A few posts to round off this disappointing year... In the first of these I would like to share with you a cassette by Hawa Dramé. Hopefully you have seen (and perhaps even watched) the videos I posted some time ago (here and here). More persistent fans of the classics of Malian music may have even listened to the two (1 & 2) cassettes I have shared*.
This cassette is different from those two cassettes in so far that I strongly suspect the recordings on this cassette were all made in a studio. Consequently the sound is more refined, even to the point where it can be called 'delicate'.
This cassette is linked to strong personal memories of my travels in Mali in the late 1980s. Particularly in the town and region of Ségou this cassette could be heard on almost every street corner, and even in the taxis-brousse. Listening to songs like "Tunkan Te Dambe Do" I can almost taste the red dust again...
The songs in this cassette are all deeply rooted in the bambara musical tradition. One may be tempted to call this music 'simple', - but this doesn't do justice to Hawa Dramé's brilliant performance.
Take the first song on the B-side for example, "Klawa". The song starts off with a ngoni, which is joined by a second ngoni. Hawa opens after 40 seconds, careful at first; but soon she is in total control. This is her song.
The same can be said for all the songs on this cassette.
This is one of these cassettes which can last you a lifetime. I still discover 'new' things in the songs, and find that my reaction to the music varies with age, mood, circumstances. I particularly like the dynamics in these recordings: Hawa Dramé does not go full-blast all the time, but demonstrates that she stay in control in the wonderfully delicate and subtle parts of her songs too.
I am hoping to share more memorable music with you before the end of this year. A year which has gone by too fast, and with too little focus on the good things in life. There is so much to catch up...
You may remember that lovely cassette by Malian singer Molobaly Traoré which I posted some five years ago. If you've missed it, please do yourself a favour and go back and listen to it. Listening to it again the other day I was immediately taken back to the dusty streets of Mali and particularly those of the Ségou region. Real music can do that.
That cassette is from the early days of Molobaly's career. A career that ended far too early, with her death in 2009.
The cassette I would like to share with you in this post is from a few years later. It is clear that some of the innocence which marked her earlier cassette - and which certainly added to its charm - has gone. But other elements have remained: the slight tendency towards sullenness, the faint air of gloom, the strong Bambara repertoire, - now even more accentuated by the use of the sokou (violin). There are no credits on the cassettes, but my guess is that it may well be Zoumana Tereta.
You may recognise the second track, "Laban Kasi". This is a version of a song from Ségou, also performed by 'Tasidoni' Karamoko Keita. "Diandjo", however, is not a version of the song with the same title by Hawa Dramé, although the subject of the song may be the same.
The title of the song "Dely Magnin" confuses me. I may be wrong, but I was under the impression that "dely" is "to pray". But a title "praying is wrong" seems somehow unlikely in a country like Mali. So perhaps it can also mean something else...
If you ask me this is a cassette has not lost its power over the last twenty-two years. In fact, in my personal ratings it has only grown in stature, - as Molobaly Traoré has grown with it. More of this late but great artist in a future post.
I have added the last of the three songs I have of Fanta Damba No.2, recorded at the R.T.M. in Bamako in 1983 for the series "L'artiste et sa musique" presented by Zoumana Yoro Traoré (see the earlier post). Accompanying her were Bouba Sacko (guitar - also see here) and Moctar Koné. This song, "Macki", is really the first of the three.
Zoumana Yoro Traoré was a well-known presenter at the RTM. You may have seen him with the videos of Coumba Sidibé, Kandia Kouyaté, Ami Koita and others. Some ten years ago I heard he had moved to France; this was later confirmed by an article on MaliWeb, and by an article in which he was said to be living in bad conditions (little or no work, separated from his children/family). I am not sure if he has returned to Mali since.
So the order is:
1. "Macki", better known as "Maki" or "Maki-Tara".
A few days ago I stumbled upon the video by Karamoko Keita which you can find at the bottom of this post. Although I was looking for something else I couldn't help but watch the whole video. The thing is, this man has got certain 'je-ne-sais-quoi' which really appeals to me. I like his singing style, which is old-school Bambara (pentatonic) without being mouldy. The quality of the video is slightly below poor to hopeless, but just watching the movement, both of Karamoko himself and the chorus in the background, makes me irrationally happy.
I first heard his music during one of my first visits to Mali in the 1980s. To be honest, it was very difficult not to hear it because everybody was playing it, in the streets of Bamako and in every town and village I visited. The children were singing Karamoko's songs and their parents knew every single word of the lyrics.
