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.
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.
When Daouda Sangaré came to Bamako he met with friends from the same area of the Sikasso region. As Flani was already quite popular as a dancer, musician (he played the kamalen n'goni and the bala) and singer his friends asked him to join them to play at baptisms, weddings and other events. In 1964 he was introduced to Alou Fané, who came from a village close to Flani's native village. They were best friends right from the start. Flani (who was very popular with the ladies) even found Alou a wife.
Flani's popularity grew until in 1968 he was invited to join the Ballet National du Mali as a principal dancer and singer, acrobat and musician (mainly bala). He persuaded them to contract Alou as well. In the Ballet they met Zani Diabaté. Zani already had a band going in Bamako called Harmonica Jazz, with Zani playing the harmonica. He, Flani and a talented djembé player called Maré Sanogo decided that they could combine their work with the Ballet with a private orchestra. They would rehearse in their spare time while on tour (the Ballet performed all over the world), with Zani playing guitar, Flani kamalen n'goni (and vocal) and Maré djembé and percussion. The band was called Ganoua Band.
At the time there were two national orchestras: the Formation A, led by Kélétigui Diabaté and Formation B, led by Ades Traoré. And in the early 1970s the Ganoua Band was appointed to be Formation C. They played at the Club Sportif (which is now the Carrefour des Jeunes). First Formation A three tracks, then Formation B three tracks and finally Formation C three tracks.
Flani and Alou Fané had already made their first recordings at the Radio Mali in 1968. These were the very first recordings made of kamalen n'goni music. I'll post some of these recordings in a later post.
After travelling abroad (amongst others to Cuba) the Formation C was left without work. So Zani and Flani went back to the private form which they named the Djata Band. The band started recording in 1974 (at the Radio Mali). Later some of these recording were released through record labels in Abidjan (Mali didn't produce records until 1980).
Here is an lp from the late 1970s, released on the Disco Rama label in Abidjan. As is the case with most of the Super Djata albums the quality of the record is rather poor. So here are two versions of this classic Super Djata album, one from vinyl and one from a cassette reproduction which I bought in Mali.
And to give you an idea of the enormous talent of this orchestra, here is another track of the 1984 Angoulême concert, "Djegnogo Djougou" featuring Daouda 'Flani' Sangaré on lead vocal.
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.
Zani Diabaté and Daouda 'Flani' Sangaré in Groningen NL, Sept. 2006 (photo: wrldsrv)
It is with great sadness that I inform you of the loss of another great musician. Today Malian musician Zani Diabaté has passed away in a hospital in Paris, France, after suffering a stroke.
He was entering the studio to continue recording when he collapse and was rushed to hospital.
Zani was a great guitarist, a dedicated leader and co-founder of the legendary Super Djata Band, and from the beginning of this century a director of the Ballet National du Mali. But more than that he was a great family man, a dear and warm friend and a very nice and open guy.
I have many, very fond memories of Zani, and hope to share some of these with you in this blog in the future.
On this sad occasion, with the deep shock of the news of his death, I find it very hard to dig too deep in his extensive oeuvre, but I can assure you that there will be many more gems featuring Zani Diabaté in this blog.
For the moment I would like to share with you this video from Zani's heyday as leader of the Super Djata Band, recorded during a concert in Angoulême, France in 1984. The song is an ode to Zani, and is a demonstration of Zani's tremendous skills as a guitarist. The video also features the two great singers (and dancers) Daouda 'Flani' Sangaré and Alou Fané, who unfortunately are also no longer with us...
My condolences go to Zani's family, and especially to his son, who is following in the impressive footsteps of his father.
May Zani rest in peace.
EDIT: December 11, 2010: Apparently this post has been premature. See "Rectification".
Some time ago a friend drew my attention to this passage in Banning Eyre's book "In Griot Time" about Dounanké Koita.
"Dounanke was raised in a family of musicians in a town called Tominian, east of Segu in Bobo country. He came to Bamako as a boy, and after many years of playing in wedding bands and as a support man in Manding and Bambara pop groups, Dounanke made his name at the age of thirty-five when he released his first cassette. The cassette was a rare recording of music from the Bobo, a people who straddle the borders dividing Mali, Cote D'Ivoire, and Burkina Faso. That first cassette was produced, like so many succesful Bamako debuts, at Philippe Berthier's Studio Oubien, and it won Dounanke considerable play on radio and television at the time. But that was in 1992, and he hadn't followed up with a new release. "For now", he told me, "we do our work in the bars"."
