Chimurenga master

I have followed Thomas Mapfumo since the mid-1980s. If I am not mistaken he and his band, The Blacks Unlimited, first performed in this country in 1984. In 1986 I saw him - and talked to him extensively - both in Angoulême, where he was performing at the Festival de Jazz et Musiques Métisses, and in Amsterdam. I may post parts of the concert (part of Oko Drammeh's legendary African Feeling series) at the Paradiso, Amsterdam, at a later date. The meetings with Thomas on both occasions were very memorable, for different reasons. But, as I wrote, I may come to those in a future post.

This post is actually of a concert 4 years later. Thomas and the band had not toured Europe for a few years. There had been some changes, particularly in the musical direction of the band. Reggae had been replaced by roots, Zimbabwean roots. Chartwell Dutiro, for example, was playing mbira instead of sax. In 1989 Mapfumo had released songs in which he criticised Mugabe, who two years earlier had abolished the office of prime-minister to become president. A song "Corruption" was even banned in Zimbabwe, and both Mapfumo and his band were targeted by circles around the presidency. The harassments finally led to Mapfumo leaving the country at the end of the 1990s. He now lives in the US.

In my opinion 1989 and 1990 were musically two of the most interesting years in Mapfumo's career. In 1989 he released the album "Varombo Kuvarombo", the first second (¹) on his own Chimurenga Music label (part of Gramma). This was reissued a year later by Mango Records as "Corruption", - and now with the (title) song which had been banned in Zimbabwe. Besides this it featured epic songs like "Moyo Wangu" (you may have seen the fantastic live version on YouTube).
The second third album, "Chamunorwa", was even more memorable, with six songs clearly inspired by Zimbabwean traditional mbira music.

These two albums formed the basis of the repertoire which Thomas used for his European tour of 1990. The songs I would like to share with you in this post are from his concert at the Melkweg in Amsterdam during the World Roots Festival (programme) on June 28. A few weeks later he performed at the African Music Festival in Delft, where I managed to talk to him for a short while in a very crowded dressing room. You can hear a short part of that interview after Aboubacar Siddikh's YouTube version of the Melkweg concert, - which by the way includes photos taken (by AS) during a concert a few years later.


The concert featured some remarkable versions of songs which had been recently released on lp. The concert started with fantastic instrumental versions of the - now - classic "Chitima Nditakure" and "Hwahwa".
You may recognise the guitarist as Ashton "Sugar" Chiweshe, who is the star of those videos on Youtube I mentioned above. I particularly like his version of "Nyoka Musango"; his guitar adds a unique twist to this version. "Moyo Wangu" however falls short of the video version.
Remarkable too is the vocal version of "Chitima Nditakure", which unfortunately breaks off. I don't remember if Thomas saved the lyrics for a later part of the song which was not recorded. In any case, the result is certainly a strange version of the song, almost 'dub' like...

The next song (the first on the B-side of the cassette) is again an instrumental; this time a version of "Chamunorwa". This is followed by a song which I have so far been unable to trace. I have gone through my whole collection of Mukanya masterpieces, but have not been able to find another version of this song. An astonishing minimalistic, purely traditional song, - with Thomas dancing and digging deep to evoke the spirits.... I advise you to listen to this a few times; it will grow on you.

The following "Handina Munyama" (from "Varombo Kuvarombo"/"Corruption") was obviously meant to balance the mood. It does so and levels things out for two new songs, which were - certainly in the Netherlands - only available on record the next year. Both "Dangu-Rangu" and "Svere-Ngoma" were released on Mapfumo's third album on Chimurenga Music: "Chimurenga Master Piece" (TML 103). The songs are based on traditionals, but - as Thomas would stress during the interview in August - with the modern mixed in.
Unfortunately of the last song only the first few seconds have been recorded.

Thomas Mapfumo and The Blacks Unlimited at the World Roots Festival (Melkweg, Amsterdam / June 28, 1990)

As a bonus I am adding this energetic video (clip) of the song "Vanhu Vatema" (1993), recorded from Zimbabwean television a year later. The images are clearly taken from the videos I posted earlier, but the editing of this clip is quite good.



EDIT January 19, 2013: The mystery track (track 9) has been identified as "Shanje". No wonder I couldn't find it, as it has only been released on one of the few albums I do not have ("Chimurenga Varieties" - TML 106), - and 4 years after this concert.
Furthermore track 8 is an instrumental version of "Muchadura", which also was released on "Varombo Kuvarombo"/"Corruption". Both Aboubacar Siddikh and myself were torn between "Chamunorwa" and "Muchadura"; and all things considered it could have been either.....
I have corrected this and have re-uploaded the songs.

