Apologies

Apologies for the image quality of these three videos. But certainly not for the music. The videos have in common, besides the fact that they all feature great artists from Mali, that they are all too good not to share.
The drive, the passion and the unadulterated fun of the Ambassadeurs, the refined dancing combined with the brilliant vocals by Alou Fané and Flani Sangaré plus the unique talent of Zani Diabaté, the soul-piercing singing by Mah Damba backed by her late husband Mamaye Kouyaté: they are hard to surpass.

More soon...

Jealousy

I have asked (the now unfortunately late) Daouda 'Flani' Sangaré about the labelling of this album. And he agreed that "Rythmes du Wassoulou" only partly covers the music he and his friend Alou Fané recorded. Both Flani's and Alou's roots lie in an area just to the east of the Wassoulou. Alou has indicated that he was influenced mostly by the music of the hunters (donso n'goni), but Flani's influences are more diverse.

Compared to their first album (which I posted earlier) the second one has more of Flani than of Alou. Also the themes of their songs seem to get increasingly moral and theatrical. I assume their work with the Ballet National (see this post) had something to do with that.

As a member of the Ballet they were encouraged to do research. Flani told me that whenever he went to his native district he would go and talk to the elders, and would coax them - by gifts of cola nuts and some money - into telling him the tales and legends of the past. He was well aware that, until he would get to a certain age, they were not going to tell him the whole of these stories. And he assured me that he too did not use all of the information he had received...

The main inspiration for their songs came, however, from daily life. "You in Europe sing about the moon and the sun. You can sing about anything as long as it sounds okay", commented Flani when I first interviewed him. "But we have to have a reason to sing a song. The song has to reflect reality, either the reality of today or that of the past. Suppose I would sing about the moon, people would come up to me and ask me what I mean."

Both daily life and the theatrical were obviously present in the song which became their biggest 'hit' ever: "Keleya". The song is about the jealousy ("keleya") between co-épouses (co-wifes) in a polygamous marriage. When performing the song Flani would dress up as a woman, and would at times improvise to add to the comical effect of the song. The song was even recorded for television:


In the video, recorded in 1983, Alou is playing kamalen n'goni and Djourou Diallo flute. The song was later also recorded with the Djata Band, and was re-recorded by Flani, Alou and Djourou in 1995 1987 (see comments) in an austere London studio for the album of the same name which was released by Indigo (label Blue). An album which I - unfortunately - cannot recommend.

Besides "Keleya" the lp which I am sharing with you in this post contains a full palette of wonderful songs.
Starting with "Flédonkli", a song in which Alou and Flani alternately sing the lead. I just love the natural way in which they take turns, while staying in their own style. The two voices meet at the end.
The uptempo rhythm of "Flêlibana" certainly does not remind me of the music of the Wassoulou (apart from the very end, that is). Sung solo by Flani, this song appears to be inspired by a traditional (percussion?) style of Flani's Ganadougou district.

My favourite song on this lp is the last one of the A-side: "Ounhoun Koro". I know this was a favourite of Flani himself too, if only for the 'posé' rhythm (Flani was a sucker for posé rhytms; he loved Haruna Ishola). Alou's subtle ngoni playing is matchless in this song, adding to the posé effect. Flani's voice is full of deep emotion, while Alou's vocal is almost comforting behind him. I especially like the last thirty seconds, when they almost fade out the song, but without touching the volume.

"Mangoya" is perhaps the most Wassoulou style song of the album. It is sung in an almost monotonous singing style by Flani. I am sure this must be related to the lyrics.
You may recall the last song, "Koursigui Tan", from the tribute to Zani Diabaté. In this, the original version, Alou demonstrates that you can increase the tension by playing an apparently very stoic rhythm. I have heard several ngoni players trying to imitate this brilliantly understated style, but so far I have not heard anyone who can match Alou. I never cease to be amazed, by the way, by the timing of Flani in rejoining the song (after 4'07).
I will write about the lyrics of this song in a later post.

