Perhaps you have been wondering why I haven't posted a eulogy to the late Taby Ley Rochereau. Or why I haven't commented on the death of Nelson Mandela. And what are my feelings at the death of prolific producer Ibrahima Sylla?
I certainly have opinions about all of these, but in the case of the first and the last this is not the time to express these. And in the case of Madiba: what can I add that has not already been written, by persons far more qualified, far more knowledgeable than me? I simply have nothing new to contribute to the overwhelming sorrow at the death of this inspirational human being.
And those who wondered if this blog had come to an untimely end, or if inspiration or motivation had run out, can rest assured that this is certainly not the case. I was merely getting overworked and simply had neither the time or the physical energy to sit down and spend time sharing the wonderful and ever amazing music of the African and latin continents. Inspiration, passion even - just listening to the music you will know that there is very little chance that this will go away.
In this post I would like to share a cassette by an artist who has featured in this blog before (here and here): Sali Sidibé.
Many of Sali's cassettes are among my favourites from Mali, and this is certainly one of those. It is a somewhat exceptional cassette in that Sali is accompanied not by a 'traditional' ensemble but by a modern orchestra. According to the guitarist Boubacar Diallo the orchestra consisted of members of National Badema (do yourself a favour and listen to their cassette if you have - erroneously - overlooked it). Going by the sound of the orchestra this seems very likely, although I have heard others claim that members of the Rail Band are actually accompanying this great singer from the Wassoulou district in the Sikasso region of Mali.
What makes this cassette really special is the authority with which Sali addresses the people of Mali. She does so talking, and this in itself is part of a long and very respected and respectable tradition in Mali. Ms. Sidibé is dishing out advice on all kinds of issues, and particularly issues which would concern those living in the more rural areas of Mali.
I particularly like her warnings against tasuma , i.e. fire, in the longest track on this cassette, "Anw Ka Jiri Turu". The song starts of with the sokou (probably Zoumana Tereta) imitating the sound of a fire-engine. In the opening line of her (spoken) message to the public Sali gets straight to the heart of the matter: "tasuma magninde" ("fire is no good"). She continues to point out the places where fire can present a serious risk.
In any other country this may sound like kicking in a space where no door has ever been. And I suppose to a lot of Malians too it does sound like she is stating the obvious. But this is also part of her role as a musician. She is confirming the obvious. Fire cán burn you, bush fires cán ruin lifes. So "tasuma maginde". Be careful with fire, think of the risk.
But even you have no idea where Sali Sidibé is talking and singing about this is simply a superb cassette with great music.
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.....
For the past week and a half I have been living in a state of severe and toe-curling irritation. Of course the London Olympics came with the usual nationalistic sentiments, and with the customary hypocrisy with regards to the winners (of course no one begrudges those Chinese or US sportsmen and women winning all those medals). And I didn't even mind the hosts gloating excessively about their achievements.
What really got me was "Team GB" (pronounced "Geebee").
It's like nails on a blackboard. "Team GB". They should shoot the idiot who started this.
I realise the British have been 'matey' with the US for some decades now. The embarrassing encounters between Thatcher and Reagan immediately spring to mind. And I am aware of the uncomfortable and slightly bizarre relationship of Tony and George W (just thinking about this dynamic duo I get shivers running down my spine....).
But "Team GB": it seems like a turning point in history. Finally the British have given up their own culture in favour of that rich culture that gave us...
Well you tell me.
When it comes to cultural integrity, I am not as worried about Mali as I am about the UK. The country has survived colonialism with its culture intact. The islam in Mali is not the islam of Arabian Peninsula or the islam of the expatriates in Europe. What I have experienced of Malian islam suggests that the balance between islam and traditional culture is still in favour of the latter. So I am not convinced Mali will be an African Afghanistan.
And evidence for this can be found in the music. There is so much authenticity in this music and such strength of culture.
Listen , for example, to this cassette by Molobali Keita.
This is volume 5, - and there are more (besides the ones I have already posted - Vol.4, Vol.3, Vol.2).
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.
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.
Where was I when the planes hit the Twin Towers? I was sitting amongst the dignitaries, watching the opening of the first new style Semaine National des Arts et de la Culture (SNAC).
