41 f
Sidiki Diabate Ensemble 1987. Toumani front left, father Sidiki right
tioned legendary Malian diva Kandia Kouyaté, co-produced by Lucy Duran and our editor Ian Anderson. Kaira, his debut solo album followed fairly swiftly – and then collaborations with a long succession of world-class musicians on records for Joe Boyd’s Han- nibal label and World Circuit. These include the two Songhai albums with flamenco band Ketama and Danny Thompson on bass. Later outings included recordings with Roswell Rudd, Taj Mahal, Damon Albarn and Björk. Albums made here brought about collaborations with other Malian artists including Ballaké Sissoko, Bassekou Kouyaté and of course Ali Farka Touré, whom he met for the first time back in 1987 when he helped Anne Hunt find him in Mali, through the simple expedient of getting an announcement on the radio.
Toumani explains that collaborations are give and take. “When I play with Damon, for example, I don’t play his music. I play my music. He plays his music. When we play together we cre- ate new music. Of course I learn something from him. And he learns from me too. We learn many things, how to play fast, a good melody, it could be technique or a feeling, a dynamic. When we are in the car here, left and right you always see green. Every- where is green so that’s beautiful. When I see that I wish it for my country. We need rain but this is the force of the natural. So I could be inspired and compose a new song for that.”
He refutes the idea though that this has impacted on his tradi- tional music. “If you’re travelling a lot you give and you learn. It’s not that I’m bringing music from here to Mali: we have enough! I think Western countries know only five percent, maybe not even that of African culture. Even to know one percent is big. Can you imagine, 700 years of history, music coming from 700 years ago, it’s deep! We learn how to manage this but we have a lot of things we are still on the way to discovering!”
ith the immensity of this kind of back catalogue it’s no wonder that Toumani & Sidiki features ancient songs, with just one new composition, Lampedusa. In keeping with the practice of cen- turies, in which lyrics speak to current social issues, the song addresses the tragedy of the boat carrying those seeking a better life in Europe that sank off the Italian island, drowning all on board. The current situation in Mali is a source of sadness to him. “Everyone is suffering. For me, the solution is negotiation. People from the North and South need to sit down and make a good path and not put their own interests at the front of every- thing. Mali is the country that gifts musicians to the world. We have more Grammy awards and nominations than any other country in Africa. At the moment music is suffering and everyone is suffering for this. Mali is one of the great cultural countries of the world. This needs to be continued.”
W
Sidiki looks set to keep flying the flag for Malian musicians in UK, continuing the family connection with this country. He likes it here: “I’m looking to learn English, there are lots of nice people. I love the music here. People know and appreciate good music in the UK. It’s very important.”
He’s glad to have recorded and toured with his father.
“There’s a continuity that’s special. There are the origins of tech- niques which are beyond father and son.”
Toumani nods in agreement. “Seeing father and son playing together from a family with a long musical tradition: it’s not easy to see that every day.” Which is why their gigs sell out and why their first album together is so special, its very existence a force against the rising tide of fundamentalism that faces us all.
www.toumaniandsidiki.com F
Photo: Ian Anderson
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84