Ivoire Polydisc IP 8301

PS: I won't bore you with the technical challenges that have kept me from posting in the last few weeks.

Tribute

Preparing this post has been quite an emotional experience. And not only for the passionate music, but also for the memories of a trio of friends that have now gone. With the death of Zani Diabaté none of the men, who met at the Ballet National du Mali and who subsequently decided to 'do their own thing' on the side by starting the now legendary Super Djata Band, remains alive. Alou Fané, singer and dancer, master of the kamalen n'goni, proud member of a blacksmith family and a unique personality, was the first to go, over fifteen years ago now. A loss felt to this day. A few years ago saw the death of Daouda 'Flani' Sangaré, musical researcher, extraordinary singer, terrific dancer, sought-after romantic (very popular with the ladies), but also a man who had experienced the deepest depths of misery - after losing his parents at a young age and then (in the last decade) his second and finally his first wife -, and a warm and caring friend. And now Zani, the first and last with the Ballet, who besides a spectacular and unique guitarist was a dancer, multi-instrumentalist (with a background in djembe and other percussion instruments), bandleader and organiser, driving force, as well as being a (in my opinion: too) modest and very friendly guy.

I would like to use the music of Zani and his friends of the Djata Band as an illustration in this tribute. A few of these tracks I have posted before, but most you will find nowhere else. Those recordings were made in a private ambience, at concerts or even by Zani himself.

1. Noumouna Kouloumba
A track from the early 1980's and recorded at the Radio Mali studios in Bamako. This is in fact a medley of donso n'goni songs, made popular by the great Toumani Koné. It starts off with Zani frantically setting the pace in a tune known as "Dangoroba". Flani is singing the lead, with Sidi* Touré backing him. After 1'24 the band seamlessly moves into what is probably "Gon Magni" (see 5), followed after 2'40 by "Noumouna Kouloumba". Note how Zani uses the guitar to imitate the shooting of a rifle (e.g. at 1'45). After 4'22 wanders off with a solo that illustrates his fantastic rhythmic skills, as he meanders around the main rhythm but always gets back on the right spot. The medley ends with a version of "Baba", a track covered many times by other artists (in various forms).

2. Sinaya
A favourite among the Djata Band songs, with (I suspect) the same Sidi Touré singing alongside Alou Fané; I don't know who the third singer is (who starts after 3'10). I can picture the whole orchestra dancing on this very delicate rhythm, with the unique and unforgettably subtle moves of Alou (a bear of a guy, but what refinement in his dancing...). Very vaguely in the background in the instrumental bits you can hear a sax. I suspect they deliberately didn't open the volume of his microphone, - and that was in my opinion a wise decision by the technicians at Radio Mali. Zani's solo (from 1'43) accentuates the turning and twisting of the dancers. The use of some 'wa wa' effects (2'30) reflects Zani's admiration of Jimi Hendrix (he was near ecstatic when Aboubacar Siddikh gave him a pile of Hendrix cassettes in 1999). I love the part from 4'53 where Zani adds some coal to the fire; I wonder if he could resist doing acrobatics on the studio floor while playing this...

3. Yacouba
Recorded during a concert in the Melkweg, Amsterdam on March 20, 1987, by Joris Oldewelt. This same concert was recorded for release on lp (Milady Music 10023, also released on cd). I refer you to my earlier post for an explanation of this song (and a video). I love Zani's dynamics in this version, with some lovely restrained, almost tiptoeing guitar. Flani's singing is really superb in this song, full of genuine emotion when citing the names of the greats that have passed away...

4. Taasi Doni
A recording of a session at my place, almost exactly twelve years after the previous song, of a song made famous by Super Biton from Segou. Flani was a good friend of Biton singer Mamadou 'Percey' Doumbia. This song was never part of the Djata Band repertoire, so you can hear Zani switching to more suitable chords, displaying a great talent for improvisation. Zani and Flani were in Holland to perform in the 'Opera Bambara' with the title "Fura". I'll post more songs from this session at a later date.

