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Mali to Memphis

"An African-American Odyssey"

Putumayo PUTU 145-2

We first heard cuts from this new Putumayo presentation on WMNF. Putumayo has put out other eclectic/ethnic recordings that we like but this one really pushed some buttons. I think blues historians and fans who want to learn more about the origins of this music should add this to their collection. Listening to the cd brought back memories of a blues history session conducted by Taj Mahal on an Ultimate Rhythm & Blues cruise we took a couple of years ago. You can certainly see the connection between what developed in the Delta from the sounds brought over by the West African slaves.

According to the copious liner notes in this cd, the nation of Mali was not a predominant region for the slave trade. However, because of wars that the Bambara Empire of Mali was involved in, many Bambara natives were sold as slaves and shipped to the new world. These unfortunates brought musical styles still enjoyed by the current residents of Mali. This includes Bambara, Fulani and Songhai music with strong connections to American blues. Read the introductory liner notes by Brett J. Bonner of Living Blues to get the full historical prospective in Mali.

The songs move back and forth between Mali and Memphis. The first song is by The Blind couple of Mali, Amadou Bagayoko and Mariam Doumbia, and is titled Mon Amour, Ma cherie. The guitar work is similar to the more powerful sound of R.L. Burnside or Junior Kimbrough. This is followed by John Lee Hooker's I'm in the Mood. Hooker's music is compared to the West African griots who were the legendary oral historians of that culture. The next artist is Habib Koite with the song Sirata and Rokia Traore doing Sabali. (Admittedly, these names do not trip easily off most of our tongues - try typing them! - but the cd liner notes helpfully include pronunciation assistance for us laymen). Both of these songs are fascinating and well done, but have more of a jazz or caribbean flavor. You can still hear sounds here that connect with the Mississippi Delta.

The cd flows on with songs by Guy Davis, You Don't Know My Mind, Boubacar Traore with Kar Kar Madison (which will get your feet tapping) and one of my favorites by Eric Bibb, Don't Ever Let Nobody Drag Your Spirit Down. Bibb is a student of African music and this combination of blues and gospel could have easily been done in Mali. Lobi Traore is next with the song Dounouya with some very familiar blues guitar licks and harmonica work by French born Vincent Bucher. Muddy Waters follows with My Home Is in the Delta and Jessie Mae Hemphill doing Standing in My Doorway crying. Muddy went back to the acoustic guitar for this song, making it sound more like the traditional music of Mali. Hemphill grew up in the Hill country of Northeast Mississippi where the music is more likely to consist of fife and drum bands with close ties to West African sounds. The final song from Mali is Baba Djan doing Sabari, which has some of the best guitar work of the whole cd. The last song from Memphis is Taj Mahal doing Queen Bee. It's great to hear Taj's sharp guitar following Baba Djon. You can just mentally picture these two sitting side by side on the Niger River playing…or perhaps in a smoky Beale Street bar.

We have given the cd as a birthday present recently and have it planned as gifts for several more. That's how impressed we are.

Tim Graham