The kora was traditionally played only by jelis of the Mandinka people – a cultural group whose homeland is situated, roughly, between Kouroussa, Guinea and Bamako, Mali in West Africa. Jelis are hereditary musicians, singers, public speakers, oral historians, praise singers, go-betweens, advisors, and chroniclers. They represent the collective memory of Western Africa. In effect, they are living libraries of their culture, possessing vast repertoires of compositions detailing family lineages, historical epics, and cultural commentary. Jeliya, the art of the jeli, is the field of music most closely associated with the ruling Mandinka elite, but it is appreciated by all members of Manding culture. Jeliya can be chamber music, played in the open courtyard of a patron, or concert music, played in the halls or stadiums of large cities. Although Jeliya is sometimes intended to animate dancing, deep Jeliya is for listening and is meant to inspire listeners to take moral and constructive actions.

Four named traditional heptatonic tunings are in general use. Tomoraba (great Tomora), also known as Siliba (the main road), is the original kora tuning and the one in which the oldest kora songs are played. The other three are: Tomora mesengo (little Tomora), Hardino, and Sauta. Tomoraba is predominant in the Casamance and western Gambia. Tomora mesengo and Hardino are predominant in eastern Gambia, with Sauta prevailing in Mali. Tomoraba and Hardino are somewhat similar to a western major scale. For example, the seven note scale of Tomora has three notes on standard pitch, two that are slightly flat and two that are somewhat sharp. In the Sauta tuning, the fourth degree of the scale is raised a half step. The qualifications – ba (big, great) and mesengo (small, thin, little) refer to the relative positions of the tonic in each of the tunings. Mesengo has a ‘thinner’ or higher pitch tonic, while ba, has a ‘bigger’ or lower pitch tonic. There is no real sense of absolute pitch in traditional kora music. The instruments are usually tuned to match the range of the vocalist, who may or may not be the player himself

John Hughes playing Kora

John Hughes is a nationally recognized instrumentalist, singer, dancer, instrument builder, and sculptor. He has studied the music song and dance of West Africa for twelve years, training with master drummers and dancers from Guinea and Mali, including Famoudou Konate, Sekou Sylla, and Youssouf Koumbassa.

http://www.JohnHughesMusic.com

Virtuoso Kora Player and Praise Singer (a Griot), Jali Fily hails from Ziguinchor in the beautiful lush region of Casmance, Southern Senegal.

Fily is a Mandinkan Griot. The Mandinka, a social group of approximately 4 million, live in and around Senegal, Mali and the Gambia. The Griots are professional hereditary musicians who once advised and entertained the emperors and Kings of Mali.

These oral historians have for over 4,000 years handed down the knowledge, culture and history of the Mande people. Griots are seen as spiritual people. Griot, meaning blood (djeli), being the blood that runs through the corporeal body – the essential omniscient part of life – were thought to be all seeing and all knowing in the eyes of society.

When you ask Fily how he became such an exponent of his music he replies “It’s in my blood.” Fily was born into the famous family of Griots – CISSOKHO – and was taught to play the KORA (a 21 string African Harp) at the age of 6 by his father Jali Kemo CISSOKHO and later by his older brother Solo CISSOKHO. His mother, singer Bintou Konte CISSOKHO, gave him the historical stories and songs. Soon after he performed at local ceremonies in the region. At the age of 13 he formed his own group COUTE DIOMBOULO and later performed as a solo artist throughout Southern Senegal. His compositions and skilful mixing of the rhythms of South and North Senegal took him to the capital DAKAR where he sang and played the KORA in a more commercial setting with other groups, superbly blending traditional skills with modern sounds.

He was first invited to Europe in 2002, to tour with the family group JALIKUNDA (founded by his brother Solo CISSOKHO, winner of the BBC3 World Music Award 2004). Recent UK appearances have included the WOMAD, Glastonbury and Larmer Tree Festivals. Solo performances include The Oxford Zodiac (supporting the Kathryn Tickell Band), The Oxford Water Festival (“His music moved people to tears”) and Modern Art Oxford. He also performed on David Attenborough’s BBC TV Documentary “Elephants” (music by Will Gregory of Goldfrapp fame).

Now resident in the UK he has been working with the support of Oxford Contemporary Music, Oxford Brookes University, Right Angle Productions (Oxford Experimental Digital Music Workshops) and others. Jali Fily is experienced in one to one, hands on tuition and also group workshops for schools, universities and festivals. His sympathetic and adaptable approach provides empathy with all age groups ranging from pre-school to adult. He is available as a solo artist but also interested in working with other world musicians. His versatility enables him to deliver not only his traditional music but to fuse easily with classical, afro, cuban, blues and jazz.

Fili is currently completing his second CD “Doumadjioulo” with a number of other Senegalese musicians.

His acclaimed first solo album is available from Kaira-Arts (sales).

“My aim,” he says, “Is to bring KAIRA (peace) to all through my music.”