1. Erdi  
2. Yer Bounda Fara  
3. Beto  
4. Savane  
5. Soya  
6. Penda Yoro  
7. Machengoidi			play  
8. Ledi Coumbe			play  
9. Hanana  
10. Soko  
11. Gambari  
12. Banga  
13. Njarou  

Personnel: 
Ali Farka Touré (vocals, guitar, bass drum, bongos, percussion); 
Ali Farka Touré; Mamadou Kelli (vocals); 
Ali Magassa (guitar, background vocals); 
Massambou Wele Diallo (bolon); 
Bassekou Kouyate, Marna Sissoko (lute); 
Fanga Djawara (violin); 
Moumouni Yacouba (flute); 
Little George Sueref & the Blue Stars (harmonica); 
Pee Wee Ellis (saxophone, tenor saxophone); 
Oumar Toure (congas, background vocals); 
Fain S. Duenas (percussion); 
Souleye Kane, Brehima Toure, Afel Bocoum, Ramata Diakité (background vocals).

The first few bars of Savane come grinding out of the speakers and plough into your mind like the opening of Jimi Hendrix’s “Are You Experienced?” Cool and shambolic, the guitar spirals into the soundtrack for a griot’s trance. Hendrix would have loved the late Farka Toure’s sound, and he’d have been attuned to its bluesy roots – or should we say its roots of the blues.

This is the music of Mali, the desert homeland of Farka Toure and his band, but it’s a traveller’s music too; open to influences, tracing its own heritage along the Mississippi. If the guitar is one key prop to this sublime fusing of African and West Western styles, the other is the ngoni or traditional Malian lute. It does the job of a both a drunken drummer and a slide guitarist, providing the plucking heartbeat of each song but also evoking a hangdog, laidback mood.

The title track has the empty spaces of dub reggae, with two soulful ngonis weaving through Farka Toure’s emotional narrative about leaving his country, leaving his savannah. The sleevenotes contain translations, and they are worth checking out; Farka Toure has always said his music is only a vehicle for the stories he has to tell – about his ancestors, about the land and, above all, about work. There, of course, is the link: blues is born out of tribal memories, evolves through slave songs, and comes home here, finding itself after a long, tragic circle of a journey to America. Farka Toure’s death in March 2006 was a great loss to music but with Savane he leaves behind a masterpiece and a lesson in attitude – in the sense of outlook and in the sense of character. The best world music/ethnic release of the year is also one of the best across all the genres. ---BBC Reviews, bbc.co.uk/music

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Disc1 :
 1. La Drogue
 2. Ali Aoudy 
 3. Cherie 
 4. Timbindy 
 5. Laleiche  
 6. Ketine  
 7. Laisse Les Phases 
 8. Baliky Lalo			play 
  
Disc2:
 1. Sidi Gouro 			play 
 2. Okatagouna  
 3. Devele Wague  
 4. N'Timbara  
 5. Zona  
 6. M'Baudy  
 7. Petenere  
 8. L'Exode

Personnel: 
Ali Farka Touré (vocals, guitar); 
Ali Farka Touré; Ousmane Gadjaka (guitar); 
Boubacar Hamadoun Farana (bells, griot); 
Hamma Sankare (vocals).

Much has been said about the West African origins of the blues, but the only real concensus is that the music of Mali, particularly from the north, sounds remarkably similar to early African American forms that emerged first in the Mississippi Delta, then later in Chicago and beyond. This information comes as no surprise to the elder statesman of Malian blues, Ali Farka Toure, who has been rather outspoken in his assertion that American artists have borrowed from his music, not vice versa. More likely, though, both are actually branches off the same evolutionary tree.

Toure first attracted widespread attention in the US when Ry Cooder (of Buena Vista Social Club fame) approached him to make Talking Timbuktu (Hannibal, 1994), a potent statement that won a Grammy and rode atop the Billboard world music charts longer than any album in history. Listeners have since been spurred on to explore Toure's roots on discs like Radio Mali (World Circuit/Nonesuch 1996) and Niafunké (Hannibal, 1999).

