MAMADOU DIABATE was destined to play the kora. He was born in 1975 in Kita, a Malian city long known as a center for the arts and culture of the Manding people of West Africa. As the name Diabate indicates, Mamadou comes from a family of griots, or jelis as they are known among the Manding. Jelis are more than just traditional musicians. They use music and sometimes oratory to preserve and sustain people's consciousness of the past, a past that stretches back to the 13th century when the Manding king Sunjata Keita consolidated the vast Empire of Mali, covering much of West Africa. The stories of these glory days and the times since remain important touchstones for people today, not only for the Manding, but for many citizens of Mali, Guinea, Gambia, and Senegal. So to be born to a distinguished jeli family in Kita is already an auspicious beginning.
Mamadou's father Djelimory played the kora, the jeli's venerable 21-string harp. He was widely known as N'fa Diabate, one of the founders of the Instrumental Ensemble of Mali and recording on the National Radio of Mali. At the age of four, Mamadou went to live with his father in Bamako, where the Ensemble was based. When it came time for him to return to Kita and go to school, Mamadou knew that the kora was his destiny. His father had taught him how to play the instrument, and from there he listened and watched and devoted himself to practicing the kora, to the point that his mother worried that he was not concentrating enough on school. When she took it away, it only reduced his interest in studying, and he quickly resorted to making his own kora so he could continue.
In 2000, Mamadou recorded his debut Tunga (Alula), which means .adventure,. and this wide ranging, collaborative work served as the calling card of a most adventurous musician. By 2003, when he recorded Behmanka (World Village), Mamadou had married and settled in Durham, North Carolina. Here, in the tradition of his cousin, Toumani, Mamadou challenged himself to make a solo recording, one that would demonstrate his profound knowledge of tradition, his mastery of his instrument, and his personal innovations as a player. It is a tour de force, and it earned him a Grammy Award nomination in 2005. In 2006 Mamadou released another ensemble album, Heritage (World Village). In the following year, American Folk Alliance awarded him World Music Artist of the Year, 2007.(br>
Mamadou says that his father advised him to listen to all the best kora players and to learn from each one. The kora itself came to Mali from Gabu, the region centered between Gambia, Senegal, and Guinea Bissau, and the Malian kora tradition has always put a premium on holding onto the old ways while constantly innovating and developing the art.
Thank you so much, it is an honour to be complemented by such a fantastic kora player - I would love to be able to play as well as you! Take care. Josie
Hi Djelikadian! Thinking of you in the wilds of Northern Miohigan this week-end... While you're playing there, we'll be playing in the Evanston Ethnic Arts Festival here in Chicagoland. We're looking for a tamaniste- if you know someone, please put him in touch with us- thanks. Teber and Zoe
Also, we've just done a Hot "BLAME IT" Remix featuring GC ( 2 times GRAMMY NOMINATED, worked with SHAGGY, CHRIS BROWN, ELEPHANT MAN, WYCLEF JEAN, P DIDDY, more info on our page)
Hi, Mamadou, how are you? I haven't practiced my kora for a long time due to my right hand's nerve paralysis. Today I'll try to tune and practice it little by little.