They were playing this cassette, recorded for Malian radio, and here in the release of the Super Sound label of Monrovia, Liberia. You can see the first song, "Diama", in a video which I posted earlier.
This cassette just oozes old-style Malian music. And if you ask me it even oozes old-style Mali. I can't help but thinking of that friendly and hospitable people I encountered all over the country. People were curious without being nosey, warm without being pushy... They shared the little they had and demanded nothing in return. It was, in short, a country that was easy to fall in love with.
I know a lot has changed since those days, but I am sure these qualities are still there, perhaps hidden under a layer of cautiousness. A defence which may be the result of the invasion from neighbouring countries over the last decades, - or of the opening up to the modern world in general.
This is one of those cassettes with shifting favourites. All tracks are great, so it depends on moods, susceptability and environment which I prefer. When I first heard it it was "Lemourou". In hindsight I think this may have had to do with hearing this in the villages, where little girls were chanting it. I asked them what it meant and they contorted their faces. Later on someone told me it meant "citron" (lemon), but then I saw someone selling limes shouting "lemourou". My guess is it means both lemon and lime.
And, as mentioned above, here is another song from the same concert as the video I posted before. Karamoko with a somewhat larger ensemble and dancing, which adds an extra element of joy to his songs, if you ask me.
I have updated a few videos. First I have collected all I have of the programme "L'artiste et sa musique" featuring the (unfortunately late) queen of kamalen ngoni music Coumba Sidibé into one video:
This is really all I have of this absolutely legendary performance. But I am still hoping, of course, that one day someone will come up with more and/or in a better quality.
Secondly I have redigitised the video of Oumou Sangaré's song "Yayoroba", to which I was referring in the last post. And I have added a second song, which you will no doubt recognise as "Saya Magnin". The dancer I was referring to comes in at about 8'50...
And finally, as a bonus, I am adding a video of less than a minute of a rare version of "Djama Kaissoumou", a song which was one of Oumou's first hits and featured on the cassette which launched her into stardom. Again, it's all I have.....
This post is mostly intended to draw your attention to this remarkable video posted on YouTube by Ngoniba:
And if, like me, you can't get enough of these videos, please look around for more on Ngoniba's Youtube channel. Here is one to help you on your way.
The principle star of these videos is, of course, Mariam Bagayogo. You may remember the video I posted a few years ago. As I mentioned then, besides the singing and the balafons accompanying her I was particularly fascinated by the dancing. And, having watched Ngoniba's videos a few times, I am again fascinated by the intricate dancing in these videos.
It is no secret that dance is at the core of a lot of (if not most) music in Africa. When I first started interviewing Malian artists in the 1980s I was struck by the frequent use of the word "rythme" when they were talking about songs. It soon became clear to me that this was not accidental, but that rhythm and music are the same thing, or part of the same thing. And that rhythm also meant dance. Talking to Daouda 'Flani' Sangaré and Alou Fané, who had both been dancers with the Ballet National du Mali, I learnt that all the dances have a meaning, as does the rhythm. A dance can carry a message, like "I fancy you" or "I respect you", or can - for example - be used to underline the dancers' identity as part of a group, family, caste etcetera.
When it comes to dances there still are many misconceptions with the 'general public' in the western world. "African dances" often are seen as very exhuberant, with arms and legs flapping all over the place, and - preferably - with loud djembe drumming. Fortunately, most dances are not like this, and are actually very controlled and wonderfully subtle. I remind you of that fantastic dancer in the Oumou Sangaré video I posted earlier, or Alou Fané's delightfully understated dancing in this video.
The movements of the dances by Mariam Bagayogo also do not conform with the general idea of "african dances". Look at this video by Mariam from 1986 for example (another one from Ngoniba):
The flexing of the knees, the step: dance and music are one.
EDIT May 12, 2013: Ngoniba has sent me a link to a recent and very interesting article on Maliweb about Mariam Bagayoko. In this article she talks about her career and about her situation at the age of 70. Apparently she has taken over the care of the 17 children and 4 wives of two of her brothers who have passed away. Her message to Malian readers is that they should follow in the footsteps of their elders, i.e. respect the traditions.
EDIT September 22, 2013: I have had to remove the link to the article on Maliweb, as the site appears to be hacked.
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.
