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Toumani Diabaté plucked the kora's 21 strings. The world fell in love with his music

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Toumani Diabaté plucked the kora's 21 strings. The world fell in love with his music

Musician Toumani Diabaté of Mali and his 21-string kora, photographed at WOMAD — the World of Music, Arts and Dance festival held yearly in the United Kingdom. Diabaté died on July 19 at age 58.

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“He played those 21 strings with love.”

That’s the great American banjo player Bela Fleck talking about his duets with Toumani Diabaté of Mali — including the crowd-pleaser “Dueling Banjos.”

Fleck called him “one of the greatest accompanists I’ve ever played with.”

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It’s one of many heartfelt tributes to Diabaté, who died of kidney failure on July. Diabaté was 58.

His death reverberated throughout the world, with many musicians expressing how profoundly his life had impacted them.

“Toumani was a guardian of our culture, but also a bold innovator who never stopped pushing the boundaries of his craft,” Malian singer Oumou Sangaré wrote on her Instagram page. “His departure leaves an immense void in our hearts, but his musical legacy will continue to resonate within us and inspire generations to come.”

Like father and mother….

Toumani Diabaté was born into a centuries-old family of griot musicians, who have preserved the stories and traditions of Mali’s Mandé empire, once the largest in West Africa, through their music. His father, Sidiki Diabaté, was the premier kora player in the years following Mali’s 1960 independence from France, and his mother, Nene Koita, was an accomplished singer.

Diabaté, who had always been expected to carry on his family’s longstanding musical legacy, taught himself to play his father’s instrument.

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His technique was vividly showcased in his innovative solo albums, Kaira (1988) and The Mandé Variations (2008). On Kaira — which was released shortly after he turned 21 — his graceful shifts between melody and bassalways sounded like he was singing as much as playing.

Diabaté also created a more expansive project called Symmetric Orchestra. This large ensemble brought together instruments and repertoires from across the former Mande Empire with added textures and punch from American and European strings and horns. Diabaté included original compositions alongside new adaptations of griot songs.

As Diabaté wrote in the liner notes of the orchestra’s 2006 album, Boulevard De L’Independance, “One of the philosophies of Symmetric is the encounter of generations. The old generation has its experience in music, the new generation has its madness in music.”

Diabaté’s enthusiasm for improvisation and sharing kora music throughout the world led to several successful collaborations. He recorded with legendary Malian guitarist Ali Farka Touré and another great kora player, Ballake Sissoko. Diabaté also worked with artists whose backgrounds were different from his own. These collaborations included jazz and blues musicians, Spanish flamenco groups and the London Symphony Orchestra.

Taj Mahal: ‘It was like 500 years of separation no longer existed’

Through his music, he promoted his own heritage while also helping to show how much that culture was part of a shared language. Blues guitarist Taj Mahal and Diabaté teamed up for the 1999 album Kulanjan along with a small group of Malian musicians. The album features a rich blend of American acoustic folk and blues along with Malian musical styles. Mahal’s gruff voice creates a compelling contrast with the higher registers of the Malian instrumentalists and singers. Despite their seemingly different styles, Mahal found a mutual musical understanding in their collaboration.

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“It was never like, ‘You play this, I’ll play that.’ We just played together, looked at each other and it was done. Just like that. It was like 500 years of separation no longer existed,” Mahal said.

Béla Fleck collaborated with Diabaté for a series of concerts in 2009. Some of the performances are included on their album, The Ripple Effect, which was released in 2020. A sense of joy comes through their quickly shifting tempos and shared sense of humor, evident in moments like Diabaté’s playful musical response to Fleck’s snippet of “Oh, Susannah” on the track “Kauonding Sissoko.”

“Toumani was incredibly sweet from the start. He always called me ‘my brother,’ which made me feel very privileged,” said Fleck. “Toumani had elegance. That’s the thing I think about, and that amazing touch of his.”

‘A great artist who belongs to the world’

Iranian kamancheh player Kayhan Kalhor was one of Diabaté’s most recent collaborators, with their duo album, The Sky Is The Same Colour Everywhere, released last year. Their pairing began with an invitation to perform together at the Morgenland Festival in Osnabrük, Germany, where they met just hours before their first concert. The album was recorded after a brief European tour, but their musical interplay suggested a much longer partnership.