5. Gon Magnin
Recorded by Zani himself during a concert in a village on the outskirts of Bamako. Another classic from the repertoire of Toumani Koné, brilliantly interpreted by Flani and Zani. After 2'30 launches into a solo in which he pulls out all the stops. This song has such pace, that lift-off is almost achieved....

6. Signana
From the same lp as #2 (and yes, I did post this one before) and clearly recorded during the same session, with the same suppressed sax. The two songs may seem very similar at first, but there are a lot of differences. For one, Flani is singing with Alou replying, together with Sidi Touré. This is a song from Flani's roots in the Ganadougou district near Sikasso. My impression is that this was originally a balafon song. Because the monotony of the rhythm the impact of Zani's solo from 2'55 is all the more intense. Again he shows his love for Hendrix's music, but he does so in an amazingly functional way, because it just increases the effect on the dancing and twirling, - which I know must have gone on when this was recorded. After 4'58 the sax player actually discovers that his microphone has not been switched on, and is allowed some 30 seconds of audible contribution. This is certainly one of my top favourite Djata songs.



7. Diabaté Zani
After the two video versions I posted (here and here) here is a third version of this song dedicated to Zani himself. This is from the same concert and recorded by the same person as #3. Attentive listeners may have noticed that this is in fact the same song as "Bomama" by Super Biton. In his solo, after 3'08, Zani does a series of acrobatics, rolling on the floor and sliding his guitar underneath his body. Alou's singing after the solo, however, is somewhat below par. This song does give a good impression of the reception the band got from Dutch audiences.

8. Koursigui Tan
From the same session as #4. The recording begins by me trying to explain which song I was refering to in a discussion that took place earlier. The original, of which I play a few seconds, was by Flani and Alou and their kamalen n'goni act. Zani needs a few moments to recall the song and Flani helps him by singing a few lines from the song. After a while Zani decides it is better to keep the guitar playing monotonous to imitate Alou's n'goni of the original. This certainly gives the song more pace, and goes on 'till the break at 4'25. The subsequent variations again show Zani's skills as an improviser.

9. Fadigna Kouma
This is a song from the very first recording of the band in the Netherlands, on December 18, 1985, at the Melkweg in Amsterdam. It was recorded by VPRO Radio, under the guidance of the late Dave van Dijk. The track starts off with the balafon of Bakari Diabaté, Zani's younger brother, who died some years later. Again perhaps not the best version, but a good illustration of how difficult it is for western engineers to get the sound right. They have a strong tendency to 'normalise' all the instruments and singers within a group, i.e. to record all at roughly the same volume. This tendency has had some dramatic results over the years, the most remarkable being the mixing out of Franco's guitar in the recordings of the 1986 concert in Utrecht (this was 'rectified' in the re-release of the lp). And while we're on the subject: besides being a fan of Jimi Hendrix Zani was - like so many African guitarists - perhaps an even bigger fan of le Grand Maître. Franco's influence is apparent not by Zani playing Franco-like chords, but rather by the boldness of his guitar playing, the choice for an own original sound and - on the level of the guitar playing itself - the awareness of the power of repetition.

10. Facia
Recorded at the Van der Valk Hotel in De Bilt (near Utrecht, the Netherlands) a few days before #4 and #8, this is a truely sparkling version of the Djata Band classic "Facia". Flani improvises with the lyrics to sing about their friend Alou Fané, who had passed away five years before. Zani is filling in both the rhythm and the solo. Such a delightful song!

As a comparison, here is the version of the same song performed by the complete Super Djata Band, in their optimal line-up, during a concert in Angoulême, France, in 1984. This was, by the way, the first performance by the band in Europe.


