Kwamy & Youlou

Within weeks after Franco's death in October 1989 Polygram Kenya released a series of ten records (and matching cassettes) which they named "In Memoriam Grand Maitre Franco". The albums contained a selection of songs from the 1960s and 1970s. Some of these were re-issues of earlier Polygram albums, - like Volume 8, which had been released five years earlier as "10 Years Ago". So far I have not found an earlier version of this album, which is the second in the series.

As with most (if not all) of the lp's the sleeve of this volume has no relevance whatsoever to the music. Judging by the costumes Franco and Simaro are wearing I assume the photo is from 1980 or 1981 (see for example this video of a performance in Abidjan in 1980), while the music is from around 1970.

So, seen from a positive angle, there is really nothing to distract us from the music. And - as with other albums of this series - there is more than enough to enjoy in that.

The lp opens with two superb tracks featuring the vocal talent of Youlou Mabiala backed by Kwamy. The latter had returned to the flock, after having insulted Franco (with African Fiesta, in "Faux Millionaire" and other songs) and after repeatedly provoking an insurgence against Franco (with Orchestre Révolution). According to Graeme Ewens (in "Congo Colossus") Simaro "prevailed on Franco to take the singer back", much to the disgust of Vicky Longomba. It is likely that Kwamy's return contributed to the split between Franco and Vicky, later in 1970.
While Kwamy may not have had the same brilliance as before, there is ample proof of his vocal qualities in his last period with the O.K. Jazz*. In both "Nakweyi Tapis" and "Celita" Kwamy's backing vocal is of an exceptional quality, fitting to Youlou's lead like a velvet glove. Youlou too adds some honey to his at times harsh vocals, and Franco contributes with a few unusual shuffles on guitar.

After these two songs there is a rather surprising experiment involving a drum kit, in "Beya". While the O.K. Jazz did use a drum kit in their live performances it was difficult to incorporate the noisy instrument in their studio recordings. In "Beya", which sounds like it was recorded in the same session as "Caisse D'Epargne" (from Volume 4), the volume of the kit is still rather 'suppressed', but nevertheless very noticeable. The interplay between Franco and the rhythm section in the sèbène is certainly interesting.

The B-side opens with "Georgette 1 & 2", a track of which only the second part has appeared on CD (CD 36572), - another example of the artistic amputations of which Sonodisc can be accused over the last decades. I am not sure about the lyrics, but I have a feeling that the staccato singing in the second part may be related to the remarks about the cold in the intro.
The song, composed by Franco, has some brilliant 'intertwined' vocals (after 3'25, and again after 5'28 and 6'58) by Franco, Youlou and Lola Chécain. To me this is one of Franco's classic masterpieces.

The lp is concluded by the 'normal' version of Celi Bitshou's "(Infidelité) Mado".

GMFLP 002

* Ewens' report that Kwamy died in 1974 is - by the way - a mistake. He in fact died in 1982.

Kara de Kinshasa

No comment.

Kina-Rama selection KR 1008

Molobaly Traoré

Only a short while after hearing about the tragic death of Mamaye Kouyaté I was informed that yet another star of Malian music has died, and again before time...

Born on the Niger river in Macina, Molobaly Traoré was a strong defender of the traditions of the Ségou region. Contrary to many artists of her stature she refused to move to the capital Bamako, and instead settled with her husband in Niono. Ironically it was in Bamako where she died of typhoid on September 16, 2009, at the age of only 43. She leaves behind a husband and two children.

Although she hardly performed outside of the Niono cercle, she was very popular in the whole of Mali. Her songs were mostly moral, directed at the common Malian. If she was a griot, she was a griot of the common man. The heroes of her songs were farmers, workers of the land.

I had already planned to post some of her cassettes, and certainly will continue posting these. Here is the oldest of the ones I have; I don't know if it is her first. I do know it is one of my favourite recordings by this wonderful artist, with great bambara songs like "Ladji Mory", "Binlondala Kon" and "Noumou Kamale" - that manage to touch emotional strings whenever I hear these.

Molobaly, rest in peace.

