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.
One of my resolutions for the new year is to post more traditional music. I am well aware that the distinction between modern and so-called 'traditional' music is at times not as clear as it may seem. A lot of modern music is at the very least inspired by themes, topic and tunes handed over from one generation to another, - or in other words by tradition.
So to start off the year I would like to share with you this cassette which I bought years and years ago in the early 1980s, - and long before these historic recordings made by Hugh Tracey between 1948 and 1963 were remastered and digitised. Although some, most, or possibly all (sorting this out is complicated by the fact that some of the titles have been changed - see my first attempt here*) of these recordings are probably available on cd, I still feel there is a case for posting this cassette. For I would like to put it to you that the sound of this cassette is in most cases better, or preferable if you like, to that of the cd's. Listen and compare...
The production of this cassette betrayes the pure amateur love for the music by the people at Folktracks (who don't seem in any way related to Folkways), with pre-computer printing and tightly folded, but extensive sleeve notes. From the archives of the International Library of African Music (ILAM) they have compiled 20 songs featuring the mbira, or sanza, or likembe, or thumb piano. The artists in these recordings have been fully credited. And there are some legends among these. Like Zimbabwean mbira legend Simon Mashoko ("Saimoni Mashoko" in the notes - photo on left). For others these recordings are possibly the only ones that were ever made of them.
I particularly like the tracks by Ngaina Lolo (A2 - love the resonance), the one by Simon Sitale (A8 - the mbira like a blanket for cold ears), the storybook-like "Kemai" by Kayoka Ladislas & Beya Marcel (A10), the very Zimbabwean sounding track by Baranganani Mudzanani from South Africa (B3) and the soulful song for the chief by Chabarwa Musanda Mayo Sinyoro** (B4).
At the beginning of this new year I would like to wish you all the very best!
I am starting this year with some music from a country which has so far remained unmentioned in this blog. There is a very good reason for this: I know next to nothing about it, can't read and don't understand a word of arabic, and a generally a total stranger to the - no doubt - wide range of cultures in this vast country. I have never been to Sudan, and the cassette I would like to share with you was not bought in Sudan. Well, at least not in the country we now call "Sudan". The cassette (on the right) does carry an indication of where it was bought: "BMDA" stands for "Bureau Malien du Droit d'Auteur". So the cassette was bought in the early 1990s in the former French Sudan. In fact, there were quite a few cassettes of Sudanese music available in Mali, and I may post another later.
You can read more about the artists featured on this cassette, Al Balabil, on the GhostCapital blog, although I hasten to add that the information is limited, and I get very itchy when African artists are labelled as African versions of western stars (in this case "The Supremes of Sudan" - aaaaarghh!).
I have no video of this female vocal trio, but I do have some videos of other Sudanese artists. One of my favourites is this one, by Kamal Tarbas, of whom many videos can be found on YouTube.
I just love the relaxed 'ambiance' of this video, recorded (sometime in the 1980s) on the banks of the Blue (or White?) Nile. And the music is simply wonderful.
I am finally getting 'round to posting this album. The reason for the delay is not in the lp itself, but in the video that goes with it. I have struggling to get the sound at least acceptable. Although I don't think I have succeeded I doubt I can do more to get it right. Besides, the exceptional quality of the sound of the lp should help to balance matters....
The lp is by the Super Boiro Band, and was released on the Syliphone label in Guinea, which in any case is a guarantee for a superior quality of music - and sound. The name "Boiro" was rapidly changed after the death of Sékou Touré and the fall of the Syli regime, as it carried associations to the infamous prison camp, Camp Boiro, in which a staggering estimate of fifty thousand (mainly political) prisoners were said to have died. The Super Boiro Band changed its name into Super Flambeau (flambeau = torch).
And in my opinion this is a far more suitable name given the both fiery and glowing nature of their music, - as is demonstrated especially by this record.
Justin Morel Junior mentions in his sleeve notes that the musicians of the orchestra 'pulled their act together' after visiting the "Semaine National de solfégétisation" in Conakry in 1974. My (rather aged) dictionary has no entry for "solfégétisation", but "solfège" has something to do with singing techniques, so I assume they did some vocal training. This certainly did no harm to their vocal harmonies, which are great on this lp.
But nevertheless I am more impressed by their instrumental skills. Particularly the organ on this lp is on a level of its own. Starting at 5'15 in the first track "Somono" the organist is the true master of these recordings. Highlights of his performance are the - in my opinion epic - version of "Nanibaly", in which I can picture him swaying behind his instrument, before making his dramatically restrained entrance after 3'14. The classic "Samba" is an instrumental tribute to the instrumental talents of the whole Boiro Band, again dominated by the organ.
But there is more to this record. There are 'cool' tunes, like the supercool "Gumbe". There is joy in "Sakonke" ("cuisinées à plus que 100°C"), encouragement in "Khamulan Na", and of course the usual flattery (albeit somewhat obligatory sounding!) of the P.D.G. in "Barika".
