Guitarist and singer Salif Keita from Mali has experienced first hand the fickle reception African music has had in the west: his albino appearance and education marked him as a man apart and for a while he was touted as the African superstar (hewas at home, but it didn't translate far). Albums such as Soro of the late-80s blended traditional sounds with high-tech production and synths but the crossover faltered for the lack of English lyrics. And while his powerful vocal style has been much admired it still hasn't captured the imagination outside Africa and France, where he frequently lives.
He's had big stories in the rock press, but is still firmly in the world of Womads for most, if they've heard him at all. You probably have - that's his anthemic Tomorrow during the closing scenes of Ali.
Because of that profile it's pleasing to report this album frequently captures him at his quietly thrilling best. The crossover elements, such as romantic accordion, sit discreetly alongside the Afro-band of electric and acoustic guitars and traditional instruments. The music is typically nuanced and subtle and that voice can still drive in a nail or drain the colour out of a cheek, despite none of it being in English or coming with a translation.
Because of this it is possible to approach this as simply pure music unencumbered by a lyrical dimension. A tough call perhaps, but try the back-to-back tracks early up where the emotional guitar'n'vocal ballad Iniagige makes way for the uplifting Madan, with its chorus of women, rapid fire percussion rhythms and traditional string instruments rubbing alongside the fiery fretwork of Mali-styled electric guitar. It's summer music for autumn afternoons.
