
The Malian master blows Bill Frisell's mind. The technique, tone, and conceptual breadth of his debut album, Mande Guitar, will astonish you, too.
Boubacar "Badian" Diabaté's debut release, Mande Guitar, will shatter your preconceptions about what the instrument is truly capable of. Don't believe me? Then take it from Bill Frisell, the sonic groundbreaker who practically reinvented the jazz guitar playbook. In Frisell's words, "Boubacar 'Badian' Diabaté blows my mind. He's doing things I've never heard anyone do before."
Comprised of mostly solo guitar gems with occasional overdubs and a smattering of guitar duets (with Badian's brother Manfa Diabaté and producer/African music historian Banning Eyre), Mande Guitar is a musical kaleidoscope, imbued with unexpected moments of jaw-dropping virtuosity. While the album's instrumentation is stripped-down, the original plan was even more austere. Eyre had wanted Badian [that nickname translates as "tall father"] to record a strictly solo guitar album. Along the way, some compromises were made, including the addition of percussionist Baye Kouyaté, who plays tama (talking drum) and calabash on one track, "Fadento." "Some people like to just listen to one instrument, but others like to hear the ambience of an interaction between players, so I wanted to touch both things and strike a balance," says Badian. "Also, when you play solo, you have to cover everything—you have to keep the line, the harmony, and the rhythm, whereas when someone is accompanying you, you're freer to do a lot of things that you can't do if you're playing alone."
Badian Diabaté et Goussou Kouyaté
In Badian's circle of musicians, the cultural norm is that everyone is raised to be an adept multi-instrumentalist. We know that most guitarists can dabble on bass, but in Badian's clique, it's the real deal—there's no faking it. "I usually perform with two or three additional musicians, and we'd switch instruments from song to song. It's very normal to start with one instrument and then move on to another and to experience the music from these different directions. The musicians I play with can play multiple instruments: guitar, ngoni (a 4-string instrument), tama, etc. If I have a drummer, he can typically play the calabash. I've actually made recordings in Mali where I've played all of these instruments. In concert, I mostly play guitar, but I would also play some ngoni or some tama."
A Rich Musical Tradition
Guitar geeks might tune into Mande Guitar for its fretboard fireworks, but for Badian the album serves a greater purpose. "I wanted to show the world the value of this culture," he says. "There's rock 'n' roll, there's jazz. Everything's out there and people know those things, but they don't know that this rich culture exists."
Boubacar "Badian" Diabaté (left) recorded Mande Guitar with his brother, Manfa (right), at Afropop Worldwide's Studio 44 in Brooklyn, New York. In Diabaté's circle of musicians, everyone is a multi-instrumentalist and able to switch duties from song to song. "It's very normal to start with one instrument and then move onto another and to experience the music from these different directions," Diabaté says.
In Badian's case, his rich musical culture dates back several generations. "I was born in a griot family. In the world of griots, people grow up in an environment where music is a traditional profession—my mother was a singer. My father was a functionary, an official in the government of Mali. Although he was a griot, he did not play guitar. It's a world where music is 'the thing' and you're surrounded by all of these instruments." His first instrument, when he was very young, was the tama. From there he went to the ngoni, which a lot of Malian guitarists start on. "Ngoni is the principal instrument of griots in Mali, along with voice," says Badian, "The ngoni is also the closest [traditional] instrument to guitar in Africa, so the natural instinct of a guitarist in the tradition is to try to imitate the ngoni. The guitarist improvises with the sound of the ngoni in his ear." Baidan switched to guitar when he was about 10, after hearing the music of Mande guitar great Bouba Sacko.
"The ngoni is also the closest [traditional] instrument to guitar in Africa, so the natural instinct of a guitarist in the tradition is to try to imitate the ngoni."
The origins of Mande Guitar began in 1995, when Eyre went to Africa to study guitar with Djelimady Tounkara for six months. One day, Badian came over to the house and was introduced by Tounkara, who, with a slight mix of (as Eyre put it) "disapproval and awe," described Badian as a "young player who will surpass me one day." Eyre had a Hohner G3T that Badian really wanted, so Eyre proposed giving Badian the guitar in exchange for permission to film him. "I realized he was a unique talent," Eyre says. A deal was struck and Eyre filmed a two-hour session of Badian playing in both solo and duet (with ngoni) contexts, all taking place in a construction site repurposed as a studio.
Boubacar “Badian” Diabaté’s Guitars
Diabaté has a fondness for electrics without headstocks, and this Steinberger SS-2F, which replaced a Hohner G3T, is his current plugged-in mainstay.