I think he is selling Dounanké short when he writes about his history before recording this cassette. Because Dounanké was a respected rhythm guitarist with the Super Djata Band. One of his tracks, "Tindoro", features on the CD version of the Super Djata (studio) album. That version was instrumental, but during concerts the track was sung by Dounanké himself.
Here is the track as it was performed in Amsterdam on November 11, 1985.
I assume the cassette Banning refers to is the one with Dounanké on one side and Mama Koita on the other.
The focus on the Mama Koita side is (as with Molobali Keita) on the Minianka music in which the balafon plays a major part. The side of Dounanké features Bobo rhythms, with Dounanké (as in "Tindoro") on talking drum.
I am not quite sure what has happened to Dounanké. I was told that he died; but I have had no confirmation about that. If it is true, it is another great loss....
Watching the video by Zani Diabaté and the Super Djata Band I posted yesterday, I was reminded of a video with another version of the same song. It is from the same televised concert as "Yacouba" which I posted in August.
Although the song is the same, the performance in this version, which was recorded live in the studio of the RTM (Malian television) in the early 1980s, is far more 'informal' and at times even chaotic. At the start the voices of Daouda 'Flani' Sangaré and Idrissa Magassa are hardly audible, only Alou Fané's characteristic vocal can be heard. I get the impression that Alou had no problem hearing Idrissa and Flani, as he tends to lean a bit on the harmony. When Flani does come through - after about 1'40 - Alou is slightly out of sync. Later on (3'07) an audibly irritated Flani even tries to call Alou to attention.
Meanwhile Zani remains completely undisturbed and from 1'54 even starts jumping up and down. Even when Flani walks over to him (3'35) and addresses him (to complain about Alou??), Zani seems to take no notice and even goes on to do a series of acrobatic stunts, while he continues playing his guitar!
I just love Zani's energy in this song.
I first met Zoumana Tereta when he took part in a rather prestigious project called "Fura, Opera Bambara", which toured through the Netherlands in March 1999. I remember it was a miserable day, - cold, wet (see photo on the right).
My interest in the tour was drawn not only by the fact I had been phoned by the producer Abdoulaye Diarra, but also because my friends Daouda 'Flani' Sangaré (see previous posts on this blog) and Zani Diabaté (see particularly this post) were participating. It actually was the first time I saw Flani dance without Alou Fané. Because he was not only singing, but also dancing.
Besides these stars from the Djata Band the Opera feature two great names from Malian comic theatre & television: Habib Dembelé, better known as "Guimba", and Michel Sangaré. Leading lady in the production was Guimba's wife, singer Fantani Touré. You can find the full line-up here* (unfortunately only in Dutch, but I guess you can still sort out the names..).
We saw them perform in Amstelveen and a few days later in Utrecht, where we joined them afterwards for a chat and a drink. They were staying in a somewhat bleak motel outside of Utrecht. To liven things up Flani suggested they would play a bit of music. I have posted one track of this session in the tribute to Zani (#10). If I remember correctly Zoumana himself suggested he would do one of his own songs. I was surprised about how familiar his voice sounded to me when he started singing "Sira Mougoulé" ("the well made path"), accompanying himself on the soku, the bambara fiddle.
I have since wondered about this. I had never heard him sing before, but still it seemed to me as if I had. His voice is well-matched with the instrument of which he is the undisputed master. Zoumana, by the way, disputes the suggestion that the soku has its origin in Wassoulou (as I see is also claimed on wikipedia). According to him the roots of the instrument are in Segou, and in the bambara music of Segou.
When I heard Zoumana Tereta play and sing again, a few days later at my own house, it dawned on me that I was listening to a voice from the past, a survivor from another era. The era of artists like Bazoumana Sissoko, Koni Coumaré, Fanta Damba and Tara Bouaré. An era of artists that had not succumbed to the (at times narrow-minded) taste of western moneymen. An era in which traditional music began the transition from the live performance in front of real people to the still images recorded in the sterile surroundings of a studio.
