I was happy to read this article about the celebration of the great Victor Olaiya's eightieth birtday. Happy, because at least one of my musical heroes has reached the age of eighty. And also happy, because he has not done so in total obscurity, forgotten by generations that have never heard the truly miraculous highlife this man has produced. And certainly also happy, because it provides me with another opportunity to share some more of his music with you!
Here in the Netherlands we are enjoying another patch of splendid weather, which makes this music even more appropriate. But with a bit of imagination it also works with the worst storm and rain.
This is music which will melt even the coldest soul, which will comfort the inconsolable.
All seven tracks are jewels, but my personal favourites are "Laba Laba", a brilliant example of Nigerian highlife at its very best, Kendy Adex*'s "Ije Jemila", music to lie down and dream away, and especially "Iyawo Patako", a seemingly unpretentious masterpiece with an almost unbelievable durability, a song which has over the last 25 years sounded fresh and has never failed to move me every time I heard it.
But I also love the trumpet and the singing (by the master himself) in "Moonlight Highlife" and in the opening "All Stars Invitation" (great bit of trumpet playing after 2'30!).
With "So Fun Mi" and "Me Fe Mu'Yan" (mentioned in the article I referred to at the beginning of this post) I can't help thinking I am missing most of the song because the emphasis appears to be on the lyrics. But I realise this is just my own inadequacy in not understanding the language...
We have been enjoying some exceptionally good weather here in the Netherlands, so this has not contributed to my good intentions with regards to the frequency of these posts.
Anyway, in this post I would like to share with you a single from the N'Dardisc label, a label which already has had some coverage in this blog.
The artist featured on this single is cora legend Soundioulou Sissoko. He is best known performing with his wife Mahawa Kouyaté, as you may recall from my post a few months ago. I wrote there that a presenter at the Guinean radio had claimed that this duo was the source of many classics from the golden era of Guinean and Malian music.
As you can see on the label of this single Soundioulou even goes as far as to claim that he is the composer of the Malinké classic "Maki". It is not very unusual for artists from African countries to claim the authorship of a traditional song, or even of a song composed by another author. Vicky Longomba of the O.K. Jazz even went as far as to claim "El Carretero". Most artists defend their claims by pointing out that they are the author of the particular version.
Ballaké at the Harlem Bar, 1994 (photo: Rob Lokin)
While searching on the net for a better copy of the sleeve of this album I stumbled upon many examples of disinformation about this star of Burkinabé music. Sometimes the fragments of disinformation get combined in copying. I read for example that he was a founding member of the Horoya Band de Ségou.
I don't claim to have the final truth when it comes to the biography of Amadou Traoré dit Ballaké, but given the testimony from Guinean artists gathered by Graeme Counsel it seems unlikely that he was a member of the Horoya Band (an orchestra originally from Kankan, Guinea), let alone of the/an orchestra from Ségou, Mali. The confusion may have arisen from the name of the orchestra he did join: the Bafing Jazz from Mamou, Guinea.
I was reminded recently that this album has so far not been posted on any of the (fortunately numerous) blogs dedicated to African music. I have to admit I am not able to follow all the blogs, so I still may be wrong. But it seems such a great omission that I felt it my duty almost to step in, and share this classic album by one of my musical heroes.
The album is another, and perhaps even the best, example of Ballaké's street credibility. He follows the trend to add elements of funk, James Brown and afrobeat to his music, but still manages to remain authentically Burkinabé. What may appear as pure funk, is in fact based on existing (mainly Mossi) traditional rhythms. As for the lyrics, Ballaké is - as always - inspired by the ordinary man and woman in the street. The "bar konon mousso" (literally "bar bird woman") refers to the women serving in bars. Ballaké sings about the hardships they have to suffer and the 'excursions' they have to make to earn a few extra francs. Going by this article (unfortunately only in french) their situation - over 30 years later - remains unchanged.
I especially like the way in which Ballaké describes his own position in relation to these "birds". The bar kono mousso tells him: "Ballaké leave me alone. You don't have money. Musician, that's nobody*. You're a poor boy."
