Salif Keïta

Salif Keita - Amen (1991) {Mango–Island Records 261 694}
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© 1991 Mango Records / Island Records | 261 694
Afro-Pop / World Funk / World Fusion / West African

An early-'90s album from the great Salif Keita. This one pulls out all the stops to appeal to a Western audience at some level. Keita's vocals are, as always, outstanding. On top of this, though, a slew of performers make appearances and/or help out on production. Former bandmate Kante Manfila provides the primary guitar work for the album and master keyboardist Joe Zawinul both plays keyboards throughout and provides the production work.

Salif Keita - Ko-Yan (1989) {Mango–Island Records 842 454-2}
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© 1989 Mango Records / Island Records | 842 454-2
Afro-Pop / World Funk / World Fusion / West African

From the voice of Mali comes this album, full of vaguely '80s synth work and Salif Keita's perfect brand of vocals. The album is a long distance from the Ambassadeurs days with Mory Kante and/or Kante Manfila, but it's worth hearing for the progression of Keita's sound. There is certainly a dichotomy on the album between more traditional sounds, with cascading vocal lines from Keita coupled with largely traditional instruments, and the more modern side, with slightly more pop-oriented vocals coupled with synthesizers and electric guitars.

Salif Keita - M'Bemba (2005) {EmArcy–Universal 0602498312278}
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© 2005 EmArcy / Universal | 0602498312278
Afro-Pop / World Funk / World Fusion / West African

The Grammy nominated West African artist, Salif Keita, whose voice The Washington Post once declared as "one other mortals can only aspire to" returned after many years to Bamako, Mali to record M'Bemba, a remarkable, multifaceted collection which beautifully blends native choirs (comprised of his foster sisters), rolling hypnotic guitars, happily dancing percussion, and such indigenous instruments as ngoni lute and kora.

Sometimes a return to basics can be the best way for an artist to move forward. For Salif Keita, that's definitely the case with Moffou. In spite of using a hefty number of musicians (17, plus six backing vocalists), the sound is very stripped-down. Even the supple electric guitar work of Djeli Moussa Kouyaté is mellow and low-key. The real beauty here is Keita's voice, carefully framed and used to maximum effect. High, almost piercing, it's a gorgeous instrument that can ride and transform a melody, whether the lulling gentleness of "Yamore" or the more upbeat – but never frenzied – "Iniagige." Overall, it's a record of swaying, seductive gentleness, one perfectly suited to Keita's style. After a few artistic missteps, he needs an album like this to reaffirm who he is and give a renewal to his sound.

Salif Keita & Kante Manfila - The Lost Album (2007) {Cantos–MRA MR60552 rec 1980}
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© 1980, 2007 Cantos / MRA Entertainment | MR60552
Afro-Pop / World Funk / World Fusion / West African

The Lost Album resurrects six lengthy and largely acoustic tracks recorded in 1980 by West African singer Salif Keita and his longtime collaborator, guitarist Kante Manfila. Musical partners since the late '60s, first in the Rail Band and then in Les Ambassadeurs Internationaux, Keita and Manfila seem to be moving away from that group's somewhat westernized Afro-pop sound with these sessions.

Salif Keita - Tale (2012) {Emarcy}
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© 2012 Emarcy / Universal | 371902-5
Jazz / World Music / Afro-Pop

Salif Keita may have the finest, most soulful male voice in Africa, but one can never be sure how he is going to use it. He has always specialised in surprises, from his early days in Mali's Rail Band and his experimental, keyboard-backed breakthrough album Soro, through to dodgy jazz fusion and exquisite acoustic albums.

Salif Keita - Soro (1987) {Mango–Island Records IMCD 243 842775-2}
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© 1987 Mango Records / Island Records | IMCD 243 / 842775-2
Afro-Pop / World Funk / World Fusion / West African

Soro is the album that brought Salif Keita international stardom though he was already well-known in West Africa from his work with The Rail Band and Les Ambassadeurs. Keita's voice is in peak form, soaring and swooping with awe-inspiring power. For these sessions, Keita has gathered an all-star band that is innovative, solid, and turn-on-a-dime tight. The production, state of the art in 1987, sounds just as bright and fresh today. This CD draws its strength from the rich traditions of Malian culture, melded with cutting edge musical technology, and a global outlook. All of the tracks on Soro are crucial, though the bittersweet "Cono" and the intricate and epic title track "Soro" (Afrika) are standouts.

Salif Keita - La Différence (2010) {EmArcy–Universal 000422 88240266}
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© 2010 EmArcy / Universal | 000422 88240266
Afro-Pop / World Funk / World Fusion / West African

Salif Keita turned 60 in 2009, which was also the year in which the veteran Malian singer recorded most of La Différence (although parts of the album were recorded in 2008). At that age, Keita had nothing left to prove; he had long since established himself as a major figure in Mali's Afro-pop scene. But his desire to excel remained, and he is in fine form throughout La Différence. In contrast to all the keyboards and synthesizers he used back in the 1980s, La Différence has a largely acoustic outlook – not exclusively acoustic, but largely acoustic.