Zoumana has played with everybody. In the eighties and nineties he played with Sali Sidibé, he replaced Aliou Traoré in Oumou Sangaré's band and in Badèma National, he performed and recorded with Bassekou Kouyaté, with Toumani Diabaté, with that sympathetic Samba Touré (who appears to have his own YouTube channel - or channels?), in fact with everyone who is anybody in Malian music... He has released two albums himself, "Niger Blues" (2003) and "Soku Fola" (2008), which are perhaps not so easy to get hold of (and - again - please correct me if I'm wrong).
Last October I saw him again. During a performance by Ethiopian azmaris (subject of a later post!) at the Patio, the - excellent - restaurant of the Institut Français (or the Centre Culturel Français or CCF as most Malians continue to call it) on October 26, 2011 he intervened, joined in. While it was interesting to see the merging of pentatonic styles, I was more interested to see him perform solo, - 12 years later.
I managed to record one or two of the songs he performed. He seemed very self-assured, matured, compared to 1999. And more extrovert too. It was clear that he had grown in stature in the last decade.
Seeing him unfortunately also filled me with nostalgia for my two friends who since those sessions in 1999 had passed away...
In the video you may note Lucy Duran reacting to the praises of Zoumana. Sitting to the left of me and noticeable at the end is Momo, the algerian (via Denmark and other parts of the world) host of the Patio.
* the name of Daouda Sangaré is missing... ** You may be interested to know that the 'percussion instrument' you can hear in both sessions is actually a box of matches. The instrumentalist is comedian Michel Sangaré.
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.
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.
I first saw Oumou Sangaré when she was 'just a singer' with the Ensemble Djoliba Percussion of Bamba Dembelé. It was at the 1987 Angoulême festival and Bamba (who I had met when he played with the Super Djata Band) had invited us to stay at the youth hostel where not only he and his ensemble were staying, but also the Burundi Drummers. We were woken rudely in the night by what sounded like a stampeding heard of cattle. It turned out that one of the Burundi Drummers had attempted to enter the dorm where the Malian girls were sleeping. He had been decisively (and forcibly) removed by Oumou. I have later tried to get Oumou to talk about what exactly happened, but she doesn't want to be reminded of this early period of her -now blooming- career.
Here is a video from the early days of Oumou's career as a solo artist. It is probably from the beginning of 1988, - the year in which she had a huge hit in West-Africa with her cassette "Moussolou". I especially like the dancer who comes in after 4 minutes. Wow!
With the holiday period over and business returning to normal I am hoping to find more time for this blog. Particularly I hope to post a few of the albums, cassettes and recordings I have promised in previous posts.
I would like to start with an album I referred to in a post more than two years ago. And I am not going to repeat what I wrote then, so this can be a short post.
This lp, recorded in Abidjan in 1979, is not my favourite by Djelimadi Tounkara and the Rail Band du Mali, but it does have some of my favourite tracks by the orchestra. I agree with Graeme Counsel (see my earlier post and Graeme's notes on his website) on "Dosoke Cery", but prefer the opening track of side A, "Koulandjan", to "Djiguiya". While the organ (played by Cheikh Tidiane Seck) is slightly irritating, particularly because of the thin sound, horns and guitars are nicely proportioned in this Malinké classic. Djelimadi himself (lead guitar) is great on all the tracks, and please also note the rhythm guitar, played with considerable flair and subtlety.
The singers on this album, Sekou Kanté and Sekou Kouyaté, are okay but not exceptional, and certainly not of the same level as Mory Kanté or Salif Keita. In songs like "Trio Mandingue" their harmony is a bit awkward and tends to create an atmosphere of sullen boredom.
As I mentioned I don't share the enthousiasm for the track "Djiguiya". This may have to do with Cheikh Tidiane Seck's dominant role in this song and my general aversion to 'funky tunes'.
To me the star of this album is the wonderful version of "Dosoke Cery". All the elements fall into place in this song. I write "version" because if you listen carefully you may hear the similarity between the melodic theme of this song and that of "Diabaté Zani" by the Super Djata Band. This theme is, of course, derived from the music of the hunters (donso); a line of stars of the donso ngoni music is mentioned*. "Dosoke Cery" is brilliantly understated and jubilant at the same time. The jubilation is provided by the superb interaction between rhythm and lead guitar, the understating is done by both organ and singer.
