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Salif Keita

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Salif Keita | La Différence

If you don't speak Malian French, you might not grasp that this is a concept album about separatism and the triumph of the human spirit inspired by Keita's experiences growing up as an albino outcast in his native land. But that doesn't matter.
Emarcy (2010)
By TED DROZDOWSKI  |  June 18, 2010
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Excerpt: Evening’s Empire by BIll Flanagan

In this chapter, "The Drugs Don't Work," aging rock star Emerson Cutler and his manager, Jack Flynn, are seeking inspiration — and desperately trying to jumpstart his career.
An excerpt from Bill Flanagan’s new novel, Evening’s Empire , the true story of a band that never existed
By BILL FLANAGAN  |  February 05, 2010
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Griot act

Some albums are extraordinary because they capture their time. Others are great because they transcend it.
Rokia Traoré breaks through with Tchamantché
By TED DROZDOWSKI  |  February 09, 2009
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Famoro Dioubate’s Kakande

The inventive instrumental and choral arrangements add freshness without denaturing the music’s inherent roots appeal.
Dununya | Jumbie
By BANNING EYRE  |  February 12, 2008
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Tcheka

The latest talent to emerge from the Cape Verdean archipelago adds new power and sophistication to an alluring national genre.
Nu Mondo | Times Square
By BANNING EYRE  |  June 19, 2007
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Salif Keita

Mali’s most celebrated singer, Salif Keita, has long been a musical shape shifter.
M'Bemba | Decca
By BANNING EYRE  |  April 03, 2007


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The news from Africa

Top 10 lists are always arbitrary, especially when applied to a “genre” as sprawling as world music.
A year in world music
By BANNING EYRE  |  December 18, 2006
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Toumani Diabaté Symmeric Orchestra

Toumani Diabaté is widely considered the greatest living exponent of the kora, a West African 21-string harp.
Boulevard De L’independence | World Circuit/Nonesuch
By BANNING EYRE  |  August 21, 2006
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French revolution

Boston’s 31st annual Bastille Day street party this Friday commemorates events in Paris, but the soundtrack will be West African.
Afropop conquers Bastille Day
By BANNING EYRE  |  July 14, 2006