iyiola52
This track does remind me of Chicago. Many years ago, living in Hyde Park as a 20-something and all of the amazing people that I crossed paths with - especially the musicians including Kora players! Thank you for sharing your creativity with the world! I am looking forward to the full album release 🌿
Pre-order of Bamako*Chicago Sound System. You get 1 track now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.
Nyan I la,x nga djuru nya i la, Nyan I la nga numu nya i la
A naa ka djeli den kulu lou taara, a naa ka funai den kulu lou taara
A naa ka garanke solu lou taara, A naa ka djon ba kai kulu lou taara
X2
(I see you, my (kora or Ngoni) strings see you, I see you, my Black smith see you
With his hord of griots he goes, with his hord of Lyricists he goes
With Cobblers horses he goes, with his hord of captives he goes)
Taara ee, Taara ee, taara solu taara
Haoussa minai ba tigui, iye iyeee
(They go, they go, they go, horses go
The haoussa masters of iron)
Soro nani ye, aw te minain ba tigui soro nani ye
Kailai mangni Faraguimba, iye kalai mangni yoo
Djabalamini ni djabaa soro, kalai mangni
Iye mori ni solu taara, Futa toro minai tigui ye mandi
Aw lu wari minain tigui ye mandi
Aw lu manu minain tigui ye mandi
(Praise him for me, praise this master of iron for me
War is not good Faraguimba, war is not good
Who has traveled and find the world, war is not good
Marabouts go with horses; It is not easy to find the iron master of Futa toro
Our silver master is not easy to find
To our people, the iron master is not easy to find)
Mbolu maa, mbe sobai kailai lou yini na
Kamalen sobai kaila lou yini na
Sungunrun sobai kaila lou yini na
Folila sobai kaila lou yini na, iye
(I am addressing you, I am addressing to concrete people
Concrete young men are asked
Concrete young girls are asked
Concrete musicians are asked)
Nyan I la nga djuru nya i la, Nyan I la nga numu nya i la
A naa ka djeli den kulu lou taara, a naa ka funai den kulu lou taara
A naa ka garanke solu lou taara, A naa ka djon baden kulu lou taara
X2
(I see you, my (kora or Ngoni) strings see you, I see you, my Black smith see you
With his hord of griots he goes, with his hord of Lyricists he goes
With Cobblers horses he goes, with his hord of captives he goes)
Traduction française:
Je te vois, mes cordes de Kora ou de Ngoni te voient, je te vois, mon forgeron te voit
Avec son troupeau de griots, avec son troupeau de poètes lyriques, il s’en va
Avec ses chevaux de cordonniers il s’en va, avec son troupeau de captifs il s’en va
Ils s’en vont, ils s’en vont, ils s’en vont, les chevaux s’en vont
Les haoussas, maîtres du fer
Félicitez le pour moi, ce maître du fer, félicitez-le pour moi
La guerre n’est pas bien, Faraguimba, la guerre n’est pas bien
Les marabouts s’en vont avec les chevaux, ce n’est pas facile de trouver le maître du fer de Futa Toro
Notre maître de l’argent n’est pas facile à trouver
Pour notre peuple, le maître du fer n’est pas facile à trouver
Je m’adresse à toi, je m’adresse aux personnes concrètes
Les jeunes hommes concrets sont demandés
Les jeunes femmes concrètes sont demandées
Les musiciens concrets sont demandés
Je te vois, mes cordes de Kora ou de Ngoni te voient, je te vois, mon forgeron te voit
Avec son troupeau de griots, avec son troupeau de poètes lyriques, il s’en va
Avec ses chevaux de cordonniers il s’en va, avec son troupeau de captifs, il s’en va
7.
This Moment
8.
Se Wa Kole
9.
Vulnerable
about
Sweetly haunting flute and kora, beckoning the title song of this album, “Bamako Chicago”, transported me back to 14 Sept 2017, in the Strobe Recording Studio in Chi-town, where I had the honor of witnessing it all come to life. The atmosphere was electric, almost surreal—a mix of playfulness and loving focus, creating a sense of family (which included 8 accomplished musicians, and the recording engineer, Caleb Willitz) overcoming odds to forge something groundbreaking. What more could one expect from a collaboration between two internationally esteemed composers: renowned flutist, former AACM chair, Nicole Mitchell, and innovative kora player, Bamako's musical ambassador, Ballaké Sissoko? Both have defied conventions in their respective genres; Mitchell’s Afrofuturist sound and cosmic ethic and Sissoko's integration of guitar progressions into kora compositions. Both push traditional forms into new spaces. Both bring a rich history of collaboration across various genres.
"Ballaké was really open. We came together as equals, each with our compositions, creating collaborative music—an amazing feat considering traditional gender roles. It represents a much-needed unity in this dystopian world we live in." --Nicole Mitchell
The magic began during a 2014 residency in the swanky suburbs of Paris, France, at the splendiferous Royaumont. Then, their host Frederic Duval suggested the rather awkward working title “Beyond Black." Three years later, with modest funding, Bamako musicians arrived in Chicago, and the project adopted a more fitting name inspired by a conversation between Mitchell and celebrated cultural critic/musician, Greg Tate: Bamako*Chicago Sound System.
The musical collaboration echoes fusion artists like Foday Musa Suso and Herbie Hancock, yet it forges a unique path with a blend of depth and frequency more closely relatable to Alice Coltrane's lesser-known blues/’occidental’ music, such as “Galaxy in Turia” and “Er Ra”, along with the nuanced and celebrated Journey in Satchidananda. Like Coltrane, this album is transformative, taking listeners to other worlds through sonic transference. Ballaké’s post-traditional innovative writing leaves ample space for interpretation and breath, complementing Nicole's layered, complex otherworldly compositions.