This reissue of Red & Green resurrects two albums made in the early '80s, offering nearly ninety minutes of vintage material, much of it consisting of Toure playing guitar and singing along with minimal percussion. This music is stunning in its stark beauty, intimacy, immediacy, and reverence. The bluesman's characteristic self confidence manifests itself as ever-steady, assured progression. These mostly mid-tempo pieces explore pentatonic melody and harmony, counterpoint appearing in the form of conversational guitar parts as well as call and response phrasing.

It's worth pointing out that the lyrics (printed in their entirety in translation from six original languages) stress the importance of friendship, love, praise, social awareness, and respect for elders and ancestors; the emphasis on shared humanity serves as both a reminder and a celebration. The trance-like character of much of this music sucks you in, provided you're willing to make the journey, and leaves you with a warm glow inside that takes some time to dissipate.

Without question two of the greatest recordings in the history of West African music, and some of the most utterly bluesy—yet overwhelmingly positive—musical experiences on the planet. ---Nils Jacobson, allaboutjazz.com

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1. Ali's Here
2. Allah Uya
3. Mali Dje
4. Saukare				play
5. Hilly Yoro
6. Tulumba
7. Instrumental
8. Asco
9. Jangali Famata		play
10. Howkouna
11. Cousins
12. Pieter Botha

Personnel:
    Acoustic Guitar – Affel Bocoum (tracks: 5, 9), Ali Farka Touré
    Backing Vocals [Chorus] – Djeneba Doukoure (tracks: 2 to 4, 10), Fatoumata Traore (tracks: 2 to 4,   10), Hamidou Sare (tracks: 2 to 4, 10), Hamma Sankare (tracks: 1, 2 , 5, 6, 8 to 10)
    Djembe – Souleye Kane (tracks: 1 to 3, 5, 6, 9, 10)
    Electric Guitar – Ali Farka Touré
    Guitar [Njurkle Traditional Guitar] – Yoro Cisse (tracks: 2, 10)
    Percussion – Ali Farka Touré (tracks: 4)
    Percussion [Calabash] – Hamma Sankare (tracks: 1, 2, 5, 6, 8 to 10)
    Producer – Nick Gold
    Violin [N jarka] – Ali Farka Touré (tracks: 9), Guidado Diallo (tracks: 2, 4, 10)
    Vocals – Affel Bocoum (tracks: 5, 9), Ali Farka Touré

Recorded in Niafunké, Mali

Malian guitarist Ali Farka Toure's music has always managed global travel with ease and musical grace, shrinking the miles between Western Africa and the Mississippi Delta and seemingly visiting every city in between. Toure has received his share of accolades for blurring the lines between his contemporary/traditional fingerpicking style and "country blues." Toure has routinely collaborated with musicians from other cultures and musical genres, most notably the prolific and internationally influenced Ry Cooder on their widely acclaimed 1994 album Talking Timbuktu. He establishes a firm aesthetic residence on Niafunké, his first and most welcome CD in five years. Niafunké was recorded using a state-of-the-art portable studio in Toure's home village of Niafunke, which clearly lends a decisive authentic flavor and sense of musical place to the disc. Each tune is a lithe and resonant labyrinth of call-and-response patterns: a fingerpicked guitar speaks to a one-stringed njarka fiddle, calabash pummelings weave into those of the conga drums, and a lively small chorus answers Toure's authoritative lead vocals. A couple of the best cuts include "Ali's Here" and "Saukare." A beautifully rendered and intoxicating record. --- Becky Byrkit, Rovi

This record is more real, more authentic. It was recorded in the place where the music belongs - deep Mali. We were in the middle of the landscape which inspired the music and that in turn inspired myself and the musicians. My music is about where I come from and our way of life and it is full of important messages for Africans. In the West perhaps this music is just entertainment and I don't expect people to understand. But I hope some might take the time to listen and learn. —Ali Farka Touré

