He was born in Bamako in 1963. Since his childhood, he accompanies with his tamani (n’taman) the female griot during wedding and other traditional ceremonies.

In 1985, he enters the prestigious “Instrumental Ensemble of Mali”. In this orchestra, he plays n’tama and n’goni and makes a lot of international tours with it.

After having played with stars of Malian music such as Kandia Kouyaté or Amy Koïta, he forms the band "Baba Sissoko Tama-Kan" in 1991. This doesn’t prevent him from playing with other Malian artists especially with Habib Koité with whom he wins the price “découverte RFI” in 1993. This collaboration will last 12 years.

In 1995, he releases his first album with his band "Tama-Kan".

Today, more than 5 albums have been released and several projects are in preparation. Between two recordings, Baba makes his best to communicate his knowledge and to share his huge cultural heritage. Drums teacher in Brussels, conference leader for the art music and spectacle centre of the university of Calabre and seminary and radio emissions give to Baba Sissoko the occasion to speak of the musical inheritance he has. Baba Sissoko is a griot, djeli in Bambara (dominat language of Mali).

Interview

Can you tell us when you started your solo carrier and when you released your first solo album?
I had in mind to form a band for a long time. In 1991 "Taman Kan" was born. We recorded at the studio Oubien (now Bogolan) in Bamako with Philippe Berthier.
This recording was financed by Helvetas Mali and the French cultural centre (CCF). I have now other projects; I continue to collaborate with international stars.
Recently I worked with "Buena Vista Social Club", Cachaito Lopez; Ry Cooder, Art Ensemble of Chicago, Anga Diaz and Rokia Traoré.

Today you have recorded for albums and a long experience, what do you think about your career?
I had a lot of chance in my life. I received a complete and thorough traditional education.
I’ve also met a lot of great artists, not only Africans, who contributed to my musical formation.
It’s with all this experience (modern and traditional) that I compose my music today; it’s the reflection of my real life.
My fifth album recorded with the Art Ensemble of Chicago will be released next week.

So you’ve made 5 albums?
Yes, the first is "Taman-Kan" (the one I recorded in Mali), the second is "Djana" released in 1999 in Italy, the third is "Live in Studio" released in 2000 always in Italy and distributed in Switzerland.
The fourth is "Djéliya" recorded in Italy and distributed in Switzerland and Belgium. The fifth is called "Griot" and I made it with an italian singer. I’ve just recorded with the Art Ensemble of Chicago and the project is called "Afro Blues band - Bamako/Chicago"; the recording is in live and was realised during the Italian tour.

What can you tell us about your favourite instrument the n’tama?
It’s a very developed instrument; I’ve made searches on it and I managed to obtain eight notes out of it. It’s due to its velocity that people say that the N’tama is bewitched instrument. Even when it’s lost in an orchestra, its sound can be easily distinguished from the others. I’ve the first griot to introduce n’tama in modern music in Mali, and also the first to play in standing position. Yet, we were seating to play this instrument, even in the Instrumental Ensemble.

To end this interview, can you speak a little about your collaboration with Habib?
I went all around the world accompanying modern griots (male and female) and Habib Koité.
With this one, I had the opportunity to increase the consideration people have for me because I played n'goni, Balafon, Calabash and Carignan. I acquire a lot of experience with Habib.
Youssour N'Dour, Toumani Diabate, Salif Keita, Oumou Sangaré, Ali Farka Toure and Boubacar Traore Kar Kar have all given me a lot of advice.

Site Web : www.babasissoko.com