Recently the owner of the (highly recommended) Malian Divas channel on YouTube asked me why I have never posted any music by the third (see below) of those magic Malian divas of the 1980s: Ami Koita.
I admit I did not have a good answer, apart from that I just haven't got round to her.
But perhaps there is another, subconscious reason for my omission. I have met Ami Koita, when she visited the Netherlands in 1991. On the LolaRadio blog you can find recordings made during this trip by VPRO Radio (and a few days later she also performed in "Reiziger in de muziek" on VPRO TV).
Both Ami Koita and her daughter, who backed her mother in the chorus, were very friendly. But it was impossible to talk to Ami more than a minute as her husband (on the left, holding a camera with which he videoed his wife's every move) was constantly making his presence known. And not only by standing in the background, but also by answering questions for his wife and physically putting himself between his wife and whoever wanted to talk to her. I later found out that this was the result of an extreme case of jealousy, and several rumours have gone 'round in Mali as to the (possible) grounds for this jealousy.
One way or another, this has perhaps played a role in my apprecation of Ms. Koita.
Getting back to her being the third: the other two of what was like the 'holy trinity' in Malian divaness in the 1980s were of course Kandia Kouyaté and Tata Bambo Kouyaté. And that reminds me that I should be digging up some more of those two in the near future.
Anyway, I would like to share with you this cassette recorded in the late 1970s. The quality of the cassette is dubious, to say the least. And I have tried to remove the extreme hiss*.
But I love the music. Ami Koita's rendition of the classic "Tara" is up there with the very best. And Nene Daou and Lassana Sacko have probably donated their life savings after being immortalised by Ami.
S4307 cassette or S4307 (speed adjusted - see below)
And as a further illustration of Ami Koita's talent I would like to share with you this first part of a programme entitled "L'Artiste et Sa Musique" featuring Ami Koita "& son ensemble". And this ensemble consists of two great accompagnateurs: Moriba Koita and Bouba Sacko (see my earlier post). The show is presented by Zoumana Yoro Traoré, whom you may remember from the videos I posted by Kandia Kouyaté and Coumba Sidibé. I will post the remaining part of this programme at a later date. Ami is interpreting "Djeliya", a kind of metadata song, a song about griotism. Compared to Tata Bambo's song with the same title, which I have posted four years ago, you will have to agree that Ami's song is more delicate. Both her interpretation and appearance do justice to her reputation as the djeli with finesse.
P.S.: More to follow before the end of the year....
EDIT December 30, 2012: Ngoni has pointed out (see comments) that there may be a problem with the speed of this cassette. I have slowed down the recording to the speed he suggests, and it does sound better. So I have added a link to the slower version.
* And in case there is any demand for the 'raw' sound of the untampered original, send me an email.
Continuing my personal countermeasures against the against the lunatic proposal by those so-called islamic groups in northern Mali to ban music, I am bringing in the big guns. And when it comes to rock-hard Malian culture the guns don't get much bigger than Hawa Dramé.
You may remember my earlier post, plus the fantastic video featuring this great - but unfortunately also late - singer. If you have missed those, please do yourself a favour and at least watch those two videos.
The cassette I am sharing with you is one to digest slowly. Take your time. This is music which will last you a lifetime, and will be in your blood forever. As in the cassette I posted earlier, Hawa Dramé pulls out all the stops. The control she has over the 'accompagnement' is, again, brilliant. As is the control over her own vocal contribution. She can go full-out, but she can also subtly understate, - and in doing so move the coldest of those deepfrozen misguided souls in the north of her country .
There is not a weaker song in this collection.
You may recognise "So danso"; this was covered by Super Biton (see this post). "Demeba", with its majestically striding rhythm and Hawa's superb long phrasing. The meticulous "Diamandjo" where she is competing with the ngoni, twisting and turning. And "Mayebe Diyabo", just as intentional, with Hawa demonstrating the full dynamics of her unique voice.
Side B again has two longer songs. "Namabile" is one of those epic songs, which Hawa Dramé takes to another level. The same goes for "Niongomari" (covered by others, like Bazoumana Sissoko's daughter Tenignini Damba, as "Mariso"), although this unfortunately has a few wobbles.
*And in case you are wondering: this is a reference to the present date, plus a reference to what would be September 11 in countries like the USA. And in a way it is a reference to the excessive (verging in the ridiculous) coverage of first the impact of tropical storm Sandy on the eastern US (while the enormous damage of the hurricane Sandy on Cuba was covered in a single sentence!!) and then the painstakingly detailed and minute-to-minute coverage of the US presidential elections in this country (the Netherlands). Already Dutch media don't bother to convert 9-11 to the customary 11-9, so my guess is that in a few decades we will officially hand over sovereignty to 'our good friends on the other side of the Atlantic'.