I'm sure the other songs on this album have similar - or perhaps even more notable - lyrical highlights.
Musically this is no less of a treasure trove. It may take a while for the penny to drop with some of these songs, but when it does I am sure the whole album will embed itself in your musical memory forever. The brilliantly manic "Nabacouboury", the head-over-heels "Dounignamou", the almost Guadeloupean "Balake Ya Mariama", they all have one thing in common: the powerful presence of the great Amadou Ballaké.
Going through my archives, I discovered a copy of an older version of "Bar Konon Mousso". Despite the rather scratchy condition of this single, released on the Club Voltaïque du Disque label, I am inclined to prefer this version to the version on the Sacodis lp. The tempo seems more fitting to the theme of the song, and the ambience is more 'bar-like'. The lyrics appear to be exactly the same as the later version. The condition of the vinyl is more annoying on the A-side "Absetou", especially as this song has some (seemingly?) nice instrumental bits.
So far this has not been my year, I think. Fate (or call it what you like) seems to throw all kinds of obstacles in my way to prevent me from spending time on this blog. Since my - apparently dangerously - optimistic penultimate post both sad personal events and ill health have been demanding my full attention. So I am more careful now in promising very frequent postings, but I can assure you that this blog will continue, - and hopefully also to surprise you with more musical 'wonders of the past'.....
It is hard to imagine that he must be 64 by now. In my mind I still see Youlou Mabiala as the mwana ya Luambo, as Franco's musical child. Discovered at the age of only 15 in a vocal group which performed on Brazzaville radio, he was recruited into the O.K. Jazz in 1963. He spent the first years in the shadows, being drilled into singing shape by the likes of Vicky, Kwamy and Mujos, before being allowed to contribute his first composition ("Obimi M'Bwe") in 1966.
On the basis of just the historic facts it is hard to understand how Youlou ever got his nickname. He was involved in several rebellions against Franco, starting with the one in 1968 which led to the departure of Verckys, followed only a few years later by the "Orchestre Mi-affair". He even left the O.K. Jazz in 1972 to join Vicky in Orchestre Lovy, and returned three years later only to leave again in 1977 to launch "Les Trois Frères".
I recall reading somewhere that he did return to the O.K. Jazz in 1987 to record the medley version of "Vyckina" (a.k.a. "Nakomi Musulman").
Of course there is his marriage to Franco's daughter, which certainly must have contributed in the family's selection of Youlou as the heir to the name of Franco's orchestra in the early 1990s (but not the orchestra itself!).
To understand why Youlou is called "mwana ya Luambo" you have to turn to the music. To the many duos of Franco and Youlou in the late 1960s, to the gentle guidance Franco provided to Youlou's sometimes hesitant vocal, to the at times brilliant interplay between Youlou's and Franco's voices.
Then there is the reception of Youlou, after his stint with Lovy and Somo-Somo. Remarkably, Youlou is treated almost as a prodigal son, and is allowed a position at least equal if not more prominent than new stars like Josky Kiambukuta. Testimony to this is this video from the end of 1975, showing a very confident Youlou Mabiala:
Personally I am inclined to think that Franco saw in Youlou a worthy replacement for the likes of Sam Mangwana, who - as Franco was beginning to understand - would always be a 'cavalier seul'. The single which I would like to share with you may have confirmed Franco's vision of Youlou.
This single is surrounded by some mystery. According to this discography Youlou is being accompanied by the O.K. Jazz. Although the orchestra is very competent, I have my doubts about this. It seems more likely that this is a recording from his Orchestre Somo-Somo period.
P.S.: a full version, but in black&white can be found here. And the singers accompanying Youlou are (l. to r.) Michel Boyibanda, Wuta Mayi and Lola Djangi 'Chécain'.
EDIT April 14, 2011: As Peter Toll has pointed out, Youlou did not enter the O.K. Jazz in 1963, but in 1966. In my hurry to post this I did not look this up. Simaro actually confirmed this in an interview in 1991. Naturally this means that neither Kwamy nor Mujos were involved in his training.