As Graeme Counsel, who was there with Daouda 'Flani' Sangaré and me, put it in his thesis: "The festival commenced with a grand opening ceremony held on Avenue de l’Independence in front of an assembled crowd of dignitaries. Under a hot sun each region and district paraded along the avenue giving the audience a sample of what was in store for the competition proper. Most performers wore traditional costumes and were accompanied by a variety of ensembles performing both modern and traditional instruments. Dancers spun around, acrobats threw each other in the air, which throbbed with the sounds of each of the performance troupes. The soirée for the opening night was to be held by the region of Sikasso, the highlights of which were their orchestra and dance troupe, the latter performing with gourds covered in cowrie shells which supplied a perfect rhythmic accompaniment."
I can add little but some photos, plus a recording made of the 'chant solo' of the Troupe de Sikasso and the dance troup who performed with the cowrie covered gourds.
And the music of this chant solo is here, and the music of the dance troup can be found here.
I will post some more recordings from the 2001 SNAC later.
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!
In a culture where tradition, or the passing on of skills, an art or customs from one generation to the next, is almost part of the genetic material of the people, it is not rare to see a son following in the footsteps of his father. In Mali there are loads of examples of musical sons or daughters of famous musical fathers and/or mothers. This post is about one of these: Lamissa Bengaly No.2.
His father, Lamissa Bengaly (who would have guessed it..) is revered in Mali as one of the pilars (and in Mali it is more likely that they would call him a "great tree" - or "yiriba") of Malian culture. But I doubt that many Malians even understand a word of his lyrics, because Lamissa sang in minianka. Nevertheless his influence was strong, although perhaps more as a promotor of the balafon music of the Sikasso region in general and the animisticminianka culture of eastern Mali in particular. Born in a village in the Nkourala cercle not far from the town of Sikasso, Lamissa has had a great influence too on the singing style of bala music. You can find one of his (unfortunately rare) cassettes on the Wassoulou blog. And here three tracks on an even rarer lp* with a selection of Malian music. These tracks are not credited to Lamissa on the lp, but Daouda Sangaré, who grew up listening to Lamissa's music assured me it was him.
Lamissa Bengaly on the lp "Musique du Mali"
But, as I mentioned before, this post is about his son, and about his music. It is surprising, however, how little information there is about Lamissa No.2. I have been told that he mainly sings in bambara, and not in minianka; and although I suspect this is right, I can't actually confirm this. Maybe this is the reason that he is never mentioned as his father's heir....
This cassette, released in 1998, can compete with the best. The emphasis in this cassette is more on the singing than on the bala, although the bala is very nice. The rhythms are slower than for example Molobaly Keita and Neba Solo, and this sets off the vocals even more. This is a cassette that has grown on me, - but I have had to listen to it for quite a few times before it did.
If you thought Molobaly was too modern I advise you to skip this one. Souleymane Traoré, better known under his stage name Neba Solo*, is musically far closer to the "Balani Show" style than Molobaly.
I met him once at Mali K7 in Bamako, and he appeared to be a rather shy young guy, - quite a contrast to his somewhat boisterous manager. So I suspect the addition of several 'modern effects' may have been inspired by the french engineer at Studio Bogolan. The dosage is rather modest though...
This cassette was recorded with a definite commercial purpose. It was to be a 'hit' at the African Nation Cup, which was held in Mali in January 2002. Should you be interested in who won, by the way, on this wikipedia page are all the results.
At the time of these recordings Neba Solo had already had 'hit CD' on the market, titled "Kenedougou Foly". This CD was released on the European market in 1998.
All this talk about markets in my opinion is reflected in the music. Personally Neba Solo is trying too hard on this cassette. And I am sure the studio engineers have shown him the way to 'conquer the markets'.
Especially vocally Neba falls short of the mark. Not only compared to others, like Molobaly Keita or popular young stars like Dabara, but also compared to his first cassette ("Hommage A Lamissa Bangaly", which I will post later) or even to his "Kenedougou Foly" CD.
The instrumentation does, however, make up for a lot.......
