Afel Bocoum, a celebrated Niafunké, Mali-born and-based singer/songwriter and guitarist is among the last of a breakthrough generation of African artists, who mixed their traditional music with the new sounds that arrived from all over the world during the 20th and 21st centuries. Interestingly, music hasn’t been an easy dream for the celebrated Niafunké-born and-based singer/songwriter and guitarist: While most aspiring musicians face stiff parental and societal opposition; however for Bocoum, the parental opposition he faced was deeply perplexing, given the fact that this father Abakina Ousmane Bocoum, a.k.a. Kodda was one of the most famous and beloved njarka players of the 20th century.
But Bocoum wasn’t deterred. Music was omnipresent: it was in the holey or spirit dances of Songhoy, in the melodies of the Fulani flue, in the gumbé drum sessions with their wild moonlit dancing, in the stories and poetry of the griots and in the hymn of the local Protestant Mission. For a young Bocoum, music was more than just entertainment; it taught people about life and the right way to live it. It guaranteed social cohesion and the strength of the collective conscience, especially in a society that was at the time, largely illiterate and had no access to modern media. “There was no radio at the time, no TV, nothing. It was incredible,” Bocoum remembers. “When you saw someone with a guitar, you followed him everywhere.”
As a teenager, the legendary Ali Farka Touré exerted a powerful hold on the young Bocoum. When Bocoum first met Touré in the late 1960s, he was a barely a teenager and Touré was already considered one of the region’s most famous and greatest son. Bocoum hung out with Touré as much as he could, eventually becoming a member of Asco, Touré’s backing band — and as a member of of Asco, Bocoum toured with the legendary singer/songwriter and guitarist throughout the 80s and 90s, appearing on Touré’s 1992 effort, The Source.
The idea of releasing his own music arose from a gentle curiosity, rather than any self-serving ambition or desire to upstage his beloved mentor. “Everybody seemed to be releasing albums all around me, so it was like, ‘why not?’” Bocoum says in press notes. Tourè hooked his mentee up with Nick Gold, artistic director of World Circuit, which led to Bocoum’s 1999 full-length debut, Alkibar (The Messengers), an effort that established Bocoum as an international star in his own right.
Interestingly, as a result of Alkibar, Bocoum was invited to work with Blur and Gorillaz frontman and creative mastermind Damon Albarn and Toumani Diabaté on the 2002 album Mali Music. From there, he became a regular contributor on the Africa Express compilation series, collaborating with a who’s who list of internationally acclaimed artists, including Béla Fleck, Habib Koité, Tarit Ensemble, Oliver Mutukudzi and others. “You have to collaborate, otherwise you’ll get nowhere in today’s world,” Bocoum says of his work with those artists. “All those collaborations were positive.”
Bocoum’s forthcoming album, the Damon Albarn and Nick Gold produced-Lindé is slated for a September 4, 2020 release through World Circuit Records. Deriving its name from a wild expanse near his hometown, the album which was recorded in Mail’s capital city of Bamako, reportedly finds the celebrated Malian singer/songwriter and guitarist drawing from the timeless sounds of the Niger River bend with a variety of styles across the globe, as he collaborates with a diverse and eclectic array of artists including eminent Malian artists like Madou Kouyaté, the late Hama Sankaré and Madou Sidiki, along with the recently departed, legendary Afrobeat pioneer and Fela Kuti collaborator Tony Allen, Bob Marley and Skatalites collaborator Vin Gordon (trombone) and Joan as Police Woman creative mastermind Joan Wasser on violin.
You’ll hear traditional African folk instruments like ngoni, njurkele, kora and calabash with guitars, percussion and call-and-response vocals with the end result being something both timeless and mystical yet modern. But at its core, there’s a deep and abiding message: in the face of an uncertain and turbulent world and a homeland struggling with jihad, poverty and tribal warfare, the album’s material urges the listener to hope, solidarity and unity. “We have to meet each other, talk to each other, look each other in the eye and tell the truth,” Bocoum says. “If we’re not united, I can see no solution. Our social security is music. That’s all we’ve got left. People love music, so we have to make use of that fact.”
“Avion,” Lindé’s first single is a uplifting and breezy track, centered around the shimmering guitar work of Mamadou Kelly, Oumar Konaté and Lamine Soumano, call-and-response vocals, propulsive polyrhythm that is playful and optimistic ode to air travel, complete with the prerequisite safety announcement — in French, of course — that quickly takes off and soars upward. But it’s also a gentle yet urgent call for all people to band together around the most human of all things — music, love and dancing; that music can take us to the promised land of peace and equality among all. Considering recent world events, we need more uplifting calls for unity and love.
The recently released video gives the video a gorgeous glimpse of daily life in Mali, as we see fisherman, goat herders, the nomadic and proud Taureg people riding horses and camels, massive metropolitan areas and the like. It reveals a world that’s more diverse and interesting that what most Westerners would know or acknowledge with a gentle and kind viewpoint.