While it appears my worst fears with regards to the outcome of the elections here in the Netherlands are slowly becoming reality, with both a continuation of the growing intolerance (of the kind which in the 1970s we used to call "repressive tolerance"), of the so-called 'joys & benefits' of privatisation and/or the deification of The Economy, it appears that elsewhere in the world people are facing even greater and more anti-human challenges.
I read a few days ago (here) that those so-called rebels in northern Mali are considering banning music. That certainly will help their cause and create acceptance with the local population.
Not.
How dumb can one get? In a country that has music, storytelling and rhythm in both its soil and in the blood of every single individual of its population!
So I think it is time for some serious countermeasures.
I will start off with a cunningly devious weapon, seemingly innocent but potentially lethal. A sweet looking woman, a girl even. Lovely smile, modest expression. But a voice like a dagger! Kankou Demba not only has a powerful voice, but matching lyrics. She has a strong social message and doesn't believe in sweet-talk.
"Don't stick your nose in my business, young bambara who doesn't work the land
don't interfere with my affairs for he who has no respect for his people is like a roaming dog
Don't stick your nose in my business, young blacksmith who doesn't fire up the forge
don't interfere with my affairs for he who does not respect his country is like a roaming dog
Don't stick your nose in my business, young Sarakolé who doesn't work as a trader
don't interfere with my affairs for he who has no respect for his people is like a roaming dog
Don't stick your nose in my business, young Peul who doesn't herd cattle on the land
don't interfere with my affairs for he who does not respect his country is like a roaming dog
Don't stick your nose in my business, young griot who doesn't play the guitar
don't interfere with my affairs for he who has no respect for his people is like a roaming dog"*,
sings Kankou in "I Dabo N'ga Kouma Na" ("You don't have the right to speak"). And with this she refers to a crucial concept in Malian culture and society: fasiya. I suppose this can best described as a mix of legacy, role in society and lineage. Perhaps not a concept which is very 'now' in western society, but one that has a tendency to be a essential element in the understanding of Malian culture. And of Malian griotisme, for that matter.
Kankou Demba's own lineage is apparent from her singing style. She follows in the footsteps of Fanta Damba and Koni Coumaré, with a definite Ségou bambara base.
I have had this great cassette for well over twenty years and it has not tired me. The conviction, the straight-from-the-heart honesty of Kankou's singing should, no must do something to start the process of corroding the iron resolve of those misguided 'fundamentalist rebels'.
I am still upset about the brusque (over)reaction by other filehost services to the injust and in my opinion illegal action taken against Megaupload. I sincerely hope the pause at the Global Groove blog will be a temporary one, and that all blogs dedicated to the unearthing of non-western music in general, and African and Latin music in particular, will carry on uncovering and promoting the artists which have not received the global recognition and acclaim they thoroughly deserve.
By way of an in-between post I would like to share with you these two great videos from Mali, both in a way related to Super Biton and Ségou.
The first is by a group fronted by three women, or girls if you like. I know absolutely nothing of this group, apart from the fact that they are (or were) called Balandzan, which at least suggests a connection with Biton (see my earlier post). I discovered this song on a tape with a mix of Malian artists, and immediately fell for the sheer joy and even cheekyness of the three girls. My guess is that they're singing about boys acting tough but not getting things done, which certainly seems an appropriate theme, - and not only in Mali.
The second video is another video by Assa Bagayogo, the daughter of Hawa Dramé, that grand dame of Bambara music. I have no idea why, but I am absolutely crazy about this music, plus that rather awkward, but strangely fitting way of dancing of Assa. It is, in my opinion, just as fitting and natural as the dancing of that girl in the Oumou Sangaré video.
Unfortunately I have just the two tracks, recorded by the RTM in 1990*, by Assa Bagayogo. If anyone has more, please step forward.....
*in my earlier post I suggested this was recorded in 1986. I should have studied the rest of the video better......
In rummaging through my computer the other day I stumbled upon another video by that great Malian diva Kandia Kouyaté from her very first appearance on Malian television. I have posted two songs from this same concert before (here and here). But watching this I was again bowled over by the sheer power of her presence - at the age of only 18 (!) - and the total command she displays.
