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From day one, he has been mixing styles and sounds -- the centuries old rhythms and instruments he plays like a master with electro sounds, disco and funk beats -- to create something new and very, very exciting.

The story so far: Neba grew up in a farming family in the south of Mali, learning from his father to play -- and play with -- the balafon. His father was a musician and renowned local instrument-maker, who has been there as teacher and collaborator throughout his son's career. Neba went on to master a whole host of instruments from his homeland -- the kamalen n'goni, karignan, bara, cicaara, djembé.

Neba and his percussion group -- made up of two balafons, two bara drums and traditional Malian percussion instruments, the titiara and the karignan -- first hit the national stage when they were awarded Best Malian Band of the Year in 1996 -- the first time this kind of "farmers music" had won.

A couple of years later, he was playing in Europe and was recording an album. In 1998 Neba and his group were invited to perform at the Africolor Festival in Paris, the success of the performance couldn't be ignored and the festival organiser Philippe Conrath got Neba into the studio to record his debut album, Kénédegou Folly, released on Conrath's Cobalt label that year. A re-worked version of Kénédegou Folly was released on the Mali K7 label in 2000 under the new title Kené Balafons.

Frenchman DJ Frédéric Galliano then invited Neba to participate in an Afro-electro project on his newly-launched label and the balafonist was crossing boundaries and breaking rules, mixing DJ Galliano's electro with Neba's percussion skills, and a vinyl EP entitled 'Frikyiwa 00' was released in 2000.

Neba returned to Mali in 2001 to record 'Can 2002', a football anthem for the African Cup of Nations, which was hosted by Mali in 2002. The track was released as part of an album in 2001.

So what does Neba do? The CAN 2002 album gives a taste of the range and ability of this young musician. You may think... 'balafon'? Right, I've got it. But you'd be wrong. Take the title track 'CAN 2002' -- this is dance music -- dance tracks with an electronic backbeat like you'd hear in any club and, yes, its the balafon that's holding centre stage.

Then with 'Klema' there's a glimpse of the 'electro' -- synthesised beast, electric guitar -- but you can't quite be sure if it is that or the perscussion being pushed to the limits. There's no division no under-laying or over-laying of 'traditional' or 'modern' sounds, Neba picks and chooses components and makes you believe, like he does, that there was never a bridge to cross between the two in the first place.

One track, 'Tata', has Neba sounding like some cool funkster, he wills the sound along with quiet sexy words. And then suddenly there's a balafon battle going on -- fast pace and frantic playing -- and a whole range of scratching, rattling, shaking, drumming is added into the mix. You cant quite believe these are instruments made of wood and hide and there are musicians playing to create such a feast of sound.

Not only is Neba Solo a master at percussion, but he's a genuis at creating music. I pressed play and thought this is what we've been waiting for...

Neba Solo - The Malian Breaking the Rules

Discography
Solo albums:
Hommage à Lamissa Bengaly: 1996
Confirmation: 1997
Kénébalafon: 1998
CAN 2002: 2001

Collaborations:
Falak: 2001
Mali Dambé Oly: 2000

Selected albums available at Sterns Music www.sternsmusic.com