This was a rousing and intriguing pairing that could turn into something more interesting than cleverly packaged nostalgia. Here, after all, were veteran musicians from Africa and the US with remarkably similar histories. Mali’s bestselling husband-and-wife team of Amadou and Mariam met in the sandy compound of the Bamako Institute for the Blind in 1975, while the original lineup of those gospel harmony specialists, the Blind Boys of Alabama, got together in the late 30s at what was then called the Talladega Institute for the Negro Blind. Both went on to international success, and both were strongly influenced by R&B.
First up were the Blind Boys, whose last original member, Jimmy Carter, was born in 1929 and is still in fine soulful voice. They concentrated on the enthusiastic revival of old classics, from People Get Ready to Amazing Grace, and were backed by their own guitarist Joey Williams, and the drummer and bassist/ngoni player from Amadou and Mariam’s band.
This energetic trio also provided the backing for Amadou and Mariam’s set, which included Sabali and Dimanche à Bamako, and was notable for Amadou’s inspired guitar solos. Working with a small group, and no keyboards, clearly suited him.
The highlights were the six collaborations, which included two new songs – the upbeat Bamako to Birmingham and Two Cultures, One Beat – and fine gospel harmonising on Welcome to Mali. Best of all was Carter’s powerful solo treatment of the Tom Waits song Down in the Hole, now matched with thoughtful and inspired guitar work from Amadou. If they can work up more songs as strong as this, it will be a partnership worth continuing.
• At Cambridge folk festival, 4 August, and Usher Hall, Edinburgh, 7 August