- Steinberger SS-2F
- Traveler Guitar
- Seagull 12-string
Badian and Eyre remained friends, and Badian reached out to Eyre when he came to New York with his wife, singer Nene Soumano, in 2010. Numerous times over the years, Badian asked Eyre for help recording an album, and in 2021, when Eyre launched Lion Song Records, his request was fulfilled. Eyre pegged Badian to record Lion Song's debut offering, Mande Guitar.
Remaking Malian Music
Eight of the cuts on Mande Guitar are traditional Malian songs, and the challenge for Badian was in trying to inject his own diverse musical personality into them while keeping true to the tradition. "I went to the Institut National des Arts de Bamako, which is the best music school in Bamako [Mali's capital], and there I learned Western pop music and jazz, pentatonic music, because there's a lot of pentatonic styles in Mali that's branched from the blues," says Badian. You'll hear such blending in "Bayini," the jazzy chromatic phrases in "Miri" and "Korosa," and some repeating short fragments in "Sakonke" played at hyper-speed à la Carlos Santana. He and Eric Clapton are Badian's favorite Western guitar heroes.
Dressed for his role as griot—a traditional artist who preserves and shares oral history through music, poetry, or storytelling—Boubacar "Badian" Diabaté cradles his Seagull acoustic 12-string. While he also plays 6-string, Diabaté may be one of the finest 12-string acoustic players on the planet.
You'll also hear some unexpected cross-cultural influences on Mande Guitar. "My favorite track is 'Bayini,' which starts with a Mande feel, then jumps into a Spanish flamenco feel," Badian says. "That's to show that Mande music can be fused with any kind of music, because music is universal. But for this record, I wanted to stick mostly to the Mande folklore. You might hear some of that stuff here or there, and on other projects I would bring in a lot more of those influences. But here I went for traditional Mande guitar."
"I wanted to show the world the value of this culture."
Exemplary Technique
In keeping with the traditional right-hand technique of Malian guitar players, Badian plays using his thumb and index finger. This method can look unusual to uninitiated Westerners watching the guitarist use his index finger to pluck in both directions. But Badian plays with an exemplary version of this technique that is impressive and incendiary. "I'm going up and down like a pick," he explains. "The fingernail becomes like a flatpick, and just with the thumb and forefinger I can play four strings. The thumb plays the tonic of the key, which is very defining to the atmosphere of the piece. The thumb's main role is to keep that in the picture at all times. It's not exactly like playing a bass line. Rather, its main role is to emphasize the tonic. However, there are times when the thumb will also contribute to a melody."
TIDBIT: Producer Banning Eyre originally wanted Diabaté to record a solo guitar album, but the guitarist insisted on overdubs and a few duets to add additional colors.
There are a few unusual tunings on Mande Guitar, like F–A–D–G–C–E, but most of the album is in standard tuning, and the album was recorded live with no click track. The only overdubbing was on tracks where Badian accompanied himself.
"The fingernail becomes like a flatpick, and just with the thumb and forefinger I can play four strings. The thumb plays the tonic of the key."
Necessity Is the Mother of Invention
"Right now, I just have two guitars: a 12-string Seagull acoustic and a Steinberger electric," says Badian, whose penchant for headless guitars creates a conundrum of sorts. Double ball strings, as used on the Steinberger and his previous Hohner G3T (which got its neck broken off after being loaned to Badian's brother), are hard to find even in music capitals like New York City and Los Angeles. But where there's a will, there's a way. "Even now, there's no store in Mali where you can buy these kinds of strings. The first thing to do is try to get someone that's going to France to bring you some," explains Badian. "But sometimes I would just make my own double-ball strings. I would cut strings and attach a new ball to them. You take the little ring off another string and wind it very tight."
This Seagull 12-string and Steinberger SS-2F are Badian's only two guitars. Getting strings for the Steinberger is nearly impossible in Mali, so he has them shipped from friends and family in New York or France, or jerry-rigs his own double-ball-end strings.
Badian also sometimes relies on a care package from family for accessories. "I get strings from my brother in New York, and I just use whatever he sends. My preference is medium gauge strings, but I'll work with whatever comes in." His resolve to make any piece of gear work is the antithesis of how GAS-stricken gear nerds roll, and Badian is living proof that tone is, indeed, in the fingers. "When I play a gig, I'll rent an amp, and I'll work with whatever I get. As long as it works, I'll make it sound good."
YouTube It
With transcendent elegance and virtuosity, Boubacar Diabaté, on 12-string, and kora player Ballaké Sissoko team up for a performance at a Parisian festival. Prepare to be blown away by their improvisational genius. It's that simple.