Sinaley Konate SK 1201

Alive

I received an email last week from Podomatic to warn me that all the (monthly) bandwidth I was entitled to as a free user had been used up. The email urged me to get a paid subscription which would allow me a greater amount of bandwidth.
I gather that the result of this was that visitors to this blog or to the podomatic page were unable to listen to the podcasts, which you can - if you hadn't noticed - find at the bottom left of this page.

As this is a no-budget blog, I have no intention of spending money on extending my podcast capacities. So to reduce the 'pressure' on my monthly quota of bandwidth (and with a risk of creating a problem elsewhere...) I am posting the tracks of the Franco podcast, which I assume was the cause of the recent bandwidth crisis.

The songs in this selection were recorded during various concerts in both Belgium and the Netherlands between 1983 and 1989. There is a chance I may post more of these concerts at a later stage.
I hasten to add (at the request of Aboubacar Siddikh*) that not all the tracks in this selection feature Franco. During "Massu" Franco's stand-in was (as per usual) Thierry Mantuika.

I have included two versions of "Luvumbu Ndoki", because - according to members of the T.P. O.K. Jazz - Franco used this song to slip in some comments regarding the audience. They were rather reluctant to reveal the contents of these comments, - which makes me even more curious. I am hoping there are listeners who can clear up the mystery.

The recording quality is at times perhaps somewhat disappointing. Please remember that these recordings were made by pre-digital equipment, i.e. on (analog) cassette. Of "Chacun Pour Soi", a composition by Josky Kiambukuta Franco played at all the concerts, I intentionally selected the 1983 version recorded in Belgium, in front of a largely Congolese (Zairois) audience. I guess Franco only later realised the 'potential' of this song as a climax of the more spectacular performances for largely white audiences.

The last three songs are from the same concert, and were - as you can hear - performed in this order. This should give you an idea of the diversity Franco put into his shows in the late 1980s.

Franco - Alive!

*who took the photo of Franco (in the Melkweg - Jan.1989) at the right. The other photo is from the Claridge concert in May 1983.

Evil genius

While going through some of the older posts a few days ago I was drawn to an article which was referred to in a comment on a post about Victor Olaiya. The article can be found here (but in case the linked page disappears I have saved the text here). It contains an interview with this highlife legend, who appears* to be (fingers crossed) alive and well.

I am not completely satisfied with his answer to the question how he got his nickname "The Evil Genius of Highlife". Olaiya: "They thought I moved highlife music out of the ordinary. Then, it was believed that my highlfe was a little bit out of this world, beyond explanation. This was why Alhaji Alade Odunewu of the Daily Times styled me the Evil Genius of Highlife."
This may explain the "genius", but not the "evil"...

Maybe the evilness was in his lyrics. Apparently some of his songs dealt with some unpleasant truths. In the interview he cites a song warning against marrying a police woman, which led to him being persecuted by the subjects of the song. I have no idea if other songs by Olaiya caused similar controversy.

An article by Richard Eghaghe from the Nigerian Daily Independent (quoted here) states that Victor Olaiya was the founder of the Cool Cats. This is contradicted by the sleeve notes of the EP I would like to share with you in this post. These name Carl 'Moody' Anifowose as the founder of this band, which Olaiya joined after leaving the Sammy Akpabot Sextet.
It's just a detail, but these details have a tendency to blossom into truths.....

About the music I can be short: it is superb.
The record quality is not so great though. And that's why I am adding a single from a later date, by Victor Olaiya and his All Stars.

As with the older Cool Cats record, the All Stars songs are deliciously laid-back, and very recognisably 'Olaiya'. I just love the instrumental bits in these songs, after 1'40 in "Lekeleke" and after 1'29 on "Aiye Soro". They are evidence of true genius, - evil or not...

Philips 420001 PE 'Afro Rhythm Parade vol.2' (ep)
Philips West African 303.016 PF (single)

* I have discovered nothing to indicate that he is not alive...

Authentic 1977

I would like to start this week with a dose of high energy from Senegal. Although I have had this album by Orchestre Gorom for years, it is only over the last ten to five years that I have come to fully appreciate the content of it. I stress the word 'content' because the splendid cover had caught my eye straight away, and perhaps was what motivated me to buy the record in the first place.

