I’ve been in love with the kora ever since Toumani Diabaté introduced it to me, years ago. The instrument, which is constructed in the manner of a bridge harp, has a harp-like tone but is played more in the style of delta blues and flamenco guitar fingerpicking techniques. Toumani himself comes from a long line of kora players: his father, Sidiki Diabaté, recorded the first kora album ever, in 1970, and Toumani has risen to become perhaps the most well-known practitioner of the instrument worldwide. He has become known for his virtuosic performances that include music drawn from traditional Malian music, as well as other genres such as jazz, flamenco, and blues.

In addition to pieces he’s released with other musicians from Mali, including his father Sidiki, with whom he recorded his first album, Ba Togoma, and In The Heart Of The Moon, which he worked on with Ali Farka Touré, Toumani has also collaborated with artists outside of West Africa, to great acclaim. Two of the most well-known albums in the latter vein are his co-release with Taj Mahal, Kulanjan, and Bjork’s album Volta.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Kulanjan is of particular delight to music history aficionados, as it combines Malian strains of kora music with one of the world’s most famous blues players – and as I’m sure either musician could tell you, many musical characteristics of the blues come straight out of regions of West Africa, including Mali. It’s a natural combination, and both musicians prove their ability to incorporate their respective styles in each other’s traditions. “Ol’ Georgie Buck” is an old blues ballad, generously reinterpreted in a manner that befits both artists’ playing styles, and “Kulanjan” is a tune from Mali.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

It’s difficult to pick a single track from the Diabate repertoire that represents his tone, songwriting ability, and virtuosic technique – so I’m just going to give you a snapshot of where he is now. This track, “Soumbou Ya Ya,” was recorded recently this year in London’s Union Chapel. It is a particularly good showcase of the simultaneous playing of ostenato riffs, known as “Kumbengo,” and extended, improvised solos, known as “Birimintingo.”

Toumani Diabaté – Soumbou Ya Ya (Live from Union Chapel, 2011) by World Circuit Records