(¹): correction: the first was "Zimbabwe-Mozambique" (TML 100) in 1988.

Resilient

Actually I had planned to post some music by Thomas Mapfumo, but I am still trying to retrieve the title of one of the songs. So this will have to wait for a few days.

But it gives me an opportunity to share with you some more countermeasures in the struggle against the imminent oppression of the people of Mali.

It appears to me that matters have been complicated rather than resolved by the French decision to intervene. From a distance, it may seem like a good idea to send in the air force to bomb the sh*t out of those 'damn terrorists'. But will it work in a country the size of Mali? Anyone who has flown over Mali will agree that there are immense areas of 'much-of-the-same'. And attacking towns, villages and/or random groups of humans in the open field won't do much for French public relations, if you ask me. And I think the islamic rebels (and related insurgents¹) are not going to respond favourably to any French requests to stick around in one place, - and preferably away from populated areas...

It is not very hard to understand why the French have decided to 'come to the rescue'. As a former colonial power France has over the decades tried to keep some level of influence in its former colonies, with different degrees of success. Even in colonial times Mali was never at the center of French interest, and after independence Mali has done little to 'nurture' the ties. And French efforts to keep in touch have been half-hearted at best. Even before the fall of president Moussa Traoré in 1991 the French appeared to have given up on Mali, and since then others have stepped in, notably Chinese, Arabs and Libyans. These new friends proved to be more valuable and more effective than the French had been over all those seemingly countless years. The Arabs built hotels and a great bridge in the capital Bamako. The Chinese have set up projects to revive Malian agricultural capabilities². And the Libyans, or at least former president and 'our man' Muammar Gaddafi, they made themselves hugely popular by providing the (satellite) communication facilities that opened up the entire continent and can in a lot of ways be seen as the biggest revolution for ordinary Africans in the last century (if not in history..).

In the meantime too, it has become clear that Mali may have some economic possibilities. During French colonial rule the focus was mainly, if not exclusively on agriculture. The Office du Niger was set up to provide the French textile industry with raw material, - regardless of the effect the growing of cotton would have on the sparse arable soil. Since those days French governments have done little to ascertain the needs of Malians. In fact, subsequent French governments have done their utmost to retain a level of dependency of 'grand frère' France, particularly by the monetary system, while ignoring polite requests to really help out.

Personally I don't believe that altruistic motives play any part in the French attempts to intervene. Geo-political motives: yes. France wanting to restore its waning foothold in the African continent, after French pawns (like Houphouet-Boigny) in other former colonies have disappeared from the scene: yes. But 'coming to the rescue': nahhhh!

Please excuse my digression. I am awaiting reports 'from the frontline', but could not restrain myself any further. I have actually managed to control my urges slightly, as I haven't even started about the very dubious role of (who else but) the US in this issue.

Getting to the music I would like to share with you, you may ask what this music has to do with the present conflict. Well, this music is about the strenght and the resilience of the Malian people, and above of all of the women of Mali. During my visits to Mali I have experienced many many times that while the men talk, and claim to have the solution for all problems, the women are the ones that actually keep the country going. And I am sure that they will continue doing so come what may...
This resilience and this force of character can hardly be more apparent than with this singer, who already featured in an earlier post in this blog. For Ami Diarra not only had to overcome polio herself, but she managed to set her own handicap aside to help others.
This cassette is from the late 1980s or early 1990s, but I have heard that she is still active.

I am almost sure that the ensemble accompanying Ami is the same Ensemble Balemaya from Kayes as in the video, and it may even be that the recordings of the cassette and the video are the same.

SS 49


¹ More details on the conflict on the site of Al Jazeera.
² More about the Chinese in Mali in this article

Pamba moto

Among my resolutions for this new year is one which may prove to be somewhat challenging: for I intend to post more music from East Africa.
The challenge lies not so much in the music, but in 'peripheral' matters.

This post is a good example of this. For although I had copied the music, I had done so in a time when even a copy-shop (or any other facility where one could turn to to produce a photocopy) was a veritable rarity. In fact, it must have been around the time when this record was released. Luckily I recently received digital copies of the sleeve, so I can now share the record with you.

