Habib Koité was born in 1958 in Thiès, a Senegalese town situated on the railway line connecting Dakar to Niger, where his father worked on the construction of the tracks. Six months after his birth, the Koité family returned to the regional capital of west Mali, Kayes, and then to Bamako. Habib comes from a noble line of Khassonké griots, traditional troubadors who provide wit, wisdom and musical entertainment at social gatherings and special events. Habib grew up surrounded by seventeen brothers and sisters, and developed his unique guitar style accompanying his griot mother. He inherited his passion for music from his paternal grandfather who played the kamele n'goni, a traditional four-stringed instrument associated with hunters from the Wassolou region of Mali. "Nobody really taught me to sing or to play the guitar," explains Habib, "I watched my parents, and it washed off on me."
Habib was headed for a career as an engineer, but on the insistence of his uncle, who recognized Habib's musical talent, he enrolled at the National Institute of Arts (INA) in Bamako, Mali. In 1978, after only six months, he was made conductor of INA Star, the school's prestigious band. He studied music for four years, graduating at the top of his class in 1982. (In fact his talent was so impressive, that upon graduation, the INA hired him as a guitar teacher). During his studies, Habib had the opportunity to perform and play with a series of recognized Malian artists, including Kélétigui Diabaté and Toumani Diabaté. He sang and played on Toumani Diabaté's 1991 release Shake the World (Sony), and Kélétigui Diabaté is now a full-time member of Habib's band.
Habib takes some unique approaches to playing the guitar. He tunes his instrument to the pentatonic scale and plays on open strings as one would on a kamale n'goni. At other times Habib plays music that sounds closer to the blues or flamenco, two styles he studied under Khalilou Traoré a veteran of the legendary Afro-Cuban band Maravillas du Mali. Unlike the griots, his singing style is restrained and intimate with varying cadenced rhythms and melodies.
Mali has rich and diverse musical traditions, which have many regional variations and styles that are particular to the local cultures. Habib is unique because he brings together different styles, creating a new pan-Malian approach that reflects his open-minded interest in all types of music. The predominant style played by Habib is based on the danssa, a popular rhythm from his native city of Keyes. He calls his version danssa doso, a Bambara term he coined that combines the name of the popular rhythm with the word for hunter's music (doso), one of Mali's most powerful and ancient musical traditions. "I put these two words together to symbolize the music of all ethnic groups in Mali. I'm curious about all the music in the world, but I make music from Mali. In my country, we have so many beautiful rhythms and melodies. Many villages and communities have their own kind of music. Usually, Malian musicians play only their own ethnic music, but me, I go everywhere. My job is to take all these traditions and to make something with them, to use them in my music."
In 1988, Habib formed his own group, Bamada (a nickname for residents of Bamako that roughly translates "in the mouth of the crocodile"), with young Malian musicians who had been friends since childhood. In 1991, Habib won first prize at the Voxpole Festival in Perpignan, France, which earned him enough money to finance the production of two songs. One of those tracks, "Cigarette A Bana (The Cigarette is Finished)" was a hit throughout West Africa. After the release of another successful single entitled, "Nanalé (The Swallow)," Habib received the prestigious Radio France International (RFI) Discoveries prize. This award made it possible for the group to undertake their first tour outside of Africa during the summer of 1994.
In January 1995, Habib met his current manager, Belgian Michel De Bock, who, along with his partner Geneviève Bruyndonckx, are the directors of the management and production company Contre-Jour.
Working together, they recorded his first album Muso Ko. Upon its release the album quickly reached #2 in the European World Music Charts. From that point forward, Habib became a fixture on the European festival circuit and began to spread his infectious music and high energy shows around the world. Habib has played at most of Europe's major venues and festivals, including the Montreaux Jazz Festival, WOMAD, and the World Roots Festival. In the spring 2000, he even toured Europe and Turkey as an invited guest with the legendary avant-garde jazz group, the Art Ensemble of Chicago.
Habib's second album, Ma Ya, was released in Europe in 1998 to widespread acclaim. It spent an amazing three months at the top spot on the World Charts Europe. A subtle production which revealed a more acoustic, introspective side of Habib's music, Ma Ya was released in North America by Putumayo World Music in early 1999 and quickly helped establish Habib as one of world music's most exciting new figures.
