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Toumani Diabaté: Boulevard de l'Independance

 A l b u m   D e t a i l s


Label: World Circuit Records
Released: 2006.07.25
Time:
 52:33
Category: African Folk
Producer(s): Nick Gold
Rating:
Media type: CD
Web address: www.toumani-diabate.com
Appears with:
Purchase date: 2015
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Toumani (Toumani Diabaté) - 5:54
[2] Boulevard de l'Independance (Traditional) - 3:57
[3] Ye Fama (Toumani Diabaté) - 4:56
[4] Mali Sadio (Mangala Camara / Traditional) - 7:55
[5] Africa Challenge (Toumani Diabaté) - 5:45
[6] Wasso (Traditional) - 5:30
[7] Mamadou Diaby (Traditional) - 6:47
[8] Taphia Niang (Traditional) - 6:51
[9] Single (Toumani Diabaté) - 4:58

 A r t i s t s ,   P e r s o n n e l


Toumani Diabaté - Arranger, Interviewee, Karignan, Kora, Musical Direction

Pee Wee Ellis - Horn Arrangements, Baritone & Tenor Saxophone
Mike Smith - Horn Arrangements, Baritone & Tenor Saxophone
Chris Storr - Trumpet
Mamadou Camara - Spoken Word
Olalekan Babalola - Congas, Triangle
Dramane Coulibaly - Djembe
Mohamed Coulibaly - Sabar
David Daniels - Cello
Fodé Lassana Diabaté - Balafon
Souleymane Faye - Sabar
Yaya Faye - Sabar
Mamadou Fofana - Flute, Keyboards
Sid Gould - Trumpet
Amadou Guitteye - Acoustic Guitar
Simon Hale - Conductor, String Arrangements
Matt Holland - Trumpet
Morissanda Kamissoko - Vocals
Alhassane Kanouté - Rhythm Guitar
Sekou Kanté - Bass
Patrick Kiernan - Violin
Fanta Mady Kouyate - Guitar
Fode Kouyate - Drums
Mamadou Santiago Kouyaté - Acoustic Guitar
Julian Leaper - Violin
Perry Mason - Violin
Etienne Mbappé - Bass, Bass Guitar
Trevor Mires - Trombone
Roberto Pla - MC, Timbales
Lamine Toukara - Bells, Dun-dun
Adama Tounkara - Ngoni
Ganda Tounkara - Ngoni
Mamadou Tounkara - Sabar
Ousseïn Tounkara - Bass, Guitar
Fayyaz Virji - Trombone
Byron Wallen - Trumpet
Brice Wassy - Drums
Bruce White - Violin
Alex Wilson - Piano
Gavyn Wright - Violin

Mangala Camara - Vocals
Tiecoro Sissoko - Choir/Chorus, Vocals
Soumaila Kanouté - Choir/Chorus, Vocals
Moussa Diabaté - Choir/Chorus, Vocals
Fatim Sylla - Choir/Chorus
Ramama Sylla - Choir/Chorus
Mamadou Kouyaté - Choir/Chorus
Koumba Avian Tounguino - Choir/Chorus

Nick Gold - Producer
Sara Daoud - Production Supervisor
John Mallison - Engineer
Yves Wernert - Assistant Engineer, Engineer
Ibrahim Tankara - Assistant Engineer
Tom Bailey - Mixing Assistant
Tom Leader - Mastering
Jerry Boys - Mastering
Graham Dominy - Mixing Assistant
Ibrahim Coulibaly - Assistant
Lucy Duran - Transcription
Peter Martelli - Technical Support

 C o m m e n t s ,   N o t e s


Boulevard de l'Independance is an ambitious , big-band follow-up to In The Heart of the Moon; a bold synthesis of acoustic and electric, elegant and earthy, shimmering melodies and irresistable grooves, recorded in two weeks' worth of all-night sessions in the Malian capital of Bamako. It's a vivid recreation of the group's Friday night residency at Bamako's Hogon nightclub that retains the hot, lookse and live feel of the popular gig.

Amazon.com



Toumani Diabate, scion of one of Mali's oldest hereditary musical dynasties, was born into a few-centuries-worth of hard-acts-to-follow. But his output continues his father Sidiki's life-long exploration of the manifold possibilities of the kora, West Africa's glorious 21-string harp-lute. Aside from folklore-based recitals, such as New Ancient Strings with fellow kora virtuoso Ballake Sissoko, he has also released a quiver-full of genre-bursting experiments. The flamenco-infused Songhai albums, Kulanjan, with American roots master Taj Mahal, and 2005's Grammy-winning In The Heart Of The Moon with the late, great Malian guitarist Ali Farka, are only a few highlights. The present project, featuring a 50-member big band hailing from Mali, Senegal, Burkina Faso, Côte D’Ivoire, and Guinée, can best be described as neo-trad-with-attitude. Local xylophones, plucked instruments, and percussion abut drum kits and electric bass. The string arrangements sometimes recall Zanzibar's Taarab orchestras, while the brass charts have an aggressive yet tasty swagger; you might not imagine that the kora could work as a lead instrument in such company but it does. Further graced by the astounding vocals of Kasse Mady Diabate and a mixed chorale, this is a ground-breaking and soon-to-be-legendary release.