Look for yourself:
Note the cheeky look, after 0'48, followed by that heartmelting smile: isn't she just incredible?!
I gather the song is about good deeds (wale gnouma), about gratitude (wale gnoumandon) and about ingratitude (wale gnoumandonbaliya).
It's just that a mere "thank you" seems so insignificant after watching such a brilliant performance....
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.
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.
You may remember Wande Kouyaté from an earlier post on this blog, but I doubt you would guess this is the same artist just by listening to the music. While the cassette I posted earlier had a lusciously rich and 'live' ambience, the sound on this cassette is bone dry. This is partly due to the accompagnement by none other than the legendary Vieux Lion himself, Bazoumanaba Sissoko.
Wande Kouyaté, like many of Mali's divas, saw her career lift off through her involvement with the Ensemble Instrumental National. In this she followed in the footsteps of her mother Bah Tounkara, who was a member of the very first Ensemble.
But it is safe to say that Wande is not one of the most popular djeli's in Mali. When I bought this cassette in the 1980s some Malians praised her for her pure interpretation of traditional classics, while others argued she was too intellectual (or even intellectualistic) to be loved by the masses, and her repertoire tended to be conservative or even dogmatic (if this is possible in music). I am not sure what 'won her over', but it is clear that she modernised her style sometime during the 1990s, - although she managed to keep the ngoni in.
I don't have a reliable discography (or cassettography) of her work, but I think this must be one of her very first cassettes. These recordings were originally released on Sacodis LS 33 (presumably in 1980), and the tell-tale vinyl scratches and noises* seem to indicate that this cassette is a bootleg ripped from the Sacodis lp.
All the tracks feature only Wande with Bazoumana on ngoni. Highlights to me are the brilliantly pentatonic "Ne Ya Me", "Mali Nieman" and - of course - "Bakari Dian", the epic story about that historic hero from Segou, Bakari Dian Koné.
These are bambara traditionals in their purest form. Bazoumana's ngoni evokes a world far from Parisian studios and hi-tech recording gear. A world of dry sun and good friendly folk. The only drawback is that after listening to this cassette I find myself mysteriously covered in red Malian dust....
ASF 322 cassette
From a later date, but still from the 1980s, here is a video of Wande Kouyaté recorded by Malian television. Unfortunately no Bazoumana, but still a very nice version of a song which is also on the cassette I posted earlier: "Niame". You may be tempted to think "Ne Ya Me" is the same song, but this is clearly not the case. Note the remarkable change in pace set in after 5'40. Being a true vedette of Malian music Wande leads the ensemble....
*including traces of reversed vocals which I can only attribute to an error in the alignment of the recording head when they made the 'mastertape' for this cassette.
In terms of nobility, of character, of even resolve in defending the traditions she believed in, Hawa Dramé is without a doubt an 'old school' griot.
Born in Niono, Hawa started singing for an audience - not unlike many of the Great Griots from Mali - as a young girl, at the age of six. In an impressive career, which not only brought her national fame through her membership of Mali's Ensemble Instrumental National but also international recognition, she was both a fantastic singer and also a researcher into the vestiges of bambara musical culture. As such she was in turn a source of inspiration for others, - like the Super Biton orchestra, which converted many of the traditional themes (or 'rhythms', as they are often called in Mali) made famous by Hawa Dramé into modern orchestral pieces ("Lefenin", "Sodanso" and others).
In my opinion there is no better proof of Hawa Dramé's talent than this cassette, which consists of songs recorded by the ORTM. At least three of the five songs were originally recorded for television. The first of these, "Djandjon", I have posted earlier. The cassette was released* in the late 1980s, but I am assuming the television recordings were made a few years earlier.
My favourite song of this cassette, and perhaps even my favourite song by Hawa Dramé, is the monumental version of "Mbaoudi". The song starts with a two minute instrumental introduction by a choice selection of Malian instrumentalists, with Bouba Sacko (ngoni) and Tata Bambo's husband Modibo Kouyaté(guitar). Then, Hawa Dramé takes command of the song. She does so in a way which leaves no doubt about who is in charge. She is the singer and the group is there to follow her lead. Although the accompagnement is quite loud, she has no problem staying on top.
In tracks like "Hinebe Delila" and "Djoba" Hawa Dramé shows the value of an aspect which many of the present-day artists from Mali seem to have forgotten. Instead of going 'full-blast' throughout the song, she alternates a more intimate singing style with more forceful passages.