I am sure many of you won't agree, but I am of the opinion that the organ is superfluous and the song would be even better without it. The organ partially neutralises the tension generated by the two guitars and the vocal. Despite this critical note, "Dosoke Cery" is still a great song.
Alou Fané and Daouda 'Flani' Sangaré were born in the Ganadugu district of the Sikasso or Kénédugu region of Mali. In the traditional caste system the Fané family is a family of blacksmiths, while Sangaré is a Peul or Fula family. As such they are linked by tradition, as a Peul is the only one who can joke with a blacksmith (traditionally having a position of power and mystic force).
Together, they set the rules for the kamelan n'goni music. In most cases with Alou playing the kamelan n'goni and Flani singing.
In the late 1960s they joined the Ballet National du Mali as musicians and dancers. And in the Ballet they met dancer/djembé player Zani Diabaté. The three decided to start a private orchestra as a sideline to their work with the Ballet, the Djata Band.
I certainly will be posting more of Alou's work in future posts.
Here is a track from a concert at the 1984 Angoulême festival featuring Alou Fané as the lead vocalist, and with Flani, Zani and Alou demonstrating their dancing skills. I don't know the title of this track, and am almost convinced that this track was never published in any form.
In an interview in 1986 I asked Amadou Bah (nicknamed 'Armstrong'), who was at the time 'chef d'orchestre' of the Malian orchestra Super Biton National, about the record released on the Tangent label and titled "Balandzan". He told me "Balandzan" was in fact the name of the group. This group from Ségou was a sort of nursery for the Super Biton orchestra; talents were recruited and trained in this nursery until they were ready for the 'real thing'. Also, if for some reason they were short in certain positions within the orchestra they could invite members of "Balandzan" to join them. The lp, explained Amadou Bah, was recorded by members of this group in Abidjan. The mention (on the sleeve) of the name Biton was to indicate not only the orchestra to which they were related, but also the repertoire which they were using. Because all the songs on the album are in fact songs from Biton.
Despite never hearing anything to indicate the contrary I am not convinced that the musicians in this record weren't at the time members of Biton. Could it have been a coincidence that the orchestra played nearly all the songs from this lp when they toured Europe in 1986? And why were members of Biton selling a cassette (on the right) with (on the B-side) the tracks of this lp?
I suspect political motives may play a part in this affair. Biton was the regional orchestra of the Ségou region, and funding came from the regional authorities. I have heard many rumours about the strict rule of regional directors and conflicts between musicians and regional authorities (as in other countries, usually about money).
To be honest, I am inclined to prefer the older repertoire of Biton*. But as Biton is one of my favourite Malian orchestras, this album still features in the top 100 African lp's.
The majority of the songs of this great orchestra are traditionals rearranged for an 'orchestre moderne'. Of course, most of these traditionals were from 'their own' region. The opening track "Sodanso", for example, was taken from a traditional made famous by the great Hawa Dramé. She also sung "Garaba Mama", which is on the cassette Biton were selling in 1986.
The themes of the songs are mostly of a moral nature. Even in praise songs, the emphasis is on the moral aspects. This doesn't mean that controversial subjects are avoided. In "Waracoro" a man rejects the popular 'norm' that a man can only be succesful and get married if he is well-dressed and his appearance is smart. He chooses to stay single and have girlfriends instead. And "Diagneba", on the cassette, is about arranged marriages. "I will marry the one I love" is the message of this song.
"S.T.I." is a song in praise of an organisation, the Sociéte de Transports Internationaux. I am told this song caused some trouble for the orchestra, presumably because the regional authorities hadn't authorised the flattery.
"Kara Demba" is a song about a great Bozo (an ethnical group of fishermen), who knew the profound mysteries and myths of the Bozo culture.
I am adding the cassette Biton were selling during their European tour of 1986. Side B of this cassette has the same tracks as the lp, but side A has five great additions to the songs on the lp. I would like to draw the attention of the connoisseurs to the first track of the cassette, "Bomama", which you may recognise as (the older) "Zani Diabaté" by the Super Djata Band.
As a bonus I would like to add this 'teaser' of a French documentary about the great Malian orchestras. This contains recent footage of members of Super Biton in Ségou, including Toussaint Siané, Mama Sissoko and Aboubacar Kissi 'Cubain'.
* I hate to keep referring to future posts, but I can assure you I will get round to this.
