Toumani Diabaté - Collection (1987-2017)

A master of the kora (21-string West African harp), Toumani Diabaté has brought the traditional music of his native Mali to the attention of an international audience with a series of well-received solo albums and some unlikely, but acclaimed, collaborations. Although he came from a family of musicians, Diabaté (born August 10, 1965) taught himself to play the kora at an early age, as his father, who also played the instrument, was often away touring. He developed a style of playing that, while being strongly rooted in the Malian tradition, is also open to a wide range of other influences, such as jazz and flamenco. He has subsequently sought out other musicians from around the world who are willing to experiment with him, even performing a concert in Amsterdam with a classical harpist.

His 1989 debut, Kaira, made history as the first-ever solo kora album to be released. Stark, haunting, and full of breathtaking improvisational flourishes, it made him a star in his homeland and an in-demand performer internationally. In the same year, Songhai, a highly acclaimed collaboration between Diabaté, the Spanish flamenco group Ketama, and British jazz-folk bassist Danny Thompson, also released their acclaimed debut. Over the next six years, Diabaté performed at festivals and concerts all over the globe, doing much to broaden the appeal of the music of Mali, in general, and the kora, in particular. In 1995, a second Songhai album was released, as well as Djelika, on which he led a group of musicians featuring Kélétigui Diabaté (a veteran master of the xylophone-like balafon and no relation to Toumani) and ngoni (a miniature guitar-like stringed instrument) player Basekou Kouyate. He concentrated on performing in Mali over the next few years before releasing New Ancient Strings, his 1999 collaboration with fellow new-generation kora master Ballaké Sissoko. The album was a tribute to their fathers who, nearly 30 years earlier, had released an album of kora duets called Ancient Strings. In the same year, the very highly acclaimed Kulanjan was released. This featured Diabaté, Sissoko, and other fellow Malians, including singer Kassé-Mady Diabaté in a "West Africa meets the blues" collaboration with U.S. guitarist Taj Mahal. To promote the album, these musicians toured internationally at the end of 1999.

In 2000, Diabaté performed and recorded with Blur frontman Damon Albarn, when the latter visited Mali as part of an OXFAM project. In the Heart of the Moon, a 2005 collaboration with guitarist Ali Farka Touré, earned Diabaté a Grammy award for Best Traditional World Music Album. It was followed a year later by Boulevard de I'Independence, recorded with his Symmetric Orchestra and part of the same Nick Gold-produced Hotel Mandé Sessions as the Touré collaboration. As his popularity grew, Diabaté became a fixture on the international festival circuit appearing around the world at WOMAD, Glastonbury, Sziget Festival and many more. His 2008 solo kora release, The Mandé Variations, was widely praised by critics and in 2010 he again teamed up with Ali Farka Touré on the album Ali & Toumani. That same year, he was recruited by producer Nick Gold to participate in the Afrocubism project, an album similar in theme to 1997's landmark Buena Vista Social Club which saw musicians from Cuba and Malia collaborating. 2014's Toumani & Sidiki saw Diabaté pairing up with his son Sidiki Diabaté on a set of unaccompanied kora duets. He and Sidiki worked together again in 2017 in collaboration with French rock singer -M- on the eclectic album Lamomali.

