Album lore

Carnet de Voyage : Mali, Guinée, Sénégal assembles thirteen tracks drawn from the traditional music of West Africa, spotlighting the kora and vocal traditions native to Mali, Guinea, and Senegal. Issued by Arion in April 2006, this compilation presents a range of pieces including “Danse peul,” which exemplifies the rhythmic vitality and melodic intricacy characteristic of the region’s rural ensembles. The album features selections such as “Faso le tomo nye” and “Chansons à messages : Sigereti fe Bara,” evincing both instrumental and lyrical storytelling.The recordings gather a variety of performers, among them Lamine Konte, and retain an earthy immediacy that preserves the signals of communal musical practices. As a document housed within the Qlencja Library and bearing catalog identifiers -w9 and -30t, this artifact offers a valuable glimpse into the canon of Sahelian traditions, unvarnished by modern studio gloss. The modest circulation on platforms like Last.fm, with under 800 listeners, marks it as a niche entry for collectors attuned to authentic regional expressions of kora and vocal music.

Album lore

Carnet de Voyage : Mali, Guinée, Sénégal assembles thirteen tracks drawn from the traditional music of West Africa, spotlighting the kora and vocal traditions native to Mali, Guinea, and Senegal. Issued by Arion in April 2006, this compilation presents a range of pieces including “Danse peul,” which exemplifies the rhythmic vitality and melodic intricacy characteristic of the region’s rural ensembles. The album features selections such as “Faso le tomo nye” and “Chansons à messages : Sigereti fe Bara,” evincing both instrumental and lyrical storytelling.The recordings gather a variety of performers, among them Lamine Konte, and retain an earthy immediacy that preserves the signals of communal musical practices. As a document housed within the Qlencja Library and bearing catalog identifiers -w9 and -30t, this artifact offers a valuable glimpse into the canon of Sahelian traditions, unvarnished by modern studio gloss. The modest circulation on platforms like Last.fm, with under 800 listeners, marks it as a niche entry for collectors attuned to authentic regional expressions of kora and vocal music.