This post is also intended as an encouragement for the Tanzania Heritage Project (see their website), a project which aims to restore and preserve the archives at Radio Tanzania.
This video from their website gives a short introduction:

Compared to a similar project which involves the conservation of (a large part of) the archives of the RTG in Conakry, Guinea, and which is carried out by just one (1) person, i.e. my good friend Graeme Counsel, I am impressed by the size of the team. I hope this will be reflected in the results of the project, - which for now seem to focus largely on the project itself. But I remain optimistic......

In all the discussions about rights and 'infringements' an aspect seems to have been overlooked. When dealing with African music issues of rights (which in any case are mostly the rights of - often dubious - producers) are insignificant compared to the far, far larger issue of the irretrievable and absolute loss of enormous quantities of unique and irreproducable musical recordings.
You may have read my earlier posts where I 'moan' about the 'limitations' in the (digital) reproduction of Franco's impressive oeuvre. To be honest I have to add that these limitations are almost trivial compared to the reproduction of the works by others, like for example the Vijana Jazz Orchestra.
And I hasten to add that Stern's have just over a year ago released a very recommendable CD, which you can still obtain from their site.
Music by Vijana Jazz has also appeared on a few compilations, but I think we are still a long way from a structured and integral disclosure of their musical legacy.

When it comes to biographical information I was surprised to find there is even an entry in the wikipedia dedicated to this illustrious Tanzanian formation, which like others (see here and here) has its origins in a public (i.e. linked to the state) organisation.

I suppose this album can be seen as the peak of the career of the late singer Hemedi Maneti with two of his greatest hits: "Mary Maria" and "Tambiko la Pamba Moto". I love the wonderfully intrusive guitar (and matching bass!) and the great vocals, both the lead and the chorus.
If you ask me, both of these tracks don't only deserve a place in the Heritage of Tanzania, but should also at least be nominated for a place in the World Heritage List (and especially if you see what is actually on this list...).

AHDLP 6004


OFF-TOPIC: I have started a page on Facebook, where I will occasionally post links to 'matters of interest'. Don't expect any profundity though....

Paradi

A short post to finish the year in style. And what better way to round off a year* than with two records by Franco and the O.K. Jazz.

I assure you music does not get a lot better than this. These four tracks, composed by Franco himself and recorded on February 18, 1960 for Editions Loningisa, are among my absolute favourites, - and not just of the early work by Franco.
The songs stand out for several reasons. First the line-up is unique, with the departure of Vicky Longomba (first to join Kabasélé at the Table Ronde and then to start his own orchestra: Négro Succès). To replace him Mulamba Joseph a.k.a. Mujos had joined the O.K. Jazz and he is the Vicky-like voice in these songs. Isaac Musekiwa too had defected in July the year before, after Franco had been imprisoned for a traffic offence; he had joined Orchestre Vedette Jazz but returned to the O.K. Jazz at the end of 1961. He proved difficult to replace, and I am not sure who is playing the sax in these songs. The O.K. Jazz did engage others such as trumpet player Dominique Kuntima, better known as Willy (who is perhaps best known for his time with African Jazz and African Fiesta), and clarinetist Edo Lutula a.k.a. Edo Clari, and in 1961 Albino Kalombo (who had gathered fame alongside the great Léon Bukasa at Ngoma).
On guitar Franco was joined by Bombolo Léon a.k.a. Bholen, who had been recruited by Vicky, as had been singer Hubert 'Djeskin' Dihunga. Both were later persuaded by Vicky to join him at Négro Succès.

But the most impressive new recruits to the O.K. Jazz were two singers. First a singer of considerable repute: Gérard Madiata (whom you may remember from his songs with Kongo Jazz). He is the star of that immortal cha cha cha "Cuando Paradi", - and this while only singing backing vocal!
The second is Jean Munsi, better known as Kwamy or - in those days - Coimy. As Gérard Madiata in "Cuando Paradi" he adds that very special something to the equally immortal boléro "Caro Simon Mabanzo", even though he is not the lead singer. His velvet voice is the secret ingredient to one of Franco's most exciting boleros.

But star of these four tracks is of course Franco himself. In "Mobembo Ya Franco Na Wele" he is tiptoeing, in "Cuando Paradi" he is cheekily doing pirouettes. In "Mobali Asundoli Ngai Na Mwana" he is in charge and leading the orchestra, dictating breaks and turns. But "Caro Simon Mabanzo" sees the master in his natural environment: the boléro. He adds an extra dimension to the song, adding tension, joking, coaxing, provoking, in short: being Franco.
It doesn't get better than this........