In rummaging through my computer the other day I stumbled upon another video by that great Malian diva Kandia Kouyaté from her very first appearance on Malian television. I have posted two songs from this same concert before (here and here). But watching this I was again bowled over by the sheer power of her presence - at the age of only 18 (!) - and the total command she displays.
Look for yourself:
Note the cheeky look, after 0'48, followed by that heartmelting smile: isn't she just incredible?!
I gather the song is about good deeds (wale gnouma), about gratitude (wale gnoumandon) and about ingratitude (wale gnoumandonbaliya).
It's just that a mere "thank you" seems so insignificant after watching such a brilliant performance....
Off topic: you may have wondered why I haven't been posting as much as before. There are several reasons for this, but the most important two are my discovery that a lot of my original CD's were beginning to disintegrate and - in the last two weeks, and possibly related - a crash of the system hard disk of the computer I use for blogging and music. Both are fortunately under control, - although there is still a lot of work to be done in backing up CD's. But I am hopeful I can increase the frequency of these posts.
Balla Onivogui(l) and Pivi Moriba, December 1999 (photo R. Lokin)
Unfortunately, this is another very sad post. Because I was informed today that Balla Onivogui has died yesterday, March 15, at the age of 75* after suffering a heart attack.
Balla was best known as leader of the wonderful Guinean orhestra from the Syliphone era Balla et ses Balladins. Born in Macenta, he started his career as a musician in Kankan and subsequently was sent to the Dakar conservatoire (musical college) on a scholarship. In 1959 he joined the Syli Orchestre National, where his talent, not just as a trumpet player, but also a leader, caught the eye of the authorities of the young republic. When the Syli orchestre was split up, he was put in charge of one of the sections. This section played at the Jardin de Guinée, a bar dancing, which I am told exists until this day. As their reputation grew they took on a more independent name: Balla et ses Balladins.
I am sure you will read more detailed information about this great orchestra and its leader on other sites (for example here).
For now I would like to share with you Balla's first album, with the Orchestre du Jardin de Guinée. This was released as the second album of the Syliphone label, and has for many, many years been one of my top favourites of the label. Every single track on this album is a pearl, shining by the pure joy and love of music of Balla, Pivi and all the individuals of this superb orchestra.
To me, Balla Onivogui has reached a rare state of eternity. Through his music he will live on forever....
I am hoping someone can shed some light on these four mystery tracks.
The mystery is not in who is singing. The singer is clearly and recognisably the great Aboubacar Demba Camara. This limits the options when it comes to the orchestra accompanying the man: it is either the Syli Orchestre National or Bembeya Jazz.
My guess would be the latter, but both is also a possibility (with the first two songs by Syli National and the last two by Bembeya) .
The mystery lies mainly in the origin of these recordings. I have so far been unable to trace when, where and by whom they were made. And the titles are just guesswork, because they were missing on the source cassette (In fact, there was nothing at all on the cassette to indicate its content).
By the inclusion of the two Cuban (or at least latin) songs I am inclined to date these recordings shortly after Demba's trip to Cuba. He went there, as he told in an interview with the R.T.G., in December 1965 and met Cuban legend Abelardo Barroso. This must have inspired him to do some more Cuban songs....
So please feel free to speculate. And if you have some expert knowledge, please step forward!
EDIT February 21, 2011: Although all four tracks are from the same cassette, the last two appear to be a bit fast. I am adding two attempts at correcting this. Please let me know which one you think is correct.
The corrections are all in this file (new link May 28, 2011).
It was Ntesa Dalienst who made us aware of the fact that Franco was playing in the opening track of this classic album by the Tout Puissant O.K. Jazz. Until then we had assumed that he was not involved; an assumption that seemed to be confirmed by the absence of a composition by the Grand Maître himself. Contributing to this assumption was the growing awareness that many of the guitar bits which are generally labelled as "Franco's guitar" are in fact Thierry Mantuika playing like Franco.
In fact, Franco is playing right from the start, and brilliantly too.
In the first song his guitar is on the right, and in the three other songs it is on the left. I have to add that he does not play until after 2'46 in "Nda-Ya".