PS: The photo at the beginning of this post was taken by Isabelle Vigier at the 1986 Biennale in Bamako, and shows - from left to right - Toussaint Siané, Mama Sissoko, Amadou 'Armstrong' Bah and Mamadou 'Blick' Diarra.
After these intense days of Christmas, you may feel the need for some exercise. And what better exercise is there than dancing on the Bambara rhythms of the Super Djata Band?
As I have mentioned in earlier posts, the origins of this band were with the Ballet National du Mali. And although the direction of the videos of the Angoulême festival I posted earlier leaves a lot to be desired, they should give you some idea of the brilliant dancing technique of Daouda 'Flani' Sangaré, Alou Fané and Zani Diabaté.
This is one of the most danceable albums by this great band. It features tracks just made for dancing, like "Maliniwoula", "Zani Diabaté", "Konadou" (tracks which the band played in all of their European tours), plus -my favourites- "Sinaya" and "Signana". I am not quite sure who the other singers -besides Alou Fané- are in the first of these two; if I remember correctly one of them is called Sidi Touré. He is probably also singing in the latter, besides Flani and Alou.
Zani's guitar is clearly leading the dancers, turning and swirling, directing the breaks...
The sax is somewhat lost in the mix, but I for one am not unhappy about that.
I only have the cassette version of the album which was released -as the lp I posted earlier- on the Disco Rama label in Côte D'Ivoire. It's possible the cassette doesn't contain the complete album. The track "Yacouba", the last track of side A, is only three and a half minutes long, about half the size as the same track on MAD 004 on the Musique Mondiale label*.
As a bonus, here is a short video of a concert at the back of the Carrefours des Jeunes. I am not sure where Flani was during this recording, but I suspect he was on tour with Alou. According to the video the track is called "Balla", but I have my doubts about this title.
For some time now I am slightly disturbed by the lack of interest by the western music 'industry'* in the music of Burkina Faso. And not just because of my hero Amadou Balaké, but certainly also because of deserving bands like the Dafra Star, who are the subject of this post.
The star of Dafra Star is singer Tidiani Coulibaly, who - I am told - was quite a celebrity in the Upper Volta of the 1970s. Coulibaly started Dafra Star in 1975 after having left the famous Volta Jazz orchestra.
A year later, in 1976, his new group won first prize in the national Festival of Modern Music, with the song which is featured on the A-side of this lp. The song, which on the album is simple called "Recital", is another example of a track in the "Regard Sur Le Passé" style 'invented' and/or made famous by Bembeya Jazz. The horn section and the whole sound of this track remind me strongly of Super Biton from Ségou, but this is not surprising: the songs were recorded at Radio Mali by Boubacar Traoré (who also recorded Biton, - and many many many others).
The link to Mali and Biton does not end there. The guitarist on the left of Tidiani Coulibaly (in the photo) is none other than Zoumana Diarra, who in the 1980s went on to play with Super Biton, Rail Band and Super Djata, and who also performed on that great cassette of Coumba Sidibé. Zou has been living in the Netherlands for the last twenty years.
Side two contains five great songs which others probably would describe as "influenced by Cuban music" or - worse still - "Afro funk". I prefer "authentically voltaique" - but certainly with bambara influences.
If you, like me, are interested in the music of Burkina Faso (or Upper Volta), I would like to draw your attention to a release on the Savannaphone label called "Ouaga Affair". I have yet to hear this collection, but it looks very promising.....
This first post is dedicated to Daouda 'Flani' Sangaré, a friend and musical hero who died in Bamako on January 12, 2008 at the age of 63.
To some he is only known as the lead singer of the Super Djata Band from Bamako, Mali. Few know him as one of the pioneers of the kamelan n'goni music of Mali, which has become known around the world through singers like Oumou Sangare and Nahawa Doumbia. Later on I will post some biographic details of this remarkable singer and dancer.
Here is a clip of one of his last performances. I recorded it in Amsterdam, at the Tropenmuseum (on May 24, 2007), during a concert of Benkadi International with guitarist Zani Diabaté and Flani as special guests.
