Thirteen years after the majestic Sarala (1995), five years after the ambitious MandinGroove (2003), Cheick Tidiane Seck, the Toucouleur keyboard warrior, is back. In twelve fluid, organic tracks, Cheick Tidiane Seck easily stands out as one of his finest musical adventures. For thirty-five years, the Malian organist has been involved in every kind of musical venture, from jazz to West African music, via international groove and French pop. A veteran of the legendary Rail Band of the Buffet Hôtel de la Gare in Bamako, a pioneer of the Moog in West Africa, founding member of the Asselars, he became a pillar of the fertile Ivorian scene of the late 1970s. He finally settled in Paris in 1985, in the midst of the explosion of African music, where he quickly made a name for himself as one of the most valiant session musicians of his generation. If he did not achieve the immediate success of a Mory Kanté or a Salif Keita, his work has stood the test of time. For many years, music lovers have appreciated his career. Whether he is found alongside Hank Jones, Ornette Coleman, Living Colour, Salif Keita or Amadou & Mariam, his personal touch, nourished by the vibrations of Black American music, always makes the difference. A cornerstone of the contemporary Malian music scene, he has just produced and contributed to new, eagerly awaited records, such as those by Oumou Sangaré, Kassé Mady Diabaté and Sory Bamba, all of whom appear on his new album. From Togo to New York, from Côte d'Ivoire to Paris, with the vibrant scene of Bamako in his sights, this second album by Cheick Tidiane Seck reflects insolent musical freedom. It eloquently celebrates the greatness of Malian music and the artistic vision of one of its most valiant representatives.