It started when I heard the cd "Gainde" in the World Network series by Youssou N'dour and (mainly) Yandé Codou Sène. I immediately recognised that incredibly fierce voice from a documentary I had once seen on French TV5. I am sure I must have this documentary somewhere; as soon as I have recovered it I will post it.

Listening to her contribution on "Gainde" was the key to the lp by Orchestre Gorom. Although her direct influence is limited to only two songs it 'opened up' the others as well. Of these two songs, by the way, one can be found on both albums, although the name is slightly different ("Siyare Na La" with Gorom and "Siare Naala Ndigal Faal" on Gainde).
It is a pity the writer of the sleeve notes got carried away a bit and attributed all the songs to Mrs. Sène. I have a nasty suspicion this exaggeration may be politically motivated. Yandé Codou is a representative of the Serer culture, a Senegalese ethnicity to which belonged President Léopold Sédar Senghor. A (more recent) documentary (of which this is an excerpt) even refers to her as "The Griot of Senghor".

Looking back on it now, I think Khar Mbaye Madiaga should get at least similar credit for her influence on this record. She also contributed two songs, and has also left a severe impression on Senegalese music and culture. Judging by this article I guess she must be considered to be a guardian of Senegalese tradition (another interview with this remarkable grande dame can be found here).

But don't get me wrong: the lp and Orchestre Gorom have stood the test of time, and for that reason alone deserve credit.

Sonafric SAF 50056

Mamaye

Words fail to express the sadness I felt at the news of the death of another great human being, talented musician and friend: Mamaye Kouyaté. I only heard this a few days ago, but it appears he died last month, after a prolonged illness.

Husband of that great diva of Malian music, Mah Damba (who featured in this earlier post), father of some very talented children and good friend of the late Alou Fané, who even named one of his children after him. It was Alou who introduced me to Mamaye and Mah, and right from the start they treated me like I had been a friend for years.

As a musical couple they were very well known, in Mali, but perhaps slightly more in Paris where they lived. While their intention has always been to stay close to tradition, living in Paris has meant that some compromises have been necessary to survive and live of what was essentially their purpose in life: being a griot or djeli. I know this has never been easy, but I can assure you this is not due to their (lack of) talent.....

This cassette is proof of this immense talent. It features both Mah and Mamaye in great form. I am told that this cassette was the basis for a cd called "Nyarela", but I have not heard this cd.
The title track "Nyarela" (after the quartier in Bamako) is one of my favourite tracks of Mamaye. This 22+ minute track is a monument of his skills as a ngoni player, as a traditional griot (talking), as an accompagnateur of his exceptional wife.

My condolences for Mah and family.
The world has lost a great musician, Mali a worthy cultural ambassador, and I a friend.

Paix à son âme.

Samassa IC 0397

Morogoro

I have been busy digitising another batch. Unfortunately this resulted in another 'issue' which had to be resolved: lack of disc space. But after rearranging, moving and some good old throwing away, I managed to finish what I wanted to do. The fruits of these efforts I will share with you in this blog, albeit little by little.

But this is an lp which I had intended to post earlier, but for some reason I haven't gotten round to it. It is an older lp by one of my favourite artists from East Africa, Mbaraka Mwinshehe. An earlier post was dedicated to Mbaraka with the Super Volcano orchestra. But this is from before 1973, when he was still with the Morogoro Jazz, or the "K.Z. Morogoro Jazz Band" as they are called on this album. Most of these tracks have been reissued on the 'Ukumbusho' lp's, that brilliant series on Polygram's Polydor label.
But compared to those releases, I would say that the sound of this album is perhaps slightly more open, more translucent.

As always Mbaraka is without any presumptuousness or pretension. Horns blaring, guitars skuffling, the typical vocals: I just love this guy.

More to follow soon.