Loningisa 267
Loningisa 268

For a limited period these tracks can also be downloaded in FLAC-format: Lon 267+268

I wish you all a very happy and successful 2013!

* or for those in more eastern time zones: to start the new year!

Boy scout

This post is about an artist who has - in retrospect - been relegated to the ranks of dated 'popular music' and 'entertainment'. But Louis Vera Da Fonseca, or just Fonseca, was up there with the Big Names, in his days.

The sleeve notes on this Dutch lp are almost ecstatic: "Fonseca is the son of a Senegalese mother while his father is from Cape Verde. Hence the Portugese sounding name: Louis Vera Da Fonseca. From his early youth the theatre, ballet and - especially - music have held an irresistable attraction for Fonseca. For his friends in the boy scouts he wrote and performed little sketches and in secondary school he with exceptional energy devoted himself to a variety of artistic activities. Armed with a letter of recommendation from Radio Dakar he travelled to Paris to continue his studies. He wrote a ballet titled "Black incantation". The opening night in the Casino in Deauville was attended by a score of celebrities. His Highness the Aga Khan was thrilled by the spectacle to such a degree that he, as an encouragement, presented Fonseca with the considerable sum of 500.000 french francs. Fonseca felt the credit shouldn't go to him alone and promptly shared the gift with all his colleagues. In August 1949 Fonseca made his first records. From this moment on matters accelerated. His songs are widely successful. His records fly over the counter in both Europe and Africa. His composition "Couri Couri" is chosen as the theme of the film "Les Héros Sont Fatigués". He tours the whole of Europe with his ensemble. Eighteen months go by before he returns to his home base in Paris. As it happens, just in time to cooperate in the film "Il Est Minuit Docteur Schweitzer". More and more films and contracts follow. Fonseca opens his own Club. And he makes "Sans Chemise Et Sans Pantalon" and "O El Cha Cha", which prove bestsellers. And so we arrive to his first Long Play record: 12 exciting tracks - nine composed by himself. A total of forty-one minutes and thirty-six seconds permeated with a sparkling temperament. A excellent sample of the musical capabilities of Fonseca Et Ses Anges Noirs!"

This may all sound very boy scouty to the modern cynical blog reader. But the paradigm of the perception may shift when one considers that the artists originally scheduled to perform at the Table Ronde in Brussels (the round table conference about the independence of the Belgian Congo) were nót Joseph Kabasélé and his African Jazz, but Fonseca with his Anges Noirs! Only at the last moment the Congolese delegation insisted on a Congolese alternative.

This sheds a different light on this lp, don't you agree?

Artone BRO S-1525 or BRO S-1525

Finesse

Recently the owner of the (highly recommended) Malian Divas channel on YouTube asked me why I have never posted any music by the third (see below) of those magic Malian divas of the 1980s: Ami Koita.
I admit I did not have a good answer, apart from that I just haven't got round to her.

But perhaps there is another, subconscious reason for my omission. I have met Ami Koita, when she visited the Netherlands in 1991.
On the LolaRadio blog you can find recordings made during this trip by VPRO Radio (and a few days later she also performed in "Reiziger in de muziek" on VPRO TV).
Both Ami Koita and her daughter, who backed her mother in the chorus, were very friendly. But it was impossible to talk to Ami more than a minute as her husband (on the left, holding a camera with which he videoed his wife's every move) was constantly making his presence known. And not only by standing in the background, but also by answering questions for his wife and physically putting himself between his wife and whoever wanted to talk to her.
I later found out that this was the result of an extreme case of jealousy, and several rumours have gone 'round in Mali as to the (possible) grounds for this jealousy.
One way or another, this has perhaps played a role in my apprecation of Ms. Koita.

Getting back to her being the third: the other two of what was like the 'holy trinity' in Malian divaness in the 1980s were of course Kandia Kouyaté and Tata Bambo Kouyaté. And that reminds me that I should be digging up some more of those two in the near future.

Anyway, I would like to share with you this cassette recorded in the late 1970s. The quality of the cassette is dubious, to say the least. And I have tried to remove the extreme hiss*.
But I love the music. Ami Koita's rendition of the classic "Tara" is up there with the very best. And Nene Daou and Lassana Sacko have probably donated their life savings after being immortalised by Ami.