ALBUMS List:
1987 Kaira (40:31)
1988 Songhai (& Ketama, Danny Thompson) (33:58)
1994 Songhai 2 (Ketama, Jose Soto) (50:04)
1995 Djelika (51:51)
1997 New Ancient Strings (with Ballake Sissoko) (53:26)
1999 Kulanjan (& Taj Mahal) (59:02)
1999 Live at Bremen (& Ballake Sissoko) Bootleg (40:03)
2002 Mali Music (& Damon Albarn, Afel Bocoum And Friends) (57:44)
2002 MALIcool (& Roswell Rudd) (1:00:52)
2005 In the Heart of the Moon (& Ali Farka Toure) (54:40)
2006 Boulevard de l'Independance (Toumani Diabate's Symmetric Orchestra) (52:38)
2008 The Mande Variations (57:49)
2009 Ali and Toumani (& Ali Farka Touré) (2010 Vinyl-rip) (59:42)
2009 Ali and Toumani (& Ali Farka Touré) (50:25)
2009 King of the Kora. An introduction (1:58:24)
2012 A Curva Da Cintura (& Arnaldo Antunes, Egdard Scandurra) (55:47)
2014 Live at Bremen (& Sidiki Diabaté) (1:12:52)
2014 Toumani & Sidiki (& Sidiki Diabaté) (43:39)
2017 Lamomali (& Sidiki Diabate, Mathieu Chedid) (36:02)

Toumani Diabate, like Foday Musa Suso, is regarded as one of the greatest living virtuosos on the kora, the 21-string West African harp-lute. Coming from a prominent musical family in the country of Mali, Diabate showcases his reputation as an inventive and lyrical performer on Kaira, his first solo album. The five pieces represent some of the classic kora works, and, at five to ten minutes in length, they allow Diabate plenty of time to stretch out and reveal his dazzling virtuosity. The tunes are all built around a solid bassline and a basic melodic theme around which Diabate improvises, producing a richly ornamented sound that is lively, fluid and engaging.

Tracklist:
01. Alla L'Aa Ke (07:16)
02. Jarabi (05:06)
03. Kaira (08:09)
04. Konkoba (10:28)
05. Tubaka (09:34)

This unique multicultural supergroup includes Toumani Diabate (Mali) on kora, Danny Thompson (UK) on bass, and the Gypsy guitar group Ketama from Spain, plus guests.

Tracklist:
01. Jarabi (03:39)
02. Mani Mani Kuru (05:30)
03. Caramelo (04:21)
04. A Toumani (03:28)
05. Vente pa Madrid (04:37)
06. Africa (05:26)
07. A mi tia Marina (03:40)
08. Ne ne koitaa (03:18)

This follow up to Songhai, 1988's classic world beat album, fuses West African and Spanish Flamenco, featuring some of the most celebrated performers of the world music genre. Recorded once again in Madrid, this new collection features a more balanced partnership, intertwining a weave of African and Flamenco elements that is evident in both instrumentation and material. Guest musicians like Malian kora master Toumani Diabete, British bassist Danny Thompson, and Spain's Juan and Jose Miguel Carmona on guitar, help celebrate the common demoninator between these two cultures: a shared heritage as cultural outsider that transcends all barriers.

Tracklist:
01. Sute Monebo (04:57)
02. Niani (03:52)
03. Pozo del Deseo (05:15)
04. Monte de los Suspiros (04:15)
05. Djamana Djana (04:47)
06. De Jerez a Mali (04:34)
07. Ndia (07:24)
08. De la noche a la Manana (04:44)
09. Mali Sajio (05:31)
10. Pozo del Deseo (instrumental) (04:47)

The African kora, which is like a cross between a lute and a harp, is one of the world's most beautiful instruments. It isn't as sweet as a harp and, with some of the quick action of a lute or guitar, it is as much a "classical" instrument as it is a "folk" one. On Djelika, Diabate is accompanied by Keletigui Diabate on balafon, an instrument like the xylophone which usually acts as a rhythm section, and Basekou Kouyate on the ngoni, a small instrument thought to be the ancestor of the banjo whose sharp timbre provides a contrast with the kora. The songs are simply beautiful. The title cut is a jazzy piece that slyly quotes the soundtrack "The Good, the Bad, and the Ugly." Keletogui sits out on "Cheick Oumar Bah," a traditional song in honor of one of Mali's spiritual leaders. It is thoughtful and dignified. "Kandjoura," on the other hand, is just fun, fast, and whimsical. It sounds like it's based on an Afro-pop song. The three musicians, each a virtuoso on his instrument, do a wonderful job providing sonic variety to keep the ear intrigued. Djelika is true African art music and should be sought out not only by fans of "world music," but also by aficionados of jazz and Western classical music.

