worldservice
Point
I've decided that the only way to counteract the absurd foreign intervention is to step up the posting. Apparently the "home of the free" has mutated into the "headquarters of the global police". I particularly like the metaphor used in one of the comments in a Dutch newspaper that the removal by the FBI (arrests in New Zealand! - do they have authority there???) of the Megaupload site is like bombing a highway because drug traffickers drive on this highway. If this is an attempt by the US authorities to demonstrate that 1984 has already come upon us, it is working.
The Netherlands is doing its very best to present itself as the puppy devoted to its american masters. The so-called antipiracy 'authority' has come out succesful in the legal action ordering two providers to block a torrent site (and don't be surprised if you can't follow the link...).
But enough of these depressing subjects.
In this post I would like to share two more singles by one of Benin's oldest orchestras: Orchestre Super Star de Ouidah.
Unfortunately, as in my earlier post, I am confronted by an enigma. What do they mean by "un point c'est tout"?
The lyrics are printed on the back of the sleeve and at first glance seem to clear up some of the mystery. The "PCD" is more than likely the Presidential Council of the early 1970s, which was the subject of a song by El Rego which I posted earlier. If you are interested I recommend you read the very detailed entry on Hubert Maga in the wikipedia.
I wasn't surprised to read that Maga, like (the for incomprehensible reasons widely revered) Senghor and 'dinosaur' Houphouet-Boigny, had gained respectability by getting himself (by ruse and deceit) elected into the French National Assembly.
The fact that there were "nordistes" (northerners) and "sudistes" can, it appears, be at least in part by attributed to Maga.
So what about this "point"?
Well, I think the answer can be found in this passage of the wikipedia: "A presidential council, consisting of Maga, Ahomadégbé-Tomêtin, and Apithy, was set up on May 7 with a presidency that changed every two years. Maga inaugurated this system for the first two years. Each man agreed to not use the military to extend their term or use any other means toward that consequence. If decisions were not unanimous during the first round of voting, a two councilman majority would suffice on the second round. The council served as the executive and legislative branch of Dahomey."
So "un point c'est tout" would mean that one vote could decide the majority. Is it me, or does this sound familiar?
What is the B-side of this single on the label is the A-side on the cover. This song was composed by Nigerian highlife star and innovator Roy Chicago (more about him here). I'm not sure what the relation is between Pascal Médagbé, the sax player portrayed on the sleeve, and Roy Chicago, but listening to his abuse of the sax it seems unlikely Médagbé played with the master.
Discafric DCF 13
Musically I prefer the next single, which is coincidentally also the next single on the Discafric label. This is largely due to the guitar playing of 'Timo' Apovée, nicknamed (at least on the sleeve) "Dieu de la guitare".
For those who don't understand french, the text on the back translates as: "Born in Ouidah on January 24, 1939 Timothée was taken by his father to Libreville in 1946. At the age of seven he was admitted to the catholic primary school Monfort led by brother F. Macaire and he worked there with a remarkable courage, but the death of his father who managed a business (Hatton and Cooks'son) sabotages his plans.
Taken back to his native country in 1955 by one of his uncles, very soon great problems come down on his existence. He liked staying alone in his little room to hum some songs to the sound of what later became his 'violon d'Ingres' (great love): the guitar.
He founded several orchestras: the Mexicana Jazz, Jazz King's Band and then the Super-Star de Ouidah. So he became Solo Guitarist/Composer and chef d'orchestre.
Let us hope and wish that Timo God of the Guitar reaches the top of the stars of the country and is able to one fine day compete with his Congolese colleagues."
I'm not sure what the relevance is of the mention of the headmaster and the name or even profession of his father, but I don't think the hopes and wishes expressed in the last sentence became reality.
This doesn't mean he is no good as a guitar player. I particularly like the sound of his guitar. It reminds me of the guitars of the earlier Guinean orchestras (Paillote, Jardin and such).
And anything that reminds me of those glorious orchestras must be good.
Discafric DCF 14
The Netherlands is doing its very best to present itself as the puppy devoted to its american masters. The so-called antipiracy 'authority' has come out succesful in the legal action ordering two providers to block a torrent site (and don't be surprised if you can't follow the link...).
But enough of these depressing subjects.
In this post I would like to share two more singles by one of Benin's oldest orchestras: Orchestre Super Star de Ouidah.
Unfortunately, as in my earlier post, I am confronted by an enigma. What do they mean by "un point c'est tout"?
