Deep vein hypnosis (Niafunke - Ali Farka Touré)

Member Name: spoonfacer

Product:	Niafunke - Ali Farka Touré
Date:	09/02/02 (131 review reads)
Rating:

Advantages: hypnotic, warm, authentic

Disadvantages: nuffink

The guitarist Ali Farke Toure is one of the leading artists of the West African nation of Mali and an internationally respected musician, with a unique technique and repertoire.

The music of this sand-poor dustbowl country at the edge of the Sahara is peculiarly strong, with renowned and prolific performers in a number of local styles, and on a caravan's cargo of unfamiliar oddball instruments, particularly strings- the multi-stringed kora, the guitar, the njarka (one string violin) and njurkle (traditional guitar). In this strange inbetweenland, the rhythms and tonalities of the language and song of many intermingling and wandering peoples have developed into one of the most powerful living traditions of any folk music. Listening to this music, ghosts of the blues (vocal leaps and pentatonic phrasing) seem to hover. These elements in Ali Farka Toure's music have sometimes led to his being called an African bluesman. In truth, the roots of this mystical music run ancient and deep.
In Ali's own words:

"The spirit who gave me the gift, I knew him very well. And I remember that night in Niafunke...I entered a new world. It's different from when you're in a normal state; you're not the person you know anymore. Whether it's fire, water, whether they beat you, you won't feel a thing...I began playing again and I was very well received by the spirits. I have all the spirits. I work the spirits and I work with the spirits. I was born among them and grew up among them."

Despite international fame, Toure is first and foremost a farmer, and farms the land around Niafunke, a village sleeping in the snaking bends of the Niger, working the sand to green and sinking the proceeds of his music into the dirt. In recent years, he has abandoned the international tours which, in the early nineties, led to collaborations with overseas musicians, culminating in the bestselling 'Talking Timbuktu' with Ry Co
oder.

This record, 'Niafunke', marks a return to roots- to the homeland of this trance-inducing music. It was recorded in the village itself, in an abandoned building looking, like so much of the architecture of the desert, remarkably like a Star Wars set. Generators and studio equipment were brought in by the World Circuit team (including producer, Nick Gold) to the crumbling 'studio', which (as the recording proves) turned out to possess excellent acoustics, and provided the kind of warm, relaxed surroundings necessary for some magical sessions. The guitarist is quoted on the liner notes:

"This record is more real, more authentic. It was recorded in the place where the music belongs- deep Mali....My music is about where I come from and our way of life....I hope some people might take the time to listen and learn."

The recording, the production and the accompanying material (words, breathtaking photos) are, as ever with World Circuit releases, wonderfully realised. This is a beautifully executed excursion to the edge of the desert and the land that lies with the river. It mines a deep vein of hypnotic otherworldly calm.

The music itself is based on the interaction of the voice and guitars of Ali Farka Toure and his 'designated successor' and protege Afel Boccoum, and the support provided by the musicians of his longstanding ASCO group, on djembe and conga drums, njarka violin and njurkle one string guitar, and chorus vocals.

Many of the songs are rooted in typically West African call and response figures, with chorus vocals emphasising and enhancing Ali's nasal voice (singing in the Peul, Bambara, Songhai and Tamasheq languages) as the guitar flows around the beat and the drums weave insistent delicate patterns beneath.
Rhythm is never far from the centre of his lovely fluid guitar playing, which laps and arpeggiates in ornamented arabesque phrases, twisting like a petal in th
e subtle currents of the dark river. Repetition and variation is the key to this art, the unusual tunings allowing very unusual textures and resonances. Anyone familiar with other music from Mali, Senegal or Guinea will not feel too far from home here- the delicate sound of the kora comes to mind often. For those seeking links further afield, yes, it can be bluesy, although the intricate figures sound more like fingerpicked folk.The whole experience is like a calming, rhythmic wander along a red-earth path, under a high spreading sky. Like so much West African music, contemplation and release, happiness and solemnity are subtly mixed in a profoundly supple musical meld- very human, very understated, very dignified. A music without bombast or aggression.

In an album of many highlights some special moments include:

The album's first song: 'Ali's Here', a winding bassy repeating riff on electric guitar eased into undulating rhythms of drums and Ali's strong vocals, breaking out into chords and variations.

'Allah Uya', a tribute to the power of Allah, is a call-and-response song carried by acoustic guitar and njarka violin, and possessed of a wonderfully twisting tune, punctuated by handclaps and chorus vocals.

'Mali Dje', a plea for strength and patience to the people of Mali. A slower rhythm with a bluesier feel and a deepfelt low vocal.

Ali's untitled acoustic guitar 'Instrumental', which builds from a typical phrase (based on a herdsman's song) to a wandering rhythmic elaboration with spiky phrases and rhythmic slaps creating colour and shade- hypnotic and beautiful.

'Howkouna'- a wonderfully constructed tune played almost in unison by every instrument in the ensemble with insistent chorus vocals and some lovely guitar backing.

'Pieter Botha'- an improvised acoustic instrumental inspired by a conversation about apartheid. Earthy acoustic
guitar and a slow sinuous tune.

As an introduction to the inspirational music of this African master, 'Niafunke' is perfect. Its eschews the softer fusion sounds of some of his more commercial world music releases and is all the punchier for it.
This is among the most relaxing records I own (although Ali's very nasal vocal style may be an acquired taste). It asks little, is accessible and offers space to BE, space to stretch out between the lines. Highly recommended......

Further listening:

'Radio Mali'- the wonderful album of all-acoustic 1970s recordings for the national radio station.
'Talking Timbuktu'- the Grammy Award winning album with Ry Cooder, and other visiting musicians.

All should be available from any record shops with a World Music section (Borders tends to be good for this area of music), online from Amazon or direct from World Circuit records at www.worldcircuit.co.uk

One final quote from Ali Farka Toure:

"This is a message to my people that honey does not only taste good in one mouth. I'm here and I'm going to share it"

I'm HERE and I'm glad he did.

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