The ngoni, a tiny west African lute, is an unlikely source of international stardom. Traditionally, the four-string instrument was used to accompany the stories of griots (bards), not as a lead. Over four albums, Mali’s Bassekou Kouyate has single-handedly changed its status, first with 2007’s acoustic Segu Blue, before turning electric and adding the pedals and effects commonplace to rock guitar, a process climaxing on 2015’s furious Ba Power. Kouyate also added a group, drawn largely from his family, to round out his sound.
Miri is in part a return to acoustic roots. The title track (“dream” or “contemplation” in the Bamana language) is a stately instrumental that laments the plight of his homeland, recently ravaged by Islamist insurgents. Other tracks comment more directly on Mali’s political and social problems, with a stellar cast of vocalists that include Abdoulaye Diabaté, Habib Koité and Majid Bekkas, the last on a terrific opener, Kanougnon, a song about loss. Serious though it is, the album is ultimately uplifting, studded with guest appearances and shot through with playful moments like Wele Cuba, a tribute to west Africa’s love affair with Cuban music. Kouyate’s playing remains at its heart, pulsing, ingenious and spellbinding.