The lyrics are printed on the back of the sleeve and at first glance seem to clear up some of the mystery. The "PCD" is more than likely the Presidential Council of the early 1970s, which was the subject of a song by El Rego which I posted earlier. If you are interested I recommend you read the very detailed entry on Hubert Maga in the wikipedia.
I wasn't surprised to read that Maga, like (the for incomprehensible reasons widely revered) Senghor and 'dinosaur' Houphouet-Boigny, had gained respectability by getting himself (by ruse and deceit) elected into the French National Assembly.
The fact that there were "nordistes" (northerners) and "sudistes" can, it appears, be at least in part by attributed to Maga.
So what about this "point"?
Well, I think the answer can be found in this passage of the wikipedia: "A presidential council, consisting of Maga, Ahomadégbé-Tomêtin, and Apithy, was set up on May 7 with a presidency that changed every two years. Maga inaugurated this system for the first two years. Each man agreed to not use the military to extend their term or use any other means toward that consequence. If decisions were not unanimous during the first round of voting, a two councilman majority would suffice on the second round. The council served as the executive and legislative branch of Dahomey."
So "un point c'est tout" would mean that one vote could decide the majority. Is it me, or does this sound familiar?
What is the B-side of this single on the label is the A-side on the cover. This song was composed by Nigerian highlife star and innovator Roy Chicago (more about him here). I'm not sure what the relation is between Pascal Médagbé, the sax player portrayed on the sleeve, and Roy Chicago, but listening to his abuse of the sax it seems unlikely Médagbé played with the master.
Discafric DCF 13
Musically I prefer the next single, which is coincidentally also the next single on the Discafric label. This is largely due to the guitar playing of 'Timo' Apovée, nicknamed (at least on the sleeve) "Dieu de la guitare".
For those who don't understand french, the text on the back translates as: "Born in Ouidah on January 24, 1939 Timothée was taken by his father to Libreville in 1946. At the age of seven he was admitted to the catholic primary school Monfort led by brother F. Macaire and he worked there with a remarkable courage, but the death of his father who managed a business (Hatton and Cooks'son) sabotages his plans.
Taken back to his native country in 1955 by one of his uncles, very soon great problems come down on his existence. He liked staying alone in his little room to hum some songs to the sound of what later became his 'violon d'Ingres' (great love): the guitar.
He founded several orchestras: the Mexicana Jazz, Jazz King's Band and then the Super-Star de Ouidah. So he became Solo Guitarist/Composer and chef d'orchestre.
Let us hope and wish that Timo God of the Guitar reaches the top of the stars of the country and is able to one fine day compete with his Congolese colleagues."
I'm not sure what the relevance is of the mention of the headmaster and the name or even profession of his father, but I don't think the hopes and wishes expressed in the last sentence became reality.
This doesn't mean he is no good as a guitar player. I particularly like the sound of his guitar. It reminds me of the guitars of the earlier Guinean orchestras (Paillote, Jardin and such).
And anything that reminds me of those glorious orchestras must be good.
Discafric DCF 14
Categories: blogs
San revisited
Following a comment on Youtube claiming - with valid arguments - that the video I posted might not be what I stated it was, I have been tracing the friend who copied the video for me (years & years go). Contributing to my doubts regarding the origins of the groupe in the video was my discovery, on one of my VHS-tapes, of two tracks by "Les artistes de San".
This the first of these:
I am sure you agree that this music is quite different from that of the two tracks I posted earlier.
It appears the two videos where mixed up in copying, because the video from the "artistes de San" was labelled "Nioro". And it seems very likely that the two videos I posted earlier are from a cultural ensemble from that town in the Kayes region near the border with Mauretania.
You may note some similarities with the wonderful Safoura Denou and Seny Sangaré I posted earlier.
I can assure you I have not been fiddling with the sound in this video. The echo (after 4'37) was added by the recording technicians of the RTM.
I love those guys....
This the first of these:
I am sure you agree that this music is quite different from that of the two tracks I posted earlier.
It appears the two videos where mixed up in copying, because the video from the "artistes de San" was labelled "Nioro". And it seems very likely that the two videos I posted earlier are from a cultural ensemble from that town in the Kayes region near the border with Mauretania.
You may note some similarities with the wonderful Safoura Denou and Seny Sangaré I posted earlier.
I can assure you I have not been fiddling with the sound in this video. The echo (after 4'37) was added by the recording technicians of the RTM.
I love those guys....
