It would seem something interesting sociologically is happening. The success of more traditional music in the past few years has certainly encouraged African musicians to reinvestigate their own traditional forms in addition to the crossover paths they have been taking. I, for one, would like to think this reflects a new maturity in Western audiences that no longer have to have the pill sweetened to accept unfamiliar music.

“The woman sings with the child on her back and so the child grows up with music all the time. So by the age of three, I was singing and by the time I was seven I was already playing the balafon.”
Mory Kanté

At the same time, I think it is fair to say that the whole fusion project has barely got going and will undoubtedly be THE musical story of the 21st Century. The question is not about fusion versus ‘authenticity’ or at least it should never have been. The question is really what motivates a musician? Is he or she drawn into exploring what happens when one musical form meets another or are they (or their record company) looking for a way to open up new markets? As music fans we can tell and I think we have been voting with our wallets for the more thoughtful fusion records as well as traditional records that add to the pool of musical resources available to humanity.

The ten tracks on Sabou are infused with the same passion and energy that made audiences get off their backsides and dance to his earlier work. Take the opening track, Nafiya for example: a catchy and beautiful female chorus, Mory’s swooping voice, funky balafon (a xylophone-like instrument) and kick-arse Kora creates an irresistible force of music and lays down the blueprint for many of the songs on this LP.

The accompanying booklet explains that this song is a message to straighten up and fly right, which brings us to another aspect of Mory Kanté. Mory is a griot, which is to say that he occupies a crucial position in West African culture that is part musician, part news service and part guardian of oral tradition. Thus the songs on this CD cover issues such as hunger, social responsibility, family support, love, hope, fraternity and the value of knowledge.

The acoustic framing for these messages reinforces their effect and leaves the listener in no doubt that this is an album from the heart but with a claim on your head and your feet. Traditional music does not have to be about looking backwards and this album proves it. Deft, contemporary and compelling.

Riverboat Records
CD Cat no: TUGCD1034
Release: 27 September 2004
For video and audio clips visit the Mory Kante site
Read an interview with Mory in Fly

Stop Press
Mory is playing Wychwood Festival this June in England