Kimi Djabaté was raised in Tabato, Guinea-Bissau, a village known for its jelis (griots), hereditary singer-poets whose songs of praise and tales of history and legends play an essential role in Africa’s musical life. Centuries ago, Djabaté’s ancestors, a wandering troupe of musicians from Mali, traveled to the region and the king of Guinea so loved their songs he invited them to stay and offered them the territory of Tabato. Ever since, the area has been a recognized center for music, dance, handcrafts, and other creative arts.
Djabaté was born into a poor but musically accomplished family in Tabato on January 20, 1975. His parents, two brothers and his sister were all professional musicians. Recognized as a prodigy, Djabaté began playing the bala or balafon, the African xylophone, when he was just three years old and soon after learned to play many other traditional instruments.
As a pre-teen, he was sent to the neighboring village of Sonako to study the kora, which provided a foundation for subsequent accomplishments as a guitarist. As his musicianship developed, Djabaté also mastered a wide variety of traditional drums and other percussion instruments.
Music was not a pastime or a hobby for the young Djabaté, however, and from a very young age he was obliged to contribute to the family’s income by performing at weddings and baptism ceremonies. Djabaté’s early talents proved both a gift and a burden, as his family often forced him to sing and dance against his will, and he had little time to partake in the carefree fun and games of other children his age.
Djabaté’s parents, as well as his uncle, provided the young phenom with excellent training in traditional Manding music,. However, Djabaté was also interested in popular African genres such as the local dance music style gumbé, Nigerian Afrobeat, Cape Verdean morna, not to mention western jazz and blues.
In 1994, Djabaté toured Europe as a member of the national music and dance ensemble of Guinea-Bissau, and he decided to settle in Lisbon, Portugal. Djabaté’s move to Europe proved to be one of the most difficult experiences of his life, and he faced many personal challenges adapting to a different culture and society.
After over fifteen years in Europe, Djabaté still remains devoted to the music he grew up with in Guinea-Bissau, although he brings elements of his own influences and experiences to forge a unique and personal sound. In Europe, Djabaté has collaborated with many exceptional musicians, including Mory Kanté, Waldemar Bastos, Netos de Gumbé and others. In 2005, Djabaté released his first solo album, Teriké, which he released independently.
The central theme of Karam, Djabaté’s second solo album, is Africa: it’s social and political realities; the suffering of African people; the fight against poverty; freedom; women’s rights; and love. An expression of his griot roots, Karam pays tribute to the people, soul, and spirit of Africa that is at the heart of his music.
Djabaté’s third album, Kanamalu, released in 2016 by Red Orange Recordings, covers themes ranging from political and social issues to emotions and the importance of family.
In his 2023 album “Dindin”, Djabaté merges traditional Afro-Portuguese rhythms with Afrobeat grooves, electric desert blues, and Cuban swing, creating a unique and captivating sound. His skillful bala playing and Paulo Borges’ acoustic guitar, bass, accordion, and keyboard come together seamlessly. bum.
The sounds of Djabaté’s youth, including Manding music, gumbé, morna, Afrobeat, jazz, and blues, are evident in “Dindin” and connect his past to the present. He recalls eagerly tuning in to the radio on Wednesday nights to listen to music from outside of Guinea-Bissau and expand his musical influences.
The album begins with the upbeat “Afonhe,” a song about the challenges of honesty. “Nowadays people have some troubles with telling the truth, to have clarity in their communication,” explains Djabaté. “Because love also means trusting the other. If there is no truth, things will get complicated later.”
Justice is a major theme throughout the album, with the song “Omanhe” highlighting this message. The song translates to “something bad,” representing Kimi’s stance against forced marriage. As a young musician, Djabaté witnessed a forced marriage and asked his mother why the bride was crying. When she scolded him for asking questions instead of playing music, he realized the impact of his lyrics. From then on, he vowed to use music as a tool for change and spread messages about Africa’s social and political issues, singing “with an insider’s voice.”
“Yensoro” is a song about taking the time to let a relationship develop before ending it. The song features intertwined balafon and guitar lines, and is underpinned by a soulful accordion riff. “We had a chance / To be happy / But you didn’t wait / You had me in your hands / I had you in mine / But you didn’t wait.”
“Alidonke” is a standout on the album with its electrifying rock guitar riffs. Combining elements of Tuareg desert blues and a compelling beat, Kimi sings about love with exuberance. “Smile at me / My love / Speak to me / Give me your hand / It’s you that I want / The love of my life arrived / My friend has arrived.”
The African-raised, griot-cultured voice of the artist preserves musical traditions, including tribute songs. “Ná” (mother) is a moving and soulful ode to the artist’s late mother. Despite its sorrowful theme, the song comforts her, acknowledging that joy and sorrow coexist in the complex world.
Dindin is both highly personal, featuring intimate songs dedicated to family and friends, and undeniably universal in its themes of love, communication, and human connection. As Djabaté reflects and accomplishes in this remarkable album, “I’m always trying to find other ways that allow me to travel with music. Music has no boundaries.”
Discography:
Teriké (2005)
Karam (Cumbancha, 2009)
Kanamalu (Red Orange Recordings, 2016)
Dindin (Cumbancha, 2023)
Author: Angel Romero
Angel Romero y Ruiz has dedicated his life to musical exploration. His efforts included the creation of two online portals, worldmusiccentral.org and musicasdelmundo.com. In addition, Angel is the co-founder of the Transglobal World Music Chart, a panel of world music DJs and writers that celebrates global sounds. Furthermore, he delved into the record business, producing world music studio albums and compilations. His works have appeared on Alula Records, Ellipsis Arts, Indígena Records and Music of the World.