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1. Njarka
2. Yer Mall Gakoyoyo
3. Soko
4. Bandalabourou
5. Machengoidi				download
6. Samarya
7. Hani
8. Gambari
9. (hiarka) Gambari
10. Biennal
11. Arsany
12. Amadinin
13. Seygalre
14. Krei Kongo
15. Radio Mali				download
16. Njarka (exerpt)

Personnel
    Ali Farka Touré (Vocals 2-12,14-15; Guitar 1-16; Percussion 7)
    Bra Nabo (n'jarka violin 1,5,16)
    Nassourou Sare (n'goni 3-4,8,11,13)
    Fangha (n'jarka violin 5,9)
    (unknown) (Chorus 6; Percussion 6, n'goni 6)

Previously available as a 1996 import on the World Circuit label, this nearly 72-minute collection of recordings were originally made for radio broadcast between 1970 and 1978. As a single collection, this is the finest yet of Toure's slow-burning music, characterized by nimble, expressive guitar playing and strong, expressive singing. Lyrically, the songs are mostly devotionals, praising a loved one, Allah, and various government initiatives (including Radio Mali itself). Half the tunes feature Toure alone on guitar and vocals; elsewhere he is backed by the ngoni's beautiful rattle-buzz, a full choir, a smattering of percussion, and a violin player whose sliding, high-pitched notes echo the fiddle playing of Appalachia. Throughout, Toure's singing has a wider range than you'd expect (considering that he's known as the "African John Lee Hooker") and his bluesy guitar playing is always melodic, modal, and meditative. Toure repeats musical phrases over and over again, subtly changing them. But he never gets fancy for its own sake--his style (which adapts Sonrai, Peul, and Tamascheq techniques) sounds as natural as a babbling brook. Strands of sing-songy, seemingly simplistic melodies wrap around each other, coming together and unwinding like strands of RNA. This is some mind-blowing stuff. ---Mike McGonigal, Editorial Reviews

The magic of this cd is that it contains Ali's most "traditional African" music. As he says in the liner notes to his cd, NIAFUNKE, for a while his music became Westernized, basically Afro-Pop. Luckily for us, NIAFUNKE and RADIO MALI do not suffer from the Afro-Pop affliction.

This cd is entirely acoustic, as opposed to NIAFUNKE which has him on both acoustic and electric guitars. I want to clear one thing up from the Amazon.com review. The "violin" that is mentioned is the African njarka violin. The njarka is a one-string instrument that is about 9 or 10 inches long. I just don't want anyone thinking of the Western violin. Technically, the njarka is a rather crude instrument but it releases a glorious sound, as if the earth herself is singing. If you ever see Ali in concert (and you really should see him in concert!) you will hear the full emotional power of the njarka in the hands of a master.

Ali is the original musician who translated traditional Malian music to the guitar and then later melded this together with a touch of the blues. He is in great form on this cd. Just by listening you won't know what he is singing about (since he sings in his traditional languages) but this may actually be an advantage. You won't get caught up in analyzing lyrics or stories, you will simply feel him translating his emotions into music.

If you are completely unfamiliar with Ali's music (or any African music at all) then I suggest that NIAFUNKE may be a better choice. It has a bit more of the blues influence than this cd does, and for that reason alone I think it may possibly be a smoother transition into his music for people who are unfamiliar with him. In all honesty though, I'd recommend purchasing both cd's. They show different sides of the same man, are seperated by 2 decades, and both display the full passion and depth of the Malian musical tradition. Ali is an incredible songwriter on both cd's, you don't even need to know specifically what he is singing about to be completely moved by the manner in which he performs his songs. --- Pharoah S. Wail (Inner Space)

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01.Bonde – 5:28 
02.Soukora – 6:05 
03.Gomni – 7:00 
04.Sega – 3:10 				play
05.Amandrai – 9:22 
06.Lasidan – 6:06 
07.Keito – 5:42 
08.Banga – 2:32				play 
09.Ai Du – 7:09 
10.Diaraby – 7:25