Flani was diagnosed as suffering from meningitis a few days later. He spent 3 months in a hospital in Groningen before returning to Bamako on August, 8. He sang at the marriage of the daughter of Dramane Diarra (ex-Rail Band & ex-Biton, playing drums in the video) in Bamako, at the end of December. Zani Diabaté informs me that in the first week of January the illness resurfaced, but Flani refused to consult a doctor....
Continuing the story of that great Malian orchestra, Super Biton de Ségou, I would like to share with you two cassettes released as 'solo projects' by members of the orchestra.
Both cassettes are from the early 1990s, i.e. the period that can best described as the doldrums, after the stormy European tour and the desastrous last Biennale. The orchestra was in a state of serious decay, which had set in after the retirement of Amadou 'Armstrong' Bah (see also in this post).
Singer Mamadou Doumbia a.k.a. 'Percé' moved to Paris. I understand that he has since retired from music, although I have heard other reports that he performs infrequently at weddings and sumu's* ( or 'soirées'). To many his name is firmly linked to those two 'golden' albums released on the Mali Kunkan label, with evergreens like 'Taasi Doni', 'Nyeleni' and 'Nyangaran Foli'. I have been told that many of these hits were researched and contributed by Percé, but I have to add that my source, Daouda 'Flani' Sangaré, may have been slightly biased, as he and Percé were good friends.
It is clear that this cassette comes nowhere near the level of Super Biton, and the fact that it was recorded in Paris doesn't help either. I am reminded of Amadou Bah's words (in reference to Salif Keita) that you can't expect to remain true to your culture if you go and live somewhere else. The music on this cassette breathes the stress of Parisian life, combined with an undetermined shallowness which tends to prevail in a lot of Parisian recordings of African (and not only Malian) artists.
I think the cassette doesn't do justice to the great singer Percé was when he was a member of Biton.
I met Aboubacar Kissadit 'Cubain' in 1990. He didn't take part in the European tour of 1986, as a result of a dispute with the regional authorities in charge of the orchestra (according to some sources about his drinking habits). I was sitting in a bar in Bamako with Flani, waiting for Zani Diabaté, when Cubain walked in followed by Zani. He and Zani joined us, and we ordered more drinks. After a while a young guy playing an acoustic guitar came up to our table and, recognising Zani, started playing one of the Djata Band's tunes. Badly, I must add. Zani got somewhat annoyed, at which the youngster remarked that his guitar was a bit out of tune. Zani asked to hand it to him and proceeded to play the opening chords of "Farima". "Nothing wrong with the guitar", he noted, and switched to his signature tune "Diabaté Zani". Flani and Cubain soon picked up the vocals.
The young guitarist, by the way, recorded his first album not much later. He, Lobi Traoré, died of a heart attack in June 2010...
I am always reminded of this incident listening to the last track of this cassette. Although named "Maliba" it is, of course, exactly the same song as "Diabaté Zani".
This, unfortunately, does not mean that it gets anywhere near Zani's version. Compared to Percé's Parisian effort this cassette does, however, has some redeeming qualities.
First of all, it was recorded in Mali. And this is manifest, not only by the more relaxed atmosphere of the recordings, but also because of the somewhat makeshift character of the instrumentation. The synthesizer is downright irritating, and annoyingly prominent in all songs.
Positive features of the cassette are Cubain's singing and his choice of songs. He includes three songs from the Biton repertoire: "Diagneba" and "Garaba Mama" (see my earlier post), plus "So Karafe" from the "Nyangaran Foli"/Mali Kunkan lp. The execution of these songs is at times - to put it bluntly - bizarre. "So Karafe" is given an unsettling reggae treatment, while "Garaba Mama" can be recommended as a song to get the last drunks out off a bar at closing time.
Nevertheless, all in all, I prefer Cubain's cassette to Percé's. I was very happy to see Cubain with Super Biton in October last year. That's where he is at his best, as he proved during the concert at the Institut Français (of which I'll post more very soon). Toussaint Siané confirmed that Percé is still in France and has no intention to rejoin Biton, - which is a pity.....
I have received a report from Bamako, by the way, that Super Biton were due to play at the Festival "Les Voix de Bamako" (link is dead), but in the end didn't. I am waiting to hear why.
* more about this phenomenon in a future post.
EDIT January 22, 2012: Ngoni sends me this video of the first song (gracias!) and points out that Djeneba Seck is in the chorus (unfortunately Ngoni's channel has been removed by YT):
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.
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