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Rokia Traoré
© DR

Tchamantché


Tchamantché

Gretsch guitar at the fore, backed up by bass and drums, Rokia Traoré has added some finely toned muscle to the balance (tchamantché in Bambara) of her universe. The sculptural singer has taken a new step forwards as she combines the riches of her Mandingue roots with other cultural influences.

With traditional Malian musicians alongside talented European players, Traoré’s band is a perfect reflection of her cultural balancing act. The harmonic riches of the south are there with Mamah Diabaté on ngoni, guitarist Sibiri Koné and singer Dianké Termessant. From the north, Traoré has chosen some tight-rope walkers well versed in contributing to the creation of ground-breaking music – Sly Johnson [Camille], Seb Martel [M], Vincent Taegar [Oxmo Puccino], Christophe Minck [Dom Farkas] and Steve Shehan [Hadouk Trio]. They are all expert at enriching a noble and original sound, without overloading it.

Tchamantché opens with an Afro-blues tribute to her mentor Ali Farka, to whom she dedicates the album. And it closes with a secret hidden track, in the arms of a voluptuous version of Billie Holiday’s ‘Man I Love’. In between we are cradled, caressed, gently rocked and completely spellbound. Deep atmospheres, delicate moods and insidious grooves coil around a voice which conjures up sweetness and power, expressing all the nuances which run from tenderness to rage, wisdom to passion. Most of the songs are in Bambara, but Rokia Traoré also tries out French lyrics, solo or with Marcel Kanche. In any language she imposes her will on the words, she twists and softens them, rendering everything sensual.

The connections to her previous album Bowmboi are clear, but so is the sense of evolution here. Her voice has become richer than ever and, as she hones her mission to innovate, her sensitivity never wavers and she continues gently and inexorably upwards.

(Translation by Jody Gillett)



Benjamin MiNiMuM


  

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