Koya

The affinity between American blues and West African traditional idioms has led to some great recordings: Ali Farka Touré with Ry Cooder, Taj Mahal with Toumani Diabaté and the more commercially orientated efforts of Amadou & Mariam. Abou Diarra's album is described as ‘a poetic journey from the land of Mali to the roots of Bayou country’. He plays the kamalengoni (the smaller version of the donso ngoni, hunter's lute), which he learned from the late Vieux Kanté. Diarra's album is a collaborative affair with musical director Nicolas Repac, who plays guitar and adds samples, subtly contributing extra dynamism to Diarra's organic music with discreet electronic elements.

It's a striking album right from the opening bars, with the wail of a harmonica's bent notes drifting around the delicately plucked kamalengoni and Diarra's beautifully wistful voice. A recording of Diarra's mother's singing is used on the second track, along with the harmonica and some Fula flute; otherwise it is Diarra who sings the lead throughout. It's by no means all slow and ethereal. On some tracks the tempo is lifted up to a lively boogie pace with some clever addition of electric guitar and organ. Two tracks feature the addition of kora (harp-lute) from none other than Toumani Diabaté – testament to the respect that Abou Diarra commands among his peers.