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 Samba Touré ÷ Albala (2013)

Samba Touré — Albala
::  "I say, leave our road/ All killers leave our road/ Thieves leave our road
Looters, leave our road/ Rapists, leave our road/ Betrayers, leave our road".
::  "Ce n’était parfois pas facile d’entrer en studio après avoir reçu un appel téléphonique qui m’apprenait un nouveau massacre dans ma région d’origine. Il fallait essayer d’arrêter d’y penser et jouer, dans un mélange de peur et de colère. C’est vraiment bizarre et pas très confortable. Encore plus quand les longues coupures de courant nous empêchaient de travailler et nous replongeaient dans nos pensées. Mais on est une équipe soudée, une petite famille, et ça nous a aidés à rester concentrés et à garder de bonnes vibrations."
Birth name: Samba Ibrahima Touré
Born: June 15, 1968
Location: Dabi, Tombouctou ~ Bamako, Mali
Album release: May 5, 2013
Format: CD/LP (+CD)
Record Label: Glitterbeat Records (GBCD 004/GBLP 004)
Style: songhaï
Duration:     49:19
Tracks:
01. Be Ki Don     (5:11)
02. Fondora     (5:18)
03. Ayé Go Mila     (4:41)
04. Awn Be Ye Kelenye     (4:33)
05. Aye Sira Bila     (4:37)
06. Albala     (3:11)
07. Ago Djamba     (5:33)
08. Al Barka     (4:52)
09. Idjé Lalo     (5:33)
10. Bana     (5:50)
Members:
::  Samba Touré (Chant, Guitare)
::  Djimé Sissoko (N’goni )
::  Madou Sanogo (Congas, Djembé)
::  Djimé Sissoko (Ngoni, Tama)
::  Bouri Séré (Calebasse)
and guests:
::  Zoumana Tereta (such as the legendary, master of the soku (a one-stringed violin)
::  Aminata Wassidje Traore — the fast-rising Malian neo-traditional singer.
Additionally:
::  Hugo Race (The Bad Seeds, Dirtmusic, Fatalists) contributes an array of subtle atmospherics on guitar and keyboards.
Website: http://www.samba-toure.com/
Label: http://label.glitterhouse.com/
MySpace: http://www.myspace.com/sambatoure
Facebook: https://www.facebook.com/samba.toure.official
Press: samba-management@hotmail.fr
Agent: www.xangoma.eu
Twitter: @SambaToureMusic
YouTube: http://youtu.be/zjoIQWuTTMY (Samba Touré EPK)  ♠
:: http://youtu.be/II3SuAnQmDE (“Be Ki Don” music video)
SoundCloud: https://soundcloud.com/glitterbeat/samba-toure-be-ki-don
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REVIEW
By Richie Troughton, May 30th, 2013 08:41
::  The current conflict in Mali has meant that many musicians have fear picking up their instruments should they be targeted by Islamist militia for breaking sharia law. The situation is a major blow for a country where the culture is so rich and music is such a large part of people's way of life. This tension is captured on the latest release from Malian guitarist Samba Touré, whose playing fizzes with rebellious menace throughout.
::  It is 10 years since Touré's solo debut, Fondo, and in that time he has become a star in his homeland. His powerful desert blues is cut from the same cloth as his mentor Ali Farka Touré, whom Samba toured with in the late 90s, having previously cut his teeth with the group Farafina Lolo (African Star). Touré has also performed the late Ali Farka Toure's work with kora player Toumani Diabaté. Alongside the likes of Tinariwen, Tamikrest and Terakaft, he can be seen as one of the leading proponents of the strong wave of Malian blues that has captured the attention of music lovers across the globe, all voicing the challenges facing the north west African country's people during this period of upheaval. Each dispatch shares their current plight with sympathetic listeners shocked at the injustice of what is happening. With no end in sight to the troubles, this is political music made out of necessity, to let these voices be heard to the outside world. The album's cut and paste artwork belies the anti-authoritarian message of Touré on Albala, with much to say since 2011's Crocodile Blues.