Judging by the few tracks I have heard of their work of the post-Syli era, I get the impression that the Super Flambeau managed to retain the high level they show on this wonderful album on the ever great Syliphone label. I for one would certainly like more of this.....
Graeme Counsel informs me that he has finished the first draft of yet another discography. In this case of the N'Dardisc label.
When it comes to Senegalese music this is certainly one of my favourite labels, as you may have noticed from past posts (33-11, 33-12, 33-14, 45-18).
This seems a good occasion to add one more. "Folklore du Sénégal - Musique et chants traditionnels" (N'Dardisc 33-10, as you can check in the discography) is normally a title to put any prospective buyer off, - but this will prove to be a serious mistake with the N'Dardisc label.
Side A contains three classic tracks by Soundioulou Sissoko and his wife Mahawa Kouyaté. According to some (notably a presenter from the RTG from Guinea) they are the source of many songs which became hits with the Great Orchestras from the golden age of Guinean and Malian (Malinké) music. Although I have my doubts about this claim, I am sure they have had a substantial influence. On this lp Mahawa, accompanied by Soundioulou on cora, sings "Bandia" (interpreted by both Orchestre de la Pailotte and Orchestre du Jardin de Guinée) and "Sakhodougou" (Jardin/Balladins). Soundioulou adds his interpretation of "Alalake" (e.g. Bembeya), but personally I think he doesn't get close to the overpowering version of Lalo Keba Dramé on N'Dardisc 33-11.
This master of cora and copper vocals (see my earlier post) can be heard on side B, together with Samba Diabaré Samb. And what a deadly duo they are! "Bamba Bodian" is another version than the one on "Hommage A Lalo Keba Dramé", but again by the great master himself. And "Maky Tara" and "Saraba"..... well, I'll leave you to discover these marvels for yourselves. All I will say is that if you liked Samba Diabaré Samb's track on N'Dardisc 33-12, you will be blown away by these.....
You may remember my earlier post in which I described Lola Djangi 'Chécain' as a singer from the 'old' (1960s) O.K. Jazz style. In this post I would like to focus more closely on this singer, who sadly died in 1992.
For most listeners Chécain will not be the easiest singer to recognise. For one thing, he usually acted as backing vocalist. And, perhaps more importantly, his voice matched his personality: unobtrusive - bordering on unpretentious - with a tendency towards the melancholic. Amongst the 'heavyweights' of the Tout Puissant O.K. Jazz he was not one to elbow himself into the limelight.
On the lp "In Memoriam Grand Maître Franco Vol. 9" he sings on a remarkably high percentage of the tracks: four out of the seven tracks. And of these four, his contribution to the song "Bodutaka" (composed by Lutumba Simaro) can be described as 'typical'. The song is dominated by Sam Mangwana and Josky Kiambukuta, with a 'cameo appearance' by Michel Boyibanda, who is allowed to do the third solo part. Chécain can only be heard in the background, when the three other vocalists do their solos, and 'animating' when Franco sets off into the sebene.
Chécain with Sam Mangwana
Far less typical is the fact that of the four tracks no less than two were composed by Chécain. These are in my opinion two of the best songs he has made for the T.P. O.K. Jazz. For one thing both songs feature Chécain sings with or alongside Sam Mangwana. A combination of voices which drew Mangwana, coming from the African Jazz/Fiesta side of Congolese music, into the O.K. Jazz style. And then there is of course Franco.....
But let's start at the beginning. This ninth volume of the "In Memoriam" series, which was released by Polygram Kenya shortly after Franco's death at the end of 1989, starts of with a Part Two. I can only guess why Polygram decided to select "Assitou" again, after they had already included the full version (part 1 and part 2) in Volume 1*. Maybe they were compensating for the inclusion of only the first part on "Fifteen Years Ago Vol.4" (ASLP 1024) a year earlier?
I am not complaining, however, as there can not be enough releases of this superb example of Franco's "let's run down the Kilimandjaro" chauffage (after 3'15). "Terrible", indeed. I strongly advise you to also take note of the complex patterns of rhythm guitars and Mpudi Decca's passionate bass playing.
"Zando Ya Tipo Tipo" is not only an interesting song for its lyrics (see Aboubacar Siddikh's YouTube version), but also for the extraordinary combining of the voices of composer Michel Boyibanda and Josky Kiambukuta. Both have voices with a tendency towards a 'coppery' sound, but the effect is strenghtened because Boyibanda sings the (higher) lead part, - and Franco takes it to another level of 'copperyness' with the sharp sound of his guitar.
The third song, titled "Bano Brekete" on this lp but "Mowunbu Ya Makanisi" on Pathe 2 C006 15717, starts off as a regular duet of Franco (composer) with his pupilYoulou Mabiala, but takes a turn into another direction after 2'22, with Franco experimenting with a new style of pizzicato.