“We came two different cultures that see music in the same way. Improvisation being one of the major aspects. The other aspect is that our musical cultures go way back,” Kalhor says. “When you’re that deep in the culture and know the music of that culture really well, it gives you the freedom and the vision to add to it. So it’s not surprising that a musician of Toumani’s caliber and stature adds something to the music that the younger generation uses.”

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Kalhor added that while Diabaté is a part of Mande culture, ultimately his music connects with everyone.

“Vincent Van Gogh, Paul Cézanne, Akira Kurosawa and Abbas Kiarostami are great artists who belong to the world,” Kalhor said. “So I don’t see Toumani as a kora player from Mali, I see him as a great artist who belongs to the world.”

Aaron Cohen is the author of Move On Up: Chicago Soul Music and Black Cultural Power (University of Chicago Press) and Amazing Grace (Bloomsbury). He teaches humanities and English composition at City Colleges of Chicago and regularly writes about the arts for such publications as the Chicago TribuneChicago Reader and DownBeat.

 

 

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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’

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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’

Wyle, who spent 11 seasons on ER, returns to the hospital in The Pitt. Now in Season 2, the HBO series has earned praise for its depiction of the medical field. Originally broadcast April 21, 2025.

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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

From left: Noah Wyle plays Dr. Michael “Robby” Robinavitch, the senior attending physician, and Fiona Dourif plays Dr. Cassie McKay, a third-year resident, in a fictional Pittsburgh emergency department in the HBO Max series The Pitt.

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The first five minutes of the new season of The Pitt instantly capture the state of medicine in the mid-2020s: a hectic emergency department waiting room; a sign warning that aggressive behavior will not be tolerated; a memorial plaque for victims of a mass shooting; and a patient with large Ziploc bags filled to the brink with various supplements and homeopathic remedies.

Scenes from the new installment feel almost too recognizable to many doctors.

The return of the critically acclaimed medical drama streaming on HBO Max offers viewers a surprisingly realistic view of how doctors practice medicine in an age of political division, institutional mistrust and the corporatization of health care.

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Each season covers one day in the kinetic, understaffed emergency department of a fictional Pittsburgh hospital, with each episode spanning a single hour of a 15-hour shift. That means there’s no time for romantic plots or far-fetched storylines that typically dominate medical dramas.

Instead, the fast-paced show takes viewers into the real world of the ER, complete with a firehose of medical jargon and the day-to-day struggles of those on the frontlines of the American health care system. It’s a microcosm of medicine — and of a fragmented United States.

Many doctors and health professionals praised season one of the series, and ER docs even invited the show’s star Noah Wyle to their annual conference in September.

So what do doctors think of the new season? As a medical student myself, I appreciated the dig at the “July effect” — the long-held belief that the quality of care decreases in July when newbie doctors start residency — rebranded “first week in July syndrome” by one of the characters.

That insider wink sets the tone for a season that Dr. Alok Patel, a pediatrician at Stanford Medicine Children’s Health, says is on point. Patel, who co-hosts the show’s companion podcast, watched the first nine episodes of the new installment and spoke to NPR about his first impressions.

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To me, as a medical student, the first few scenes of the new season are pretty striking, and they resemble what modern-day emergency medicine looks and sounds like. From your point of view, how accurate is it?

I’ll say off the bat, when it comes to capturing the full essence of practicing health care — the highs, the lows and the frustrations — The Pitt is by far the most medically accurate show that I think has ever been created. And I’m not the only one to share that opinion. I hear that a lot from my colleagues.

OK, but is every shift really that chaotic?

I mean, obviously, it’s television. And I know a lot of ER doctors who watch the show and are like, “Hey, it’s really good, but not every shift is that crazy.” I’m like, “Come on, relax. It’s TV. You’ve got to take a little bit of liberties.”

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As in its last season, The Pitt sheds light on the real — sometimes boring — bureaucratic burdens doctors deal with that often get in the way of good medicine. How does that resonate with real doctors?

There are so many topics that affect patient care that are not glorified. And so The Pitt did this really artful job of inserting these topics with the right characters and the right relatable scenarios. I don’t want to give anything away, but there’s a pretty relatable issue in season two with medical bills.