::  On the opening track, 'Be Ki Don (Everybody Dance),' Touré makes it clear that when he plays his music people around take notice, encouraging them to sing and dance, and stay united when times are not so good – "Everyone welcomes Samba Touré," he sings, not modestly, the conviction of his playing powerful enough to back up his claims. From the very beginning Touré casts his spell, as cyclical riffs wind to psychedelic effect and he spits out his words with the rapid fire of an auctioneer in three different dialects – Songhai, Peul and Bambara. The track features the same kind of guitar textures that Nels Cline added to Tinariwen's Tassili, drifting celestially above the hypnotic groove laid down by Djimé Sissoko's ngoni ba (spike lute) and Madou Sanogo's conga percussion.
::  Zoumana Tereta's soukou (traditional violin) lines possess all the punch of bold brass alongside spacey keyboard swirls on second track 'Fondora (Leave Our Road)', as Touré sings that those who have "attacked our cities, stating that everything belongs to them and destroying everything" are not welcome. "They say they only want us to pray? They only brought hatred, violence and sadness," he sings. But there is love present on Albala, too. 'Ate Go Mila (I Only Think About Her)' is a devoted ballad, while 'Awn Bè Ye Kelenye (We Are Malians)' gloriously praises the diverse multiculturalism in the country, listing the different groups of people as "a child of Mali". Broken amp feedback adds a damaged edge to 'Aye Sira Bila' which deals with the challenges of facing corruption.
::  The title track - meaning "Danger" in Songhai - is an instrumental, and as a warning cry it says all it needs to, as oriental sounding steel guitar accompanies Touré's moody walk along the fret board. It is followed by the John Lee Hooker-like 12-bar blues and heavy subject matter of 'Ago Djamba (Life Betrays Men)'. Touré sings, "Do not trust your eyes / Trust your heart… We do not all have the same opportunities / Here nobody is born rich / But we all have the same value." On 'Idjé Lalo (Bad Children)' Touré reminds the "ungrateful" youth not to forget the "daily suffering" faced by their families back home in the country if they have left for a new life and opportunities in the city. 'Bana (Rain)' closes the album, telling a story of how much needed rainfall, which would normally be celebrated, can prove destructive when too much of a downfall causes crops to be ruined. Fuzzily fried guitar lines pierce in rage at the desperation of the situation, as Touré sings, "It rains so much in my village for days and days, God, what will you have to eat after that rain?"
::  As with much Malian music the lyrics deal with moral issues, and Touré's brooding, chanted vocals and the defiant swagger of his guitar playing reflect his never say die attitude and drive home a message of positivity. For anyone who has enjoyed the great guitar music coming out of Mali in recent years Albala is essential listening. "Everyone welcomes Samba Touré," he says, and indeed you most likely will.
In french:
::  Un troisieme album pour le guitariste Malien, particulierement remonté contre la stupidité et la violence des islamistes qui semaient la terreur dans le nord de son pays... Un appel a la tolérance et au respect mutuel des différentes cultures présentes dans ces territoires aux richesses musicales multiples.
Fortaken: http://thequietus.com/
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Also:
By Robin Denselow; The Guardian, Thursday 16 May 2013 23.00 BST
Score: ***
:: http://www.guardian.co.uk/
By David Meller | 4 May 2013; Score: ****
:: http://www.musicomh.com/
By J.C. Tripp on May 4, 2013 ·
::  When you meet Samba Touré in person, he comes off as a soft-spoken man, a man who easily charms you with his abundant smile and optimistic gait. But on his third album, ‘Albala‘, which in the Songhai language means “danger” or “risk”, a weighted and at times defiant side of his personality emerges. To call ‘Albala’ his darkest album is an understatement, but it is not a self-absorbed darkness. The cause of Samba’s worry is the crashing world around him, and more specifically the troubles echoing out from his beloved northern Mali homeland.
::  The last year has brought cataclysmic change and upheaval to northern Mali, the tragic details of which have been globally reported. The cumulative effect of these events on Samba’s music seems palpable. There is an added gravity to his voice and his words, an additional sting to his electric guitar; there are sharper edges and more complex undertones in his musical arrangements.
::  On “Fondora (Leave Our Road)” Samba sings with indignation: “I say, leave our road/ All killers leave our road/ Thieves leave our road Looters, leave our road/ Rapists, leave our road/ Betrayers, leave our road.” And on the haunting “Ago Djamba (Life Betrays Us)” he warns: “We do not all have the same opportunities/ Here, nobody is born rich but we all have the same value/ Life betrays us.”
