The Popular Music of Mali in the 20th century

At the end of World War II, the guitar became renowned all over Africa, partially resulting from the combining of African, American and British soldiers. Dance band is also popular in Mali, especially in the town of Kita’s group which was led by Boureima Keita and Afro-Jazz de Segou, the Rail band and pioneer jazz. Imported dance were also renowned, especially waltzes, rumbas and Argentine-derived tangos. In the 1960s, however, the influence of Cuban music started to rise. After the independent in 1960, Malians saw modern chances for cultural expression in radio and television and recordings. Cuban music is still famous in Mali throughout the 60s and is still renowned now.

Old dance ensembles changed under the modern names as part of the roots renewal of Moussa Traore. Powerful bands include Tidiane Kone’s Rail Band du Buffet Hotel de la Gare that launched the careers of the future musicians such as Salif Keita and Mory Kante and Super Biton de Segou. Bajourou who also became famous starting with Fanta Sacko’s Fanta Sacko, the first bajourou LP, Fanta Sacko’s success set him the stage for future jelimusow artists who have been reliably famous in Mali; the normal acceptance of the female singers is unusual in West African and this marks Malian music so special. In the year 1975, Fanta Damba became the first jelimuso to travel Europe, as bajourou continued to become the mainstream all over Mali.

Not all the bands that take part in Traore’s roots renewal. Less Ambassadeurs du Motel was initiated in 1971, playing famous songs that is imported from Senegal, Cuba and France. Les Ambassadeurs and Rail band were the two biggest ensembles in the country and a violent competition developed. Salif Keita is possibly the greatest famous singer of that time, defected to Les Ambassadeurs in 1972. This is followed by a major show at which both of the bands performed as part of the Kibaru (literacy) program. The viewer fell into a frenzy of enjoyment and unity and the show is still remembered as one of the defining time in 70s Malian music.

Band of Rail and Les Ambassadeurs left for Abidjan at the end of 70s due to the poor economic situation in Mali. In Abidjan Les Ambassadeurs released mandjou, an album which featured their most renowned song Mandjou. This song help make Salif keita as a solo star. Many of the biggest artists of that period also settled in Abidjan, Dakar, Paris (like Salif keita and Mory Kante), London, New York and Chicago. Their recordings are still widely available and these exiles helped bring the international attention to Mande music.

Rail and Les Ambassadeurs continued to record and perform in different names. In 1982 Salif Keita recorded with Les Ambassadeurs Kante Manfila, left the band and then recorded an influential combination album with Ibrahim Sylla and French keyboardist known as Jean Philippe Rykiel. The album changed some Malian pop, removing all Cuban traces and joining influences from rock and pop. In the middle of the year, Paris had become the new capital of Mande dance music. Mory Kante saw the main success with techno-influenced Mande music, and becomes number one hit at several European charts.

In mid-1980s another root renewal began. Guinea singer and kora Jali Musa Jawara’s 1983 Yasimika is said to have started this movement, followed by the series of acoustic releases from the Kante Manfila and Kasse Mady. Also Ali Farka Toure gained the international popularity during this time and his music is less in the jeli tradition and it look like the American blues.