A video clip of the second track of this cassette can be found here (or here). And a live version recorded 5 years ago in Ntogonasso (which, judging by the name, I guess to be somewhere near Sikasso) of the first track on side B here.
And finally here is a video from Malian television, shared by Ngoni on his very promising YouTube channel.
* a stage name which I gather carries a reference to the village of Nebadougou where he was born, plus to his own first name.
Continuing the balatheme , I am returning to an artist of whom I have already posted two cassette (here and here). Molobaly Keita appears to have been at the basis of a new phenomenon in Malian youth culture, and more particularly - and more remarkably - urban youth culture.
In the villages of Mali (especially in the southern part of the country) balafon groups have been entertaining children and women for ages. These groups, usually of musicians who also play in larger ensemble at ceremonies and festivities, perform in the street or on any 'square' or opening in the village. Parties like these are part of passing on the culture, and for the children an occasion to practice - or even compete on - their dancing skills.
Over the last ten years, these bala parties have moved to the city. They have taken the place of the Sabar dancing parties or "Sabarni", which for their increasingly indecent and immoral character were banned from the streets of Bamako in the early years of this century. Apparently female dancers were showing off more thigh and behind than the public morals deemed respectable.
The "Balani* show" street parties took their place in the teenage culture of Bamako. As the word suggests, the key instrument in these parties was the balafon.
Personally I think the music of (artists like) Molobaly Keita must have played an essential role in this urbanisation of the village bala parties. And more precisely: this very cassette. For it is the first cassette in which Molobaly used a drumkit.
As I have written before, it took me some time to get used to the drumkit. But I can see now that this opened the way to a completely new 'use' of this - essentially traditional - music.
To give you a better idea of the "Balani show" phenomenon I advise you to watch this very interesting video (in french, - but if you're interested I'll translate it).
Unfortunately it appears that the "Balani show" has taken, like the "Sabarni" before, a turn for the worse. First there were rumours of nightly disturbances and a first call to ban the parties. Then came reports of weapons and people being killed. More recently the calls to ban the parties seem to have grown louder, so it may be just a matter of time before we see the end of the "Balani show".
At least, in Bamako. In the villages there always be bala parties. And in the city....maybe they will continue, but just for children.
Here is Molobaly Keita's third cassette. It features amongst others the track "Signana Tolo" of which I have posted a video earlier.
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.
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.
Compared to the amount of words in print about the hunters' music of the Wassoulou there is sadly little of this music available in the shops. This is regrettable, because it is the music itself that has given rise to its fame, and not all the various music styles which (claim to) have been derived from it.
This is only one of the reasons why I am posting another cassette by a donso n'goni artist. The main reason is, of course, that it is just plain great music.
This cassette by Yaya Sangaré is (again) one of the many produced by Siriman Diallo, who is the number one specialist and authority when it comes to hunters' music. His cassettes are strictly legitimate, with all copyrights paid.
Like many of the great donso n'goni artists Yaya Sangaré is a man with a strong personality. The force of this can be sensed in his music. He is perhaps not as spectacular as Yoro Sidibé, and certainly not as extreme as that young lion Sekouba Traoré (who will the subject of a later post), but he has enough depth to compensate for what he lacks in ardour.
It seems to me this cassette was recorded in two sessions, with side A and the first two tracks of side B belonging to the - more introspective - first, and the last three tracks to the - slightly more extrovert - second. Both moods seem to fit in perfectly with the stormy wet November weather we are having here in Western Europe (but don't ask me why...).
Sali Sidibé is one of the great singers of the kamalen n'goni music. She has been active as a professional artist for nearly thirty years. She was a member of the Ensemble Instrumental National in the earlier 1980s, when she recorded this cassette. I have read somewhere* that she made her first cassette in 1989, but this cassette is proof of the inaccuracy of this.
Like many of the Wassoulou kamalen n'goni style Sali uses songs from the hunters' repertoire, but -while staying with the original theme - reworks them for others purposes, i.e. mainly to convey social 'instructions'. She warns of the risk of bush fires, advises not to judge people by their appearance, urges not to go for the short-term gain of the individual but for the long-term benefit of the community. Sali's instructions have at times been misinterpreted as criticism of certain politicians, but according to those who have worked with her it is very unlikely that the criticism was intentional.
