Debademba

The collaborative spirit is alive and well on Debademba, an album ostensibly created by two 20-something Paris-based West Africans: guitarist Abdoulaye Traoré from Burkina Faso and singer Mohamed Diaby, whose family are griots from the Ivory Coast. But the clue is in the title: Debademba translates as ‘big family’ in Bamana, and the project's sprawling gang of guests range from vocalist and recent World Circuit signing Fatoumata Diawara (of who we'll undoubtedly be hearing a lot more) to the bluesy, Oumou Sangaré soundalike Naïssam Jalal (of whom we probably won't but should) and a host of other artists. Traoré has formerly accompanied Hindi Zahra and indeed, Fatoumata Diawara; his guitar and mandola often takes centre stage here. On ‘Ma Parts 1 & 2, the guitar vies with flute, drums and voice before rocking out with fervour: the strummed notes have ringing, almost Andalusian inflections that are reflected in Diaby's tremulous vocals. He's a long-time fan of Stevie Wonder, Michael Jackson, Celine Dion (yes, really – she is big in the Motherland) and Salif Keita.

The pair's mix of contemporary African music – jittery Wassoulou rhythms, rocking Fula blues – with everything from Spanish and Ethiopian influences to Afro-funk and salsa has had Paris doing double-takes. ‘Agnakamina’ is as funky as funk gets. The ambient, spacious and ultimately rocking ‘Kiefali’ commemorates deported Africans. The closing track, the jazzy ‘Thomas Sankara,’ includes grabs of a speech by the late great Burkinabé president. Determined to move away from the restrictions imposed by the griot style, Diaby has clearly found a like-mind in Traoré.