Categories: blogs
Velvet
I really had no intention of dedicating a post to this singer from Nigeria, but one of the tunes has been stuck inside my head for nearly two weeks now. So I am hoping writing about it may be conducive to the process of exorcism (so to speak).
You may remember my post about the great Tunde Nightingale, where I expressed my puzzlement about the nickname reserved for this singer. It just goes to show that when it comes to vocals there may be some cultural differences between my western perception and that of the varied African peoples. "Peoples", for Tunde was not the only vocalist with this 'nom de plume' (or 'nom de micro', if you like). There is Rossignol (real name: Philippe Lando), star of the first line-up of the O.K. Jazz and co-founder of Rock-a-Mambo. And I remember a record (which can still be found on the Global Groove blog) where Tchico - normally also a "rossignol" - is called a "ladybird" (at the end of the song "Oh! Maman Chérie")!
In this case I am puzzled about the adjective used to describe the voice of Alhaja Hassanah Waziri.
"Velvet"??
Unless it is meant as a clever alternative to "rough" or "rough-edged" I am at loss for the source of this label.
Maybe it is a cultural thing...
And that brings me to the reason for my original reluctance to post her lp. For as to her roots I can only speculate. The reference to her in the discography of Alhaji Waziri Oshomah may suggest a (family) relationship. Perhaps she is also from the Etsako region of Edo State?
As a layman when it comes to highlife in general and Nigerian highlife in particular I am at times reminded of the likes of Orlando Owoh, i.e. of what I would like to call the more 'muddy' variant of Nigerian highlife. As a bonus Ms. Waziri has a nice horn section backing her, and that's one thing I have never heard with Owoh (but then, what do I know?).
The song stuck in my mind is, by the way, "Emomhe Alhaja Awawo Oigbesor". Be warned...
Shanu Olu SOS 219 (1986)
You may remember my post about the great Tunde Nightingale, where I expressed my puzzlement about the nickname reserved for this singer. It just goes to show that when it comes to vocals there may be some cultural differences between my western perception and that of the varied African peoples. "Peoples", for Tunde was not the only vocalist with this 'nom de plume' (or 'nom de micro', if you like). There is Rossignol (real name: Philippe Lando), star of the first line-up of the O.K. Jazz and co-founder of Rock-a-Mambo. And I remember a record (which can still be found on the Global Groove blog) where Tchico - normally also a "rossignol" - is called a "ladybird" (at the end of the song "Oh! Maman Chérie")!
In this case I am puzzled about the adjective used to describe the voice of Alhaja Hassanah Waziri.
"Velvet"??
Unless it is meant as a clever alternative to "rough" or "rough-edged" I am at loss for the source of this label.
Maybe it is a cultural thing...
And that brings me to the reason for my original reluctance to post her lp. For as to her roots I can only speculate. The reference to her in the discography of Alhaji Waziri Oshomah may suggest a (family) relationship. Perhaps she is also from the Etsako region of Edo State?
As a layman when it comes to highlife in general and Nigerian highlife in particular I am at times reminded of the likes of Orlando Owoh, i.e. of what I would like to call the more 'muddy' variant of Nigerian highlife. As a bonus Ms. Waziri has a nice horn section backing her, and that's one thing I have never heard with Owoh (but then, what do I know?).
The song stuck in my mind is, by the way, "Emomhe Alhaja Awawo Oigbesor". Be warned...
Shanu Olu SOS 219 (1986)
Categories: blogs
Recours
I would like to round off* this (in many aspects not so happy) year with some sounds that I am almost sure will make you happy. And in the process I will try and clear up some misunderstandings and/or correct a few errors.
The subject of this post is one of my favourite ones: the music of Franco and his O.K. Jazz. More precisely I would like to focus on that fascinating period of the early 1970s, when Franco took control of the O.K. Jazz and the O.K. Jazz had not yet 'transformed' into the Tout Puissant O.K. Jazz.
Although it is easy to state this nearly forty years later, I am inclined to belief that Franco came out on top after the attempts to undermine his popularity in the late 1960s. One of the key ingredients of his success, and not just then but throughout his career, was that he had a capacity to absorb influences by others while remaining himself. Asked about the inspiration for his music Franco has replied in several interviews that he has spent his whole life listening to the music from his country. These words are not to be taken as some form of cliché. Franco really listened to all music from Congo/Zaïre and had done so since his youth. Seen in this light the call by Mobutu for a "recours à l'authenticité" seems 'tailor-made' for Franco.
The word "recours" has over the years been misinterpreted. It does not mean a return to, but rather an appeal to.