::  As a band member and valued collaborator of the late Malian legend Ali Farka Touré, Samba established a significant reputation, and through his first two solo albums, ‘Songhaï Blues‘ and ‘Crocodile Blues‘ (World Music Network), his confidence and musical prowess grew proportionately. But ‘Albala’ is a new flash point. There is more power, there is more grit, the mood is deeper, and aptly, given the album’s title, Samba takes more musical risks.
::  Recorded at Studio Mali in Bamako in the autumn of 2012, Samba is joined by his regular band members Djimé Sissoko (ngoni) and Madou Sanogo (congas, djembe) and guests such as Zoumana Tereta, the legendary master of the soku (a one-stringed violin) and the fast-rising Malian neo-traditional singer Aminata Wassidje Traore. Additionally, Hugo Race (The Bad Seeds, Dirtmusic, Fatalists) contributes an array of subtle atmospherics on guitar and keyboards, with Chris Eckman (The Walkabouts, Dirtmusic etc.) and Philippe Sammiguel in the producers’ seats.
::  On the opening song, “Be Ki Don”, Samba sings: “Everybody welcomes Samba Touré.” With an album as soulful and captivating as ‘Albala’, that might not be an over-statement.
Fortaken: http://rootsandbeats.wordpress.com/2013/05/04/malian-blues-samba-toure-releases-albala/
By World Music Central:
::  Malian musician Samba Touré has a new album titled Albala (Glitterbeat Records GBCD 004/ GBLP 004) that is now available in Europe. ‘Albala’ means “danger” or “risk” in the Songhai language.
::  Samba Touré’s third recording was deeply affected by the conflicts in Mali. Trouble. On the song “Fondora (Leave Our Road).” Samba sings with indignation: “I say, leave our road/ All killers leave our road/ Thieves leave our road Looters, leave our road/ Rapists, leave our road/ Betrayers, leave our road.” And on the haunting “Ago Djamba (Life Betrays Us)” he warns: “We do not all have the same opportunities/ Here, nobody is born rich but we all have the same value/ Life betrays us.”
::  As a band member and valued collaborator of the late Malian legend Ali Farka Touré, Samba established a significant reputation, and through his first two solo albums, ‘Songhaï Blues’ and ‘Crocodile Blues’ (World Music Network), his confidence and musical prowess grew proportionately. On ‘Albala’, Samba takes more musical risks.
::  Recorded at Studio Mali in Bamako in the fall of 2012, Samba is joined by his regular band members Djimé Sissoko (ngoni) and Madou Sanogo (congas, jembe) and guests such as Zoumana Tereta, the legendary master of the soku (a one-stringed violin) and the fast-rising Malian neo-traditional singer Aminata Wassidje Traore. Additionally, Hugo Race (The Bad Seeds, Dirtmusic, Fatalists) contributes atmospherics on guitar and keyboards. Chris Eckman (The Walkabouts, Dirtmusic etc.) and Philippe Sammiguel produced the album.
On the opening song, “Be Ki Don”, Samba sings: “Everybody welcomes Samba Touré.” Watch the video to “Bi Ki Don”:
Link: http://worldmusiccentral.org/2013/05/09/samba-toure-releases-albala/
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Discographie:
::  2003 - Fondo - Seydoni Mali
::  2007 - Aïto - Seydoni Mali
::  2009 - Songhaï Blues - Homage to Ali Farka Touré - Riverboat Records - World Music Network
::  2011 - Yermakoye - Fondo Production (édition malienne de Crocodile Blues, tracklisting différent)
::  2011 - Crocodile Blues - Riverboat Records - World Music Network
::  2013 - Albala - Glitterbeat Records
Participations:
::  2005 - Taama de Amadou Guitteye - Melodie Distribution
::  2009 - Les Sept Etoiles de Diré (Collectif) - Fondo Productions
::  2013 - Troubles participation au troisième album de Dirtmusic - Glitterbeat Records
Filmographie:
Samba Touré est apparu dans des films-documentaires consacrés à Ali Farka Touré
::  2002 : Le miel n’est jamais bon dans une seule bouche de Marc Huraux ;
::  2006 : A Visit to Ali Farka Touré de Marc Huraux.
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Samba Touré interview et reportage RFI:
:: http://www.rfimusique.com/francais/musique/articles/116/article_17737.asp
:: http://www.rfimusique.com/actu-musique/musique-africaine/album/20130529-samba-toure-albala
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: © Samba Touré; March 19, 2011, Parc du musée national de Bamako, Mali.

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