Ma Ya spent 20 weeks in the top 20 of the College Music Journal New World music chart, and broke new ground at AAA rock radio, spending several months in regular rotation on commercial stations across the country. The album held the number one spot on the World Charts Europe for an amazing three months. Ma Ya has sold over 60,000 units in North America and over 100,000 worldwide, which is a tremendous success for a new world music artist.
The critical and commercial response to Ma Ya was tremendous. Habib was featured in hundreds of newspapers and magazines including People Magazine, Rolling Stone, Le Monde, Songlines, De Standaard, Le Soir and the cover of Global Rhythm magazine, to name a few. In the years since, he has also been featured in the US on National Public Radio's All Things Considered, WXPN's World Café, PRI's The World, the House of Blues Radio Hour "Mali to Memphis" special, prestigious international programs such as CNN WorldBeat, and in June 2007 was the subject of a two-page photo spread in Vanity Fair magazine. In 2001, Habib Koité and Bamada became one the few African artists to appear on Late Night with David Letterman one of America's most popular television variety shows.
Habib's artistry and powerful personality earned him the adoration of fans such as Jackson Browne and Bonnie Raitt, both of whom ended up visiting Habib in Mali. They have both done a great deal to support Habib's music, by promoting private events designed to attract new audiences and even performing live with Habib on stage. Habib and his band even made a guest appearance on Bonnie Raitt's 2002 album Silver Lining, in which Bonnie and Habib performed a duet on the co-written song "Back Around."
Habib Koite & Bamada released their third album, Baro, in 2001 on Putumayo. The recording was also a huge success, selling more than 100,000 copies worldwide and further expanding Habib's global audience.
One of the keys to Habib's success has been his dedication to touring. A true road warrior, Habib Koite & Bamada have performed nearly 1000 shows since 1994 and appeared on some of the world's most prestigious concert stages. Habib has also participated in a number of memorable theme tours alongside other artists. In February 1999, Habib and American bluesman Eric Bibb toured in support of the Putumayo compilation Mali to Memphis, which highlighted the connections between Malian and American blues music. In the fall of 2000, Habib participated in the "Voices of Mali" tour with Oumou Sangare, one of West Africa's most renowned artists. Habib has also taken part in the Desert Blues project with fellow Malians Tartit and Afel Boucoum and the Putumayo Presents Acoustic Africa tour with South African troubadour Vusi Mahlasela and the rising young star Dobet Gnahoré from the Ivory Coast.
Habib Koite & Bamada's transfixing performances have endeared them to an ever-growing audience, and in 2003 they released Fôly! , a double CD of live material.
Devoted fans have waited a long time for Habib to return to the recording studio. As with many craftsmen, Habib is a perfectionist, and spends a great deal of time composing and arranging his material. Recorded in Mali, Belgium and Vermont, Afriki finds Habib exploring new musical directions. The overarching theme of Afriki, which means "Africa" in the Malian Bambara language, is about the strengths and challenges of the African continent. "People here in Africa are willing to risk death trying to leave for Europe or the USA, but they are not willing to take that risk staying to develop something here in Africa," says Habib. "Life can be really good or really bad wherever you live. People need to understand that. Even though Mali is poor, we still have good quality of life: You can walk outside and smile and someone will smile back. I have thought about it a lot, and I am not sure if poor countries have a worse quality of life."
Africa
Habib Koité & Bamada Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
An adventure that took them far away from the frontiers of the continent
An adventure that taught them how things work elsewhere
Before, we welcomed the whole world with our Innate sense of hospitality, in dignity and nobility
We walked but when we wanted to enter their door Those in Ceuta told us:
"We don't have your innate sense of hospitality"
The sons of Africa returned home, saying:
Better an ugly woman than an empty room Because they'd heard that invaluable help had been offered to them there
But they've had enough of empty promises
Poverty will be Africa's destiny
Corruption will be Africa's destiny
Governments will always get stuck in the sand Africa is destined for war, for genocide
Until the United Nations in their development programmes
Decide to help Africa to:
Reduce its poverty
Reduce its AIDS pandemic
Reduce the death of its children
Reduce what Mother Africa owes to others
Broken promises, of equity, solidarity
The illusion is false, even if the dream is allowed
Africa will make its own way, after a fashion, because
My black pride will always be called "Mambo" And we are all in the same boat
Help! Enough help for Africa
Africa will make its own way, after a fashion!
