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And the rest of the album doesn't disappoint in its richness. Blues, most obviously on Amadinin, Cajun, echoes of Richie Havens on Hani and lovers of Scottish folk will find much to recognise. Influences, roots or a wonderful melting pot?
And throughout, an easy, natural, perfect rhythm that amateurs like me can only aspire to in the next life.
This cd is entirely acoustic, as opposed to NIAFUNKE which has him on both acoustic and electric guitars. I want to clear one thing up from the Amazon.com review. The "violin" that is mentioned is the African njarka violin. The njarka is a one-string instrument that is about 9 or 10 inches long. I just don't want anyone thinking of the Western violin. Technically, the njarka is a rather crude instrument but it releases a glorious sound, as if the earth herself is singing. If you ever see Ali in concert (and you really should see him in concert!) you will hear the full emotional power of the njarka in the hands of a master.
Ali is the original musician who translated traditional Malian music to the guitar and then later melded this together with a touch of the blues. He is in great form on this cd. Just by listening you won't know what he is singing about (since he sings in his traditional languages) but this may actually be an advantage. You won't get caught up in analyzing lyrics or stories, you will simply feel him translating his emotions into music.
If you are completely unfamiliar with Ali's music (or any African music at all) then I suggest that NIAFUNKE may be a better choice. It has a bit more of the blues influence than this cd does, and for that reason alone I think it may possibly be a smoother transition into his music for people who are unfamiliar with him. In all honesty though, I'd recommend purchasing both cd's. They show different sides of the same man, are seperated by 2 decades, and both display the full passion and depth of the Malian musical tradition. Ali is an incredible songwriter on both cd's, you don't even need to know specifically what he is singing about to be completely moved by the manner in which he performs his songs.
Farka Toure is an original, and in this cd there is only one track that may be influenced by the blues, which is Hani (track 7).
The rest of the cd is hauntingly beautiful, and rewards each listening with fresh discoveries. In AFT I found a rare instance where a musician's voice and guitar playing rival each other for beauty and skill, with both coming up as winners.
I agree with those who say this cd is better appreciated after hearing other AFT cd's, or for people who have listened to other Malian musicians. I would also like to draw attention to the beautiful liner notes and to AFT's remarkable story of how he became a musician.
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