Baro
Now with his third album,Habib Koitéhas  grown into a real triple threat. Not only is he a superb songwriter and  singer, he's also a trained guitarist of remarkable style and  invention, whose playing inspiration comes from native instruments,  such as the harp-like kora--he often imitates its rippling runs--or the  lute-like n'goni. Koité is very rooted, both in his own playing and  that of his band, Bamada, but the structure and harmonies of his songs  are readily accessible to Western audiences, a move away from the more  bluesy idioms of, say, Boubacar Traore. Add to that a lilting,  seductive voice, and Koité basically has all the goods in one package.  At the same time, this is no compromise album in search of stardom in  the West. This is very much the real Mali deal, as is apparent in the  last few cuts, when the band switches to a moreWassoulouapproach (from the south of the country, and typified by singers likeOumou Sangare),  with its harsher, drier tone. But by then you've been won over. Koité  is, without doubt, a major talent, and this record could well be his  breakthrough to the big time. He's paid his dues and earned his status.  The man is a star.--Chris Nickson