It's not easy to follow in Dad's footsteps when Dad is considered one of the greatest musicians of the 20th century. But Vieux Farka Toure, son of Malian desert blues pioneer Ali Farka Toure, isn't one to shy away from a challenge. Actually, scratch that: he absolutely is. The elder Toure wanted his son to join the army, and Vieux briefly complied (unwillingly). But he nurtured a secret love affair with music, first learning percussion and then finally picking up the guitar, his father's instrument. Once he started on the guitar, it was all over. Vieux went against his father's wishes, giving up the military for music and forging a mentor relationship with close family friend (and master kora player) Toumani Diabate.
His father finally came around -- with intervention from Diabate -- and played on a few tracks on Vieux Farka Toure's self-titled 2007 debut, just before Ali's death. Though the younger Toure is still finding his feet as a performer and singer, he's grown increasingly comfortable in the spotlight -- and it helps that he really has the musical goods to warrant the recognition he's getting. Even Diabate was surprised by the beauty of Toure's playing on the demos for his debut album -- and he's been championing the kid for years.
Toure's second album, Fondo, was released earlier this week on Six Degrees Records, and it's remarkable: neither a carbon copy of his father's style nor an over-eager attempt to improve on tradition -- just a thoughtful, beautifully played, adventurous release. The guitarist generously took some time out of his touring schedule to answer our questions over e-mail. Not every musician can express himself well in words, but I was bowled over by Toure's friendly, openhearted responses -- and the thoughtfulness that runs through both the album and this interview. Meet desert blues' next great ambassador!
Rhapsody: What was the process for recording Fondo?
Toure: We recorded the whole album in five days in November '08 in Bamako [Mali], at Studios Bogolan, but in fact I'd already done some bits and pieces (some guitar work, drums, percussion) on my own, in my home studio. Yossi Fine flew in to oversee the sessions and helped a lot with putting it all together, so when I went to California in January to his place to mix, it was a very natural continuation of the whole process.
Rhapsody: Was it a very different experience from writing and recording the first album? How?
Toure: I worked on every aspect of this album entirely, from beginning to end: composing, arranging, recording, producing, mixing. It was a very satisfying process, really hard work and scary, too, sometimes ... but I had a lot of help and support from my friends, family, and of course Yossi, and Pat and Bob at Six Degrees. I knew this second album had to be better than the first, and I just concentrated on trying to do that -- I'm pretty proud of it.
Rhapsody: What music would your fans be most surprised to know you like?
Toure: Everyone always laughs when I say I love Phil Collins. I don't know why -- he's a great drummer especially, and my first instrument was the drums. And I think Bryan Adams writes the best pop songs ever. I also really like bhangra; I have a pretty good collection at home.
Rhapsody: After several years on the road, do you find you're more comfortable performing live?
Toure: I LIVE for the moment when I go onstage. I get like an electric shock just before, and it doesn't make any difference if I'm sad, or tired or feeling sick. Just playing for an audience is such a rush, when you feel them beginning to understand where you're going with the music and then they begin to move ... that's a great feeling.
Rhapsody: Who inspires you? What musicians are you listening to right now?
Toure: Oh, I'm mostly listening right now to an MP3 of 125 tracks by Alpha Blondy. He's so cool -- he always treats important social issues in his music, but he can play absolutely anything -- reggaeton, rock, blues ... really impressive. I also got a CD by Wilco not long ago -- great guitars. And Six Degrees gave me a copy of Niyaz; I really love it.
Rhapsody: Your album doesn't come with translations, but the lyrics are so important. Which songs are closest to your heart, lyrically speaking?
Toure: There actually ARE translations of the songs (Sonhrai, French and English) available, I think on Six Degrees' website? "Fafa" is for sure the song closest to my heart. It's about this very deep spiritual bond that we believe exists between all people, or must exist for us to live. I definitely think about my father when I play it; I know he would have liked it.
Rhapsody: The percussion in "Ai Haira" sounds very central African to me. Tell us about that song.
Toure: Ah no, it's all very northern Mali in this song -- the rhythms, the percussion all are typical of my village, Niafunke. It's just about treating your elders with respect and love, a pretty fundamental part of our lives.
Rhapsody: I was so surprised to see a song called "Slow Jam" on your album -- and even more surprised when the opening guitar recalled your father's playing so powerfully. Why did it get the name it got?
Toure: "Slow Jam" started as a riff we'd play at sound check, just noodling. And as we toured more, it grew, until it gradually, slowly became a full-fledged but slow jam. We have a lot of fun with it when we play it live ... sometimes it's not so slow!
Rhapsody: In recent years, it seems like the "desert blues" have taken off -- bands like Tinariwen are huge now. What do you think the appeal is, particularly to those of us who don't speak Fulani or Bambara or Temashek?