11. Mali ni woula
To round off this tribute another song recorded at the Radio Mali studios in Bamako in the early 1980s. With the title meaning "Good evening Mali", this is a version of a Na Hawa Doumbia song. It is sung (solo) by Flani, who was very friendly with Na Hawa and her husband N'gou Bagayoko, and visited them whenever he came to or passed through Bougouni (where Flani's eldest son lives). While Flani attempts to recreate the 'modest' atmosphere of Na Hawa's song, Zani offers a contrast with a spectacular and 'full-scope' solo from 2'47. Towards the end, from 5'30 onwards, Flani cites the names of the band members.

There will be more music by Zani, the Super Djata Band, by Alou and Flani, and by Alou and his group Fotemocoba and by Flani on this blog. These great artists and friends may be gone, but their music will live one......

The 11 songs can also be downloaded as one file here (new link March 7, 2014).

*if I remember his first name correctly...

PS: the photo on the top-right was taken by myself at his home in (I think) 1990.

Ngonifo Zani

Watching the video by Zani Diabaté and the Super Djata Band I posted yesterday, I was reminded of a video with another version of the same song. It is from the same televised concert as "Yacouba" which I posted in August.

Although the song is the same, the performance in this version, which was recorded live in the studio of the RTM (Malian television) in the early 1980s, is far more 'informal' and at times even chaotic. At the start the voices of Daouda 'Flani' Sangaré and Idrissa Magassa are hardly audible, only Alou Fané's characteristic vocal can be heard. I get the impression that Alou had no problem hearing Idrissa and Flani, as he tends to lean a bit on the harmony. When Flani does come through - after about 1'40 - Alou is slightly out of sync. Later on (3'07) an audibly irritated Flani even tries to call Alou to attention.

Meanwhile Zani remains completely undisturbed and from 1'54 even starts jumping up and down. Even when Flani walks over to him (3'35) and addresses him (to complain about Alou??), Zani seems to take no notice and even goes on to do a series of acrobatic stunts, while he continues playing his guitar!
I just love Zani's energy in this song.



PS: "Ngonifo Zani" = "Zani the guitarist"

Sali & Alou

Some of you may recall my earlier post about the cassette "Formidable" by the great Sali Sidibé. I mentioned the denial by Alou Fané of his participation to that album. I have to add that I had heard rumours - of the usual 'radio trottoir' kind - of an 'involvement' between the two. And to add to the mystery, my question provoked not only a forceful denial, but also an argument between Alou and his friend and musical partner Daouda 'Flani' Sangaré, followed by a meaningful smile from Flani to me. Meaningful in the sense that I gathered it was probably wise to avoid pressing the issue.

I am happy to say that part of the mystery has been solved, through the aid of Michael from Switzerland, who was able to provide us with a copy of the lp which he has allowed me to share with you in this post. Presumably the second lp to be released on the "Disco Club de la Bagoué" label (the first one, featuring Alou and Flani, I have posted earlier), this album produces proof that Alou Fané has indeed played with Sali Sidibé! In fact, he is named on the sleeve as one of the two musicians accompanying Sali, - the other being guitarist Madou Traoré.

Alou Fané in 1986 [photo: Isabelle Vigier]

The album was released in 1980, which in my experience doesn't necessarily mean that it was recorded the same year (especially as the recordings were made by Boubacar Traoré at Radio Mali...). It does mean, however, that it is probably Sali Sidibé's very first album.

Alou once told me that when he went to Bamako (coming from a little village called Koungoba in the Sikasso region) at the age of 26 there were only three known kamalen n'goni players (including himself, but excluding Flani - who also played the kamalen n'goni). While Alou had been inspired primarily by the donso n'goni playing of a friend of his father, which he subsequently converted into an original kamalen n'goni style by integrating other local (mainly balafon) styles and rhythms, Sali's musical background, Alou told me, was with the sogonigou (or sogonikou), which is primarily a dance, with drums and a female chorus and a female solo singer (both Coumba Sidibé and - later - Oumou Sangaré also sang with these dances, by the way). Sali ended up with the Ensemble Instrumental National, while Alou joined the Ballet National, both as a musician and a dancer.

