Completely off-topic: I have had to introduce a relatively mild form of moderation on the comments. What goes on in the warped minds of those sad individuals who think I will let them get away with link-ridden and mostly ill-conceived and shoddy mails, is completely beyond my imagination, - and I have no intention of finding out either.
Anyway, the moderation may result in a (hopefully short) delay in the publication of any comment you are still very welcome to make. And it is certainly possible that I will remove this form of censorship (and I am the first to admit it) in the future.
On topic: this post is primarily intended to inform you of a new, small-scale initiative. And I hasten to add that I am personally not at all involved, and do not stand to gain a single peso or eurocent. I am a consumer like yourself* and as such open to anything new.
You may remember that post of the wonderful record by Sali Sidibé, which Michael from Switzerland allowed me to share with you. Subsequently Michael has remained in contact. In September 2011 he mentioned he was going to Mali in December.
A few months later he reported back: "I collected some 130 tapes - in a few years you will not find it anymore..... I discovered Mouye Traoré, a nice Sali Sidibe being very young...., some Koni Coumaré with Bazoumana Sissoko, some old Toumani Koné.... some really hot Fula singers - and ngoni (= hoddu) - players I wasn't aware of before, some really good stuff....
And yes, I could make some recordings - Zoumana Téréta at the sokou (violin) together with 2 ngoni-griots being one of the more interesting ones - but also Daouda Dembele with his wife....
And Moudou Tounkara, one time with the smaller ngoni (irident) and one time with the base version of it... And another ngoni player Assana Gaucko, from Segou.. Some bambara balafoni from Segou.... as I payed the musicians, I've got the rights from them, and the recordings sound quite well....
So it has been more or less a ngoni-related travel, I even could buy a used instrument....."
Two months ago another mail: "I produced the CD of a recording I did with Zoumana Téréta, Hama Sissoko and Moudou Tounkara: "Juru nani fo".
I'm selling these to friends or lovers of african/malian music, therefore in no store; maybe this will come.
The benefit goes 100% to the musicians, which have been payed already for the recording in BKO.
Therefore, if you' re interested in a CD, which is professionally pressed (and not burned), I have to ask you 25 € for it, included shipping, etc.
And, as it's for the benefit of the artists, I don't want it to be shared in the internet."
He has since sent me the CD, which indeed has a very professional look about it (and in this respect beats quite a lot of CD's from commercial sources). The quality of the recordings, made on January 20, 2012 in a private house in the Magnambougou district of Bamako, is excellent. Apparently/audibly a small audience is present during the recording and this results in some feedback (talking, commenting) and in some 'background noises' (like cell-phones ringing, cutlery falling on the floor, doors closing). The music regularly breaks off and there are small interruptions for discussions between the musicians. Personally I love these kind of 'one-take' recordings (well actually I have a general preference for one-take recordings..). But I can imagine it is not for everyone.
Star of the show is - without a doubt - Zoumana Tereta, whom you may remember from an earlier post. You may remember I described Zou as a "survivor from another era". In this "Juru nani fo" he seems very much in his natural habitat, in the living room playing for a family. At the same time it is clear that he has evolved tremendously as an artist since my recordings in 1999.
So would I recommend this CD? Certainly. But it is not for everyone.
You can obtain the CD by sending an email to Michael: kabako[at]proimago.net.
As Michael has explicitly asked not to share any of the music I would instead like to share with you a cassette (from the 1980s) by an artist who will probably never be famous outside of Mali, but he was world-famous in Mali in the 1980s and 1990s. Not only did he do quite a few cassettes on local and regional historic heroes, he also talked about topical events, like a strike by lorry drivers.
And please note the "talked about", for Daouda Dembele does not sing, he is a rapper avant la lettre, a talking djeli. But I hastily add that both descriptions don't do justice to Daouda Dembele's rare talent. For he is, like Zoumana Tereta, a voice from the past, an echo from history. A 'raconteur' as there used to be many, in the time before television, and even before radio. A master of his art, who many Malians will remember from the time when they were sitting with their friends or family, sipping hot tea and listening attentively to his stories.
Please let me know if you want more.
Super Sound SS 15
*although I don't rule out the possibility that you are involved with the production side of music...