Kamale Blues

That Harouna Samaké has been Salif Keita's kamalengoni player for the past 17 years tells you all you need to know about his mastery of his instrument; Mali's premier singer only employs the crème de la crème. In addition to playing on five of Salif's albums, he's appeared on more than 50 others by the likes of Blick Bassy and Bassekou Kouyaté, but Kamale Blues is his first solo effort. Perhaps it's unfair to judge him by the high standards of those who have employed him, but this sounds rather like a Salif Keita album without the golden voice and with less memorable tunes. His own voice is a raw instrument, reminiscent of the declamatory style of Hugh Masekela and it is in places effective enough, particularly when contrasted with the soft, sweet chorus vocals of his wife, Assetou Diakité. Yet his vocals lack the dexterity of his fingers, which can be heard to dazzling effect on the acoustic instrumental ‘Dissan Konon’. The songs are mostly based on upbeat Malian dance grooves, almost relentlessly so, and he's at his best when he slows down on the funky ‘Blues Chasseur’ and ‘Il Est Temp’, which sounds like an Amadou & Mariam song.