Boubacar Traoré

• Mariama [Sterns Africa, 1990] A-
• Macir '82 [Indigo, 2000] *
• Maciré [Indigo, 2000] **
• The Best of Boubacar Traoré: The Bluesman From Mali [Wrasse, 2003] B+
• Kongo Magni [World Village, 2005] ***
• Mali Denhou [Lusafrica, 2011] **
• Mbalimaou [Lusafrica, 2015] ***
• Dounia Tabolo [Lusafrica, 2017] *

Consumer Guide Reviews:

Mariama [Sterns Africa, 1990]
Guitar and vocals from a Malian (and Parisian) schoolteacher turned singer-songwriter, who declaims like Ali Farka Touré (only Traoré's lovingly preserved Khassonke guitar has no Hook in it) or the Baaba Maal of Djam Leelii (and he accompanies himself). Pealing forth his precepts and laments with a resonant gravity rendered doubly mesmeric by the quiet, implacable instrumentation, Traoré brings me up short every time. If he says everything comes in its own time, then by gum I believe him. And will leave Maal's nice new Baayo to the specialists. A-

Macir '82 [Indigo, 2000]
Firmly avuncular old Malian dance-novelty star turned folkie--lessons in Bambara, love songs in French, time all wrong for blues ("Duna Ma Yelema," "Serrer la Main"). *

Maciré [Indigo, 2000]
firmly avuncular old Malian dance-novelty star turned folkie--lessons in Bambara, love songs in French, time all wrong for blues ("Duna Ma Yelema," "Serrer La Main") **

The Best of Boubacar Traoré: The Bluesman From Mali [Wrasse, 2003]
Though his thoughtful melancholy is his own, Traoré is one of those Africans so indigenously immersed that he sounds like a sage to us--the chorus on "Kar Kar Madison" could be chanting "Honor thy father and thy mother" until you learn that Kar Kar is Traoré's nickname and the Madison the old dance novelty gone Malian. Because he's a sage, you have to be in the mood for him, so I figure 1990's Mariama caught me at the right time. I now prefer this post-1996 sampler while recognizing that it won't be for everyone. Eternal recurrence only goes so far. B+

Kongo Magni [World Village, 2005]
I ask you, how much do words matter with John Hurt? (OK, a little) ("Indépendance," "Djonkana"). ***

Mali Denhou [Lusafrica, 2011]
When you're pushing 70 and your voice sounds it, you earn fewer charm and texture points in Bambara than in English ("Mali Denhou," "N'Dianamogo") **

Mbalimaou [Lusafrica, 2015]
A Malian "blues" guitar record where producer Ballaké Sissoko's kora fits right in--deeply calming, slightly new age ("Mbalimaou," "Sina Moussou Djougou") ***

Dounia Tabolo [Lusafrica, 2017]
This indefatigable old-timer always has a gimmick, which high-generic world music can always use--here actual American bluespeople to shore up his Malian-blues cred, most noticeably on harmonica and most fruitfully on violin ("Je Chanterai Pour Toi," "Dounia Tabolo") *