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Milkman’s Jerry Garcia-style JG-40 combo.
Grateful Dead-inspired gear from Milkman and Scarlet Fire helps to keep the guitarist’s sound alive.
Guitar players wanting to catch the Grateful Dead’s particular lightning in a bottle exist along a spectrum. Some are content to take inspiration from Jerry Garcia’s playing but make their own way regarding guitar choice and signal path. Others strive to emulate Garcia’s sonic decisions down to the most minor details and create signal paths as close to Jerry’s as possible. In recent years, an ecosystem of gear has developed around fostering Jerry Garcia’s electric tone, including everything from guitars, amps, and stompboxes to on-board preamps and speakers.
Entire books about the Grateful Dead’s gear have been written, so we can’t cover it all here. Garcia tinkered with all facets of his sound from about 1971 until 1978, when his signal path reached stability. By then, his On-Board Effects Loop—an innovation he developed to control how much signal reached his effects—was dialed in, his backline firm, and his choice of effects pedals solidified. Even then, adjustments were made, especially when MIDI arrived or when technology like in-ear monitoring was used. Here are some basics.
Scarlet Fire’s recreation of Garcia’s Wolf, originally built by Doug Irwin.
It starts with guitars. For players wanting to get their Jerry on, there’s a wide range of Garcia-esque instruments—with just as wide a range of prices—out there. Recreations of the Doug Irwin guitars and the Fender Alligator Strat abound. China-built models from companies likePhred Instruments can go for as little as $700 or so. Luthier Thomas Lieber apprenticed with Irwin long ago, and his Lieber Guitars will deliver a copy of a variety of Garcia models. Leo Elliott’sScarlet Fire Guitars out of Dallas, Texas, takes things in another direction. Elliott builds Doug Irwin replicas that start at $20,000 and go up from there, with a current wait time of about 18 months for an instrument. He’s outfitted many of the top Garcia guitarists today, including Tom Hamilton Jr. and Jeff Mattson. Elliott says, “I’m a self-taught luthier; I didn’t really build my first guitar until 2010. I understood a little bit about woodworking before I got started, but I learned by reading books and through trial and error. I started building replicas of Doug Irwin’s Wolf guitar right away, which is sort of like building a car and starting with a Ferrari. I didn’t know any better. Then, eventually I got to know Doug Irwin and collaborated with him. So, I got to hold Garcia’s Tiger guitar and get to know it really well, and by 2015, I had built replicas of that guitar. There’s one guy who helps me around the shop, but otherwise, I am building these guitars on my own. I’m collaborating with Doug Irwin on a new series of Tiger guitars, which will retail for 50 grand each.” That’s one way to get your Jerry going.
The JBL-inspired Milkman K-140.
Garcia’s choice of amplifiers is another matter. He preferred Fender Twin Reverbs loaded with JBL Alnico speakers, which were popular amongst many rock bands in the 1970s. The details get complicated; Garcia’s amps were heavily modified, and the Fender Twin served as a preamp that ran to a McIntosh MC-3500 power amp.
It’s hard to find vintage JBL speakers today—at least ones in good shape. San Francisco’s Milkman Sound, founded by Tim Marcus, has created a faithful reproduction of those classic JBLsthey call the K-140. They’re coupling those speakers with a Garcia-style recreation of his Fender Twin that Marcus named the JG-40. “I think 75 percent of Jerry’s tone is in the JBL speakers,” Milkman’s founder says. “But when you start to analyze the other 25 percent, you kind of have to start withDon Rich. [Editor’s Note: Rich was the guitar player in Buck Owens’ band, pioneers of the Bakersfield Sound.] That’s Jerry’s tone, too, but the difference is Garcia’s midrange was a bit throatier. It sounds clean, but really, it’s not clean at the same time. Especially his tone in the late ’70s. There is something about running that Fender Twin Reverb through the McIntosh that would just completely blow out the tone in a really interesting way.”
Garcia colored his tone with off-the-shelf effects. This was, after all, long before the days of boutique pedals. By 1978 and beyond, you’d hear him playing through an MXR Distortion+, an MXR Analog Delay, and an MXR Phase 100. He often used auto wahs, preferring the Musitronics Mu-Tron envelope filter as well as a Mu-Tron Octave Divider and a Mu-Tron combination volume and wah pedal.
When I asked Jeff Mattson, Bella Rayne, and Tom Hamilton Jr. exactly how orthodox they are about using the kind of gear that Garcia did, I got three different answers.