Musically Sali Sidibé has stayed closed to her roots, incorporating traditional instruments in her ensemble. When I bought this cassette, I was told that Alou Fané was accompanying her on kamalen n'goni, but Alou himself later denied this. Others assured me Zani Diabaté was the guitarist on this cassette, but although the guitar style is similar to Zani's I don't think this is true either (I'll have to ask Zani about this one day...).
On later cassettes (and I'll post some of those later) Sali has used a wide scope of traditional and modern instruments, but the focus has always been on instruments that are also used in the traditional music of the Wassoulou region. In this video from the late 1980s (I estimate it is from 1987 or 1988) the sokou (bambara fiddle) plays a prominent role and is supported by bolon, bala and kamalen n'goni. Note (again) the wonderul dancing, this time by a male and a female dancer (and the rather comical attempt to copy this dance by an older man who looks a bit like Sidiki Diabaté). Coincidentally, this track is also on the cassette. It is a version of a song by donso n'goni legend Toumani Koné in praise of one of the earliest (known or remembered) donso n'goni artist Ngonifo Bourama.
*Can someone remind me where I read this?
PS: The track order on the cassette sleeve is incorrect.
She has the appearance of a girl, - but one with a voice like a dagger. Na Hawa Doumbia is one of the great singers of the Wassoulou you can't help loving. Although she has wandered along a musical path I personally have no interest in following, I still admire her for the stubbornness and decisiveness in which she gone her own way.
Born in a village near the Ivorian border but raised in Bougouni (Sikasso region), Na Hawa started off in the Chant Solo category of the Biennale Artistique et Culturelle, with wonderful songs like "Nyama toutou" (1974), "Banani" (1978) - the song in the video at the bottom of this post - and "Tignè de be laban" (1980), with which she won first prize. From there she was allowed to participate in the Découverte competition of Radio France Internationale, where she was first in the category 'Songs with a traditional source'. This meant that she could perform at the soirée at the Théâtre Daniel Sorano in Dakar. Her performance accompanied by her guitarist (and husband) N'Gou Bagayogo attracted so much attention that was invited to record an album. This album, "Kourouni", released in 1981, was followed by a second, "Sakory Mery", in 1982 and by a third, "Korodia", in 1983.
This third album was Na Hawa's first attempt of finding her own way in music. It is a discovery of possibilities and perspectives. In fact, there is only one 'foreign' instrument in this album: the piano. But the way the piano interacts with guitar, kamelan n'goni and percussion is completely unique. On the lp three* songs from the "Sakory Mery" album are repeated. The reason for this I don't know. Maybe she wanted to contrast the new songs with the old. To me it doesn't matter, I still can't help loving this unique singer from Bougouni....
Here is, as a bonus, a delightful video featuring Na Hawa performing her 1978 song "Banani" in the streets of Bougouni.
* I am only including two of these. I will post the other two albums at a later date. The posted tracks are, by the way, compiled from several cassettes.
On Sunday May 10* Coumba Sidibé has passed away in her home in the Bronx, New York. Coumba Sidibé was certainly one of the pioneers of kamalen n'goni music in Mali, but never got the international recognition for this. A reason for this may have be that she left Mali in the 1990s, and via Abidjan and Paris settled in the US. Rumour has it that she won a lot of money in a lottery in France, which allowed her to make this move. I would like to stress that this rumour has its origin in Mali, - a country where rumour and jealousy go hand in hand...
Musically Coumba's heyday must be sought in the the 1970s and 1980s; first when she was a star with the Ensemble Instrumental National ("Diya Ye Bana", her greatest hit from that period can be heard here), and subsequently after her magnificent performance on Malian television (at the time called RTM) in the mid-1980s, of which I have posted two tracks earlier ("Tolo" and "Noumouna Koulouba"), and of which I am posting the first track here. In this track Coumba is addressing the president, - at that time 'Balla' Moussa Traoré.
