Salif Keita

Golden Voice of Mali

Live at the Apollo Theater

Photography: William Farrington

Salif Keita returned to New York with two missions.  The first was lighthearted... his initial words to the audience were "you spend so much of your time sitting at desks at work, now it's time to get up and dance".   The second mission - far more serious - was to raise awareness of the plight of Albinos (in Africa and beyond).    

From the first sound of his voice he evoked generations of ancestral traditions to the audience in Harlem, the capital of black culture in America.  Indeed, Salif Keita's latest release, "M’Bemba"  translates to "The Ancestor" and fuses traditional Malian music with a myriad of styles from the Diaspora. 

It was a special feeling to be at a performance where the traditions of Mali were showcased at the Apollo Theater.  Starting off on a spiritual note, Salif Keita paid homage to "Maman" which may have referred equally to women and mother Africa.  Regardless, there was a spirit of unity in the auditorium.
   
The improvisational element of Keita's electrified Malian music was impossible to miss.  From the very first song, Keita ushered his musicians (guitarist, kora, bass, calabash, percussionist) to stage front for extended solos.  Once a song got into its funky groove,  the songs transformed into open ended compositions ripe for soloing.  On "Yambo" from his new album, the lead percussionist  used drumsticks on his conga drums creating poly rhythms that improvised off the steady rhythm of the song.   The Kora player was scraping and picking the strings of his amplified and effects laden Kora instrument.  Another percussionist subtly evoked the rhythms of tap dance via his fingers as they hit an overturned and electrified calabash (gourd) cut in half.  The song ended with a vocal anthem call and response between Keita and the twin backing vocalists.   
   

Salif Keita's latest release "M'Bemba" is highly recommended.  Several of the songs were showcased at this live concert.
   
Musical styles melded on the next song - the solo guitarist played a Congolese soukous riff around a bass line worthy of Parliament / P Funk.  This musical canvas was completed by lush harmonies from the twin backing vocalists who added color to the lines of the rhythm.

Salif is no stranger to the difficulties of being perceived as different.  He is a member of Malian royalty, a direct descendent of Sundiata Keita, the Mandinka warrior king who founded the Malian empire in the 13th century.  However, he was also born an albino, which in Mali and some other parts of the world, are perceived (by some) as a sign of bad luck.  In Keita's experience, he was initially shunned and ostracized by his family and community alike but chose to sing out against his personal situation with his golden voice.  His talent, spirit and drive permitted him acceptance among a public that might have initially shunned his music.  Keita has since become one of the more renowned musicians from the African continent with a broad international audience (as was evident by the packed auditorium at The Apollo Theater.   One of the most touching moments of the evening was when a mother brought her young albino boy on stage and he was embraced by Keita.  The audience was informed that Salif Keita has formed an organization (SOS Albino) whose aim is to given is to give counsel, direction and support to albinos as well as combat the sad discrimination against them.

  
   

 
   
As the concert progressed - particularly after an acoustic solo set - we noticed that the inherent formality of the concert hall setting was transformed into a far more communal setting.  Audience members joined together and sang the lead lyrrics.  Others made their way on stage to embrace the musicians and shower them with money, most of the time without interrupting the flow of the concert.  Off stage people left their ticketed seats and packed into the aisles dancing. 

For the encore Salif Keita performed the prerequisite anthem "Mandjou," his hit from 1978 which pays homage to the Mandingan people and was dedicated to Guinéan President  Sékou Touré, historically a major benefactor of West African music.   The crowd around us, which had been requesting this song from Keita since the beginning of the concert, joined loudly and sang at full audience participation.  By evoking ancestral spirits via music Salif Keita brought the evening full circle and left the audience thoroughly satisfied. 

 
   

The Senegalese group "Sing Sing Rhythms" was a surprise opening act.  Their rhythms, from across the border in Senegal, combined the firecracker style of Mbalax with a burst of high energy dancing.