Personnel:
Clarence "Gatemouth" Brown -	 Guitar (Electric), Viola
Ry Cooder  - Cumbus, Guitar, Guitar (Bass), Guitar (Electric), Guitar (Steel),
Mandolin, Marimba, Sampling, Tamboura, Vocals
Jim Keltner  -  Drums
John Patitucci - Bass, Bass (Acoustic), Guitar (Bass)
Hamma Sankare - Calabash, Choir, Chorus, Percussion, Vocals
Ali Farka Touré - Arranger, Banjo, Guitar (Acoustic), Guitar (Electric), Percussion, 
Six String Banjo, Vocals
Oumar Toure - Bongos, Choir, Chorus, Conga, Vocals

Guitarist Ali Farka Touré has repeatedly bridged the gap between traditional African and contemporary American vernacular music, and this release continues that tradition. The CD features him singing in 11 languages and playing acoustic and electric guitar, six-string banjo, njarka, and percussion, while teaming smartly with an all-star cast that includes superstar fusion bassist John Patitucci, session drummer Jim Keltner, longtime roots music great Ry Cooder (who doubled as producer), venerable guitarist Gatemouth Brown, and such African percussionists and musicians as Hamma Sankare on calabash and Oumar Touré on congas. ---Ron Wynn, allmusic.com

Talking Timbuktu is a groundbreaking record that vividly illustrates the Africa-Blues connection in real time. Ali Farka Toure, one of Mali's leading singer-guitarists, has a trance-like, bluesy style that, although deeply rooted in Malian tradition, bears astonishing similarity to that of John Lee Hooker or even Canned Heat. It's a mono-chordal vamp, with repetitive song lines cut with shards of blistering solo runs that shimmer like a desert mirage. Toure may be conversant with some blues artists, but it is unlikely that artists like Hooker or Robert Pete Williams ever heard these Malian roots, which makes the connection so uncanny. Ry Cooder, well versed in domestic and world guitar styles, is the perfect counterpoint in these extended songs/jams, his sinewy slide guitar intertwining with his partner's in a super world summit without barriers or borders. ---Derek Rath, Editorial Reviews

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1. Goye Kur  
2. Inchana Massina 		play 
3. Roucky  
4. Dofana  
5. Karaw  
6. Hawa Dolo  
7. Cinquante Six  
8. I Go Ka 				play 
9. Yenna  
10. Mahini Me  

Musicians:
Ali Farka Touré – Guitar, Vocals,  Acoustic Guitar, Fiddle,  Maracas, Percussion
Taj Mahal - Guitar (3,10)
Rory McCleod - Guitar (3)
Nana Tsiboe - Percussion
Nitin Sawney - Tabla
Affel Bocoum - Vocals
Hamma Sankare – Percussion, Vocas
Oumar Toure –Vocals, Congas

African guitarist Ali Farka Toure's previous releases were wonderful mixes of traditional language and rhythms being supported by contemporary concerns, instrumentalists, and producers. His most recent session features his working band backing Toure in a series of impassioned, animated tunes that are done in both his native tongue and English. The similarity between Toure's sparse playing and percussive writing and early blues songs has been noted. What also deserves mention is the cohesive qualities his band have and the way his electric and acoustic playing, with its light, frilly air, fills in the spaces underneath his vocals easily. ---Ron Wynn, allmusic.com

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1. Ai Bine
2. Kenouna			play
3. Toungere
4. Heygana
5. Jungou
6. Goydiotodam
7. Lobo				
8. Tamala			
9. Boyrei			play
10. Tangambara
11. Instrumental

Personnel:
Ali Farka Toure (Guitar, Vocals and Njarka) 
Amadou Cisse (Calabash, Percussion and Vocals) 
Mamaye Kouyate (Ngoni) 
Rory McLeod (Harmonica)  
Seane Keane (Fiddle and Bodhran)  
Kevin Conneff (Fiddle and Bodhran) 
Steve Williamson (Tenor Saxophone) 