The signature track, "Bamako Chicago”, transports listeners to a space that is both Bamako and Chicago, the Midwest and West Africa, Fatim Kouyate's and Mankwe Ndosi’s hypnotic vocal refrain “Chicago – Bamako” blending two separate geographical bodies into one. Percussionist Jovia Armstrong's splashing cymbal subtly accents and fuses with Fassery Diabate’s vibrant balafon, the combination evoking the kind of cool summer drizzle that produces rainbows. Each instrument, from vocals to strings to wind to the percussive, merges into the other, while retaining distinction. It feels like a celebratory dance between new lovers, whose connection spans lifetimes—bridging romantic ties while affirming ancient ones.
The entire album embodies the African griot traditions of call and response, rooted in the Black Amerikan blues/jazz lineage. Some songs arouse the feeling of Bamako serenading Chicago through Malian streets and home-grown stories, as seen in "Tara." Kouyate's lush vocals, accompanied by Sissoko's succulent strings, create a traditional yet powerfully sensory experience, reflecting a rich ancient culture.
Other times, it feels like Chicago is guiding Bamako on a similar journey, as with "Spicy Jambalaya". Mitchell's butterfly-like, pied-piper build leads us through sonic ebbs and flows, echoing Chicago's deep blues and jazz roots. Ballaké's kora responds in a familial frequency, accepting Mitchell’s invitation. Joshua Abrams' bluesy stand-up bass, Ndosi's atonal Sun Ra-esque vocals, and Jeff Parker's psychedelic guitar further flavor this sonic stew, while Diabate's balafon and Armstrong’s rhythms act as percussive gumbo.
The exchange reaches a dauntless culmination in "Vulnerable”, where Ndosi's blues vocals meet Ballaké's dexterous responses on kora. Punctuated choral intonations rise from some ancient place – a gateway to a parallel realm of unrestricted consciousness, opening the heart and leaving it bare. As the song progresses, Mitchell lays down a soul-searing serenade, punctuating Kouyate's sensual vocals, revitalizing a space of mutual acknowledgment, and embracing the bittersweet alchemy that prefaces healing.
Then, "This Moment" expresses thankfulness and joy, feeling more like a reunion than a first meeting. Mitchell's celebratory composition harmonizes Chicago-style love into a universal cry, answered empathically by Bamako's contemporized traditional groove, with Diabaté's notable balafon solo elevating ecstatically high frequencies. Here, the collusion of all things string creates a tapestry of plush noise, pushing the boundaries of each instrument. By the end, “fears and doubts” dissipate, as both vocalists share sorrows and joys, grateful for "this moment” – to be transported to an ephemeral third space where terrestrial boundaries are erased via the sonic melding of esoteric sound – and that is something, as the title song suggests, no earthly power can, “take away”.
Recorded at Strobe Recording, Chicago, July 2017
Recording engineer Caleb Willitz
Mixed by Matt Wyatt, Tree and Booms Studio
Mastered by Heba Kadry, NYC
Produced by Nicole Mitchell
Liner Notes by Jamika Ajalon
Lyrics translation by Jimmy Berthe
Cover artwork “Taama fitini” by Dramane Toloba
Design by Al Brandtner
Thank you to the Most High and the many caring people and institutions who poured love into this project, including Jamika Ajalon, Aaya Badue, Jimmy Berthe, Ted Coffey, Fréderic Deval (rest in power), Michel Dorbon, Kate Dumbleton, Calvin Gantt (rest in power), Heba Kadry, Babani Kone, Matt Merewitz, Felton Offard, Matt Pakulski, Alexandre Pierrepont, Corinne Serres, Greg Tate (rest in power), Dramane Toloba, Caleb Willitz, Matt Wyatt, the Abbey of Royaumont, the French Ministry of Culture, The Musée du Quai Branly, Hyde Park Jazz Festival, Chicago World Music Festival, Strobe Recording, Doris Duke Foundation, the MacArthur Foundation, 3Arts Chicago, Experimental Sound Studios, FPE Records, and the multitudes of friends and family who supported and encouraged this project into being. Most of all, big thanks to the irreplaceable magical musicians: Ballaké, Fatim, Fassery, Jeff, Joshua. JoVia and Mankwe!
Nicole Mitchell is a creative flutist, composer and educator. Having emerged from the Chicago avant-garde scene in the early
90’s, Mitchell formerly served as the first woman president of Chicago’s AACM. Her mission is to “celebrate the power of endless possibility by creating visionary worlds through music.”...more
Whenever I want to chill in the zone, Cecily's songs of love and freedom is the choice. Her voice echoes Minnie Ripperton and her lyrics are liberating. Nicole M Mitchell
supported by 18 fans who also own “Bamako*Chicago Sound System”
A very interesting album. At a few places I keep asking myself: Was this composed by Arnold Schönberg (or his disciples)? Anyway, I'm all for skilled musicians exploring the boundary (if one exists) between jazz and classical. Thumbs up! jyrki63
supported by 16 fans who also own “Bamako*Chicago Sound System”
Greetings! We remember being mesmerized by this song in the Bimhuis Amsterdam a year ago!! Hope to see you at the Fridman gallery next Thursday.. Thank you big hugs (track is called ‘The Slip’) Kanipchen-Fit
Flutist and composer Nicole Mitchell tackles this eight-movement work with a drumless chamber quartet featuring some of the most forceful voices in improvised music. Bandcamp Album of the Day Aug 6, 2018