It has been three years since the release of Habib Koité’s last release.  That album, entitled Baro, was a revelation to newcomers to the Koité experience, and a happy confirmation for his many legions of well-established fans.  A griot by birth, Koité draws on his homeland of Mali as an entirety for his musical inspiration.  Rather than specialize in one particular style of the multitude that Mali has to offer, Koité’s trademark sound is a rich tapestry of several stands of tradition.  A virtuoso guitarist, Koité’s manner of playing is readily identifiable; jangling, nimble, tuned to a distinctive pentatonic scale.  His voice belies his musical heritage; he chooses not to utilize the grand griot style, rather singing in a warm, velvety tenor.

This double disc set is a testament to Koité’s compositional skills and to his brilliance as a performer.  As with his studio releases, Koité surrounds himself with the cream of Malian musicians.  Balafon master Kélétigui Diabaté is a linchpin in the overall sound.  Whether in a supporting role or taking his rightful place as soloist, his instrument lends a delicate, gently rippling sensation, utterly charismatic, deep with warmth and fun.  Mahamadou Koné fleshes out the rhythm section with his ever-playful tama, he and Koité occasionally engaging in some serious rhythmic sparring.

Most tracks will be familiar to long-standing Bamada followers.  The classics “Cigarette Abana, “ Sin Djen Djen,” “Batoumambe” and many more are all here.  What is remarkable is the extent to which Bamada expands the breadth of these songs.  Several tracks run to over ten minutes.  Tight performances, well coordinated improvisation, and plenty of teasing dance rhythms ensure the quality and success of these live performances as recorded listening material.  Perhaps this is how Habib Koité’s music should be enjoyed; so much is gained here through the live delivery.       –JB