternal preoccupation,
ble mode, pushing the range of his instru-
with famed musicians, Tom Theuns and
reflection with regret, either musing sensi-
ment into previously unchartered territory.
Stephan Pougin. We can hear from her
tively on love (Lay Soft On Your Pillow, Back Let’s start with the first CD, which has two singing and violin playing that she is a con-
Home To You) or embodying a strong sense tracks from the young Toumani’s debut release servatoire-trained musician, who also shows
of genius-loci (Provence, New York In The in 1988, Kaira, on which the 23-year-old prodi- an understanding of the way that traditional
Seventies), often memorably bringing gy took the kora into solo mode for the first music works. In this album she also seems to
together both strands in the same song. time with a one-take work weaving patterns draw from the chansonnier tradition and
Especially beguiling here are two songs in a of timeless, intricately-threaded genius. Ten then explores the points where these meet
traditional vein (Firefly, already celebrated in years later came New Ancient Strings, Toumani with an emphasis on producing a fine col-
Tom McConville’s fabulous recording, and and Ballaké Sissoko’s echoing, empathetic lage of sounds with the qualities of baroque
The Last Of The Privateers), The Almost Man update of their fathers’ collaborations (there’s violin compositions tending to become the
(a chokingly pertinent tribute to Allan’s also the shimmering beauty of Kanou from a dominant musical force. Her voice has that
father), and Winter (a beautiful and master- more recent collaboration between the two). cool, sophisticated, straight, unswinging
fully poetic expression of tender reassur- Between those two releases came the oft- quality that seems to be so valued in albums
ance), while Red On Green is Allan’s own overlooked Djelika, an album of stunning, from the northern part of continental
translation of a poignant song of farewell playful interlocking Mande rhythms by a Europe in recent times. Clearly, this is an
composed by Massimo Bubola based on a Malian super group (before we even realised album of note, but it fails to reach the parts
WWI love-letter written by Massimo’s uncle. all of them were super) comprising Toumani, of the one that it is paired with here.
The disc’s exceptional, state-of-the-art
ngoni player Bassekou Kouyaté and Keletigui
Albums like Evok seem to be there to
recording draws you in right close, with
Diabaté on balafon.
challenge the reviewer. Can it be put into a
Allan’s very special and intimate delivery Aside from a sparkling, spacey duet with recognisable genre? No. Are there any other
cocooned by the immaculately judged and guitarist Vieux Farka Touré – a more than ade- groups or albums that it could be compared
empathic contributions of a handful of other quate surrogate for that other landmark with? No. Is it interesting? Yes, very. Well,
musicians (guitar, dobro, accordeon, banjo, here goes then…
bowed psaltery, fretless bass). I feel sure that
Toumani Diabate Dietrich are a duo of multi-instrumental-
Leaving At Dawn will come to be judged as
ists Jeuc Dietrich and Anik Faniel. Using occa-
one of Allan’s finest ever collections.
sional support from half a dozen collabora-
www.allantaylor.com; www.stockfisch- tors, they have drawn on a wide range of
records.de roots music influences to produce a richly
David Kidman
layered album that goes on displaying its
many facets after many playings and it
rewards constant careful listenings. The most
HUGH MASEKELA
compelling aspect is their harmony singing
which would seem to draw heavily on reli-
Phola Four Quarters/ Times Square 97012
gious Christian musical traditions, but that is
liable to mutate into eastern percussion pat-
Beatin’ Aroun’ De Bush Yellow Label terns at one point or Hendrix-style distort
SPV306742 guitar at another, or solo piping another. All
the songs and tunes are composed by the
World-renowned South African master of
pair of them and there are some fine
jazz trumpet, maker of hit records, major fig-
melodies amongst them. It is experimental
ure in Paul Simon’s Graceland project, some-
without ever being pretentious, ethereal
time husband of Miriam Makeba – does that
without being hippy new age, loose and
make him Papa Africa? – and Hugh Masekela,
relaxed whilst remaining disciplined and
now 70 years old, is still blowing. Phola is a
engaging. Rather like experimental theatre,
new recording and there’s so much air, so
it seems to be challenging and enjoyable
much room in the sound. Nothing rampag-
without all aspects being understood.
ing, no ripping it up, but full of intriguing
melody and interplay over a classy, steady
www.homerecords.be
band. Masekela says the quality he wants to Photo: Philip Ryalls Vic Smith
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