The second video is from Coumba's stay in France in the 1990s. It shows a very different Coumba Saba, compared to the rather timid, but vocally brilliant artist of the RTM performance. There is an element of 'swagger' in her appearance and she takes her time to receive the praise. Vocally she has lost some of the intensity she had in the RTM video. The track "Yali Djamou" was originally released on the cassette I posted earlier. I am told that one of the two dancers/chorus girls is a daughter of Coumba (but I don't know which one).
I had planned to post the track "Saya Magni" (litt. "Death is no good") which is also on this video, but this song is spoiled by too many people crowding the stage....
With the death of Coumba Sidibé Mali loses another of the pioneering stars of the kamalen n'goni music.
I don't have the sleeve of this cassette, and there is reason for this. I first heard this cassette by the great singer Molobali Keita (of whom I posted his fourth volume earlier) in Mali in 2000. I already had a few of his later cassettes and, although I had to get used to the drum kit which he had introduced to complement the traditional instruments, these had slowly but surely grown on me. But that sweaty night in Bamako, listening to his second volume I heard for the first time the Molobali I subconsciously always had known existed. It was one of those rare moments that people, place, ambiance and music synchronised.
It took some effort to get a copy of this cassette, but I think you'll agree it was worth it. Technically it certainly isn't Molobali's best recording, but the vibes on this cassette are incredible. I advise you to play it late at night, outside - if you can - or when the house is empty.
All the tracks are traditionals from the Sikasso (or Kénédougou) region, and more particular from the region around the town of Sikasso, which is the source of an incredibly rich balafon tradition.
To give you an idea of what this music looks like, here is a video from Malian television. I assume it is from approximately the same time as the cassette. The line-up is at least very similar. The round gourd drum is a type of 'bara' (which comes in different sizes). The title on this video is "Shinyana foli", but on Volume 3 the same track is called "Signana Tolo" (and I suspect the latter is the correct title).
PS: There is another (and much better quality - especially in HQ) video featuring Molobali & Mama Keita here (thanks Scott for reminding me).
After some minor technical issues in December I have had to overcome some major computer challenges this past week. So there has been a break in my posts. Luckily everything seems to be in perfect working order now (touch wood), so you can expect the usual steady stream of posts to continue.....
This is the start of new series of posts featuring some of stars of the donso ngoni (litt.: hunter's guitar) music of Mali.
It is not completely unintentional that I am starting this series with a cassette by Yoro Sidibé. Because I would also like to draw your attention to the good work done by Jack Carneal and his Yaala Yaala label. I strongly sympathise with his mission "to release this music ( ... ) that you might hear if you were wandering yourself among the cassette stalls in Bougouni, Bamako, Kolondieba, Sikasso, Segou, Fez, Marrakesh, Cairo, Dakar."
A lot of mystery surrounds the hunters in West-Africa, and even more tradition. Like the blacksmiths (numu) the hunters often form (secret) societies, with their symbols and rituals. The ngonifo (ngoni player) plays an important part in confirming the status of the hunters and perpetuating the tradition. Often the donso is from a numu family (Koné, Fané, etc.) and therefore combines two strong traditions.
Yoro Sidibé is from a Fula or Peul family from the village of Bambala, in the Sikasso region south of Bamako and very near the Guinean border. He comes from a long line of hunters, and his great-grandfather is said to have stopped Samory Touré from entering into the village of Bambala. Yoro Sidibé was born in the 1940s, and has established himself as a teacher of the music and its traditions.
The cassette I am posting here is from a brilliant series released by Siriman Diallo. The cassette is undated but I suspect the recordings were made in the early 1990s. The quality of this cassette is astounding, as is the quality of the music.
I was going to post this two days ago, but the upload to YouTube took to long, so I didn't have time to finish it.
Here is another video from the same concert as "Yayoroba" by Oumou Sangaré. The concert was recorded by Malian television in 1988, - so from the earliest part of Oumou's professional career.
The song "Saya magnin"(which can be loosely translated as "Death sucks") is based on a traditional from the hunters (donso*) music of the Wassoulou region, but is a 'popular' theme in other Malian musical styles too. Unfortunately the song breaks of after just over four and a half minutes.
*This is the official spelling. It is often pronouced as "dozo".
As I have mentioned in an earlier postAlou 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.
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...
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.
the music you will know that there is very little chance that this will go away. 
-sleeve.jpg)