The combining of these two talents has resulted in a spectacular album. From the first notes of Alou's n'goni it is just bursting with energy and sheer power. And not just because of Alou's fantastic n'goni playing, but also by Sali's assertive vocal.

In the second track "Barry", a sad tale about a youngster who leaves his country in search of riches but only finds death, Alou can be heard vocally (after 1'22). How cruel is fate, given that Alou left for Europe, only to return to his own country to face death.....

I can not find any weakness in this album (except perhaps that it is only 22 minutes long). So I have no hesitation in stating that this is the best I have ever heard of Sali Sidibé!

Disco Club de la Bagoué F.T. 002

More Djata

This is the sixth post dedicated to the music of the Super Djata Band ( 1, 2, 3, 4 & 5), and certainly not the last. Although I haven't checked, I think it is safe to say that this music is increasingly hard to find in Mali, - let alone outside of Mali. So besides sharing this music with you, conserving it for posterity is a motive for this post.

This lp is the second of two volumes which were released in the early 1980s by the Musique Mondiale label in Abidjan (Côte D'Ivoire), the first of which I posted in December 2009. There are only five tracks on this album and three of these are slow, - which for those of you who only know their European releases may come as something of a surprise. The two tracks on side A, "Yacouba" and "Konadou", have been repeated on a later album, which I posted in December 2008. Both these tracks are, however, considerably longer on this lp.

The B-side contains a cover of a song made famous by Coumba Sidibé, which can be found on the cassette I posted earlier. On that cassette the track is - probably erroneously - titled "Fakoye Noumouye" (which seems to refer to "Fakoly" and "Noumou", which in turn suggests that the song is about blacksmiths). On the Djata lp the more popular title of "Yamba" ("happiness") is used. I advise you to take the time to compare the two versions. Coumba's version was recorded and released a few years later than Flani's/Djata's versions and therefore may have a 'better' or cleaner sound. And Coumba is probably the singer with the more powerful voice. But I really like the pentatonic twists in Flani's version.

The second song, "Mali den", is sung by Mamadou 'Johnny' Diabaté, who with the Djata Band was responsible for the few Malinké songs in their repertoire.
"Bimoko Magnin", the last song on the album, is a rather bizarre duet of Alou Fané and Flani, with Flani singing in a falsetto voice.

Returning to the A-side, "Yacouba" is a song which was quite a success for the Djata Band in the early 1980s. It is an emotional tribute to Yacouba, a dancer of the Ballet National, who was killed by bandits in Dakar in 1973 at the age of 45. This Yacouba was the star of a dance called "Gomba", a sacred dance of the Bambara of Djitimou. Others who have passed away (Aboubacar Demba Camara, Sory Kandia Kouyaté and Biton's Sadio 'Aw' Traoré) were also commemorated in the song. Those who have seen the Djata Band during their 1980s concerts in Europe and Japan may remember the emotional moment when the whole band knelt down during this song. Flani in 1987 recalled a performance in Bamako when large parts of the audience started crying; he himself felt the tears rolling down his cheeks...

Here is a video, of a concert recorded by Malian television in the early 1980s, of the Djata Band playing this song. The quality of this video is unfortunately very poor, but the music and the performance should amply compensate for this...


Personally I have great difficulties watching this video, with memories of Flani and Alou, who have both joined Yacouba, blurring my vision....

There is one song remaining in this album: "Konadou". This is a song which strongly reminds me of Alou Fané. Listening to the version on this album you will probably be asking why, as Flani is the lead vocalist and Alou doesn't even sing in the chorus. But if you listen to the version of this song recorded live during a concert in the Melkweg in Amsterdam, on March 20, 1987, and more specifically to Alou's 'climactic intervention' after 5'20, you will probably understand why I associate this song with this great (and sadly missed) man.

