The main feature of this recording is that the author, who now has been living for more than twenty years in Italy, has made every effort to respect the traditions of his people. In fact, the distance from his homeland has made him even more obsessive in this quest.
Dabiré expresses here the magic world of his childhood and adolescence; the sounds of his village are re-lived with such strength that no one could imagine that the author lives with his family near Siena, Italy, nor could one believe that the recording took place in a state-of-the-art studio in Rome, instead of the Savannah.
The difference between this recording and many others is that this is done by a learned African musician who evokes the atmosphere of his far-away village.
It is therefore not only an extraordinary musical work, but also an important piece of cultural documentation.
Unlike his previous work, Kontômé, which is a collection of original songs which do not deny a certain western influence (a little bit in the style of a modern "griot"), the twelve tracks in Afriki Djamana are a small personal and poetic anthology of traditional sounds.
The instrumentation and structures are therefore varied and organic; the sounds which result are earthy-the totemic timbres of gut and skin, of gourd and bone, of cane and wood.
The voices of Gabin Dabiré, his brother Paul, and Therése Keità seem to come from the dust of the Savannah, under the shade of a mango tree.
1.Bi Gbaale
2.Siza
3.Bi Gbaale Za
4.Doudou
5.Yoro Woulou
6.Fanta
7.Kontome
8.Mariam A Ne Awa
9.M'yab Ye
10.Warba
11.A Nisala
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