Right. Insurance seems to take center stage at times this season — almost as a character itself — which seems apt for this moment when many Americans are facing a sharp rise in costs. But these mundane — yet heartbreaking — moments don’t usually make their way into medical dramas, right?

I guarantee when people see this, they’re going to nod their head because they know someone who has been affected by a huge hospital bill.

If you’re going to tell a story about an emergency department that is being led by these compassionate health care workers doing everything they can for patients, you’ve got to make sure you insert all of health care into it.

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As the characters juggle multiple patients each hour, a familiar motif returns: medical providers grappling with some heavy burdens outside of work.

Yeah, the reality is that if you’re working a busy shift and you have things happening in your personal life, the line between personal life and professional life gets blurred and people have moments.

The Pitt highlights that and it shows that doctors are real people. Nurses are actual human beings. And sometimes things happen, and it spills out into the workplace. It’s time we take a step back and not only recognize it, but also appreciate what people are dealing with.

2025 was another tough year for doctors. Many had to continue to battle misinformation while simultaneously practicing medicine. How does medical misinformation fit into season two?

I wouldn’t say it’s just mistrust of medicine. I mean that theme definitely shows up in The Pitt, but people are also just confused. They don’t know where to get their information from. They don’t know who to trust. They don’t know what the right decision is.

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There’s one specific scene in season two that, again, no spoilers here, but involves somebody getting their information from social media. And that again is a very real theme.

In recent years, physical and verbal abuse of healthcare workers has risen, fueling mental health struggles among providers. The Pitt was praised for diving into this reality. Does it return this season?

The new season of The Pitt still has some of that tension between patients and health care professionals — and sometimes it’s completely projected or misdirected. People are frustrated, they get pissed off when they can’t see a doctor in time and they may act out.

The characters who get physically attacked in The Pitt just brush it off. That whole concept of having to suppress this aggression and then the frustration that there’s not enough protection for health care workers, that’s a very real issue.

A new attending physician, Dr. Baran Al-Hashimi, joins the cast this season. Sepideh Moafi plays her, and she works closely with the veteran attending physician, Dr. Michael “Robby” Robinavitch, played by Noah Wyle. What are your — and Robby’s — first impressions of her?

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Right off the bat in the first episode, people get to meet this brilliant firecracker. Dr. Al-Hashimi, versus Dr. Robby, almost represents two generations of attending physicians. They’re almost on two sides of this coin, and there’s a little bit of clashing.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

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Part of that clash is her clear-eyed take on artificial intelligence and its role in medicine. And she thinks AI can help doctors document what’s happening with patients — also called charting — right?

Yep, Dr. Al-Hashimi is an advocate for AI tools in the ER because, I swear to God, they make health care workers’ lives more efficient. They make things such as charting faster, which is a theme that shows up in season two.

But then Dr. Robby gives a very interesting rebuttal to the widespread use of AI. The worry is that if we put AI tools everywhere, then all of a sudden, the financial arm of health care would say, “Cool, now you can double how many patients you see. We will not give you any more resources, but with these AI tools, you can generate more money for the system.”

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The new installment also continues to touch on the growing corporatization of medicine. In season one we saw how Dr. Robby and his staff were being pushed to see more patients.

Yes, it really helps the audience understand the kind of stressors that people are dealing with while they’re just trying to take care of patients.

In the first season, when Dr. Robby kind of had that back and forth with the hospital administrator, doctors were immediately won over because that is such a big point of frustration — such a massive barrier.

There are so many more themes explored this season. What else should viewers look forward to?

I’m really excited for viewers to dive into the character development. It’s so reflective of how it really goes in residency. So much happens between your first year and second year of residency — not only in terms of your medical skill, but also in terms of your development as a person.

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I think what’s also really fascinating is that The Pitt has life lessons buried in every episode. Sometimes you catch it immediately, sometimes it’s at the end, sometimes you catch it when you watch it again.

But it represents so much of humanity because humanity doesn’t get put on hold when you get sick — you just go to the hospital with your full self. And so every episode — every patient scenario — there is a lesson to learn.

Michal Ruprecht is a Stanford Global Health Media Fellow and a fourth-year medical student.

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