Many critics consider this lp, which was released in 1984, to be one of the best of the T.P. O.K. Jazz. And I think there are many reasons to support this. For one, the top three vocal heavy-weights of the 1980s O.K. Jazz are present in all the songs: Josky Kiambukuta, Ntesa Dalienst and Madilu System. Secondly, there is no weaker song in this album. And there is certainly variety in the styles of the four songs.
The opening track is a composition by Josky. The title "K.S.K." is an abbreviation of ""Kasongo Sefou Kitima", which is the name of a person. As Josky explained in 1991*, he composed the song during a visit to Kenya in 1983. In that year, after playing in Brussels in May (see my earlier post), the orchestra went to the US for a short visit. On their return to Brussels they were invited to perform in Kenya. They spent one month in Nairobi before returning to Belgium, where the album "A L'Ancienne Belgique" (referring to a concert-hall in Brussels) was recorded at the Studio Madeleine. Unlike the majority of Josky's compositions "K.S.K." is not a song about love. It is - as he put it - a song about life: you work well, you're a nice person, you help people, you help your friends, but still there are people who are against you.
"Nda-Ya", composed by bass player Mpudi Decca, is also a name, but of a woman. As Ntesa explained, the song is about a man who is in love with a woman, but his mother has told that he should marry Nda-Ya. When the marriage with Nda-Ya does not work out the man blames his mother.
The lyrics are in Decca's dialect of Kikongo, Kitandu, - which is remarkable as Ntesa was born in a family speaking another Kikongo dialect, called Kisingombe.
The B-side opens with what is perhaps Madilu's most famous composition with the O.K. Jazz, "Pesa Position Na Yo" (which is - I am afraid - not saying much, as he composed only two songs with the orchestra...). Madilu performed this song at nearly all the concerts in the following years, but usually with other singers backing him. In this video from 1986, for example, by Kiesse Diambu, Aimé Kiwakana and a very young Malage de Lugendo. Personally I prefer this original version, with the solid backing by Josky and Ntesa, and the understated and subtle guitar playing of Franco.
Fittingly, in the last track, "Mukungu" composed by lead guitarist Gerry Dialungana, none of the three singers has a lead role (although in the O.K. Jazz terms Ntesa - as the one with the highest voice - sings the first vocal). Instead the instrumentalists dominate this song. And, of course, this means that Franco is allowed to 'do his thing'. He does so brilliantly, gradually pulling out all the stops after about 7 minutes, with some inimitable shuffles.
In case you are still wondering which guitar is Franco's: he is on the left (I recommend using headphones).
Because the lp is still in mint condition I am adding a version in the FLAC format. This is only available for a limited period, until March 4. Edipop POP 031 (flac) There will be more FLAC files in the future, but always for a limited period (too much server space...)
*You can hear Josky's comments in Aboubacar Siddikh's posting on YouTube of this album.
I suppose this is not the most spectacular compilation of Senegalese music imaginable, but in the 1980s it did fill a gap in my appetite for more, after getting into contact with the likes of Number One and the early Etoile records.
Omar Pene's vocals in "Bass" still manage to pierce through concrete walls, as they did when I first heard this decades ago. And Baobab's "Utru Horas", titled "Loi Di Nos" in this collection, is still cool enough to elicit a kiss from my wife. I prefer the version of "Sutukum" by Canari de Kaolack on Touba Auto K7 because of the exaggerate stereo. On this album it seems to have been 'corrected', - which is a pity...
But, as I said, it is an interlude.
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.
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.
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I was happy to read this article about the celebration of the great Victor Olaiya's eightieth birtday. Happy, because at least one of my musical heroes has reached the age of eighty. And also happy, because he has not done so in total obscurity, forgotten by generations that have never heard the truly miraculous highlife this man has produced. And certainly also happy, because it provides me with another opportunity to share some more of his music with you!
Here in the Netherlands we are enjoying another patch of splendid weather, which makes this music even more appropriate. But with a bit of imagination it also works with the worst storm and rain. 