Musique Mondiale MAD 004

"Konadou" live 1987

En Super Forme

It appears the "hectic pre-Christmas weeks" I wrote about in my last post were even more hectic than I expected. And especially so, when an upgrade (to Windows 7) which I - naively perhaps - thought I would perform in one day, turned out to be a time-consuming and obstacle-ridden nightmare, and one which (given the limited amount of spare time and energy in these "hectic pre-Christmas weeks") lasted just under two weeks....
Anyway. It's all working now (<knocking on wood like an idiot>), so let's get on with it.

Although the Super Djata Band (see earlier posts) has covered songs from other artists (for example Coumba Sidibé's "Yamba", Abdoulaye Diabaté's "Massa Djourou" and Bazoumana Sissoko's "Yiriba") most of their songs are based on traditionals from the Sikasso region.

The track "Batila" (which on a later album was misinterpreted as "Bandjila"), for example, is based on a song performed by an uncle of Alou Fané. This uncle lived in a village about 70 kilometres from Sikasso where he was a regionally renowned balafon player, with links to the local komo circle.

In the case of "Sisse Na Djolo" a connection on a personal level too is at the basis of the selection. The song was composed by Na Hawa Doumbia and had been interpreted by her at the Biennale a few years before. She and her husband N'Gou were good friends of Daouda 'Flani' Sangaré and - like Flani's eldest son - living in Bougouni.

Of the two other songs on this album, which was released in the early 1980s (1982, according to Graeme on RadioAfrica) in Abidjan, "Nama Djidja" is in the typical Djata Band style, with lyrical references to several donso ngoni classics. Note the part where Flani names the musicians and the percussionists respond with a small solo.

It's the first song of this album that has caused some controversy. Some of you may recognise "Fongnana Kouma" from the version by National Badema with that great singer Kassemady Diabaté (and if you don't know this, please let me know and I'll be glad to post it later). Although it may not sound like a track from the Djata Band repertoire, both Flani and Zani Diabaté have assured me it is. Similar claims have, however, been made by members of the former Badema.
Personally I have fond memories of this song. The first time I heard it was sleeping in a hotel in the centre of Bamako. I had some difficulty sleeping after I had spent the whole afternoon searching for Flani, who I later heard had travelled to Abidjan. Through the noise of the traffic (which also contributed to my insomnia) I kept on hearing the same Flani singing this wonderful, haunting song. In my semi-conscious state it seemed like the song went on for ever, but after a few hours it dawned on me they were repeating the cassette. So I decided to record it (this recording can be found here).

As before I have two versions of this lp, a cassette version (which I bought a few days later in Bamako) and a copy of the lp (which I copied years later). The cassette version of "Nama Djidja" is (for reasons only known to the producer of this cassette) shortened by almost a minute.

Musique Mondiale MAD 003 (cassette)
Musique Mondiale MAD 003 (lp)

And to give you another idea of the quality of the Djata Band, here is another track of their 1984 concert in Angoulême, France. I just love the dancing in this track. If you look closely you'll notice the little idiosyncrasies which distinguish Flani's and Alou Fané's dancing....
The balafon player, by the way, is Zani's late brother Bakari.

Pioneers of Malian music (4)

As I have mentioned in an earlier post Alou Fané and Daouda 'Flani' Sangaré were the first to record kamalen n'goni music. The recordings were made in the studios of Radio Mali in 1968. But they were released a few years later, on an lp on the Disco Club Bagoué label in Abidjan.

The focus in this album is equally divided between Alou (sitting down playing the n'goni on the photo) and Flani (on the right looking down). Alou is the lead singer in four of the eight tracks. These are clearly 'his' tracks, with titles like "Komo" (referring to a -secretive rather than secret- initiation cult in which members of the blacksmith families have a special place) and "Noumousso" ("house of the blacksmith" - a track which he later used with the Super Djata Band). In some of these tracks Flani plays the kamalen n'goni.

