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BIOGRAPHY
Djelimady is the “Guitar Hero” of modern Malian music. This extraordinary guitarist has just been named the winner of the BBC3’s World Music Award for Africa, surpassing such distinguished competition as Baaba Maal, Habib Koite, and Rokia Traore. Born in Kita, in the heart of the Malinke, cradle of the great dynasties of Griots – musicians, poets, heralds and guardians of the great history of Mali – Djelimady Tounkara was taught by these masters and peers. At ease with the majority of traditional instruments that he learnt to play as a child (balafon, kora, ngoni…) he rapidly discovered a passion for the guitar and soon started accompanying the griots at weddings, baptisms and circumcision ceremonies. Deeply attached to tradition, he managed to adapt this European instrument to the Malinke and Bambara styles of music. Like most of the musicians of the Independence years he discovered Cuban music, American rock and blues and French variety. Cuban bands particularly, had great success throughout Western Africa and Djelimady picked up on the sounds and rhythms of the guitar and “tres” players that he heard on national radio. The Modibo Keita Government sent many musicians to Cuba for that musical experience. When Djelimady became soloist with the Super Rail Band, after contributing to "Orchestre National “A” and "Pioneer Jazz" (the first modern dance bands in Mali) he already had a distinctive style and his own identity, composed of all these different musical influences while still staying close to his roots. Best known for having accompanied the first musical steps of Salif Keita and Mory Kanté, this legendary band of amazing longevity was and still is an incubator for modern Manding musical talent. Many young musicians started out here, just like their two renowned predecessors, before fanning out over the face of the Earth. Djelimady Tounkara has chosen to stay close to his roots. He was not one of the founder members of the Super Rail Band but he joined them as a youngster at the start of the seventies and has been with them ever since. He has imposed his style, panache, colour, and sharp sense of rhythm, accompaniment and improvisation that contributed largely to the success of this mythical band. The Rail Band, a modern, electric group, with their brightly shining brass, their singers, their refined and powerful rhythmic section and their solo guitarist – true guitar hero of Manding music – have no equal in the whole region. The band will set the night on fire from dusk till dawn, with Djelimady’s long improvisations delighting dancers and music lovers. Djelimady is the group’s anchor, it’s most vital part. Debonair and reserved in everyday life, this gentle giant is a fearful musician and an exceptional guitarist. Most of the region’s musicians have taken inspiration from his style. Over the years he has succeeded in making it purer and simpler; he has a perfect control and mastery of his natural exuberance and virtuosity. He is currently at the summit of his art. Keeping well clear of clichés and easy options he plays like no one else. Either on the electric guitar with the Rail Band – which he now directs and conducts – or on the acoustic guitar, or when accompanying local singers, he is easily distinguished from the rest. His touch, his rhythm, his sense of swing and of the perfect note, the elegance of his solos all make him one of the greatest guitarists of his time, up there with Eric Clapton and BB King.
Along with his commitment to the Rail Band, Djelimady has never abandoned his love for and loyalty to the traditional Manding music. He is a griot, and performs regularly in that capacity for the many social occasions for which a griot is in demand. Djelimady has long wanted to record an album which incorporated his love for Manding and Bambara tradition, yet allows him some freedom in how that love is expressed. For this release, Sigui, Djelimady chose an acoustic concept, performing with seasoned colleagues and younger musicians with whom he has created strong ties and found affinities. He recorded the CD utilizing two guitars, one ngoni (traditional Manding instrument commonly believed to be the precursor to the banjo), two percussion, bass, and four vocals. The touring ensemble will consist of two guitars, one ngoni, two vocals, and one percussion. The compositions and arrangements on this recording reveal a subtle melodist and the refined compositional skills that Djelimady has perfected over thirty-five years of performing. He is, in short, a complete musician.
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