Tracklist:
01. Djelika (07:13)
02. Mankoman Djan (05:22)
03. Cheikh Oumar Bah (05:54)
04. Marielle (07:02)
05. Kandjoura (08:07)
06. Aminata Santoro (06:43)
07. Tony Vander (05:31)
08. Sankoun Djabi (06:00)

Toumani Diabate is one of the finest contemporary kora players. Diabate teams with Ballake Sissoko for New Ancient Strings, a collection of African harp duets. Recorded in one take in Diabate's native Mali, New Ancient Strings is at once ethereal and earthy.

Tracklist:
01. Bi Lamban (05:00)
02. Salama (06:15)
03. Kita Kaira (09:05)
04. Bafoulabe (06:27)
05. Cheikhna Demba (04:31)
06. Korobali (09:07)
07. Kadiatou (07:51)
08. Yamfa (05:15)

This informal collaboration between veteran American bluesman Mahal and Malian kora (it's a 21-stringed lute-like instrument) master Diabate was recorded in an Athens, GA, studio with a sextet of West African string instrumentalists and vocalists. It sounds like a half a world away, with the two mixed cultures merging to create traditional blues based on non-traditional musical values. Mahal's gruff, weary voice is soothed by the Malian crew's sweet tones; conversely, the leaders' picking styles sound as if they were harvested from the same land. Natural, unpretentious, and occasionally sensual, Kulanjan is classy world music without the stuffy undertones.

Tracklist:
01. Queen Bee (05:05)
02. Tunkaranke (06:32)
03. Ol' Georgie Buck (04:14)
04. Kulanjan (04:36)
05. Fanta (04:41)
06. Guede Man Na (06:10)
07. Catfish Blues (05:30)
08. K'an Ben (05:00)
09. Take This Hammer (05:02)
10. Atlanta Kaira (05:00)
11. Mississippi-Mali Blues (03:18)
12. Sahara (03:59)






Tracklist:
01. Korobali (13:27)
02. L'arme de l'orphelin (11:38)
03. Cheikhna Demba (09:07)
04. Kita Kaira (05:53)

Following in the footsteps of his pop elders Paul Simon, Peter Gabriel, and David Byrne, Blur and Gorillaz leader Damon Albarn acts as a world music ringleader with Mali Music. Serving as a benefit to the Oxfam charity, this first release from Albarn's own Honest Jon's label sees Albarn jamming on a haunted melodica alongside Malian musicians. Albarn traveled throughout Mali and recorded the source material at various venues, from small bars to village streets. Primary players include guitarists Afel Bocoum and Lobi Traore, kora player Toumani Diabate, and ngoni player Ko Kan Ko Sata Doumbia. Albarn brought the recordings into a professional studio, adding guitars, keyboards, percussion, and effects to a majority of the tracks, and the result is a thoroughly chilled album. Layered and rich musical tones emerge from pianos, samplers, xylophones, and chanting choirs. Beats and keyboards mingle effortlessly with the exotic instruments. It's often quite difficult to decipher what sonic flourishes were recorded live and which ones were crafted afterwards via computer. It's obvious that Albarn has conceived the album with an enormous respect for the musicians and culture at the heart of the project. Whether pulsing with the frenetic energy of "Makelekele," laid-back and shuffling as on "The Djembe," or presenting a pristine, serene mood on "Tennessee Hotel," the album intrigues and impresses at every turn. Though he might have a diva reputation, from Gorillaz to his soundtrack work with Michael Nyman and on to Blur for that matter, Damon Albarn proves once again that he's a master collaborator. Mali Music is a brilliant, eclectic treat comprised of truly mesmerizing sounds.