Polydor POLP 502

Bilombe ya mindule

I am hoping that this post can shed some light on a mystery that's been bugging me ever since I have heard "Bilombe ya mindule", a song attributed to Franco and his O.K. Jazz. The thing is: I can't identify the singer of this song. There are some slight touches of Kwamy in his voice, but it's not him. It's certainly not Vicky or Youlou, and after closer study Boyibanda and Chécain could also be eliminated. Given that the music suggests the track is from the late 1960s, there is not a lot left....

Friend Aboubacar decided to ask a Congolese connaisseur, and his answer meant a dramatic shift in my perception of the track. He wrote: "Here is my true opinion: this is from CONGO-BRAZZAVILLE, not necessarily from the Bantous de la Capitale, but nonetheless from some band in Congo-Brazaville. I'd say even the lyrics point at that side: traditionnaly & 'politically' people from Congo-Brazzaville have always wished the two Congo's to unite... Listen to Franklin Boukaka for instance .... Whereas my people have always seen those from Congo-Brazzaville with suspicion...
The lyrics talk about the Congolese music and musicians of both sides. No Congolese musician from Congo-Kinshasa would sing about a musician from Congo-Brazzaville, - not that I know of anyway.."

The title, he explained as follows: "Bilombe is the plural of elombe. And what does elombe mean? (...) Elombe = someone living, thus elombe mobali = a man, elombe mwasi = a woman. Elombe is always 'positive' and contains some kind of admiration, the opposite is yuma. Bilombe ya Mindule = those 'fantastic men' who make music & song, i.e. musicians (with the touch of admiration I was referring to above)."

With this in mind, I begin to understand why I couldn't recognise the singer: maybe the song is simply not by the O.K. Jazz... Could the track be by the orchestra that is responsible for the A-side of this single on the Pathé-Marconi label: orchestre Manta?
A mix-up is not completely unlikely. Manta also released some records through Franco's Epanza Makita label, so maybe the mistake started there.
And listening to one of those records, I can hear some similarities between the singer of "Tokei Kotala Bango" and the singer of the mysterious "Bilombe Ya Mindule"....

But there is still doubt. A doubt inspired by the horns on "Bilombe Ya Mindule". There is no sax at all on the Epanza Makita record, and only one sax on "Gaby Kulutuya Tango", the A-side of the Pathé 45.

So who are these 'fantastic men'?

Pathe PF 11590
Epanza Makita 384.432

PS: Come to think of it: where is Franco on "Bilombe Ya Mindule"?

10 Ans de Chansons

Let me start this post by drawing your attention to the update of an earlier post, which dealt with a delightful collection of songs from Ivory Coast, called "Ivoire Retro". I have retrieved the two songs that were missing of the original album. The lp can now be savoured in its complete form (or you can download the two missing tracks).

The same Dolf that helped me out with that lp, also happened to be in the possession of this rarity, titled "10 Ans de Chansons 1960-1970". It's another collection of musical petit fours from Côte D'Ivoire. The quality of this lp on the Fiesta label (the precursor of the African label) is not as good as the Ivoire Retro lp, but to me any additional track of artists like Amedée Pierre, Fax Clark or Mamadou Doumbia is already a veritable treat!

And I hadn't even heard of the other surprises! How could they have kept these gems by A.A. Adrien, Malick Koffi, Anoman Brouh Felix and A. Yapo hidden? It makes you wonder what still remains un(re)discovered in the musical vaults of the various African countries*....

Of course, the two (yes!) songs by Amedée Pierre stand out, but "Ma Douce Mado" by Malick Koffi (and I suspect Mado in this case is a female) and Fax Clark's growled "Findjougou" offer stiff competition. Tracks like "Super Nord" by Anoman Brouh Felix (of whom I recently saw some singles on the internet - e.g. this one on the right) and "Ayame Cherie" by A.A. Adrien & R. Yapi (with a slightly disturbing bit of slide guitar!) again show traces of the influence of Congolese music.

If there is anyone out there hoarding similar treasure troves, please contact me!

Fiesta 365.007

PS: The sleeve at the top of this post has no relevance to this post. The Comoé sisters are on Ivoire Retro. The sleeve actually contained only red dust; the record was - tragically - missing....