Toure: I think it is partially BECAUSE musicians like my father continually toured and took this music to the world. And because radios played their music, and magazines interviewed them. But I also think it is because the incredible wealth of music in Mali can't be denied. It is a world treasure, and I think more and more people know about it and love it because you just have to ...
Rhapsody: I've read that you don't feel entirely comfortable showing off -- that even your mentor, Toumani Diabate, didn't know the extent of your skill, though you'd played in his Symmetric Orchestra and he'd mentored you for years. Is that changing?
Toure: Not too much; I'm still pretty shy, and I know I have a long way to go before I'll be totally happy with my guitar playing. But I guess practice makes perfect, and being on the road so much is like a constant intensive lesson, so I feel like I'm learning to be better every day.
Toure: We recorded the whole album in five days in November '08 in Bamako [Mali], at Studios Bogolan, but in fact I'd already done some bits and pieces (some guitar work, drums, percussion) on my own, in my home studio. Yossi Fine flew in to oversee the sessions and helped a lot with putting it all together, so when I went to California in January to his place to mix, it was a very natural continuation of the whole process.
Rhapsody: Was it a very different experience from writing and recording the first album? How?
Toure: I worked on every aspect of this album entirely, from beginning to end: composing, arranging, recording, producing, mixing. It was a very satisfying process, really hard work and scary, too, sometimes ... but I had a lot of help and support from my friends, family, and of course Yossi, and Pat and Bob at Six Degrees. I knew this second album had to be better than the first, and I just concentrated on trying to do that -- I'm pretty proud of it.
Rhapsody: What music would your fans be most surprised to know you like?
Toure: Everyone always laughs when I say I love Phil Collins. I don't know why -- he's a great drummer especially, and my first instrument was the drums. And I think Bryan Adams writes the best pop songs ever. I also really like bhangra; I have a pretty good collection at home.
Rhapsody: After several years on the road, do you find you're more comfortable performing live?
Toure: I LIVE for the moment when I go onstage. I get like an electric shock just before, and it doesn't make any difference if I'm sad, or tired or feeling sick. Just playing for an audience is such a rush, when you feel them beginning to understand where you're going with the music and then they begin to move ... that's a great feeling.
Rhapsody: Who inspires you? What musicians are you listening to right now?
Toure: Oh, I'm mostly listening right now to an MP3 of 125 tracks by Alpha Blondy. He's so cool -- he always treats important social issues in his music, but he can play absolutely anything -- reggaeton, rock, blues ... really impressive. I also got a CD by Wilco not long ago -- great guitars. And Six Degrees gave me a copy of Niyaz; I really love it.
Rhapsody: Your album doesn't come with translations, but the lyrics are so important. Which songs are closest to your heart, lyrically speaking?
Toure: There actually ARE translations of the songs (Sonhrai, French and English) available, I think on Six Degrees' website? "Fafa" is for sure the song closest to my heart. It's about this very deep spiritual bond that we believe exists between all people, or must exist for us to live. I definitely think about my father when I play it; I know he would have liked it.
Rhapsody: The percussion in "Ai Haira" sounds very central African to me. Tell us about that song.
Toure: Ah no, it's all very northern Mali in this song -- the rhythms, the percussion all are typical of my village, Niafunke. It's just about treating your elders with respect and love, a pretty fundamental part of our lives.
Rhapsody: I was so surprised to see a song called "Slow Jam" on your album -- and even more surprised when the opening guitar recalled your father's playing so powerfully. Why did it get the name it got?
Toure: "Slow Jam" started as a riff we'd play at sound check, just noodling. And as we toured more, it grew, until it gradually, slowly became a full-fledged but slow jam. We have a lot of fun with it when we play it live ... sometimes it's not so slow!
Rhapsody: In recent years, it seems like the "desert blues" have taken off -- bands like Tinariwen are huge now. What do you think the appeal is, particularly to those of us who don't speak Fulani or Bambara or Temashek?
Toure: I think it is partially BECAUSE musicians like my father continually toured and took this music to the world. And because radios played their music, and magazines interviewed them. But I also think it is because the incredible wealth of music in Mali can't be denied. It is a world treasure, and I think more and more people know about it and love it because you just have to ...
Rhapsody: I've read that you don't feel entirely comfortable showing off -- that even your mentor, Toumani Diabate, didn't know the extent of your skill, though you'd played in his Symmetric Orchestra and he'd mentored you for years. Is that changing?
Toure: Not too much; I'm still pretty shy, and I know I have a long way to go before I'll be totally happy with my guitar playing. But I guess practice makes perfect, and being on the road so much is like a constant intensive lesson, so I feel like I'm learning to be better every day.
- Portions of Album Content Provided by All Music Guide © 2008 All Media Guide, LLC.
Leave a comment