Tracklist:
01. Spoons (05:20)
02. Bamako City (04:09)
03. Le Relax (03:52)
04. Nabintou Diakite (01:47)
05. Makelekele (04:25)
06. The Djembe (04:35)
07. Tennessee Hotel (03:42)
08. Niger (03:53)
09. 4 AM at Toumani's (03:07)
10. Institut National des Arts (04:15)
11. Kela Village (03:11)
12. Griot Village (01:12)
13. Le Hogon (03:52)
14. Sunset Coming On (04:14)
15. Ko Kan Ko Sata Doumbia On River (01:04)
16. Les Escrocs (05:09)

At first blush, adding Roswell Rudd to a group of native West African musicians might seem, well, stretched. Surprisingly, though, it proves a remarkably impressive combination – in large part due to the simple melodies, the opportunity for the trombonist to stretch out, and the quality of the band. Curiously, although recorded in Mali, half of the tunes are not indigenous to the region: Three are by Rudd, "Jackie-ing" is, of course, by Monk, and "All Through the Night" is a traditional Welsh song. Rudd plays the only Western-style horn (the others perform on a variety of local instruments or contribute vocals), and his burly tone and raunchy swagger take full advantage of the moment. The trombonist is in prime form, relaxed and expansive. The Africans are splendid, too, not only laying down a sympathetic carpet of light percussion over which the trombonist improvises but also providing some interesting diversions on instruments such as the kora, the balophone, the djembe, and the ngone. The acclaimed Toumani Diabate is co-leader of the session, contributes a few pieces, and shines on his native kora (a 21-stringed harp). "Jackie-ing" is perhaps the most interesting of the tunes, if only because it is so difficult for the Africans to manage. As Rudd explains in his notes, the tradition among the Africans is to focus on simple riffs as accompaniments and to continue to explore sections to their fullest rather than jumping to the next section of a song. Ultimately, these issues (and others) are worked out, and Monk is given a sort of facelift that proves compelling. Overall, the band is tight and well-rehearsed, Rudd's solos rival his best, and the tunes are catchy, simple, and accessible. Fans of the trombonist or of West African music will not wish to miss the opportunity to pick up this rare and exciting collaboration.

Tracklist:
01. Bamako (06:29)
02. Rosmani (06:06)
03. Jackie-ing (05:44)
04. All Through the Night (02:21)
05. Hank (05:57)
06. Johanna (07:52)
07. For Toumani (11:33)
08. MALIcool (03:47)
09. Sena et Mariam (07:03)
10. Malijam (04:02)

In the Heart of the Moon is a duet recording by Malian guitar slinger Ali Farka Toure and Mandé lineage griot Toumani Diabate on kora. There are a few other players who contribute percussion here and there, and Ry Cooder plays a Kawai piano on a couple of tracks and a Ripley guitar on one, but other than these cats, this is a live duo set without edits or enhancements of any kind. There were three sessions in the conference room of the Mande Hotel in Mali, the first of which was on the eve of Farka Toure being elected mayor of his town, Niafunké. Most of the music here dates back to the Jurana Kura (translated as new era) cultural movement, which was part of the independence struggle in the 1950s and early '60s. The music created by the Jurana Kura for the guitar created a entirely new style of rhythmic fingerpicking. For those familiar with Farka Toure's blazing lead style, this disc may come as a shock. While he does solo many times here, he is also playing in balance with Diabate, whose kora has the larger lyric and harmonic palette, so he is in a supporting role. It doesn't matter. Whether the song is "Kaira" (written and performed by Diabate's father in the '50s and the earliest recorded track on the album, from before the Mande sessions), "Ai Ga Bani (I Love You)" and "Soumbou Ya Ya" (both written for young people during the Jurana Kura), or one of Farka Toure's originals near the end of the set, such as "Gomni," the style is the same. Everything echoes this earlier era because it has informed all Malian and Guinean music since. The purpose was to make people aware not only of its existence but to inspire and exhort. The music is insistent but not strident. It contains a gentleness and tenderness that seem to drip from the region, one of the poorest in the world. The players' focus and intensity are captured, but they make it all come off so easily that the listener gets lost in the pleasure of these gorgeous melodies and the call-and-response style of interaction between the players. Simply put, In the Heart of the Moon is nothing short of remarkable, and one of the best offerings World Circuit/Nonesuch have ever released.