This lp should make an end to a popular misconception, that the kamalen n'goni music is a 'watered-down' version of the dozon n'goni (hunters) music of the Wassoulou region. In all aspects this is a completely original music style, with links to local music styles of the Sikasso region. In future posts I intend to dig deeper into those local styles.

FT 001

Pioneers of Malian music (3)

This third post about Daouda 'Flani' Sangaré, Alou Fané and Zani Diabaté is about the Super Djata Band.

When Daouda Sangaré came to Bamako he met with friends from the same area of the Sikasso region. As Flani was already quite popular as a dancer, musician (he played the kamalen n'goni and the bala) and singer his friends asked him to join them to play at baptisms, weddings and other events.
In 1964 he was introduced to Alou Fané, who came from a village close to Flani's native village. They were best friends right from the start. Flani (who was very popular with the ladies) even found Alou a wife.

Flani's popularity grew until in 1968 he was invited to join the Ballet National du Mali as a principal dancer and singer, acrobat and musician (mainly bala). He persuaded them to contract Alou as well. In the Ballet they met Zani Diabaté. Zani already had a band going in Bamako called Harmonica Jazz, with Zani playing the harmonica. He, Flani and a talented djembé player called Maré Sanogo decided that they could combine their work with the Ballet with a private orchestra. They would rehearse in their spare time while on tour (the Ballet performed all over the world), with Zani playing guitar, Flani kamalen n'goni (and vocal) and Maré djembé and percussion. The band was called Ganoua Band.

At the time there were two national orchestras: the Formation A, led by Kélétigui Diabaté and Formation B, led by Ades Traoré. And in the early 1970s the Ganoua Band was appointed to be Formation C. They played at the Club Sportif (which is now the Carrefour des Jeunes). First Formation A three tracks, then Formation B three tracks and finally Formation C three tracks.

Flani and Alou Fané had already made their first recordings at the Radio Mali in 1968. These were the very first recordings made of kamalen n'goni music. I'll post some of these recordings in a later post.

After travelling abroad (amongst others to Cuba) the Formation C was left without work. So Zani and Flani went back to the private form which they named the Djata Band. The band started recording in 1974 (at the Radio Mali).
Later some of these recording were released through record labels in Abidjan (Mali didn't produce records until 1980).

Here is an lp from the late 1970s, released on the Disco Rama label in Abidjan. As is the case with most of the Super Djata albums the quality of the record is rather poor. So here are two versions of this classic Super Djata album, one from vinyl and one from a cassette reproduction which I bought in Mali.

And to give you an idea of the enormous talent of this orchestra, here is another track of the 1984 Angoulême concert, "Djegnogo Djougou" featuring Daouda 'Flani' Sangaré on lead vocal.

Pioneers of Malian music (2)

Alou Fané and Daouda 'Flani' Sangaré were born in the Ganadugu district of the Sikasso or Kénédugu region of Mali. In the traditional caste system the Fané family is a family of blacksmiths, while Sangaré is a Peul or Fula family. As such they are linked by tradition, as a Peul is the only one who can joke with a blacksmith (traditionally having a position of power and mystic force).

Together, they set the rules for the kamelan n'goni music. In most cases with Alou playing the kamelan n'goni and Flani singing.

In the late 1960s they joined the Ballet National du Mali as musicians and dancers. And in the Ballet they met dancer/djembé player Zani Diabaté. The three decided to start a private orchestra as a sideline to their work with the Ballet, the Djata Band.

I certainly will be posting more of Alou's work in future posts.

Here is a track from a concert at the 1984 Angoulême festival featuring Alou Fané as the lead vocalist, and with Flani, Zani and Alou demonstrating their dancing skills.
I don't know the title of this track, and am almost convinced that this track was never published in any form.