Ba Cissoko - New album January 25

Published on January 07, 2012

After 10 years on stage Ba Cissoko has travelled the lenght and breadth of all the new World Music scenes, European and other. For this new European tour which begins in February 2012, they have included two supplementary brass instruments and we can bet that the disc made by Philippe Eidel (Khaled, Rachid Taha) will mark a turning point in the career of the group...

Ba Cissoko

Musician and singer from Marseilles, Ba Cissoko was born in Koundara 600 km. from Conakry (Guinea). In the big split in his life, one foot here and the other there, he signs a fourth album recorded and mixed by the producer Philippe Eidel (Khaled, Gypsey Kings...). An important encounter, the marabou of the studios offers a prolongation to the intentions of the master of the kora, to his moods and to his observation of the world.

Entouring Ba, we find his musicians, comrades as ever, his young cousins Sekou Kouyaté at the kora and Kourou Kouyaté at the base  and more recently the guitarist Abdoulaye Kouyaté and the percussionist and drummer d'Artagnan. Newcommers Laurent Rigaud alias Samba and his percussions  and the Ava Saty Marching Band, a small brass section all come along to accompany the band. Togther, they weave a tight web with elastic fibres which can, once again, propel  the combo on world-wide stages.

In Nimissa (regrets) the title song of this album, the group, like a boa constrictor is one with it's prey, entwining a funky groove around the long sounds of the brass. A prey which Ba knows well.  In 2006 this son of a griot brought up in mandinge tradition had already ventured - at the time in a duo with the trumpetist Gilles Poizat on the byways between the music of West Africa, jazz, funk and reggae. With Tamalalou, the group created at that time, the idea of transgression, modernity began to emmerge already.

Here, with the complicity of Philippe Eidel, it advances, first the face, the body then the limbs. A successful birth !  On these 11 pages a wind of liberty blows, beneficial in reply to the necessary desire of emancipation of the singer. Here mandingue musics come along teasing in a continuum, natural and auto-reviving, salsa, rumba, funk, jazz rythm'n'blues and even scat, without dulling the rich melodies with flamboyant harmonies of this more than thousand year old culture. Then is it a great split or a bridge between worlds which, finally, have in common the Human being (whatever his degree of pigmentation) his torments and his joys?



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