Christina Roden - Amazon.com




He is descended from 52 generations of hereditary musicians, the griots, and he is the world's finest exponent of the kora, the classical west African harp - but that doesn't mean Toumani Diabate is averse to a bit of wild experimentation.

His last album, In the Heart of the Moon, recorded with the late Ali Farka Toure, was a gently exquisite instrumental work, and a deserved Grammy-winner. Now comes Toumani's bid to prove that the kora can also be a key component in a dance band. He's joined by 41 musicians and 11 singers here and the results vary wildly, from the magnificent to the messy. The best tracks, such as Mamadou Diaby, match Toumani's virtuoso playing against sturdy backing, with magnificent vocals from the great Kasse Mady Diabate.

Elsewhere, the punchy horn section led by Pee Wee Ellis at times threatens to overwhelm the more delicate kora, while the occasional addition of a string section was an unfortunate mistake.

Robin Denselow - 24 March 2006
© 2015 Guardian News and Media



Hot on the heels of Toumani Diabate's Grammy-winning collaboration with late guitar genius Ali Farka Toure, Mali's leading kora player comes up trumps with this energetic ensemble piece.

Those expecting the sparse, spectral ambience of that CD or previous solo efforts like New Ancient Strings or Kaira are in for a pleasant shock. As the group's name suggests, there's a balance between tradition and innovation, youth and maturity, electric and acoustic, quiet interludes and rocking dance numbers.

This album is the culmination of a decade of Friday night jam sessions at Bamako's Hogon Club and showcases a wide range of musicians and singers, including Kasse Mady Diabate, Soumaila Kanoute and Morissanda Kamissoko. There are scorching horns, fierce percussion and even atmospheric string arrangements. But the one constant throughout is Diabate's kora playing, which is magical.

Jon Lusk - 2006
BBC Review


With an album as inaccessible to the average English speaking listener as Boulevard de L’independence, the album cover and jacket does wonders to provide information and insight into what this album truly means. Toumani Diabate, Mali’s most famous and revered kora player, writes about his vision and thinking behind the Symmetric Orchestra and his thinking behind each song. What struck me first, however, was the album cover. It appears so modern, completely unexpected from a group playing Malian music and African traditions. Diabate transcends modern composing with classical conducting and orchestra-leading on the front cover with his hands raised as if to indicate a crescendo while wearing headphones on his head, another juxtaposition that proves perplexing. In the album jacket, he describes how the Symmetric Orchestra has been a positive cultural icon in their home country, almost overtaking and replacing Mali’s national orchestra. Still, they have a home base in Bamako, playing at the Hogan. Any musician traveling through the area knows to check out the orchestra on Friday night. Chances are, they will get up on stage and perform along side them. Boulevard de L’independence is the culmination of many years performing at the Hogan.

Diabate explains his reasoning for the naming of the Symmetric Orchestra as the balance between traditionalism and modernism. However, this album proves there may be more to that name, as it bridges the gap between Eastern and Western music. Prominently featured on the album is a horn section, full of saxophones, trumpets, and trombones. The energetic album closer “Single” brings acoustic guitar, electric bass and drum set as well, and it feels more like a big band jazz-funk song than a modern African composition. With huge horn hits and an amazing groove from the rhythm section, the African choir vocals and soloists fit on top just like another jazz soloist. The part of the lyrics which Toumani translates are very good, with lines like “What is life but a conversation?” While “Single” is the most Western of the album, the majority of it sounds much more like Malian music with a few Western instruments. The stunningly beautiful “Mali Sadio” begins with Diabate’s virtuosic kora playing, a prominent part of the whole album. As vocalists, percussive handclaps, and light accompaniment from a string section enters, Diabate starts playing better and better. The longest song on the album, “Mali Sadio” has a slow groove but the interplay between the kora and the vocals make it feel more like a soulful ballad, especially compared to the energetic style of the rest of the album.

The following song, “Africa Challenge”, takes the exact opposite approach as its predecessor. Toumani describes it as “Malian salsa with a Senegalese touch” but it feels like any other salsa with more African percussion than Latin. The emphasis on downbeats rather than a 3 against 2 feel also changes things from a typical Latin salsa. Every song on Boulevard de L’Independence is something special to behold. From the incredible choir vocals in the title track to the celebratory, striking opener “Toumani”, dedicated to the orchestra’s bandleader and his heritage with lyrics written by Soumalia Kanouté. Whether it’s the authentic grooves, the stunning kora playing, or the quality vocalists, there is certainly something everyone can find enjoyable about this album. If you need variety in your listening, look no further than the Symmetric Orchestra. Not too obscure to the point where it is unlistenable, but certainly original enough to be different from anything else you’ve heard.

Tyler Fisher - June 28th, 2007
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