Tracklist:
01. Debe (04:56)
02. Kala (05:07)
03. Mamadou Boutiquier (05:05)
04. Monsieur Le maire de Niafunkй (03:59)
05. Kaira (06:25)
06. Simbo (04:00)
07. Ai Ga Bani (04:35)
08. Soumbou Ya Ya (03:31)
09. Naweye Toro (04:24)
10. Kadi Kadi (03:22)
11. Gomni (04:18)
12. Hawa Dolo (05:01)






Tracklist:
01. Toumani (05:54)
02. Boulevard de l'Independance (03:58)
03. Yafama (04:57)
04. Mali Sadio (07:56)
05. Africa Challenge (05:46)
06. Wasso (05:31)
07. Mamadou Diaby (06:48)
08. Tapha Niang (06:52)
09. Single (04:59)

A solo kora recital (his second, a follow-up to his 1988 debut recording Kaira) for Bamako's Toumani Diabaté seems like a snap, easily produced, and simply rendered. But the thought process prior to and during each piece speaks more on the background, orientation and experience that inspires him. Not all strictly a Mali or African dialect, he employs a variety of sources that directs this diverse program, which is far from simplistic or superficial. For instance, the beauteous ten and a half minute opener "Si Naani" uses an Egyptian tuning, is harp and Zen-like, cascading, expresses four Fula lineages, and goes from a love song to a griot tale. The thematic waltz "Elyne Road" – inspired by producer Nick Gold's band UB40's version of the song "Kingston Town" – uses a repeat line to improvise off of, much more than a simple pop or rock song form. "Ali Farka Toure" for the deceased world music master is a fast, no-frills improvisation with no wasted space as the musician who it is played for fully expressed in his music. "Kaounding Cissoko" for Baaba Maal's late kora accompanist is playful, minimalist, layered, sounds overdubbed even though it is not, and is the most intricate piece on the CD. An Arabic spoken word prayer introduces the reverent "Ismael Dreams," a slow "Djourou Kara Nany" (the Arabic name for Macedonian emperor Alexander the Great) is also measured but uses contrasting quick passages, and "El Nabiyouma" is playful and bouncy, utilizing rhythmic Spanish flamenco inferences, as well as those from carnatic India and Mauritania. Then there's "Cantelowes," inspired by a street in north London and borrowing the famous melody from the film The Good, The Bad & The Ugly as a vehicle for counterpoint linear and repeat direct basslines. As much as the relaxed fluidity and natural ability of Diabaté is clear, please do not assume this music is laid-back, lacks spark, verve or energy. An inspired, sparkling effort, The Mande Variations ranks as a top shelf, eminently listenable recording on many levels, and comes highly recommended

Tracklist:
01. Si naani (10:32)
02. Elyne Road (08:51)
03. Ali Farka Toure (06:20)
04. Kaounding Cissko (06:27)
05. Ismael Drame (05:46)
06. Djourou Kara Nany (06:54)
07. El Nabiyouna (06:04)
08. Cantelowes (06:58)






Tracklist:
01. Ruby (05:55)
02. Sabu Yerkoy (04:09)
03. Bé Mankan (05:08)
04. Doudou (04:47)
05. Warbé (04:49)
06. Kenouna (05:06)
07. Samba Geladio (03:17)
08. Sina Mory (04:28)
09. 56 (06:57)
10. Fantasy (02:19)
11. Machengoidi (05:04)
12. Kana Kassy (04:10)
13. Kala Djula (03:31)

