Music made in Mali

The world music series at Tel Aviv’s Opera House kicks off in grand style tonight with Idan Raichel and Malian Boureima ‘Vieux’ Farka Touré.

By BARRY DAVIS
Boureima Vieux Farka Toure 311 (photo credit: Courtesy)
Boureima Vieux Farka Toure 311
(photo credit: Courtesy)
If Boureima “Vieux” Farka Touré’s name sounds more than a bit familiar, it might be due to the fact that the 29-year-old musician is the son of the late iconic Malian bluesman Ali Farka Touré, who died in 2006.
Mind you, these days Touré Jr. hardly owes his market status to being “the son of.”
Over the last four years, he has put out four smash albums and performed all over the globe, including a spot in the opening bash of last summer’s World Cup in South Africa, performing for a TV audience of a billion.
“It was an extraordinary honor to represent Mali at the World Cup,” says Touré. “We did not have a team playing there, but I was there to let the world know that Mali has something world-class to offer as well – music. It was thrilling to be part of such an important global event, and the people were wonderful there.”
Touré is aware, though, that there is a price to pay for fame and for being seen as some sort of torchbearer for African music and culture. “Yes, it is a responsibility for me and for all African musicians that make it abroad, to be ambassadors for African music and culture. We have that responsibility to our people. I take that very seriously.”
Touré made his breakthrough on the international gig circuit in 2005, a year before his father died, and released his debut eponymous album the following year. His second release, Vieux Farka Touré: Remixed: UFOs Over Bamako recontextualized Vieux’s trance-inducing, bluesy style into an electronic dance format and brought the guitarist-vocalist to the attention of an even wider international audience.
While his father was primarily a bluesman, the younger Touré casts his artistic net far wider, particularly on his third CD, Fondo, on which he extended his skills into the realms of rock and instrumental virtuosity, also taking in elements of Malian and West African rhythms.
The young guitarist-vocalist says the eclectic musical hinterland on Fondo is indicative of all the artistic strands that inform his work.
“I have many different influences in my music. Blues, rock, traditional Malian music, reggae and Arabic music are my strongest influences. I love to experiment with different styles and mix them with Malian desert blues.”
The blues, of course, evolved in the Deep South of the United States, but its roots are in Mother Africa. However, the art form is expressed differently by bluesmen from the various cultures within the continent. According to Touré, his home country is where it all comes from.
“Every artist will have their own interpretation of the blues,” he notes.
“Mali is the original home of the blues, though. So, for me, I think there is a stronger connection to the blues in my blood than for a Nigerian artist or anyone who is simply being influenced by a style from the outside. The foundation of the blues is in Mali, and so it is a natural style for me.”
Touré also feels that the role Africa plays as the source of so many genres within the black music fold is not always given its due.
“Some people in the West do recognize this role and some don’t,” he says. “I think, overall, people do not recognize how important African music is to the evolution of all the Western styles – blues, rock, reggae, hiphop. All of this came from Africa!”
Over the five years since his emergence on the world scene, Touré’s act has developed, and his oeuvre has reached out to new areas of musical endeavor. It is, he says, a work in progress.
“I think, like any professional in any field, that I continue to grow as I gain experience. I have become more comfortable with styles from outside Mali, and more confident in my playing. An artist must never stand still – he should always be striving to learn more and improve himself.”
He says he is constantly looking to stretch his boundaries. “I always look for new directions in music and new styles to explore.”
Considering their similar artistic outlook, it is surprising to learn that Touré’s and Raichel’s trajectories initially finally crossed in rather serendipitous circumstances.
“We met at the Lyon airport in France,” the Malian recalls. “We were waiting for a flight – we were both on tour. Once artists like us cross paths, we begin talking and trying to figure out how we might work together. We played together in Spain, and hit it off. Since then, we look for any occasion to play together.”
The musical chemistry and intent were there from the start.
“I felt a connection immediately with Idan. We have a very similar spirit, especially when it comes to our music and what we are trying to do with it for our people, and for the global culture in general.
“His music is deeply Arabic, as is mine. The deserts of Northern Africa connect our cultures and our musical styles – this is easily heard in both of our music.”
Despite his spending much of the last four or five years on the road, this will be Touré’s first visit to this country, and he says he is very motivated to perform here.
“I have never been to Israel before, but I very much look forward to being there. It is such an important place to billions around the world. I know the experience will be incomparable.”
Touré also hopes to absorb some artistic vibes during his brief stay here.
“I am a big fan of Arabic music. The style has a rhythmic power and urgency that I really enjoy. I have started to incorporate Arabic music into my repertoire, and I will continue to do that.
“I really enjoy playing that style of music, and blending it will Mali blues. They are a natural fit together.”
The Touré show in Tel Aviv will include a guest spot by Raichel, and the two will perform a single they recently recorded together called “Say God.”
For tickets call: (03) 692-7777. More information is available at www.israel-opera.co.il