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Product Description
Amazon.co.uk Review
With Mali Music it's possible at last to see how Damon Albarn's foray into Africa has worked out: most members of what Albarn's friend Michael Nyman has dubbed the "world-music police" would probably be happy to give it a qualified thumbs-up. If some of the "Western" tracks are little more than an undifferentiated blur (no pun intended), the echt-Malian ones are a delight.
But it's what lies between that's interesting: what Albarn and his colleagues Afel Bocoum, Toumani Diabate and Ko Kan Ko Sata Doumbia have achieved is best described as "the music of place". In "Kela Village" you can almost see the celebrations going on amid the chirruping of birds and the croaking of frogs; "Bamako City" comes with bags of local atmosphere.
This CD was constructed in layers--after Albarn had edited down his 40 hours of raw material, he created collages with new melodies and beats and then sent his tapes back to Mali, where extra vocals and instrumental work were added. We thus get music that actually feels layered: a typical track will start with a simple groove on kora or ngoni, then it will acquire a voice, then some electronic effects, and it will finally be enveloped in a seductive miasma of local atmosphere.
Apart from some nifty Malian balafon and string work, there's nothing here of instrumental note--Albarn's instrument is a battered melodica--but that doesn't matter, because in this game the final effect is the thing. Disregard Albarn's pretentious guff about this representing the "Africanisation of Western music"--where does the boy imagine jazz came from?--but do regard this CD as a healthy omen. --Michael Church
fRoots, May 2002
Mali Music is based on the recordings made by Damon Albarn on an Oxfam-organised trip to Mali a couple of years ago. Rather than take the usual rushed celebrity approach, the Blur and Gorillaz man stayed for a few weeks and with his melodica in hand, played wherever he could (clubs gigs, village jams, on riverboats and in musicians' compounds) with anyone who would let him join in: Toumani Diabate, Lobi Traore and Kasse Mady to name but a few. The tapes were taken back to his West London studio, things were mixed and added and then it was back to Mali for further additions from the excellent Afel Bocoum. Perhaps surprisingly, this doesn't result in a self-indulgent mess. Albarn is clearly motivated by a love of Malian music but he's not afraid to mess with it when he feels the need. So that while some tracks (the self explanatory 4am At Toumani's for example) are pretty much unmucked around with, others feature twangy guitars, muted synth lines or the deep dubby bass of Junior Dan. Apparently the aim was to create a musical travelogue of Mali, but it's one filtered through a particular laid-back West London sensibility. Albarn mainly contents himself with orchestrating the whole thing and playing simple melodica melodies, with just the occasional understated vocal thrown in. The decision to involve Bocoum is a definite plus and all in all, Mali Music is pulled off with just the right mix of respect and inventiveness. --Jamie Renton
© fRoots Magazine all rights reserved
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