Due to the international success of In the Heart of the Moon, Mandé lineage griot Toumani Diabaté wanted to make a follow-up with fellow Malaian, the legendary guitarist Ali Farka Touré. The first record had been cut in Niafunke, Touré’s home village in the north of Mali, Diabaté contacted World Circuit's Nick Gold about doing the follow-up in London, where the pair was due to play a couple of concerts. Gold agreed and suggested they include Cuban bassist Orlando “Cachaito” Lopez on the session. There was some urgency: Touré was dying. The sessions were cut over four days in June of 2005; this is his last recording. The contents are made up of improvisations and new versions of old songs from both men’s regions. Opener “Ruby” is a gorgeous improvisation, where Touré doesn’t play the role of guitar slinger, but of a guitarist playing only for his own enjoyment, softly, gently, with his trance-like hypnotic rhythm, allowing Diabaté to let his kora flow over the modal pattern. Cachaito makes the first of five appearances here. “Sabu Yerkoy” is a proper entrance. It is Touré’s take on Cuban salsa (with his son on congas). The rhythmic interplay between drums, bass, and acoustic guitar is intricate and subtle with its gentle, seductive approach. “Doudou” is a completely new take on an old Mandé song, weaving together a Senegalese mbalax rhythm and the kora’s harmonic palette. Along the lines of the intricate melody, Touré layers one atop another from one of his own songs, with “Singya” on top. It’s easily among the most beautiful thing here. Touré’s rhythmic approach shines on “Samba Gerladio,” another new version of a very old folk song. Touré introduces it and Diabaté eventually encounters him on the chorus, weaving a new melody based on Touré’s blues. “Sina Mory” is the very first song Touré learned to play on the guitar – this may have been the last time he played it. “Kala Djula,” a griot’s hymn, closes the set as a celebratory song. Its rhythmic feel – held down by Cachaito – is cut-time, but the pace is graceful, easy, relaxed. Diabaté’s soloing is breathtaking, full of humor and warmth. Touré interjects his own slippery guitar pattern, creating a second-line melody. This self-titled album is a fitting tribute to Touré’s and Diabaté’s genius and friendship, and is a beautiful farewell.

Tracklist:
01. Ruby (05:56)
02. Sabu Yerkoy (04:09)
03. Be Mankan (05:07)
04. Doudou (04:47)
05. Warbé (04:52)
06. Samba Geladio (03:17)
07. Sina Mory (04:28)
08. 56 (06:58)
09. Fantasy (02:19)
10. Machengoidi (05:06)
11. Kala Djula (03:27)






Tracklist:
CD 1:
01. Jarabi (05:07)
02. Aminata Santoro (06:45)
03. Bi Lamban (04:57)
04. Marielle (07:04)
05. Alla L'Aa Ke (07:16)
06. Kanou (05:09)
07. Djelika (07:14)
08. Kita Kaira (09:04)
09. Bafoulabe (06:27)

CD 2:
01. Atlanta Kaira (with Taj Mahal) (05:00)
02. Africa (with Ketama & Danny Thompson) (05:25)
03. Take This Hammer (with Taj Mahal) (05:01)
04. Mani Mani Kuru (with Ketama & Danny Thompson) (05:29)
05. Sute Monebo (with Ketama & Jose Soto) (04:55)
06. Queen Bee (with Taj Mahal) (05:05)
07. Kulanjan (with Taj Mahal) (04:35)
08. Niani (with Ketama & Jose Soto) (03:53)
09. A Toumani (with Ketama & Danny Thompson) (03:28)
10. Ndia (with Ketama & Jose Soto) (07:24)
11. Diabaté (Vieux Farka Touré ft. Toumani Diabaté) (09:13)






Tracklist:
01. Cê Não Vai Me Acompanhar (03:07)
02. A Curva da Cintura (02:56)
03. Grão de Chãos (03:39)
04. Kaira (04:26)
05. Ir, Mão (03:01)
06. Se Você (05:14)
07. Um Senhor (03:20)
08. Cara (03:24)
09. Psiu (03:18)
10. Que Me Continua (04:20)
11. Neblina de Areia (03:27)
12. Muito Além (03:55)
13. Coração de Mãe (04:42)
14. Meu Cabelo (03:28)
15. Bamako’s Blues (03:32)






