The last recordings

Released in the year of his death these recordings were released as Mbaraka Mwinshehe's last recordings. Of course a few years later Polygram Kenya had to spoil it by releasing what they called "The Very Last Recordings".
I am guessing this is what we'll see in the next few years with 'the last recordings', 'the very last recordings' and 'recordings he made after his death' by Michael Jackson.

But the phenomenon itself should give you an idea of the importance and the standing of the man who was named 'Soloist National'. And the nation can be either Kenya, where he worked and recorded, or Tanzania, where he was born and raised and where he took his first steps on the road to musical fame.

The lp features some of Mbaraka's most famous hits: "Shida" and "Mtaa wa saba", of which the lyrics can be translated as follows:

"Mtaa wa saba" - The seventh street
"I moved today to the seventh street, from the house where I lived before. You could hardly call it a house.
I moved, I moved... when I saw it got too much for me. Always neighbours, children and animals annoying me. Always that terrible heat.
But now I am finally free of that wailing of cats that kept me awake at night. The children are no longer suffering.
Comrades, I don't have words for it. We are crazy with joy! ["wapangaji wa wanazo namii"???] I am no longer cheated by the landlord, thank God!
The heat was terrible beneath the palmleaf roof. It is almost a month ago, and meanwhile I have got a pay rise at work. My wife and children no longer have to suffer. All our troubles are over! "

(translation: Joris Oldewelt)

Not the kind of thing Michael Jackson would sing about, I suppose.

Polydor POLP 512 (1979) or alternative link

PS: please feel free to add the missing sentence in the translation...

EDIT September 13, 2015: the front sleeve of this album has been found (see below), and I have added this to the audio files (only the first link!!), which I have upgraded to 320kbps in the process.

Sekouba Diabaté

I'm afraid this post may add some confusion. This Sekouba Diabaté is not from Guinea, like Bambino or Bembeya (a.k.a. 'Diamond Fingers'), but from Mali.

Apart from this fact, I know nothing about this artist.

Well, that's not really true. I know he has made a wonderful cassette with four beautiful tracks to sooth the nerves of the nervous and relax the stressed, but also to console the worried and lift up the depressed. The ingredients of this cassette are simple: ngoni, guitar, a female chorus and a male singer. The magic is in the execution.

The choice of repertoire is not spectacular, with versions of the Mandé epics "Soundiata", "Djandjon", "Douga" and "Balla Kamale". The latter of these songs suggests that this artist may be connected to the Kela Diabaté's (Siramori and family). But I am just guessing....

I have had this cassette nearly two decades, and its 'posé' rhythms have helped me through some rough patches.

Super Sound SS 65

El Grand Ballaké

"El Gran Ballake started in music in 1967 at the age of 18 with the renowned Jazz de Sissoko orchestra in Acart-ville (Upper Volta). After one year with this orchestra I subsequently changed, and started again with Echo d'El Africa* from Bobo-Dioulasso, and this was in 1968.

And already from that time people got an idea of my success in music, for all I did was following musicians around and reworking their songs. On the other hand my parents were against it at all times; and at the end of the day (?), they gave in, for they realised it was my destiny that guided me on. I loved music to such a point that I started doing research on my own, and often, it even happened that I disappeared into the brousse so I wouldn't be bothered by others from my profession. And at the time the orchestra which accompanied me consisted of some very intelligent and talented young people.

So with Echo d'El Africa I released 6 (45 rpms) and 1 (33 rpms) titled "Récite historique de Bobo-Dioulaso" and I remained always the number 1 animateur of this orchestra. At present the orchestra which is accompanying me on my latest lp is Super Saman.
I hope the public will listen to the latest lp a lot.

The international Diarra Youssouf El Grand Ballake, a.k.a. the Dragon of African song, accompanied by the Tout-Puissant Super Saman."

Call me a fool, but after such sleeve notes I can't wait to hear the music. And luckily Youssouf Diarra does not disappoint me. This is a very enjoyable lp in the Malinke style which we know from many Guinean and Malian orchestras. Super Saman misses a horn section, but manages to compensate for this by the freshness and enthusiasm of their guitar section. 'El Grand Ballaké' has nowhere near the vocal presence of Amadou Traoré dit Ballaké, but then, who has? It is really a pity that by the choice of his nickname he has pitted himself against an artist of another, higher league.

So forget about the Ballaké bit and listen to this great album, - which by the way is another great find by our friend Faas!

Shakara music SHA 004

*i.e. Echo del Africa National, an album which I hope to post very soon.

Homme orchestre

To some the label "homme orchestre" ("one man orchestra") may conjure up images of great musicians, but I am more inclined to think of rather sad performances in hollow-sounding, wind-ridden underground stations. And I am not suggesting these don't have a certain nostalgic charm.
But good music? Naaah.

Ismael Lo recorded this cassette in 1981, while he was still playing with Super Diamono. He had been invited to join this band two years earlier, but Ismael's heart was more into Art (he had studied painting).
He continued however with Super Diamono until 1984, when he left for Spain to start a career as a painter. One can only assume that this didn't go as well as he expected, because he was soon back recording another album, and has been involved in many more solo projects since.

To tell you the truth, I have no patience for his work after this cassette. His later work is too pretentious for my liking.
But this cassette still has a certain innocence, which makes it (just) enjoyable. I have had this cassette for years, and there have been periods when I started screaming when I heard it, but - perhaps as a result of the mellowing which comes with age (it does?) - it has fallen into favour again.

This said I still get images of hollow-sounding, wind-ridden tunnels of underground stations when listening to Lo playing his guitar and harmonica.....

Bellot Records GBC 135

Tailwind

If you look at my posts so far, you won't be surprised when I tell you I am not very knowledgeable when it comes to Ghanian highlife. But in this case I guess I am in good company. Because even Akwaboa in his great Highlife Haven blog describes the Kyerematen(g) Stars as "quite unknown".

I gather from other blogs that there may be some religion involved, of the Christian variety. I haven't been able to detect traces of any religion in this album, but this may be due to my complete and utter ignorance of any of the (highly complicated, - so I am told) languages of Ghana.
So my opinion of the lp is solely based on what I can hear. And that is usually a very good measure when evaluating music.

Listening to this lp I am not disappointed. This is - in my opinion - a classic highlife album, and one with a distinct Ghanian touch. I am constantly reminded of John Collin's studies into circular rhythms*. If anyone is looking for examples: this album is full of those!
My favourites of these examples are "Masere M'Ano" and the combined tracks "A.K. Badu" / "D.K. Nyarko". Especially in the last track the effect is almost like cycling with the tailwind pushing you along. The guitars are like the effortless strokes of the feet turning the pedals....

Ambassador LPAM 026

* I will see if I can digitise parts of the 1994 documentary 'African Cross Rhythms' of which you can find an excerpt here at some time in the near future.