S4307 cassette or S4307 (speed adjusted - see below)

And as a further illustration of Ami Koita's talent I would like to share with you this first part of a programme entitled "L'Artiste et Sa Musique" featuring Ami Koita "& son ensemble". And this ensemble consists of two great accompagnateurs: Moriba Koita and Bouba Sacko (see my earlier post). The show is presented by Zoumana Yoro Traoré, whom you may remember from the videos I posted by Kandia Kouyaté and Coumba Sidibé. I will post the remaining part of this programme at a later date. Ami is interpreting "Djeliya", a kind of metadata song, a song about griotism. Compared to Tata Bambo's song with the same title, which I have posted four years ago, you will have to agree that Ami's song is more delicate. Both her interpretation and appearance do justice to her reputation as the djeli with finesse.


P.S.: More to follow before the end of the year....

EDIT December 30, 2012: Ngoni has pointed out (see comments) that there may be a problem with the speed of this cassette. I have slowed down the recording to the speed he suggests, and it does sound better. So I have added a link to the slower version.

* And in case there is any demand for the 'raw' sound of the untampered original, send me an email.

Sopa

On the brink of the festive season (or the end of the world) I think it is time for some seasonal music. And what could be more seasonal than four "rumbas corvées"?

What?

I admit I had never heard of that crazy rhythm called "rumba corvée" before listening to these four songs. And I am still not convinced I have now...
"Corvée" seems to indicate a certain level of exertion, of a type which may be getting more popular in these regions going by the rigorous measures proposed by our respective governments. I.e. unpaid! Do I see the shadows of slave labour and pre-industrial revolution labour conditions looming up through the mist of time?

Luckily these gloomy visions are not reflected in the music. On the contrary, the music is better typified by the name of the orchestra: Festival des Maquisards, where "maquisards" is about rebellion and resistance against oppression by the common people. That's more like it!

And it gets better.
For the star of this orchestra is a young Sam Mangwana, here still presented under the name of Sam Moreno. Co-leader of the group is another ex-member of Rochereau's African Fiesta 66 and a contemporary of Mangwana (also born in 1945): lead guitarist Paul Vangu better known as Guvano.

The first track features Mangwana in splendid form, with vocals clearly based on or inspired by his time alongside Rochereau. As in some of the songs with African Fiesta he demonstrates that he can compete with Rochereau on equal terms (within R's own singing style), while at the same time adding his own magical 'je ne sais quoi'. Sam has always had a 'real' quality in his singing, a quality which he shares with great singers like (for example) Josky Kiambukuta and Celia Cruz. No belcanto, no pretentiousness, very much 'de la rue'.

I'm not sure who is accompanying him in "Ligenda Obosani?", composed by himself. My first guess would be Lokombe (who at the time was called Camille Lokombe, but later became Lokombe Nkalulu), a very talented singer with a career lasting right on to this very day. In fact, if you are very quick you can see him performing with a former colleague from Les Maquisards, Dizzy Mandjeku, and his Odemba OK All Stars (also starring that superb singer Malage de Lugendo!) at the Tropentheater in Amsterdam this Saturday (December 15).
But alternatively it is possible that Diana Nsimba, also ex-African Fiesta, is backing Sam.

There is no doubt whatsoever about the second singer on the B-side. Ntesa Dalienst is very much present in this version of Celia Cruz's "Sopa en Botella". And for those who don't recognise his voice, he's the singer doing the 'chorus' starting at 1'15. This song seems tailormade for Mangwana and Ntesa. Mangwana does the best impression of Celia Cruz I have ever heard, and Ntesa adds a subtle touch of sophistication. A sheer delight!

The second single, while significantly worse for wear when it comes to the physical state of the vinyl, delivers the same high musical standard. The A-side, "Catho Nakozonga", is composed and wonderfully sung by Lokombe, with Sam doing the backing vocals. The flipside is composed by a Gérard, and I am not sure who this is supposed to be. Ntesa once mentioned guitarist Gérard Biyéla, but as far as I know he was with Les Bantous, and I haven't heard his name in connection with Les Maquisards. I am not sure if this is the start of Mangwana's career as a polyglot, but if I am not mistaken this "Tabu Wangu" contains some lines in swahili.

It remains a mystery why these treasures have never been reissued.

Negro Festival NF 3503
Negro Festival NF 3507

Haunted

A very short post.
I was really going to post something else.
But in bed with a nasty cold, sweating and feverish, I was haunted by this tune: "Mory", by Number One de Dakar.

