.
JL
9@
.. @@
:@@. .u. . @@ . u. .9@@
:@@R@ @@@@@: d@@ @@@@@ @@@ :@@ . @@@@@! d@@@R
J@@ J@ @@@ @@ @@ .@" j@@ @@ @@ @L @@@ @@ @@ 9@ @@"9@>
@@" @@ @@ @@ @@@@@: @@ @E t@ @@@ @F d@@ @@ @@ 3@ @@
@@ @@R '@@@@@@" @@ '@E @E @@ @@ @@ @@@. @E @@ '@@@@
"@@@" J@I '@@@@" @ "@ @" @ "@@" " `@ ''
@@ ' '
@'
________
openmind
who: Ali Farka Toure
what: Ali Farka Toure
when: 000-00-0000
where: Mango
sound like: Ethnic
and on: Jun-11-2003
resulting in: 10 tracks
which makes: 79,8 MB
using lame at: 192 kB
and some more:
AMG Biography
One of the most internationally successful West African
musicians of the '90s, Ali Farka Toure was described as
"the African John Lee Hooker" so many times that it
probably began to grate on both Toure's and Hooker's
nerves. There is a lot of truth to the comparison,
however, and it isn't exactly an insult. The guitarist,
who also plays other instruments such as calabash and
bongos, shares with Hooker (and similar American
bluesmen like Lightnin' Hopkins) a predilection for
low-pitched vocals and mid-tempo, foot-stomping
rhythms, often playing with minimal accompaniment.
Toure's delivery is less abrasive than Hooker's, and
the general tone of his material somewhat sweeter.
Widespread success on the order of Hooker will probably
not be in the offing, though, as Toure sings in several
languages, and only occasionally in English. As he once
told Option, his are songs "about education, work,
love, and society." If he and Hooker sound quite
similar, it's probably not by conscious design, but due
to the fact that both drew inspiration from African
rhythmic and musical traditions that extend back many
generations.
Toure was approaching the age of 50 when he came to the
attention of the burgeoning world music community in
the West via a self-titled album in the late '80s.
Since then he's toured often in North America and
Europe, and recorded frequently, sometimes with
contributions from Taj Mahal and members of the
Chieftains. 1994's Talking Timbuktu, on which he was
joined by Ry Cooder, was his most well-received effort
to date. It was also proof that not all Third
World-First World collaborations have to dilute their
non-Western elements to achieve wide acceptance.
However, Toure didn't release a record on American
shores for five years afterward; he finally broke the
silence in 1999 with Niafunke, which discarded the
collaborative approach in favor of a return to his
musical roots.
AMG Review
Internationally feted at the age of 50, Ali Farka
Toure's life was not always so easy. Up till the
release of this, his first album, he was virtually
unknown in West Africa and a non-entity in the world
music community. Before this album bought him fame, if
not fortune, Toure's life resembled Amos Tutuola's in
Palm Wine Drunkard, a mixture of hard-times and legend.
What made Toure stand out from the crowd was his
mixture of these two elements, a blues-based singing
style close to John Lee Hooker and a particularly
African choice of subject matter, often rooted in West
African myth and folktale. On this release, Toure
performs most often unaccompanied relying entirely on
the magnetism of his beautiful voice and the
counterpoint of his rhythmic guitar. Occasionally,
Toure is accompanied by traditional instruments such as
calabash or bongos, which he also plays, but the real
strength of this album lies in his magnificent voice.
While he sings in several different languages,
including English, the power and genius of Toure's
compositions easily carry through the language barrier.
This album inaugurated a new marriage of American blues
and African musical traditions of which Toure is the
best practitioner.
www.allmusic.com
track list:
│ 01 Timbarma
│ 02 Singya
│ 03 Nawiye
│ 04 Bakoytereye
│ 05 Tchigi Fo
│ 06 Amandrai
│ 07 Kadi Kadi
│ 08 Yulli
│ 09 Bakoye
│ 10 Amandrai Live
______________________________
______________________________
openmind - a sacred experience