BAD 2 THE BONE FEAT DENISE GORDON / NEVER GONNA STOP

It's easy, though, to get carried away by hyperbole. They themselves know this; in Africa, musicians may be respected or even revered (as these two rightly are), but there is no cult of the superstar, no adulation or pretension. I think it's similarly easy to exaggerate the quality of musicianship on this recording - it's not the best that either have produced in the past. Which isn't surprising, considering that this is essentially a jam session! And I know I'm being a snob here, but to me the World Circuit treatment rankles - the occasional washes of electric piano and bass are, as ever, exquisitely tasteful and discreet - but the music is so strong, it just doesn't need this kind of support.

I read a review which said, this record is like taking an amiable walk with your two favourite uncles, one genial and laid-back, the other more prone to excitable flurries of talk. If you're looking for something inspirational, this ain't it. This is just very pleasant. Which sounds like an insult - again, it ain't. It's a compliment. These guys have both done blow-me-over inspirational (The Source, New Ancient Strings) and it's nice to take a break from that level of intensity.

So, four stars for what I have called a "nice, pleasant" recording. For the full five star, breathless can't-recommend-it-strongly-enough thing PLEASE check out Ballake Sissoko's latest (Tomora)! He's not as well known, but this disc is absolutely glorious.

IN THE HEART OF THE MOON may have taken a few hours to record, but the build up to this first musical encounter of Mali’s musical giants took many years. Listening to them play, you wouldn’t believe either time span. Having met and heard them both play in informal settings, I can imagine the sessions, the wordless intuitive exchange through eye contact and gestures. The result is, as they say, magic! According to the accompanying notes, they themselves were surprised how well each understood the musical culture of the other. Both could adapt their playing style to the other’s requirements. It demanded completely new harmonies on Toumani’s kora – it softened the voice of Ali’s guitar. Toumani’s comment: “This is a record of music that did not exist before!” It melds the different musical traditions of two distinct Malian cultures.

Ali Farka Touré and Toumani Diabaté have both been household names of Mali music for a long time. One is famous as Mr. Blues and the other admired as Mr. Kora. Their styles are rooted in their respective ethnic cultures: Ali comes from the northern Songraï and Toumani from a long line of (southern) Mandé griot tradition. They are also from two generations. Toumani admired Ali’s music as a child. “Toumani is a child born in my hands” says Ali in the notes. He played with Toumani’s father, Sidiki Diabaté, also a famous kora virtuoso.

This album features by and large traditional compositions, most of them instrumental, some adapted by Ali for guitar, and one composed by Toumani dedicated to Ali on his election to Mayor of his hometown Niafunké. Those familiar with Malian music will recognize many of the tunes and enjoy the beauty of their interpretations. Those unfamiliar with its rich repertoire will find this album and excellent introduction. Just one warning – you will want to buy more recordings of both artists. [Friederike Knabe]