(Opened as a high school auditorium in 1927, the building has been unused since the 1950s.) The promoters were the California Institute for Integral Studies whose goal is personal and social transformation. The venue was the under-reconstruction Nourse Auditorium in San Francisco's Civic Center, a fine early twentieth century building with Italianate details in the architecture, across from Davies Symphony Hall. The confidence radiates from the diminutive songstress, dwarfed by her hollow-bodied Gretsch guitar, her thin muscular legs coming out of a black designer dress that sticks out like a hoop skirt in a Velasquez portrait. But she has grown in sophistication and after over ten years of touring says she now feels like an artist and believes she can support herself and her band with her music for at least another decade. Her earliest shows were already quite remarkable, when she brought a group of traditional musicians, on balafon, dueling ngonis and calabash, from the arid Malian countryside to tour and back her stylish and urbane delivery. Rokia has gone from strength to strength as a performing artist.
Nourse Auditorium, San Francisco, 22 November 2013 Rokia Traore in concert photos Copyright © 2013 Grace T. I managed to film one number, " Salia" from their latest album, about mid-way through the show (they were under a tree and backlit so the lighting is not good, but the sound is great). As is typical in Berkeley, the band was being entertained by the crowd as much as the reverse. Another woman danced forward and presented a large bottle of some local brew to the front of the stage. I noticed she was wearing socks without shoes. A large woman with curly hair balanced her rift valley bag on top of her head and swayed in front of the stage. One woman rushed up and did the "ventilator," a well-known Senegalese dance. The crowd were into it, even "dashing" the band with money that seemed to be left-over from a trip to West Africa. Singer: Everybody say "Bere bere ba chinois"ĭrummer: You know what means "Bere bere ba chinois"?
Their hour-long set was varied, going from lyrical to intense and always ending with a rave-up. There is a traditional trap drum set (Aymeric Krol) and the group's founder, Ibrahima Sarr, another percussionist who mainly plays djembe. Some lead vocals were taken by Nfaly Diakité who also plays the Donso ngoni, dancing wildly as he does so. The lead singer Fassara Sacko, also plays a metal bell and a big dunun khassonke, which he hits with a curved drumstick. Abdoulaye Kone plays the latter with a set of effects pedals to create an expansive sound more like a guitar. There's the big hunter's harp, the Donso ngoni, and the small griot's ax, the Djeli ngoni. The quintet, unusually, combines stringed instruments from two different traditions.
This band was formed 5 years ago in Bamako, Mali during the emergency caused by the influx of Islamic fundamentalists driven out across the desert from Libya and surrounding countries.
#ALI FARKA TOURE TALKING TIMBUKTU RARE FREE#
On their first North American tour, BKO Stopped in Berkeley for a free afternoon show downtown. LIVE PERFORMANCE REVIEW, Addison Street Fair, Berkeley, 22 Sept 2018
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