If for nothing else, Sidi Tourè’s newest album should be listened to for the man’s furious fretwork. Whether he leads off with some atonal rhythm or is playing with pull-offs while he sings, the man excellently abuses his acoustic guitar on Sahel Folk and still manages to sound melodic and tempered throughout. The only percussion on the album is in “Taray Kongo,” which is provided by Tourè, himself, as he beats his guitar on the downswing of manic strums. As if his guitar wasn’t emotive enough, the Mali native does an admirable singing job that peaks at Sahel Folk’s end, as he sounds deferential when singing his country’s name in “Artiatanat.” Listening to Sahel Folk, it is easy to see why many call this kind of music the origin of the blues of the American south. Although I understand not a word of Sahel Folk, Tourè’s passion is apparent in the album in spades, and it is just as enjoyable and relatable as anything else I’ll hear all year.