Chécain, July 9, 1991 (photo: A. Siddikh)
And this is where we get to the first of Chécain's compositions on this album. "Lukika", like "Mele", offers another opportunity to enjoy the magical combination of the voices of Sam Mangwana and Chécain, with Chécain following Sam like a shadow. As per usual Chécain is very active as an animateur, in the classic O.K. Jazz style of people like Vicky Longomba before him, i.e. as a kind of commentator in the instrumental bits of the song. Chécain himself has stated that Josky is also singing in this song. If he is, he has managed to stay inaudible; or perhaps he is duplicating the singing of Chécain. The song contains no vocal solo, the duet stays intact until Franco breaks loose after 3'49, with Chécain continuing the animation. Franco's solo, by the way, is a fantastic example of his masterful use of only a very limited amount of chords...
While the songs on the A-side are from 1974, or even earlier, I suspect the B-side was recorded later, and in blatant stereo. The side opens with my favourite from this album: "Toboyana Kaka". The name on the sleeve, "Todutaka Kaka", is clearly an error, perhaps caused by copying part of the following title. Chécain explained the context and the lyrics to Aboubacar Siddikh and me in an interview which took place in the appartment where the T.P. O.K Jazz was staying during their European tour in the summer of 1991. The audio can be found here, and a translation into english here.
Looking back now, nearly twenty years later, I am fascinated by the obvious obsession about the photos, which I have noticed with other Africans too (and also with some Latin-Americans). Especially in the modern age of digital photos any worrying about retrieving photos from someone you once loved seems futile. Perhaps it has to do with the constant threat of witchcraft, which seems especially strong in Congo? Is he afraid that she is going to use the photos to harm him? I wish now I had had the alertness to ask him this....
I think it is safe to assume that the next song, "Bodutaka", was recorded in the same session. The singers are the same, with Sam and Josky backed by Boyibanda and Chécain. Interestingly Franco's guitar is on the left, while the rhythm guitar of Lutumba Simaro is on the right. Especially in the solo from 4'10 on Simaro appears to be trying hard to balance Franco.... Again, Decca is very hyperactive on the bass.
Remarkably Chécain's voice can be best distinguished in Youlou's "Ledi", possibly also recorded in the same session. From 1'40 he can be heard loud and clear on the right, while Youlou, Sam and Josky and again Youlou (and this twice) do their solo bits.
The photo Aboubacar took (on the left) has been hanging on the wall near my computer for some time now. The man with an impressive career from Micran Jazz, via - amongst others - Kongo Jazz, the legendary Rock-a-Mambo and Bokelo's Conga Jazz to the T.P. O.K. Jazz looking up, - with indignation in his expression, but resignation in his composure.
He died too young.
* Both parts of "Assitou" have also been released on African 360.053. That album also includes "Zando Ya Tipo-Tipo" and "Lukika".
EDIT December 21, 2010: Aboubacar Siddikh points out that Chécain in fact sings on five of the tracks. He also sings on "Assitou", although this is perhaps not so clear. It can, however, be derived from the fact that he does throw in some 'animation', - and is present on percussion (which may very well be the subject of a future post....).
EDIT January, 9, 2011: After some criticism (unfortunately of the anonymous kind...) I have re-digitised the record and have uploaded this to another server. It can be found through this link.
The A-side sounds slightly better, if you ask me.
According to this reportRemmy Ongala has died on Monday morning December 13, 2010 in Dar-Es-Salaam, Tanzania. Born in 1947 in the Kivu province of eastern Congo, Remmy played with several bands in Congo before moving to Tanzania. He himself in an interview in 1989 (audio 1) mentioned Orch.Grand's Mike Jazz, based in Bukavu, where he played with Rachid King, who he called "his brother in Washington". When King was invited to the US in 1978, Remmy was contacted in Bukavu by Mzee Makassy (audio 2). He played with Orchestra Makassy until Makassy himself left for the UK in 1980, selling his instruments as he was going to buy new ones in Europe. When ex-O.K. Jazz guitarist Mose 'Fanfan' Sesengo didn't feel like waiting for Makassy and decided to start his own orchestra called "Matimila", he invited Remmy to join him. Remmy agreed but with the intention to go back to Makassy as soon as he had returned. But when Makassy returned he refused to take back the defectors. After about a year and a half Fanfan announced he would move on, and left Remmy in charge of Matimila.
Remmy Ongala was known among his fans as the 'witchdoctor', a nickname which amused him, as he confessed in 1989 (audio 3). Maybe he also liked the implied reference to "le Sorcier de la guitare", Franco, who was certainly Remmy's main musical hero and a major influence on his music (audio 4).
I have met Remmy several times in the late 1980s and early 1990s, and he struck me as a very passionate and sincere musician, whose main ambitions were with his public. "Singing for the poor" (see my earlier post) with Remmy Ongala was no cliché.
As a tribute to this great man and true African I would like to share with you this cassette which was released in 1989. It is a good example of Ongala in his purest form.
After more than 23 years of making radio programmes I am seeking new ways to share my passion for African and Latin music. My intentions are 100% non-commercial.
If any post offends you please email me or report this in a comment.
I am hoping someone can shed some light on these four mystery tracks.
