Seckou Keita, from southern Senegal, is one of the most prominent Kora players of his generation. His heritage on his father’s side is the royal Keita family of Mali. His mother is part of the Cissokhos (also spelled Sissoko in other West African countries), a well-known family of jali (griot) hereditary musicians.
After moving to the UK, Seckou Keita joined pioneering world music group Baka Beyond as a drummer in 1998. He later released solo recordings and created his own ensembles.
Seckou Keita’s latest recording is 22 Strings, which is dedicated to the 22-string kora that is still used in southern Senegal and Guinea Bissau.
Seckou Keita discusses 22 Strings with World Music Central.
TJ Nelson – What was the inspiration for your current recording 22 Strings?
SK – After years of pushing the boundaries of the kora, (there is a proverb in the Wolof language, if you are distracted toward where you heading go back where you started). 22 strings is the original number of strings on the kora and this instrument will always carry something old no matter what context you put it in (nowadays with wah wah pedal for example).. so I’ve been inspired to bring the kora back to where it belongs naturally…its real origins.
22 Strings seems to aim for an intimate, meditative tone, what do you hope listeners draw from it?
SK – I wanted to share what comes from my heart, and I believe what comes from the heart goes to other hearts.
Living in this world there is now such a rush of human movement. I hope an intimate solo album can contribute on our daily lives; I made this album in my home studio and only recorded when I found that intimate time; early morning or late night, sometimes day time…I believe we can create that moment if only we wanted too.
Having grown up with the responsibilities of the poet/musician/historian/diplomat/peacemaker in the griot tradition of Senegal and being the means through which the jinns or spirits of West Africa move through the music of the kora, do you feel the weight of that and how does that translate through your music?
SK – It sounds heavy but I’ve seen my grandparents carrying it all they life, so automatically you have a choice/ decision of taking over, but its easier as you can clearly see what elders went through, its also translates clarity on my composition and lyrics especially with words, to infuse with breath, believe that’s the direct translation of inspiring.
What do you want for the next generation of griot singers and musicians? What do you hope to pass on to them?
SK – I’m hoping the fast run of this 21st century don’t over take who they are and they role of griot to support the society, hoping to inspire the next generation to carry on even better.
Often a musician expresses a preference for a particular instrument, do you have a favored kora and why?
SK – Yes, I like my traditional made double neck kora done by my cousin Aliou Gassama who is still doing it with all the ritual context that my grandparents left behind and the sound have been improved even with a modern touch for easy tuning access on the road.
You are best known for playing the kora but you also play the seourouba drums and djembe, do you secretly put the kora down for some drumming time?
SK – I do from time to time but I enjoy teaching both djembe and seourouba more then teaching any other instruments.
On your 2014 recording Clychau Dibon, you collaborated with the Welsh Catrin Finch and earlier recorded with Juldeh Camara on Afro-Mandinka Soul, as well as having worked with Michel Salazar, Pillip Fournier and Davide Mantovani. What do you find most rewarding in collaboration? Alternatively, what is the most frustrating about getting your musical vision across within a collaboration?
SK – I think collaboration extends a musicians knowledge toward other music styles and the history behind them, however a collaboration can’t be forced to work; it can be frustrating if the sharing gap on a collaboration is filled up with one dominant instrument, so always good to choose instruments that can complete each other rather than opposite… as you named above are very fine musicians that I’ve a chance to work with.
If you had the ability to choose any fellow musicians for a dream project who would you chose and why?
SK -: Hard to say; Richard Bona, Youssou N’dour just name few.
What’s the next project for you?
SK – I wanted to celebrate my 20th anniversary of international musical journeys in 2016/2017 with few fellow musicians I had worked with in the past.
What music are you currently listening to?
SK – Habib Koité’s album Soô.
Is there a song you are completely addicted to? Perhaps a childhood song or a song from the radio that every time you hear it you sing along or have it running through your head. I had the opportunity to interview the Senegalese musician and singer Baaba Maal and his song was “One Love” by Bob Marley. What’s your song?
SK – “Redemption-song” by Bob Marley especially with “It’s all I ever had.” That part keep coming to my head anytime I hear this song.
Discography:
Mali (ARC Music, 2003)
Afro Mandinka Soul: Tama Silo (ARC Music, 2006)
The Silimbo Passage (World ArtVentures, 2009)
Miro (Astar Artes Recordings, 2012)
Clychau Dibon (Astar Artes/Mwldan, 2013)
22 Strings – 22 Cordes (ARC Music, 2015)
Official website: www.seckoukeita.com
Author: TJ Nelson
TJ Nelson is a regular CD reviewer and editor at World Music Central. She is also a fiction writer. Check out her latest book, Chasing Athena’s Shadow.
Set in Pineboro, North Carolina, Chasing Athena’s Shadow follows the adventures of Grace, an adult literacy teacher, as she seeks to solve a long forgotten family mystery. Her charmingly dysfunctional family is of little help in her quest. Along with her best friends, an attractive Mexican teacher and an amiable gay chef, Grace must find the one fading memory that holds the key to why Grace’s great-grandmother, Athena, shot her husband on the courthouse steps in 1931.
Traversing the line between the Old South and New South, Grace will have to dig into the past to uncover Athena’s true crime.
