When you think of blues music, the names of classical performers like Johnny Lee Hooker, B.B. King, Chuck Berry and Stevie Ray Vaughan may pop into your head. It is also possible that you may draw a parallel to contemporary bluesy artists like Johnny Lang. However, you most likely will not recall the name Boubacar Traore, even though his music captures and focuses on a fundamental aspect of blues, namely its soul.
Traore was born and raised in Kayes, Mali, where he became a local soccer star in school and earned the nickname Kar Kar, which means “”the one who dribbles too much”” in Bambara. During his early years, he taught himself music and started to compose tunes that were highly influenced by both American blues and kassonke, a type of traditional chant from the Kayes’ region. He also picked up some tips and learned how to play guitar from his older brother, who spent eight years in Cuba studying music.
Throughout the ’60s, Traore’s music gained acceptance in Mali, and his songs were constantly played on the radio. He performed in clubs where audiences would dance to his songs and call him by his nickname, Kar Kar. His tunes, like “”Kar Kar Madison”” and “”Kayes Ba,”” inspired and touched the people of the newly independent country of Mali. In 1963, Traore’s biggest hit, “”Mali Twist,”” served as a kind of national anthem. However, this facade of grand success hid the fact that in reality, despite all the recognition, Traore had a hard time supporting himself. To earn a living, Traore dropped out of sight by taking on various jobs like a tailor, salesman and shopkeeper during the day, and training orchestras or performing to a close group of friends at night.
In 1987, Traore reappeared on stage after being invited to play for Malian TV. His resurrection came as a shock to many people that mistook him for his brother, who had died a few years earlier. Two years after Traore’s reemergence, the death of his wife, Pierette, left him in a state of depression.
He fled to France, where he hoped to make enough money to support his six children. Eventually, a British producer stumbled upon a tape Traore had previously recorded and eagerly summoned him to record two new albums, “”Mariama”” and “”Kar Kar.”” This meeting gave Traore’s career a necessary boost. He toured in England, Switzerland and Canada, and played a single show in the United States. Eventually he recorded three more records, including “”Les Enfants de Pierette,”” “”Sa Golo”” and “”Macire.””
With his eclectic history and impeccable sense of rhythm, Traore is the ideal storyteller to convey the hopes and fears of his country in meaningful songs. Jon Pareles, a reviewer for The New York Times, described Traore’s music as “”swinging and hypnotic, doleful and soothing, rooted and personal, as it transmuted basic elements into profound incantations.”” Cathy Ragland from The Seattle Times depicts his music as “”inviting and warm, not overwhelming.””
Traore does not play blues music in the traditional sense. Instead, his style of Mali blues incorporates deep emotion through an ideal correlation between vocals and guitar. He sings about political issues, love and daily concerns like fear. He fluctuates between songs that exhibit a Spanish influence, like “”Courir Un Homme Qui Vous Aime,”” some that inhabit some inspiration from American pop, and others that are pure bluesy acoustic guitar and voice numbers. “”Les Enfants de Pierette”” is Traore’s tribute to his wife and children, and is sure to evoke an emotional response. Even though Traore mostly sings in French or in his native Mali tongue, his music is expressive enough to narrate the tales purely through the musical notes.
Traore is currently on his first North American tour and is coming to perform at UCSD on Nov. 8. You can experience for yourself the emotion of this compelling performer at 7:30 p.m. at Mandeville Auditorium. Tickets are $15 for students and $20 for general admission.
