La Différence
Salif Keita
We say: Another golden–throated display from Mali's finest—Vive La Différence!

The "difference" referred to in the title of this, the golden–voiced Malian's latest offering, is the singer's albinism, a condition that has always informed Keita's role as a spokesperson for social and ethnic tolerance. Salif Keita has been fortunate in having sufficient talent to rise above a social stigma that, in African society, is often viewed with ridicule or worse but, even for a man of his standing, it has been a struggle and things have not always gone smoothly. In recognition of this, he has dedicated this album to the plight of albinos in Africa.

La Différence is the third in a series of acoustic–oriented releases that began with Moffou in 2002 and continued with M'Bemba four years later. This covers much the same sort of territory, musically speaking, with a lush backing of acoustic guitars, n'goni, balafon and female chorus that allows his glorious impassioned voice to shine to the fore. Although much of this was recorded at home in Bamako, studios in Paris and Los Angeles were also utilized, and strings added in Beirut. A further Middle Eastern element can also be heard in the addition of 'oud to some of the tracks. There are other less exotic influences too, including a guest appearance from guitarist Bill Frisell on a new take of "Folon" that ably reinterprets Keita's much–lauded 1995 version in a simpler, stripped–down form.

Salif Keita would probably sound great singing the telephone directory but it is good to know that many of the lyrics here confront important African social problems head on. Most of us though, linguistically inept when it comes to West African song, will have to be content with the sheer beauty of the music. Happily, that presents no problem whatsoever.