The best cure for any disease: good music.

Eddy'Son 1156

911*

Continuing my personal countermeasures against the against the lunatic proposal by those so-called islamic groups in northern Mali to ban music, I am bringing in the big guns. And when it comes to rock-hard Malian culture the guns don't get much bigger than Hawa Dramé.

You may remember my earlier post, plus the fantastic video featuring this great - but unfortunately also late - singer. If you have missed those, please do yourself a favour and at least watch those two videos.

The cassette I am sharing with you is one to digest slowly. Take your time. This is music which will last you a lifetime, and will be in your blood forever. As in the cassette I posted earlier, Hawa Dramé pulls out all the stops. The control she has over the 'accompagnement' is, again, brilliant. As is the control over her own vocal contribution. She can go full-out, but she can also subtly understate, - and in doing so move the coldest of those deepfrozen misguided souls in the north of her country .

There is not a weaker song in this collection.
You may recognise "So danso"; this was covered by Super Biton (see this post). "Demeba", with its majestically striding rhythm and Hawa's superb long phrasing. The meticulous "Diamandjo" where she is competing with the ngoni, twisting and turning. And "Mayebe Diyabo", just as intentional, with Hawa demonstrating the full dynamics of her unique voice.
Side B again has two longer songs. "Namabile" is one of those epic songs, which Hawa Dramé takes to another level. The same goes for "Niongomari" (covered by others, like Bazoumana Sissoko's daughter Tenignini Damba, as "Mariso"), although this unfortunately has a few wobbles.

SYL 8391

More countermeasures to follow...

*And in case you are wondering: this is a reference to the present date, plus a reference to what would be September 11 in countries like the USA. And in a way it is a reference to the excessive (verging in the ridiculous) coverage of first the impact of tropical storm Sandy on the eastern US (while the enormous damage of the hurricane Sandy on Cuba was covered in a single sentence!!) and then the painstakingly detailed and minute-to-minute coverage of the US presidential elections in this country (the Netherlands). Already Dutch media don't bother to convert 9-11 to the customary 11-9, so my guess is that in a few decades we will officially hand over sovereignty to 'our good friends on the other side of the Atlantic'.

Some updates

A few updates on earlier posts.

You may remember those great videos by that majestic Malian diva Kandia Kouyaté (here, here and here). When I met her in Bamako last year Lucy Duran pointed out to me that it was unlikely, if not completely incorrect, that Kandia was 18 when these videos were recorded. I told her I was inclined to agree with her but was hesitant to correct this, as the 'grand dame' herself was the source of this information. She had told me this when I interviewed her in 1990 (photo - by the great Ton Verhees - on the right). Lucy has since reminded me in an email. She wrote: "Mali TV opened in 1983 and Kandia was born in 1958. I first met her in 1986 which is around the time that she did songs like Moussolou. Bouba Sacko only joined her group in 1985, before that she had a 12 string guitarist from Kita called Kissima Diabate who was living in Abidjan, and with whom she recorded Amary Daou présente Kandia Kouyate. So Actually Kandia will have been around 27 or 28 when she filmed those clips. The presenter was Zoumana Yoro Traoré and the programme was probably 'Artiste et sa musique'."




Then some updates from Guinea.
Graeme Counsel (website!!) is in Conakry at the moment continuing his work digitising and preserving the archives of the RTG. He has tumbled upon the original reel containing the first track of side B of that superb album "Boum à Conakry". According to the notes and label of the album this is a track called "El Checheré" by the Orchestre de la Paillote. It turns out that this information is incorrect. In fact the song is by l'Orchestre Honoré Coppet, and was recorded either on February 2 or March 24, 1963 at the Bonne Auberge by a certain Katty using a Nagra III reel-to-reel recorder! And this "Katty", Graeme adds, is probably Emmanuel Kathy, a director of the Voix de la Révolution studios.
Honoré Coppet was born in Martinique and traveled to Senegal and Guinea in the late 1950s. He played alto saxophone in the Syli Orchestre Nationale.






And yesterday he reported that he has found a reel containing recordings by that amazing accordeon player Petit Moussa (you may remember the mind boggling cassette sleeve). Apparently the man is called Moussa Diawara. Graeme has added a photo of this amazing find. Let's hope (or if you like you may pray) that these recordings are as spectacular as the ones on the cassette!

That's all for now. More music to follow soon.