When a major cross cultural collaboration emerges, it can be a toss-up as to what it will turn out to be: a lopsided affair in which one side dominates the other, reducing the partner(s) to virtue-signaling window dressing, or a true blend of cultural ideals and open minds that yields something remarkable. For Bamako Chicago Sound System, forward-thinking Chicago flautist Nicole Mitchell and innovative Bamako (Mali) kora player Ballaké Sissoko have created something truly magnificent: a respectful, enthusiastic blend of artistic approaches. Joined by musicians from each city – with guitarist Jeff Parker, bassist Joshua Abrams singer Mankwe Ndosi and percussionist JoVia Armstrong representing Chicago, and singer Fatim Kouyate and balafon maestro Fassery Diabaté Bamako – the two leaders approach each other’s vision with due reverence and an eagerness to learn. Mitchell’s Afrofuturist spiritual jazz serves as a perfect foundation for Sissoko’s mantra-minded melodies, setting up situations that let Diabaté’s Malian marimba provide counter melodies and Parker’s guitar to insinuate itself, rather than break through. As Kouyate’s hypnotic croon alternates with Ndosi’s more forthright declaration, the effect isn’t so much contrast as communication, two messengers sharing their epistles and finding a mutual understanding. No one should be surprised at how sympatico it all is, of course – the deep connection between American blues and jazz and Malian traditional music has long been established, and every musician here groks that connection on a spiritual level. It’s the pure joy in this celebration of the African diaspora that makes Bamako Chicago Sound System such a rewarding listen – it’s the sound of cultural lines blurring while still remaining cognizant of the unique qualities of each. Dig it.
