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CD |
| 3.396 Ft
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| 1. | Aly Kawélé
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| 2. | Sarala
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| 3. | Maningafoly
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| 4. | Tounia Kanibala
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| 5. | Komidiara
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| 6. | Fantagué
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| 7. | Mâké
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| 8. | Walidid Ya
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| 9. | Soundjata
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| 10. | Hank Miri
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| 11. | Hadja Fadima
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| 12. | Moriba Ka Foly
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Jazz
Recorded at Studios Guillaume Tell, Suresnes-Paris, France in April 1995
Hank Jones (piano)
Cheick-Tidiane Seck (vocals, marimba, Hammond B-3 organ, doum-doum, tambourine, hand claps, eggs, wooden sticks, guita, cabasa, bell-tree)
The Mandinkas
Ousmane Kouyate (vocals, guitar); Manian Damba, Tom Diakite, Assitan "Mama" Keita (vocals, percussion); Amina Annabi, Kasse-Mady Diabate, Fatoumata "Mama" Kouyate (vocals); Aly Wague (flute); Moriba Koita (n'goni); Djely-Moussa Conde (kora); Lansine Kouyate (balafon); Manfila Kante, Diely-Moussa Kouyate (guitar); Eric Vinceno (acoustic bass); Cesar Anot (bass, hand claps, background vocals); Sekou Diabate (bass); Jorge Amorim (doum-doum, cabulete, conga, eggs, percussion); Moussa Sissokho (djembes, tama); Mare Sanogo (djembes, doum-doum).
* Daniel Richard - Production Coordination
* Didier Marc - Mastering
* Jean-Marc Lubrano - Photography
* Jean-Philippe Allard - Executive Producer
* Jerome Devoise - Assistant Engineer
* Myriam Eddaira - Assistant Engineer, Mixing Assistant
* Pascal Bejean - Design
* Philippe Abadie - Engineer, Mixing
* Rodolphe Sanguinetti - Assistant Engineer
* Stephane Briand - Assistant Engineer, Mixing
This must surely be one of the most unusual items in Hank Jones' catalog. Few people would probably associate Jones -- one of the finest pianists that jazz has ever known, and a man who has played with everyone from Charlie Parker to Tony Williams -- with contemporary Afro-pop; yet this album is an infectiously grooving example of just that, featuring the remarkably versatile pianist alongside a stellar cast of musicians from the West African nation of Mali. At first glance, the Malian pop music that is featured on this cross-cultural outing would seem to be light-years from the kind of harmonically sophisticated jazz that Jones has played throughout most of his long and distinguished career. The chord changes that ordinarily undergird Jones' elegantly constructed solos are conspicuously absent from Malian music, which derives much of its unique flavor from the complex rhythmic interplay between electric guitars, keyboards, and traditional African instruments. Nonetheless, Jones plays this material as if he were born to it. His solos, while brief, beautifully straddle the line between his own personal style and the equally distinctive sound of his Malian bandmates; and his lines mesh perfectly with the mesmerizing rhythmic accompaniment provided by the rest of the ensemble. And quite an ensemble it is; some of the biggest names in Malian pop are featured on this album under the direction of leader Cheick-Tidiane Seck, and traditional instruments like the n'goni lute and balafon xylophone are given plenty of solo space. In addition, every track features a traditional Malian praise-song delivered by a powerful lead vocalist and a full complement of backup singers. An unlikely partnership, perhaps, but one that yields extraordinary results.
---Alexander Gelfand, All Music Guide |
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