And authenticity was of course by no means an invention of Mobutu. For Mobutu it was actually more a solution to an imminent - or perhaps even urgent - problem. In that respect I think there are some parallels with the present search for a national identity and the 'recours' to a disturbing and shortsighted form of nationalism in countries like the Netherlands...
For Franco the 'recours à l'authenticité' meant a confirmation of what he was already doing. When he contacted people from the pre-independence era of Congolese music in 1971 he wasn't the first to do so. Wendo had been playing with Rochereau in the 1960s. Contrary to Rochereau legendary musicians from the Ngoma label like Manuel D'Oliveira and Camille Feruzi played with the O.K. Jazz on equal terms; they weren't used as an embellishment.
As far as I know (and please, please, please correct me if I am wrong!) Franco recorded two songs with and by Manuel D'Oliveira and a whopping five with Camille Feruzi. Of the latter I am only sharing four with you in this post. Of the last song (unconfirmed title "Tika Kolela Cherie") I have only a sadly very low-fi copy.
Three of the songs with Camille Feruzi have been released on CD (Sonodisc CD 36581), but - typical of Sonodisc - not without a slight cockup. "Kuyina" has been renamed to "Mbanda Nasali Nini?", - which happens to be the title of the track that is missing from the CD.
The songs were originally released on three singles by Franco's Editions Populaires, and according to my information in December 1972 (the first two singles) and the beginning of January 1973 (the third). Gary Stewart states that it was exactly one year earlier, and - although I am willing to believe this - I have no confirmation of this, or of the source of this dating.
The first of the three singles contains besides Franco's brilliant "Likambo Ya Ngana", featuring not only Franco and Camille Feruzi (on accordion) but also the same female chorus that can be found on "Boma L'Heure", an equally brilliant "Casier Judiciaire" (= criminal record). And this last song is a different version from the track included on the CD I mentioned before. Franco's acoustic solo after 3'20 is to me one of the absolute highlights of his career.
A small detail: on the CD "Likambo Ya Ngana" fades out a few seconds earlier than on the single. Why??
EP 78 [Fiesta 51.149]
On the second are two compositions by Camille Feruzi. On the B-side is "Siluvangi Wapi Accordeon?" which you may know from the CD. And on the A-side is the song missing from the CD, "Mbanda Nasali Nini?". Again I wonder why. Why wasn't this song included in the CD?
Coincidentally this happens to be a song with a bit of a mystery. Because who is the singer besides Youlou Mabiala? Aboubacar Siddikh suggests it might be Vicky, but I am more inclined to think it is Kwamy. Alternatively it can be a singer brought along by Camille Feruzi (Tenor Beya perhaps?).
This song is not only different because of the singer, but also because of the arrangement. In the second part (after 2'32) there is a full orchestral arrangement with the horn section sparring with Feruzi's accordion. Fascinating!
EP 79 [Fiesta 51.151]
The third single not only features the fourth track with Camille Feruzi, "Kuyina", with Franco and Feruzi competing for a place in the limelight, but also a track composed by that seminal composer duo from the early 1950s: Georges Edouard and Manuel D'Oliveira. Together with Henri Freitas and Bila Edouard they formed the group San Salvador, which can be described as the band that laid the foundation for all Congolese modern music. I will certainly be dedicating a post (or perhaps even more than one) to this group in the coming year.
The song "Ba Mipangi Ya Matadi" is in my opinion the very best example of a "recours à l'authenticité". I am not sure of the singers, but I suspect one of them is Manuel D'Oliveira, and the other could be Michel Boyibanda. The rhythm is 100% San Salvador and is accentuated by the percussion. Franco seems to have adjusted his tuning to the tuning of San Salvador, but remains clearly and recognisably Franco.
Again I can not understand why this song has never been included on one of the many Sonodisc CD's.
EP 80 [Fiesta 51.181]
The three singles plus the second track of Manuel D'Oliveira with the O.K. Jazz ("Na Mokili Mibale Na Mibale" - see this post) can also be downloaded in one file and in the FLAC format (alternative links - 2 files: here and here).
I will be posting more from this fascinating period very soon.
I wish you all a happy, healthy and successful 2012!
* and I am well aware that you may already be in the new year.
The subject of this post is one of my favourite ones: the music of Franco and his O.K. Jazz. More precisely I would like to focus on that fascinating period of the early 1970s, when Franco took control of the O.K. Jazz and the O.K. Jazz had not yet 'transformed' into the Tout Puissant O.K. Jazz.
