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Born in Mali, West Africa in August 25, 1949, Salif Keita comes from a noble family, and is a descendant of Sunjata Keita, who founded the Mali Empire in 1240. Keita was the third of thirteen children born to Sina Keita, a landowner in the village of Djoliba, where he grew up, near Mali's capital, Bamako. Born albino in a land of blistering sun and heat, with limited eyesight and poor despite his social standing, his mother had to hide him to avoid the attacks of the superstitious crowds who called for his death. In addition to the problems of growing up as an albino, Keita found the opposition of his family to his interest in becoming a singer since the traditions of his ancestry excluded members of the nobility from becoming singers. Keita's decision to become a musician broke an important taboo as in Mali only the lower jeli class makes its living from music.
In 1970, at the age of 18, Salif left Djoliba for Bamako, where he spent time as a street musician and playing in bars. The first group that he worked with was the Rail Band, a state-sponsored ensemble that was based at a Bamako railway station hotel, and which has served as an important launching pad for the careers of numerous West African musicians, including kora player and singer Mory Kante, and guitarist Kante Manfila.
The Rail Band became legendary because it nurtured M. Kante and Keita and also because it was one of the first to electrify Mandingo music and integrate Afro-Cuban influences which many West African instrumentalists brought back from their stay in Cuba. In 1973, Salif left the Rail Band, and with guitarist Kante M. he joined Les Ambassadeurs, which later became Les Ambassadeurs International. The new group developed the fusion between traditional music and western electric influences. 1977 saw Salif being awarded the National Order of Guinea by Sekou Toure, the Guinean President. By that time, Keita had also discovered American singers like Stevie Wonder, Ray Charles and Tina Turner. Their powerful way of singing and presence on stage taught Keita a lot about live performances. Restricted by the limited opportunities and political climate in Mali, the group moved south and set up base in Abidjan in the Ivory Coast, where they performed and recorded successfully during the late 1970s.
In 1984 Les Ambassadeurs Internationales broke up, and Salif moved to Paris, launching a career that saw him recording the classic Soro album in 1987, produced by Ibrahim Sylla. A recording deal with Island Records followed, which resulted in the release of the album Ko yan in 1989, an album that nods to the Weather Report sound, and that led directly to Salif's collaboration with Weather Report keyboard man, composer and arranger Joe Zawinul in 1990.
With help from Carlos Santana, Wayne Shorter and a number of carefully picked musicians from Mali and France, Zawinul produced 'Amen', the album that made Salif the first African band leader to win a Grammy nomination. Although Salif now tours extensively internationally, and is based in Paris for much of the year, he still resides in Mali. He tours with a mixed Malian / American 11 piece ensemble including singers, drums, percussion, bass, guitar and keyboards.
«Sometimes a return to basics can be the best way for an artist to move forward. For Keita, that's definitely the case with Moffou (2002). In spite of using a hefty number of musicians (17, plus 6 backing vocalists), the sound is very stripped-down. Even the supple electric guitar work of Djeli Moussa Kouyaté is mellow and low-key. The real beauty here is Keita's voice, carefully framed and used to maximum effect. High, almost piercing, it's a gorgeous instrument that can ride and transform a melody, whether the lulling gentleness of "Yamore" or the more upbeat –but never frenzied– "Iniagige." Overall, it's a record of swaying, seductive gentleness, one perfectly suited to Keita's style. After a few artistic missteps, he needs an album like this to reaffirm who he is and give a renewal to his sound. While it's strongly rooted, it's by no means strictly a Malian roots album; that's never been all of his music by any means. While ineffably West African, there's a lovely light sheen to the production that could only be European, and serves the sound well, smoothing it out but never losing the intimate flavor that's at the album's heart. Moffou reaffirms Keita's star status, and his reputation as one of the world's most glorious voices.» ~ Chris Nickson, All Music Guide
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Salif Keita's Discography
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Recording Label
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Year
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Reference
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| Moffou ** | Universal |
2002
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7243 4 99070 2 7 |
| The Best of Salif Keita: The Golden Voice * | Wrasse Records |
2002
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Wrass 059 |
| Papa | EMI |
1999
|
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| Seydou bathili | Sonodisc |
1996
|
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| Folon...The past | Mango |
1995
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524 149-2 |
| The Mansa of Mali ... A Retrospective | Mango |
1995
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162-539 937-2 |
| 1969 - 1980 | Sonodisc |
1994
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74646 |
| Amen | Island Records |
1991
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848 793-2 |
| Ko-Yan | Island Records |
1989
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259 850 |
| Soro | Celluloid |
1987
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66883-2 |
* For the first time, a best of Keita: 22 tracks (Double Album) from across his expansive career.
** Moffou: Album Credits »
Guy N'Sangue Bass (Electric), Daniel Richard Executive Producer, Djeli
Moussa Kouyaté Guitar (Electric), Lucille Reyboz Photography, Patrick
Votan A&R , Freddy Zerbib Producer, Benoît Urbain Accordion,
Arnaud Devos Gong, Marimba, Drums (Steel), Zheng, Harmonica, Percussion,
Piano, Timour Cardenas Engineer, Hadja Kouyate Vocals (Background), Kante
Manfila Arranger, Guitar (Acoustic), Césaria
Évora Vocals, Stephanie Caisson Engineer, Mino Cinelu
Percussion, Souleymanne Doumbia Conga, Salif Keita Vocals,
Producer, Main Performer, Liner Notes, Guitar (Acoustic)