For Jo Kaiat, it’s all about encounters and dialogue. This is, in fact, the title of one of the tracks by the Bamako trio, which is based on a Guinean rhythm

that is very popular in Mali: the ‘dundunba’. Jo Kaiat is constantly building bridges between different cultures: bringing together the Gnawa and the Bambara (who share a
shared history) in ‘Du Maroc au Mali’; links the melancholic tones of Satie with those of India; and makes room for his Eastern influences in ‘Lalit’ and ‘Coeur
battant’. But he is not content merely to find links between his own culture and those of others; he also devotes his time to finding connections between his instrument and those

of others.