November 30, 2008

Super Sanakoro Sofa de Kérouané

There is not a lot I can tell you about orchestre Super Sanankoro Sofa. They used to be called "Sankaran Jazz" (writes Graeme Counsel). And they are from Kérouané.

Here is a concert (in seven parts) by this orchestra. I suspect it is recorded in Kérouané itself. The recording is from Guinean television from the late 1980s.

In addition to this, here is recording from a concert in the Palais du Peuple, Conakry. The occasion was the thirtieth anniversary of Guinean independance (proclaimed on October 2, 1958 - more here).

I am only embedding the first of these seven parts (I warn you though: this is the tamest part!). You can either follow the links on YouTube (beneath the videos), or used the links below to see the other parts.
Part 2 Part 3 Part 4 Part 5 Part 6 Part 7
EDIT April 12, 2015: I have replaced the link to the 1988 radio concert.

Mosala Etindi

Although a lot of Franco's work has -at some point and by a variety of labels- been released in digital form, there are still a lot of tracks which remain 'unconverted' or, as I have reported earlier, only partially converted. Sometimes this is for an obvious reason, e.g. the track is in praise of Mobutu or his MPR party (like this album posted by Global Groove), or the track is too obscene ("Hélène", "Jacky" etc.).

But in the case of the first two tracks of this lp I suspect it is just a matter of oversight.
The third track, "Yoka Meje", has been released as "Acceptez que c'est vrai" on Sonodisc CD 36572. "Ba Masta Bonne Année" exists in digital form on CD 36520, although the title has been slightly mangled into "Bamasta bonane". "Ebale Ya Zaire" and "Cedou" are on the same CD, but that last track is longer in the digital version.

The first tracks alone justify posting this album, with Franco in great form - knitting away on acoustic guitar.

November 25, 2008


There used to be more musical couples in Mali, long before Amadou & Mariam. There was Awa Diarra & Siné Sangaré, but more succesful and locally very popular was Safoura Denou & Seny Sangaré.
If I am not mistaken, the two Sangaré's were brothers.

Both these couples had the same formula: the man played the ngoni and the woman sang. Seny Sangaré distinguished himself by also 'intervening' with some spoken word. This, in itself, is not uncommon in the traditional style griot music. But Seny seemed different, because his commentary often provoked reactions ranging from giggles to fits of hilarious laughter with Malian audiences.
I am told he is joking with his wife, calling her names like "chubby cheeks" and such....

I have no idea what happened to them, but judging from this wonderful video (from Malian television) from the mid-1980s it would be a shame if Safoura Denou & Seny Sangaré would fade away into oblivion.

If you like, I will post some of their cassettes later.

November 23, 2008

Great Hits

Maybe the presidency of Barack Obama (photo on the right) will bring a renewed interest in Kenya, and in Kenyan culture. The last few years have already seen a revival (well, more or less) of an authentic Kenyan music style: benga.

You can read about the rise (and decline) of this style on or

Here is an lp from 1974 with tracks by Mori River Jazz Band, D.O. Misiani & the Shirati Luo Voice, the Menya [GL] Success, Central K. Jazz Band and the Victoria Jazz Band '71.
It may be just me, but I get the impression that these tracks are a bit slower than later benga tracks. But there is no doubt that these are indeed Great Hits!

Sungura SGL 116


The first steps of Kiamwangana Mateta a.k.a. Verckys as a musician were in a brass band playing the clarinet. It was Isaac Musekiwa, considered by many to be the 'godfather' of the sax in Congolese music, and then with the OK Jazz, who taught him to play the saxophone.

Verckys himself became a member of the OK Jazz in 1964, after having played in bands like Jamel Jazz and Dewayon's Congo-Rock and in the band of Gérard Kazembe. Much more a showman than the rather introvert Musekiwa he made quite a name for himself in Franco's band.

His career with the OK Jazz came to an abrupt end in February 1969 when he was kicked out by Franco after recording and producing four tracks with members of the OK Jazz without Franco's permission.