This 1990 recording contains one of the best African blues tunes ever recorded, and a classic Ali Farka Toure moment. As the electric guitar roars in at the opening, punctured by a darting harmonica line, "Heygana" lays out the roots and branches of the blues in its journey from west Africa to the Americas, and more importantly, back again. Sung in the Songhai language, pushed by a vaguely reggae groove and pulled along by a sometimes idiosyncratic percussion line on a calabash, it pretty well epitomizes what Toure is about. The sound is stripped down, with the guitar and voice working a bare minimum groove. The calabash clicks, a thick stringed ngoni adds some punch, and a few tracks feature Toure on the njarka (fiddle). In addition to Rory McLeod's harmonica, there is one piece with The Chieftains' Seane Keane and Kevin Conneff on fiddle and bodhran (Irish goatskin drum), and a marvelous duet with saxophonist Steve Williamson that adds a little sideways R&B. The River is one of Toure's most straightforward recordings made in the decade after the light of his international fame had first shone. ---Louis Gibson, Editorial Reviews

I listen to this cd for hours on a continuous loop at work. It's hypnotic yet complex with the African version of the sounds of the American south combined with his haunting voice. (Unfortunately I am a musical illiterate in terms of describing similar genres.) Beautiful twanging tunes and melodies. I bought it on a whim and am a complete devotee. --- Susie (Northern California), amazon.com

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1   Sidy Gouro  3:45  		play
2   Okatagouna  4:22  		
3   Devele Wague  5:59  
4   N'Timbara  3:58 		play 
5   Zona  7:45  
6   Mbaudy  8:52  
7   Petenere  4:50  
8   L'Exode  5:21  

Musicians:
Ali Farka Toure – guitar, vocals, composer
Boubacar Hamadoun Farana – griot
Ousmane Gadjaka – ngoni
Hammer Sankare – calabash, vocals

Born in the Southern U.S., the blues contains elements that can be traced back to Africa. In the African country of Mali, the distinctive, unorthodox singer/guitarist Ali Farka Toure takes the process full circle by fusing the blues with elements of Malian folk on the heartfelt African Blues. With his acoustic guitar being the only instrument employed, Toure takes a minimalist, bare-bones approach that is closer to the rural Mississippi Delta blues of Robert Johnson, Charley Patton, and Son House than the electric Chicago blues of Howlin' Wolf, Willie Dixon, and Little Walter. Simplicity serves Toure quite well on this fascinating album. --- Alex Henderson, allmusic.com

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  1. Timbarma 
  2. Singya 
  3. Nawiye 
  4. Bakoytereye 
  5. Tchigi Fo 		play
  6. Amanddrai 
  7. Kadi Kadi 
  8. Yulli 
  9. Bakoye			play 
  10. Amandrai Live

Ali Farka Toure - vocals, guitar, calabash, bongos
Toumani Diabaté – calabash on track 6

Ali Ibrahim “Farka” Touré (1939-2006) was a malian singer and guitarist born in Kanau, Mali, Africa. His music is at the crossroad of traditional malian music (one of the main roots of contemporary North American blues) and modern feedback influences from North American and English blues.

Ali Ibrahim “Farka” Touré was born in 1939 (he did not know the exact date of birth) in the Muslim village of Kanau, near Gourma Rharous, on the banks of the Niger River, in the northwestern Malian region of Tombouctou. He was the tenth son of his mother but the only one to survive past infancy. “The name I was given was Ali Ibrahim, but it’s a custom in Africa to give a child a strange nickname if you have had other children who have died,” Touré was quoted as saying in a biography on his Record Label, World Circuit Records. His nickname, “Farka”, chosen by his parents, means “donkey” - an animal admired for its tenacity and stubbornness. “Let me make one thing clear. I’m the donkey that nobody climbs on!” He was descended from the ancient military force known as the Arma, and was ethnically tied to the Songrai (Songhai) and Peul peoples of northern Mali.

As the first African bluesman to achieve widespread popularity on his home continent, Touré was often known as “the African John Lee Hooker”. Musically, the many superpositions of guitars and rhythms in his music were similar to R. L. Burnside’s hypnotic blues style. He usually sang in one of several African languages, mostly Songhay, Fulfulde, or Tamasheq, as on his breakthrough album, Ali Farka Touré, which established his reputation in the world music community. ---last.fm

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