Although it is easy to state this nearly forty years later, I am inclined to belief that Franco came out on top after the attempts to undermine his popularity in the late 1960s. One of the key ingredients of his success, and not just then but throughout his career, was that he had a capacity to absorb influences by others while remaining himself. Asked about the inspiration for his music Franco has replied in several interviews that he has spent his whole life listening to the music from his country. These words are not to be taken as some form of cliché. Franco really listened to all music from Congo/Zaïre and had done so since his youth. Seen in this light the call by Mobutu for a "recours à l'authenticité" seems 'tailor-made' for Franco.
The word "recours" has over the years been misinterpreted. It does not mean a return to, but rather an appeal to.
And authenticity was of course by no means an invention of Mobutu. For Mobutu it was actually more a solution to an imminent - or perhaps even urgent - problem. In that respect I think there are some parallels with the present search for a national identity and the 'recours' to a disturbing and shortsighted form of nationalism in countries like the Netherlands...
For Franco the 'recours à l'authenticité' meant a confirmation of what he was already doing. When he contacted people from the pre-independence era of Congolese music in 1971 he wasn't the first to do so. Wendo had been playing with Rochereau in the 1960s. Contrary to Rochereau legendary musicians from the Ngoma label like Manuel D'Oliveira and Camille Feruzi played with the O.K. Jazz on equal terms; they weren't used as an embellishment.
As far as I know (and please, please, please correct me if I am wrong!) Franco recorded two songs with and by Manuel D'Oliveira and a whopping five with Camille Feruzi. Of the latter I am only sharing four with you in this post. Of the last song (unconfirmed title "Tika Kolela Cherie") I have only a sadly very low-fi copy.
Three of the songs with Camille Feruzi have been released on CD (Sonodisc CD 36581), but - typical of Sonodisc - not without a slight cockup. "Kuyina" has been renamed to "Mbanda Nasali Nini?", - which happens to be the title of the track that is missing from the CD.
The songs were originally released on three singles by Franco's Editions Populaires, and according to my information in December 1972 (the first two singles) and the beginning of January 1973 (the third). Gary Stewart states that it was exactly one year earlier, and - although I am willing to believe this - I have no confirmation of this, or of the source of this dating.
The first of the three singles contains besides Franco's brilliant "Likambo Ya Ngana", featuring not only Franco and Camille Feruzi (on accordion) but also the same female chorus that can be found on "Boma L'Heure", an equally brilliant "Casier Judiciaire" (= criminal record). And this last song is a different version from the track included on the CD I mentioned before. Franco's acoustic solo after 3'20 is to me one of the absolute highlights of his career.
A small detail: on the CD "Likambo Ya Ngana" fades out a few seconds earlier than on the single. Why??
EP 78 [Fiesta 51.149]
On the second are two compositions by Camille Feruzi. On the B-side is "Siluvangi Wapi Accordeon?" which you may know from the CD. And on the A-side is the song missing from the CD, "Mbanda Nasali Nini?". Again I wonder why. Why wasn't this song included in the CD?
Coincidentally this happens to be a song with a bit of a mystery. Because who is the singer besides Youlou Mabiala? Aboubacar Siddikh suggests it might be Vicky, but I am more inclined to think it is Kwamy. Alternatively it can be a singer brought along by Camille Feruzi (Tenor Beya perhaps?).
This song is not only different because of the singer, but also because of the arrangement. In the second part (after 2'32) there is a full orchestral arrangement with the horn section sparring with Feruzi's accordion. Fascinating!
EP 79 [Fiesta 51.151]
The third single not only features the fourth track with Camille Feruzi, "Kuyina", with Franco and Feruzi competing for a place in the limelight, but also a track composed by that seminal composer duo from the early 1950s: Georges Edouard and Manuel D'Oliveira. Together with Henri Freitas and Bila Edouard they formed the group San Salvador, which can be described as the band that laid the foundation for all Congolese modern music. I will certainly be dedicating a post (or perhaps even more than one) to this group in the coming year.
The song "Ba Mipangi Ya Matadi" is in my opinion the very best example of a "recours à l'authenticité". I am not sure of the singers, but I suspect one of them is Manuel D'Oliveira, and the other could be Michel Boyibanda. The rhythm is 100% San Salvador and is accentuated by the percussion. Franco seems to have adjusted his tuning to the tuning of San Salvador, but remains clearly and recognisably Franco.
Again I can not understand why this song has never been included on one of the many Sonodisc CD's.