He decided to start his own orchestra: "orchestre Vévé". With Sinatra Bonga Tsekabu dit Saak Saakul as a singer, Verckys manages to get a contract at the Vis-A-Vis bar where they start in June 1969.
Among the first hits of the band is a track called "Mfumbwa", in which -according to our Congolese friends at mbokamusica- an authentic Congolese (vegetable) dish is praised (recipe!).
The two-part track, plus many more, can be heard on this explosive lp, released on the African label. Although there is no mention of this, I am convinced that at least two of the later Trio Madjesi are singing on this album (the other being Loko Massengo 'Djeskin').

African 360.016 (new link October 26, 2010)

Some of these tracks have been re-released on Sonodisc CD36599, which for some reason seems to have disappeared completely....

Technical note

There have been a few reports of broken links or expired files. I will try and restore and/or replace these as soon as possible.
Please do report all problems you encounter! You can mail me directly (see profile) or post a comment.

Mory Kanté

With a career mostly in Mali and Europe it is easy to forget that Mory Kanté was born in Guinea. It is a pity that most western audiences only know him by his 'hit single' Yéké Yéké. Although it has no doubt brought him fame, it has also labelled him as a pop artist. Anyone who has heard his work with the Rail Band (e.g. this CD) will know that he's more than that.

In a later post I will post some tracks by Mory Kanté with the ensemble of the kora legend Batourou Sékou Kouyaté, but for now here is some evidence of the level of respect he has in Guinea: a programme of the Interprétation Comparée series from 1988, dedicated to Mory Kanté, and to one track: "Balakononfing".

And that's not all. Here is a video from the mid-1980s, of Mory Kanté accompanied by the great Malian singer/griot Mah Damba*. The track is called "Mariama" with an "m", but Mory stubbornly sings "Mariana".... *more about Mah Damba in a later post UPDATE Jan. 6, 2010: the link to the "Interprétation Comparée" broadcast had gone dead. I have replaced it with a (hopefully) more stable link. EDIT June 11, 2013: I have replaced the link to the Interprétation Comparée programme with a faster one.

November 20, 2008


One of the monuments of Guinean music, Maître Kélétigui Traoré, founder and chef d'orchestre of the former national orchestra Kélétigui et ses Tambourinis, has died in Conakry on November 11 at the age of 74. He had been ill for quite a while.

He was one of the original members of the Syli Orchestre National, founded in 1959. After this orchestre had been disbanded for the first time in 1962, Kélétigui formed an orchestra which played at La Paillote. The orchestra was later renamed to Kélétigui et ses Tambourinis.
The orchestra also performed as a backing band to other artists such as Sory Kandia Kouyaté and Miriam Makeba, and has toured the world as representative of Sékou Touré's Guinea.

Here is a selection of his work.

01. Merci Safoulaye
02. El chechoza (Paillote)
03. Mone Magnin (SLP 1 - Paillote)
04. Cigarettes Allumettes (SYL 502 - Keletigui)
05. Beni Yarabi (SYL 544 - Keletigui)
06. Toubaka (SLP 15 - Keletigui)
07. Guajira Con Tumbao (SYL 519 - Keletigui)
08. Tambourinis sax parade (SYL 514 - Keletigui)
09. Presentation (SLP 3 - Paillote)

November 19, 2008

Laye M'Boup

A lot (here or here or here) has been written about orchestre Baobab. So I don't have to introduce this Senegalese orchestra.

I liked the "Ken Dou Werente" lp in the 1980s, but I have not heard a lot of new compositions of the band since. A few years after the release of that album I got hold of a few cassettes released by Bellot Records (who at the time still sold music for affordable prices). And these, with all the technical advances and digital doodahs, remain my favorite recordings of Baobab.

