Yalomba, a gifted vocalist and multi-instrumentalist (n’goni, n’dan and guitar) has shared the stage with Malian luminaries Ali Farka Toure, Oumou Sangare, Tinariwin and Afel Bocoum and has toured with Rokia Traoré. He has collaborated in the studio with Jazz and Afrobeat magus Cheik Tidiane Seck and counts Senegalese superstar Youssou N’dour, and Malian guitar great Habib Koité among his fans. He is also a featured artist on Grammy nominated Bassekou Kouyate’s new album “Ba Power”. Yalomba has performed for years in main world music events including WOMEX, Sfinks, and Les Escales. Repeatedly, audiences are amazed by his virtuosity, his high energy and unrelenting smile The eleven songs on Waati Sera, written by Yalomba, capture the essence of Nagnumani, which means “lovely”. The story is about a drum made of gold that set high in a tree. The King of the land, (Massake), claimed that whoever brought this drum to him could have the hand of his daughter, a beautiful young princess, in marriage. Many strong, healthy men tried and failed. Finally, it was a young disabled man who succeeded in bringing the drum to the King. This song is to say that even if you have a disability, there are things you can do that no-one else can. Other songs on Waati Sera touch on a wide variety of topics, including politics, faith, love and family. “Plus Jamais” translated to ‘Never Again’ is a plead by Yalomba to never let his country, Mali, descend into chaos and disarray like when it was occupied by religious extremist groups after the political coup of March, 2012. In his song I jo jo jo, Yalomba tells the story of when he was young and he studied music with his father, a master of the n’dan (a traditional harp), he did not realize the importance of the gift he was given. Yalomba says “My father taught me to be a musician and because of this education , I am able to make a living today”. Yalomba has much to say about the traditions of Mali and it speaks beautifully through his music. Political corruption and instability, a separatist rebellion, occupation by extreme religious militias and drug cartels, and inter-ethnic violence has menaced Yalomba’s beloved country of Mali the last few years and are the backdrop for the songs written in Waati Sera. Yalomba says “I have never worked so hard on an album as I have with Waati Sera.” In Mali, Yalomba is a superstar and his music is played in every nook and cranny of the vast Sahel and Saharan country. “Because of everything that is happening here, so much needs to be said. In Mali, with a population that is largely illiterate, the artist has an obligation to inform and to teach.” In the song Waati Sera (The Time Has Come), Yalomba says that reconciliation is more than a word, it requires action, forgiveness, and one must never judge someone based there ethnicity or religion, but as an individual. People from all the different groups in Mali have contributed to its problems, and we all must be part of the solution. Plus Jamais (Never Again) says that a person of faith would never force their beliefs on someone, and asks politicians to end corruption and lead with honesty and integrity. In Harkas, (Allah’s Blessing/Permanent Happiness) a collaboration with the Songhai Desert Blues virtuoso Samba Toure, Adama says that Mali’s strength is its diversity. “God has provided Mali with blacks and whites, Muslims and Christians, Arabs, Tamasheq, Songhai and Bambara. We must accept this and know that it is an advantage. All Malians need to work together to for the benefit of all.” Yalomba is an artist in every sense of the word. He’s a film producer, actor, dancer, musician and singer, a true entertainer. He has developed his own unique style of music. His musical roots are Bambara, but he has done music in his own way. In a traditional place like Mali, this creative breakthrough is something special. Adama says he developed his own form of Afro-Pop because you can dance to it, or you can just listen and enjoy. Yalomba learned music from his father, a farmer, herder, and musician who told stories and gave advice while playing the n’dan and n’goni ba, traditional stringed instruments. Adama says, “The n’dan is a traveler’s harp. When someone was going to travel, they would call for my father. He would play for them in front of the entire village and it would be recorded on a cassette tape. He would tell the traveler that he is going off to work hard, not to play. He must save his money and then return to the village. The traveler would listen to the cassette during his time away from home. It would give him courage in moments of loneliness, and remind him what he had come to accomplish.” In the song “Baba, I Jo Jo Jo” (Father, You Were Right), Adama thanks his father for giving him a musical education that allows him to make a living today. He says, “It is the responsibility of every parent to provide their children with an education so they can succeed in life.” Other Songs include: N’dɛmɛ (Help Me): This song is asking for a benediction from God. “God, help me to find what I’m looking for: Long life, good health, a pure heart. Selflessness.” Fɛsɛfɛsɛ (Reflection): Before, I wasn’t careful. I took things for granted and didn’t spend much time in reflection. Now I am wiser and more careful. Mali Za (Featuring Groupe Bwazan): In the Bwa, or Bobo language, Mali Za means: “The People of Mali.” The song asks people to have the courage to preserve their culture through this difficult time. In past times, the ancestors of the Bwa were known for their profound integrity and respect of their culture. Their traditional education did not allow them to lie, steal, or be deceptive. Meanness and hypocrisy didn’t exist. Adama asks people to return to these values and education. I Gne Yèle (Open Your Eyes): If you are walking in the darkness, you can fall down a well. Open your eyes. If your eyes aren’t open, you are lost in the darkness. There are people who act like they love you, but in reality they stab you in the back. They pretend to be honest, but are actually evil. Open your eyes. Miday Yiduma: In the Fulbe or Fulani language, Mido Yiduma means I love you. Do you love me too? If we don’t love each other, we can’t create important things together. This inspiration for this song came when Fulani from all over Africa reunited in Mali to lend a hand and reinforce all aspects of language and culture. The nomadic Fulani can be found throughout all of Africa. Safunɛ Ta Wulu: There was a dog that was so greedy, he even ate soap, thinking it was a piece of meat. If a bachelor’s family wants him to marry, and he sends a letter to his family saying that he's married so they will stop bothering him about it, in fact, he has not lied to his family, he is lying to himself. If you ride a stick horse, it’s not the horse that is carrying you, you are carrying the horse. Don’t fool yourself. Be realistic and see things clearly: Don’t be too proud or greedy.