EP 80 [Fiesta 51.181]
The three singles plus the second track of Manuel D'Oliveira with the O.K. Jazz ("Na Mokili Mibale Na Mibale" - see this post) can also be downloaded in one file and in the FLAC format (alternative links - 2 files: here and here).
I will be posting more from this fascinating period very soon.
I wish you all a happy, healthy and successful 2012!
* and I am well aware that you may already be in the new year.
Categories: blogs
Update on "Disaster"
John Collins has sent me an update on the situation with his house and archive (see my post of November 20). Unfortunately his mails have been marked as "spam" (probably as a result of the links he included), so I have not spotted these until a few days ago.
He writes:"As mentioned in my previous email letter - due to a number of factors that include climate change unplanned development and blocking of natural waterways Accra was severely flooded on 26th Oct and my own Bokoor House and the BAPMAF Music archives its hosts were severely affected. After this I spent a frantic months trying to save the damaged materials and at a guess I roughly estimate that about 10% of the BAPMAF archives was destroyed . Please see the following blogspots of the American Public Radio program Afropop for pictures and more details of the disaster - and also the BBC and Batuki Music of Toronto
http://blog.afropop.org/2011/11/flood-disaster-at-john-collins-bokoor.html
www.bbc.co.uk/news/world-africa-15797338
http://www.batukimusic.com/index.php?option=com_content&view=article&id=76&Itemid=118
Also see youtube video clip: http://www.youtube.com/watch?v=hncle453r_0
In my previous email letter I also mentioned some of the things I have to do - which include
· Storing all the BAPMAF archives temporarily upstairs in the BAPMAF Exhibition Room.
· Repairing flood damage and build circa 200 feet of reinforced concrete wall with gravel embankment to immediately protect the Bokoor/BAPMAF property from flooding.
· Replacing thousands of dollars of lost equipment, computers, car, scanners, cameras, record player, stabilizers, 4-track recorder, chargers and 12 volt battery backup system, power point and slide projector etc..
· Finding means and funds to temporarily relocate both my residence and the exhibition section of BAPMAF (either together or separately) elsewhere.
· Salvaging and restoring the BAPMAF holdings and make its exhibition section available again to the public.
In just one month I have already done some of the above. I have saved all the materials that could be saved, dried them and stored them with other BAPMAF materials safely upstairs. I have built about 80 feet of wall and embankment. And right now I am making arrangements with a Ghanaian national cultural institution to loan the exhibition section of BAPMAF and have it relocated at somewhere in Accra (possibly the National Museum) - so that it can remain open to the public whilst I am salvaging, re-organising and re-building the BAPMAF archives.
I will also relocate myself my family and the BAPMAF library, research documents and archival holdings elsewhere for the meantime. During this time I will repair flood damage to my Bokoor property and also convert the upstairs property into an area suitable for both accommodation and BAPMAF activities (other than its public exhibitions facilities). It may also be possible later - if a sensible system of drainage is introduced to the area and people are prevented from blocking the river with sawdust and other materials - for my downstairs property to become the location for the BAPMAF Exhibitions space. However, as mentioned, for the meantime, the BAPMAF exhibitions and photo gallery might be located at a suitable national public space in Accra.
DONATIONS
Those who wish to contribute to getting BAPMAF back on its feet should either send donations (especially larger ones) to my bank account (bank transfer) in the UK (see below) - or to a paypal account that has been set up with the help by American colleagues and well wishers. Anyone who already has a PayPal account can simply make a donation through PayPal to at . People who don't have a PayPal account should click on the donate button (marking these as a "gift") on either of the two following blogspots.
http://bapmaf.blogspot.com/
or http://blog.afropop.org/2011/11/flood-disaster-at-john-collinss-bokoor.html
[BANK DETAILS :NATWEST, Tottenham Court Rd Branch, P.O.BOX 2EA 45 Tottenham Court Rd. London WIT 2EA ,Reward Reserve Account of E .J. Collins, Account number 26592258, Sort Code 56-00-31, Swift code NWBK GB 2L, IBAN number GB16 NWBK 56003126 5922 58]
All the best, John Collins
SOMETHING BRIEF ON BAPMAF
I am a Ghanaian-British national, a musician, musicologist and music lecturer at the University of Ghana - and I have been operating the BAPMAF music archives in Ghana since 1990. BAPMAF (the Bokoor African Popular Music Archives Foundation) is an NGO established in 1990 by myself with the assistance and encouragment of some leading Ghanaian musicians and musicologists (like E.T. