Griot Music from Mali, by Siramori Diabaté - CD released on Pan Records PAN 2104, in 2003. Mali's most celebrated (late) griotte, born 1930, sings in the ancient and profound tradition, giving the words primary importance rather than singing for entertainment. The complex metaphors and alliterative praise names are all transcribed in the liner notes, giving storytellers the chance to understand the true form and import of this bardic tradition.
Grio—Salieu Suso, Kora. CD (scroll to two-thirds down page) 'The West African Jali, or musician, uses the kora to accompany narrations and songs (often improvised) honoring great patrons and recounting historical events. It is the main instrument of Mandinka Griot or Jaliba, who are traditional keepers of history, as well as musicians and storytellers.'
Mauritania
“Until recently Moorish society has had a strict hierarchical class system with musicians - iggawin - occupying the lowest rung beneath the warriors (hassans), merchants and others. Being a hereditary caste, their skills are handed down from father to son, or mother to daughter...
One traditional task of the iggawin was to follow the warriors into battle singing of their bravery and encouraging them into battle. At other times they would entertain their patrons with praise songs about the great deeds of their ancestors or act as social historians, poets and jokers. This is much like the role of the griots or jali elsewhere in West Africa. Before the days of radio it was also their job to act as newscasters, touring the villages reciting news from the outside world to musical accompaniments. They also sang epic songs which were used as teaching stories for the entertainment of children and adults alike. Today, however, professional musicians can be employed by anyone in return for money or other gifts.”
David Muddyman, 'World Music: The Rough Guide', ed. Simon Broughton et al, 1994.
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