But all her songs have one thing in common: they are all 'posé', with an almost striding rhythm - and a matching regal voice.
I have delayed posting this cassette to find a way to add this wonderful twelve minute (i.e. too long for YouTube) video of "Noumou Foli". This ode to the blacksmith patrons (by the name of Ballo) of Hawa Dramé's family is also on the cassette, but breaks off after six minutes. In the video, which is the same recording as the cassette, the full version (well almost....) of this great song can be heard.
* and I have been assured this was done without the consent - or even knowledge - of the artist!
When Bazoumana Sissoko died on December 27, 1987, the myths surrounding this legend of Malian culture neither started nor ended. Even his birth is surrounded with myth. He is said to have been born on the day the French general Archinard took the town of Segou (this historical event took place on April 6, 1890), - according to some in Koni in the Tamani cercle of the Segou region, and to others in Seguela which nowadays is in the Koulikoro region (but at the time was also part of the Segou empire). Not only born blind, but also a paralytic from a young age, he nevertheless grew to a monumental status in Malian society, earning him the nickname of Le Vieux Lion. As a Sissoko he was born to become a griot of the nobility, and this destiny he took very seriously. He is a classic example of a traditional griot, and as such refused to 'sell out' praises to anyone. Instead he studied the extensive range of legends and myths of Segou and the bambara epic, using the examples of the heroes of these legends to praise positive human qualities. His limitations he turned into an advantage, by studying the ngoni and becoming the undisputed and inimitable master of this instrument.
He lived through the degradation of the colonial era, through two world wars, experienced the struggle for - and subsequent joy of - independance. At the end of the colonial era, in 1952, he was one of the first 'native' artists to be recorded by Radio Soudan, when he accompanied Koni Coumaré.
In the first decade of Mali's independance Bazoumana evolved to the status of national monument, not just by writing the music of the national anthem of the new state (the lyrics were written by Seydou Badian Kouyaté), but also by his contribution to each and every national event. Very soon in hearing Bazoumana on Radio Mali Malians knew that an important event had taken place or was taking place, whether it was a day of national celebration or of national mourning.
After the military coup d'état in 1968, led by 'Balla' Moussa Traoré, Bazoumana was rarely seen (although his music was still heard on the radio). A passage in one of his rare songs from this era where he sings that a griot can not serve two masters (jatigui) is interpreted as an explanation for his absence from the 'limelight'.
His withdrawal from public life after 1968 did not result in Bazoumana fading from the memories of the Malian people. Instead the myth surrounding Bazoumana grew. It was said that in the heat of a performance he had put his beloved ngoni aside,and the instrument had continued playing on his own*. Even today you can still hear stories (or myths) about Bazoumanaba and his magic ngoni.
When Bazoumana died in 1987, it was said that one of the legendary balanzan trees, which stand at the entrance of the town of Segou and which are symbols of Segou's status as a former empire and craddle of bambara culture, had fallen.
This cassette is a local copy of a recording made by Radio Mali. I have asked several people about the date or year of these recordings, but have been unable to get a unanimous verdict....
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.
Teningnini Damba (who surely must be 'Tenin' by now*) has built her whole career on the repertoire of her father, the legendary 'Vieux Lion' Bazoumana Sissoko. She has reworked and rearranged a great number of his songs, and has had quite a bit of success in Mali and with Malians outside of Mali. I can imagine it may be hard for an outsider to understand the appeal of her work. Because she doesn't have the voice of a nightingale (unless you count nightingales of the Nigerian or Congolese variety) or the accompanying group of Hawa Dramé.
So it must be the legacy of her father. Bazoumanaba's version of the song in this video was released on the second of the two Bärenreiter-Musicaphon lp's (BM 30 L 2553). The sleeve notes read: "Sarafo really originates from Moorish folk-lore; but it has also been sung for Siaka Traoré at Kémè-Na near Barawili". Need I say more?
* the "ini" bit of the name means "little", as in "young".
After more than 23 years of making radio programmes I am seeking new ways to share my passion for African and Latin music. My intentions are 100% non-commercial.
If any post offends you please email me or report this in a comment.
In the first of these I would like to share with you a cassette by Hawa Dramé. Hopefully you have seen (and perhaps even watched) the videos I posted some time ago (here and here). More persistent fans of the classics of Malian music may have even listened to the two (1 & 2) cassettes I have shared*.