And among those, this cassette is the one I would choose in my top ten from Senegal. It's the most Senegalese of Baobab's recordings, released as a tribute to Laye M'Boup, singer with Baobab from 1970 until his death in 1974.
And what a singer this man was! A voice that sends shivers down my spine. And even more so* with this recording. that just has that extra edge....

Orch. Baobab Gouye Gui de Dakar vol.3 - Hommage A Laye M'Boup (Bellot Records C 3806)

*Some of these tracks on this cassette have been released on the sympathetic Dakar Sound label (DKS 014).

November 18, 2008

Original de Manzanillo

The Orquesta Original de Manzanillo started just over 45 years in the town of Manzanillo in the Granma province of Cuba*. The first performances were in December 1963 under the name of "Orquesta Tipica", which a few years later evolved to the present name of "Orquesta Tipica Original de Manzanillo".
The most famous member of the orchestra was Candido Fabre, although he was only with the orchestra for ten years (1983-1993).

Of the original orchestra only four remain, and the most famous of those is the leader, pianist and arranger Wilfredo 'Pachi' Naranjo. The 'Original' is very popular in Cuba and have been allowed to tour the world. Nevertheless they have remained very modest and very very Cuban.
Here is a great video from Cuban television from 2006. The track is "Mi Sombrero de Yarey".

*one can't be too explicit nowadays, after hearing the president-elect of the US talking about releasing prisoners in Guantanamo.

November 16, 2008


He is mentioned in several books about juju music, and he features on the wonderful CD "Awon Ojise Olorun -Popular Music in Yorubaland 1931-1952". But nevertheless Theophilus Iwalokun seems doomed to be one of the many forgotten heroes of African music.
I am assuming that this lp is from the latter part of his career. But that's about all I can tell you about this artist.
Maybe someone knows more?


EDIT August 17, 2010: the link has been renewed!

Classic Coumba

This is the second post dedicated to Coumba Sidibé, who is one of the founders of the style which is too often called the Wassoulou style. The main reason for the reference to Wassoulou are, according to the late Alou Fané, the tracks 'borrowed' from dozo n'goni legends like (the -unfortunately also- late) Toumani Koné (I'll post plenty of his music later on). Like 'Noumouna Koulou(m)ba', the track in the video below.

The Sikasso region is, however, a source of a huge amount of musical styles, and Coumba Sidibé used several these in her kamalen n'goni music, which is a relatively new music form. Or, if you like, a tradition which has been started recently.

Here is the cassette I referred to in my first post. The cassette features two great musicians who currently reside in the Netherlands: Dramane Diarra and Zoumana Diarra. The cassette was released by Ibrahima Sylla, and his 'dedication' to the music can be detected on the sleeve: the titles are in the wrong order...


Believe me, the exclamation marks are in no way exaggerated when introducing this cassette. The rather tame track on "Le Festival au Désert" doesn't do justice to the raw force of Super Onze de Gao. And the soft flowing dance in this video will probably confuse, rather than explain his explosive version of the takamba rhythm.

Technically this is one of the most chaotic recordings I have, with cuts and breaks and channels dropping off. But for its unbridled energy it is in a league of its own....

Super Onze - Achalal

November 14, 2008


There is merengue all over the Caribbean, but its roots lie in the Dominican Republic. And it doesn't get much rootsier than on this classic among classics of the merengue music. Recorded 'in the field' in 1977, this album just jumps with joy and energy.

El Ciego de Nagua (plenty of videos on YouTube) has two tracks on this lp. And I just love the accordion merengues of La Macana and Nicolas Gutierres and his group, who unfortunately remain untraceable outside of these recordings. But my favorite tracks are the two from the "Grupo de Bachata" (is that the name or what they are?).
No accordion, but some great guitar.

LLST 7351

November 13, 2008

Trio Madjesi

Although they are mostly associated with their work as trio, the three members of the Trio Madjesi had an impressive career before joining forces. All three at one point sang with Orchestre Vévé, and Loko Masengo 'Djeskin' sang on the Loningisa label in the early 1960s with the first edition of Vicky Longomba's Négro Succes and later joined Vox Africa. Frank Bessem mentions that he started with Jamel National, but I can't imagine that this was before Négro Succes.