Mattson tells me that because Dark Star Orchestra is doing something very specific, he really has to tailor his sound as carefully to Garcia’s as he can. “Some folks get too hung up on small things, like what kind of cable to use and things like that, and I don’t go that far. But it’s important for Dark Star Orchestra to get Jerry’s sound right because we are covering different eras and different shows. In 2022, for example, we went to Europe and recreated shows from the Dead’s famous Europe ’72 tour, so you have to pay close attention to what kind of gear they were using to do that right.”
Hamilton works differently. He’s always preferred a higher-gain signal than Garcia ever did, landing in more of a British or heavy metal tone. (Randy Rhoads was a big influence.) “I’ve always approached it like, ‘What’s the new information we can put into this thing?’” he says. “Not just recreate but pushing in a forward direction. And anytime I’ve played with the guys who played with Garcia back in the day, they always said to me, ‘You’re here because you’re here. Don’t try and do what we did back in 1978 or do it because Garcia did it that way.’ They’ve always encouraged me to be myself.”
Bella Rayne is just wrapping her head around what it really means to try to sound like Garcia. “Besides Jerry, I’m influenced by guitarists like Dickey Betts and Derek Trucks, so my tone tends to be a bit heavier and bluesy,” she explains. “I’m generally running a Stratocaster through a Fender Twin Reverb. But recently, I was doing a show, and a buddy of mine set up a Jerry rig for me, and that was so cool: JBL speakers, McIntosh head, the whole setup. I had never played through one. I didn’t know what the hype was all about. I plugged in, and it was just amazing; there was such a snap, and I was really commanding the band. I can see myself keeping my current rig but adding a Dead-rig to experiment. But honestly, anything is fine; I am not picky. I just want to play the best that I can.”
PRS Guitars today launched five new three-pickup, 22-fret models across the S2 and SE series. The S2 Series release includes the S2 Special Semi-Hollow and S2 Studio, while the SE Series welcomes the SE Special Semi-Hollow, SE Studio, and SE Studio Standard.
“The distinctive pickup configurations of these five guitars deliver a versatile tonal platform, whether you’re exploring subtle textures or pushing the envelope. The deep dive into our Narrowfield technology is obvious with this launch. With both the S2 models made in our Maryland factory and the SE models made in Indonesia, our goal has been to create guitars that will inspire you and spark creativity, all at an exceptional value,” said PRS Guitars COO, Jack Higginbotham.
S2 Special Semi-Hollow
The PRS S2 Special Semi-Hollow features a pair of 58/15 LT humbuckers in the bass and treble positions and a PRS Narrowfield in the middle. A 5-way blade switch and two mini-toggles allow players to tap the humbuckers, creating twelve distinct pickup combinations for sonic exploration. The carved maple top and mahogany back encompass a semi-hollow body that adds a natural airiness and depth to the guitar’s tone while enhancing sustain.
S2 Studio
The PRS S2 Studio delivers a wide range of sonic possibilities through its distinctive single-single-hum configuration. Featuring two proprietary PRS Narrowfield pickups in the bass and middle positions and a 58/15 LT humbucker in the treble position, the S2 Studio offers a palette of sounds from single-coil clarity to vocal humbucker tones. This model also has a 5-way blade switch and push/pull tone control.
SE Special Semi-Hollow
The PRS SE Special Semi-Hollow is designed with the versatility of a hum/“single”/hum setup, bringing PRS’s Narrowfield DD pickup design to the SE Series in a classic maple-top guitar. The semi-hollow construction also enhances sustain and resonance, while the f-hole adds a classic aesthetic. The coil-tap switching system unlocks a wide range of tones through a pair of 58/15 LT “S” pickups in the bass and treble positions and a PRS Narrowfield DD “S” in the middle.
SE Studio
The PRS SE Studio’s “single”/”single”/hum pickup configuration provides a wide range of tonal options. This combination of PRS Narrowfield DD “S” bass and middle pickups with a PRS 58/15 LT “S” treble humbucker offers humbucking warmth, single-coil sparkle, and everything in between. The 5-way blade switch and push/pull tone control further enhance its versatility.
SE Studio Standard
The only bolt-on neck in this release group, the PRS SE Studio Standard brings the tone, playability, and versatility of the Studio model to the SE Series and into an all-mahogany design with a vintage-style pickguard aesthetic. At the heart of the SE Studio Standard is its versatile trio of pickups: an 58/15 LT “S” humbucker in the treble position with two Narrowfield DD “S” pickups in the middle and bass positions. The 5-way blade switch and push/pull tone control allow for an array of pickup configurations.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |