Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Boubacar Traore Returns with More Hypnotic Desert Blues Magic

This is the kind of album you find at Awesome Tapes from Africa. Along with Ali Farka Toure, Boubacar Traore is one of the fathers of desert blues: now close to 70, the superstar Malian guitarist’s voice has taken on a flintier edge as the years have passed, but otherwise his playing is as hypnotically gripping as it was forty years ago when his cassettes began circulating in his native land. His latest album Mali Denhou is characteristic: sometimes brooding, sometimes warmly circling, it’s a display of minimalist intricacy that European composers struggle trying to achieve. Traore does this effortlessly, backed by spare, simple percussion and mournful chromatic harmonica, occasionally with dual acoustic guitar tracks.

Traore’s solos are typically limited to an expansive bar or two, often to signal a change or the return of a chorus: the harmonica is the lead instrument here, and it is excellent, woundedly spiraling or letting the end of a phrase trill out over the steady rotation of the guitar riff underneath. Traore sings in his native dialect, usually with the patient stoicism that characterizes Malian desert music, occasionally rising to meet the crescendo of the guitars. The album’s opening tracks feature marimba interwoven among the guitars, so seamlessly that it’s impossible to figure out who’s playing what unless you’re paying close attention. A couple of the later ones feature a lute that sounds like a higher-pitched oud, snaking through the thicket of casually intricate textures. An early track has a lullaby feel; the final one runs a warm circular motif over and over. Another hints at an upbeat 1-4-5 change, evocative of some of reggae legend Burning Spear’s simpler, more direct, African-influenced songs. There’s also a mini-epic that begins with a distinctly flamenco-tinged riff. But as with the rest of Traore’s voluminous back catalog, it’s the dusky otherworldly minor modes that deliver the most chills, and there are plenty of them, from the stately title track, an anthem in 6/8 time, to a couple of rhythmically trickier, slowly unwinding numbers, building from skeletal yet incisive hooks that essentially serve as basslines. Imagine the expanse of the desert from beyond the tent, as the sun goes down at last and a breeze breaks the spell of the heat for the first time. This is magical music from a magical player who’s been around a long time. Fans of the current crop of desert blues bands like Tinariwen or Etran Finatawa have a lot to enjoy here. It’s out now on the adventurous French Lusafrica label.

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May 3, 2011 - Posted by | Music, music, concert, review, Reviews, world music | , , , , , , , , , , , , , , , , ,

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