I am sure I have seen Mario Matadidi Mabele's name with other bands too, but at this moment I can't recall where.
The third member of the trio, Saak 'Sinatra' Saakul, is in fact the only real Zairois. Matadi is from Angola and Djeskin from Congo-Brazzaville.

Here are four 45s of the famous trio. I think they were released on the African label in the original chronological order.
The first, "8e Round", is about the Rumble in the Jungle between Mohammed Ali and George Foreman. The B-side is hilarious.

8e Round / 6e Round Interview (African 91.162)
Ngadiadia / Gestemany (African 91.221)
Bondoki / Nzambi A Mpungu (African 91.415)
Longo Nono 1 / Longo Nono 2 (African 91.416)

After their succes in the mid-1970s the trio tried several times to rekindle that Madjesi magic. Here is a video from one such attempt. The orchestra accompanying Matadidi Mabele (in the red), Loko Masengo (in the white) and Saak Saakul is Tabu Ley's Afrisa.

November 10, 2008


I met Miriam Makeba for the first time at the Angoulême festival in France in 1986; I think it was on May 10.
I admit I was overawed by the entrance she made into the backstage area, with a large entourage of people hovering around her, people wanting to shake her hand, musicians trying to get a glimpse of this legend and security heavies trying to keep them at bay.

While Cuban orchestra Los Van Van were preparing to go on stage, I was introduced to Ms. Makeba by a mutual friend whom she knew from her Guinean period. The warmth of her approach immediately put me at ease. She struck me as a very good listener. We talked about various subjects, until some very nervous people from the organisation rushed in and announced that Jack Lang (who at that time was the former 'ministre de la Culture') was there and wanted to see her. "I am talking with this man", was her reply. M. Lang was left waiting....

I would be lying if I would claim to be a big fan of Ms. Makeba's music. Personally I blame this on the influence of her US period, and the overproduction that is a side effect of this influence.
To demonstrate this I am posting a pre-mix recording of the album "Sangoma", which I am told is one of her more personal albums. I obtained this through South African guitarist and flautist Russell Herman (who died far too young in 1998), who had copied it from fellow Kintone member Tony Cedras, who plays the piano in this recording.

Whenever I feel down I play this and remember the humanity of this great African sangoma.

Sangoma (pre-mix)

November 09, 2008


Once you get hooked onto highlife music, you will inevitably come across E.T. Mensah and his Tempos Band. There used to be a very useful small book by John Collins about this Ghanian master, but I suspect it is out of print. But there is plenty to read about him, here or here*.

Here are two 45s on Decca West-Africa. The first (an EP titled "Mensah Melodies") is from the early 1960s and features a song about Kwame Nkrumah, which as far I can ascertain has not been released on CD.
Well there's another man you might want to read up about. Here's a good point to start.

The second is a 'normal' 45, from a later date (note the Essiebons sleeve).

Decca Wax 104
Decca GWA 4212

*I am slightly irritated by the photo on this page though. E.T. doesn't need Louis Armstrong to boost his standing.

November 08, 2008


How can anyone be so sadistic to call a hurricane "Paloma" (dove)?

Paloma is set to hit the Cuban province of Camagüey in a few hours. As this is one of the flattest regions of Cuba, the impact is expected to be enormous. The population is preparing itself for the worst.
Compared to the coverage here in Europe of the presidential elections in the US, the silence* in the media is overwhelming.....
Camagüey, Cuba

* so no sounds in this post

November 07, 2008


There was a time when Salif Keita didn't feel too happy in his own country. The reason for this unhappiness was a concert in Ségou with Les Ambassadeurs. And this was the song that caused the trouble.
The public started throwing stones and the band had to run for their lives.

Quite a contrast to the concert I saw in Amsterdam, where the public, ignorant of the significance of this song, kept asking for more, after Salif had sung this ode to Guinean president Ahmed Sekou Touré.

EDIT: I have shortened the video very slightly so it will fit within the parameters of YouTube. So if you prefer YouTube, you can find the video here.
EDIT August 9, 2015: I have changed the video to the YouTube version.


Call me peculiar or even strange, but I at no time thought of Fela (like Likembe) when Barack Obama was voted into the White House. My thoughts drifted off to Kenya and to Barack's relations in Africa.

And -how wondrous is the mind- from there my thoughts leapt to Mbaraka Mwinshehe and the sense of almost childish optimism I get when I hear his music. Not a hint of presumptuousness, conceit or smugness in this man's music, just uncomplicated joy.

Although Ukumbusho Volume 8 is from a series commemorating this indeed memorable musical master from Tanzania, I am sure it won't be sadness you'll be feeling after listening to this cassette.

CPOLP 575 or here (extra link - and now @ 320 kbps - December 21, 2016)

Mory Djeli

Mory Djeli Dienne Kouyaté is not just a Malinké* djeli (or griot), but also mory (marabout). I am not sure about the Dienne part of his name, all the more because it has lately evolved into "Deen" (child). He is from Kankan, so from the heart of Malinké country.

It never ceases to amaze me that singers like Mory Djeli manage to remain anonymous to the world, although I see that he has travelled to the States and France, and has some videos on YouTube. Why aren't superior singers like this man on MTV?

Here is a cassette from 1990, featuring some unadulterated Mory Djeli. Note that the third track is a (wonderful) version of Nanfoulé.

EDIT Nov.2009: renewed the link to the file.

*or Mandingue

November 05, 2008

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.

November 03, 2008

Vote for me!

In the run-up to the US elections I keep having think about this EP from the early 1960s, in which G.G. Vikey urges us to elect him as president. He promises us change, plenty of jobs, good economic conditions, paradise on earth...

From the few records I have of this relatively unknown artist from Benin, he comes to me as the archetypal 'évolué'. Maybe he is just trying to please producer Gilles Sala (I would like to link to some info about this influential producer, but can only find info about his work as a singer).

The other tracks on the EP are worthwhile too, especially the track about Faceli Kanté, one of the founders of Les Ballets Africains, and influential as an artist who introduced the spanish guitar into African music.

EDIT December 30, 2015: The sleeve has been retrieved (see below), so I have added this to the file and have upgraded the audio to a higher bitrate.

Rivièrafrique 231.335 (new link December 30, 2015)

November 02, 2008

Olaiya's Victories

If you want to know about Victor Olaiya's career until 1961, the 'letter' (on the right) published on the back of the lp "Olaiya's Victories" should give you all the details.

I am a great fan of this highlife giant, but a frustrated one. Because the number of recordings available is very limited (as is confirmed by this discography).

I read in the very limited information available on the internet that he became a nightclub owner in the 1970s, but that's it. Others who have worked with Dr. Victor have more lines dedicated to them than the master himself.

What happened to him? Is he still alive? Why the lack of information?

Here is one of my favorite albums of this genius (another is here).

EDIT (March 4, 2010): extra link

Our candidate

This is the first post in a series about political songs by Franco. In two days time a new president will be elected in the U.S.A.. Whether there is much of a choice to be made by the electorate remains to be seen. However, things can always be worse (or can they?).

On July 29th/30th, 1984, presidential elections were being held in Zaire (now D.R.C.) and there was only one candidate, Mobutu Sese Seko. Luambo Makiadi, aka Franco, was "asked" to produce a propaganda song for the occasion and, as if he had a choice, he obliged. The result was "Candidat Na Biso Mobutu".

Several of the songs Franco produced in his career involving politics, had aspects about the musical arrangement that were uncommon in his repertoire. Today's posting has a treat I have not detected in too many other songs by Franco & le T.P. O.K. Jazz, and that is muted trumpets.
At the time, this song may not have stood out as an exceptional gem in Franco's total output, but in hindsight, in the light of what is being produced by today's artists, it is certainly worth listening to.

More about Franco's relationship with Mobutu in this interview with Lutumba Simaro.

"I will tell you a little about the person who was Mobutu. He was a fanatic for Franco, above everything. He was a fanatic for our team, even before he was president. I found Mobutu at Franco's side when I came in 1961. At all the parties that happened at Mobutu's home, when they hired a band, it was we who played. Baptisms of children, birthdays, all that. Mobutu was a fanatic for Franco as an artist.

It was Mobutu who chose, frankly. When Mobutu rose to power, it was 1965. In '66, we were in Brazza, making a little tour, and Mobutu asked Franco and his band to come back to Kinshasa to play. So we stopped and went back directly with Franco to Ndolo. Ndolo was a small prison in town that was reserved for the military. After a day or two, we went to Franco. The president had told him to stay at his side. "With me in power, you will go far. I will have need of you." So that's how it started. In any case, as I said, as far as the relationship between President Mobutu and Franco, from the start, Mobutu was a fanatic for Franco. And with time, as he became president, he was president of all the artists, not just Franco. Those who were lucky enough to play for President Mobutu received his small gifts that the president gave them. It was not only Franco.

So, when President Mobutu had need of a little publicity, or even propaganda, he would call Franco secretly. But he gave opportunities to many artists. It was Mobutu who decided. He had a whole community. "We'll do it like this. He will speak and tell people to listen. Simaro will make a song. Another will make a song. We'll record them and I'll listen and decide which is the best song." That's how it worked.

When Franco was very sick, near the end, Mobutu did something for him. Even when he was dead, the band found him in Europe, and President Mobutu paid all the bills, the hotels and everything. He asked all the artists to return. He sent a special plane that brought the body."
(Quoted without permission, I hope they'll forgive me. )

More political songs by Franco:

Dix Ans Ya Révolution (1975)
Béléla Authenticité Na Congres Ya MPR (1970)
République du Zaire (Kwamy) (1970)
Lumumba, Hero National
Ngai Kaka Bomboko (1977)

And two by African Jazz:

Vive Patrice Lumumba
Table Ronde

November 01, 2008


Ever since I heard about the title of the Amadou Balaké* compilation on Oriki Music (which I have heard since my last post about Balaké and can highly recommend), I have been wondering about the relevance of this title. I mean, is Amadou Balaké "Señor Eclectico"?

If you're interested in reading about eclecticism, here is an interesting entry in the wikipedia.
I prefer to think of Amadou Balaké as an artist who has succeeded in staying close to his public. He has a high level of 'street cred', if you like. This is reflected in his songs. They are about normal people in normal situations.

Like in the song "N'Kanan Djanfa" on this third volume from 1979 on the Sacodis label, where Balaké is a woman addressing the musician Balaké to tell him she has found someone better. Or on "Soum Grouba" where Balaké is a woman who finds herself forced to prostitute herself and has to argue about the price.

What can I say? Eclectic or authentic, just go and buy the Oriki CD!

*Amadou seems to have lost an "l" over the years.....

Yapi Jazz

All I know is that this orchestra was very popular in the 1960s in Ivory Coast. And I can fully understand why.
I'll go as far as to state that I feel cheated in not knowing about Yapi Jazz and Super Yapi until a few years ago. Who is holding the music of bands like these* back? Why isn't this music available on a series of CD's?

The music is original, although I am sure western producers won't be able to resist the temptation to label it afro-cuban or to compare it with the congolese rumba. Of course it has traces of all kinds of musical styles, but so has american soul music (but I don't think anyone is going to label that afro-cuban).
Here are two EP's, both on the Safie Deen label. After listening to these tracks I am sure you will agree with the motto "Achetez Ivoirien"!

BAS 2578
SD 154

*because there are others, notably Amedée Pierre & L'Ivoiro Star (of whom I will post some tracks later).