Putumayo’s African Blues chronicles the return of the blues to its African motherland. It also demonstrates the burgeoning connections between West and East African musicians and performers from the blues’ traditional heartland in the U.S., as well as converts in Europe—and shows how these connections are revolutionizing traditions on both continents.
“It’s like two halves of a circle,” muses Putumayo head Dan Storper, a passionate collector of music from around the world. “The blues’ roots are in Africa but emerged and evolved as a powerful musical style in America. Now they’re reuniting in new and exciting ways.”
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“When we worked on Mali to Memphis, we recognized the powerful connection between the bluesy music of West Africa and the Mississippi Delta,” explains Dan “That began my search for American and African blues and blues-influenced music and led to a series of successful CDs including Mississippi Blues, American Blues and Blues Around the World.”
Storper, a blues fan who lives in New Orleans and his staff found a growing number of collaborative projects based on close musical friendships British guitarist Ramon Goose teamed up with kora (West African bridge-harp) whiz Diabel Cissokho (“Totoumo”), while respected Latin keyboard player and producer Alex Wilson found the sweet spot where Afro-Latin beats and roaring organ lines jive with kora, percussion, and other sounds from West Africa (Mali Latino’s “Ni Koh Bedy”).
As the various currents of blues have flowed back together—the developments in the U.S. and Europe, and African musicians’ responses to the American blues records that arrived midcentury—a new depth and richness have come to this storied musical form.
“It’s natural since the collaborations between Harry Belafonte and Miriam Makeba, George Harrison and Ravi Shankar, Paul Simon and Ladysmith Black Mambazo,” reflects Storper. “There’s something magical when two musical cultures collide and bring the best of each world to a song.”