The song "Africa" by Habib Koité & Bamada talks about the experience of African people and their desire to explore the world. The lyrics begin with the sons of Africa longing to go on a journey that takes them beyond the boundaries of the continent. They are curious about how things work elsewhere and seek adventure in the hope of expanding their knowledge.
The song highlights the contrast between Africa's culture of hospitality and the hostile response the sons of Africa receive when they attempt to enter Ceuta. The people of Ceuta deny them entry by saying they do not have Africa's innate sense of hospitality. This experience leaves the sons of Africa feeling bitter and disillusioned.
The song also touches on the crippling problems that continue to plague Africa, such as poverty, corruption, and war. It speaks to the broken promises of help and solidarity that have yet to improve African livelihoods. The sons of Africa eventually come to the realization that Africa must forge its own path, and that black pride will always remain a part of Africa's identity.
Overall, the song encourages listeners to recognize and appreciate Africa's unique culture and the challenges it faces. It also highlights the need for a global effort to support Africa's sustainable development.
Line by Line Meaning
The sons of Africa wanted to walk
Young Africans desire to explore the world outside the continent
An adventure that took them far away from the frontiers of the continent
They crave an experience that would take them beyond the boundaries of their land
An adventure that taught them how things work elsewhere
They wish to gain knowledge of functioning in different societies
Before, we welcomed the whole world with our Innate sense of hospitality, in dignity and nobility
Traditionally, Africans displayed distinguished hospitality and elegance towards their guests
We walked but when we wanted to enter their door Those in Ceuta told us:
"We don't have your innate sense of hospitality"
When they visited Ceuta, they were rejected because they were told their hospitality was not wanted
The sons of Africa returned home, saying:
Better an ugly woman than an empty room Because they'd heard that invaluable help had been offered to them there
But they've had enough of empty promises
Africans who left the continent to seek aid in foreign lands returned empty-handed realizing it's better to struggle alone than to be deceived by false hopes
Poverty will be Africa's destiny
Africa's future seems to be doomed with poverty
Corruption will be Africa's destiny
Africa's future is also riddled with corruption
Governments will always get stuck in the sand Africa is destined for war, for genocide
Governments will struggle to make progress and the continent will be plagued by conflicts and bloodshed
Until the United Nations in their development programmes
Decide to help Africa to:
Reduce its poverty
Reduce its AIDS pandemic
Reduce the death of its children
Reduce what Mother Africa owes to others
Only when the United Nations offers comprehensive assistance programs which include poverty reduction, tackling AIDS, and improving the healthcare system and economy can Africa make strides
Broken promises, of equity, solidarity
The illusion is false, even if the dream is allowed
Past pledges of fairness and unity were empty, and the dream of progress is just as insubstantial
Africa will make its own way, after a fashion, because
My black pride will always be called "Mambo" And we are all in the same boat
Africa will advance on its own despite difficulties, and they will unite to face the challenges together, highlighting their shared black pride
Help! Enough help for Africa
Africa will make its own way, after a fashion!
While they appreciate assistance, Africa will overcome their obstacles on their own, eventually
Contributed by Ian P. Suggest a correction in the comments below.
Gertrud Müller
One of the best Habib Koité songs .I love African music .Many greetings ,love and peace from the German Empire :-)
Rosa Nobrega
Maravilhosos e inconfundíveis os sons "Africa "
Lindo Mbathason
Am from South Africa, i speak Zulu language. Thank you for beautiful music Mali!
fredrick joseph
Music and art...the only link to Africa's cultural diverse past...God bless mama Africa...
Daniel Mususa
Beautiful music for the soul
TGMDev
Un superbe représentant de l'excellence africaine.... Un continent qui aurait bien besoin de responsables au niveau de l'humanité de Habid ....
Thierry
PetrovicTV
Im from Ukraine. Avesome music!!! Great thanks!!!! Вражаюча музика!!! Дякую!
Nancy Alexander-Carreira
Beautiful music
Mizé Fernandes
LINDA!
Mhommaed Alrfa star
I love this song so much Africa am from south Sudan