Anyone familiar with my work probably knows I consider Djelimady Tounkara of Mali the most formidable guitarist in Africa. This acoustic ensemble recording is the first under Tounkara's own name since he started out in the Super Rail Band of Bamako in 1972. It showcases his playing in an intimate setting, moving through Manding tradition and Tounkara originality with fleet riffing and sweetly rolling rhythms. Partly on the strength of this album, Tounkara won the BBC's World Music Award for Africa in January, 2002. (So it's not just me!) Now, at last, the album is commercially available in the United States, and it's an absolute must for African guitar enthusiasts and fans of Manding music, or indeed any acoustic African music.

The first thing that strikes you on "Mande Djelilou," the album's darkly proud opener, is the sheer gravitas of Tounkara's sound. In his hands, an acoustic guitar has the ability to hit you deep in the chest. His crystalline tone, easy, perfect execution, and musical attitude demand your attention from the start, and don't let go through eleven varied tracks. "Gnima Diala" rides jauntily into the Latin-tinged zone of Guinean Manding music. "Ayebo" is animated by percussion and a warm harmonized chant of celebration. And "Samankoun," a song dedicated to Tounkara's eldest son, flirts openly with flamenco.

But the core of this album is classic Manding repertoire. "Diaoura," "Amary Ndaou," "Sigui," and "Yemaryo" (a version of the venerable "Djanjon") all bristle with the visionary certainty of the griot's ancient art. Djelimady's soloing always progresses with thoughtfulness, logic, and passion. Some ardent Tounkara fans have complained that there isn't more guitar and less singing on the record, but singing by Lafia Diabaté, Rail Band vocalist Samba Sissoko, and Tounkara's daughter Fatoumata, among others, only sweeten the mix to these ears. This is one of the great African acoustic recordings, and a very promising start to the belated solo career of Africa's guitar king.