Tracklist:
01. Sidiki Song (09:07)
02. Kaira (07:27)
03. Rachid Ouiguini (09:16)
04. Dr. Cheikh Modibo Diarra (11:53)
05. Tijaniya (09:47)
06. Talking (04:19)
07. Bagadaji Sirifoula (09:14)
08. Lampedusa (11:54)

In what is certainly the first of its kind, highly respected father-and-son duo Toumani and Sidiki Diabaté have teamed up to record an album of unaccompanied duets for the kora, the ancient 21-string harp of West Africa. Over the years, Toumani Diabaté has established himself as the instrument's modern master, taking over the mantle from his father, Sidiki Sr., who recorded the first-ever kora album in 1970. While Sidiki Sr. was deeply rooted in the traditional music of his native Mali, Toumani brought the kora to the rest of the world, pushing the boundaries of his creativity and collaborating with artists of many different genres. As the family tradition continued, Toumani's eldest son, named Sidiki after his grandfather, took up the instrument as well, although he initially came to prominence in his home country as a drummer and beat programmer with Malian rapper Iba One. But, while hip-hop is one of his passions, Sidiki's respect for the mesmerizing and complex instrument of his lineage remains, and in 2013 he and his father entered London's RAK Studios to record Toumani & Sidiki with World Circuit team Nick Gold and Jerry Boys (Buena Vista Social Club, Ali Farka Touré) along with co-producer Lucy Duran. The album's ten songs are largely based on interpretations of deeply obscure kora pieces as well as Mande classics from Mali played with a contemporary approach. The beautiful, unadorned recordings dance along in strange, haunting rhythms with both players swapping solos and basslines and issuing the almost mystical, cascading runs that the instrument is known for. Captured warmly in stereo, Toumani is heard prominently in the left channel and Sidiki in the right. This is a rare album in many ways, full of great depth and subtle nuances, and choosing highlights is almost a disservice, as it hangs together so nicely as a single piece. Still, the mysterious, snaky groove of opening track "Hamadoun Toure" is perfectly evocative of the roads Toumani & Sidiki will lead you down.

Tracklist:
01. Hamadoun Toure (05:19)
02. Claudia & Salma (04:40)
03. Rachid Ouiguini (04:34)
04. Toguna Industries (03:50)
05. Lampedusa (04:26)
06. Bagadaji Sirifoula (05:35)
07. Tijaniya (04:51)
08. Dr Cheikh Modibo Diarra (02:57)
09. A.C.I. 2000 Diaby (04:41)
10. Bansang (02:49)






Tracklist:
01. Salimou (04:25)
02. Abdu Njai (03:22)
03. Ni Ma Sori (04:39)
04. Bambugu Chi (06:00)
05. M'barin (03:15)

Whoever you are! I’m much closer to you than a stranger (Andrée Chedid) We are all connected. By atoms and stardust, hearts and minds and six degrees at most. By nature. The universe. Music. Take LAMOMALI, the new album by iconic French rocker, M. Recorded in collaboration with Toumani Diabaté, that Grammy-winning kora virtuoso from Mali, West Africa, and featuring a who’s who of singers and musicians from, well, everywhere, it’s both a mighty slice of African pop and a testament to music’s power to enchant, heal and unite.

Tracklist:
01. Manitoumani (03:29)
02. Bal De Bamako (03:49)
03. Cet air (03:46)
04. Interlude (00:38)
05. Une âme (03:29)
06. Le bonheur (03:07)
07. Solidarité (03:16)
08. Toi moi (03:42)
09. L'âme au Mali (03:09)
10. Mama (04:59)
11. Koman le héros (02:42)

Toumani Diabaté - Toumani & Sidiki (& Sidiki Diabaté) (2014) see here…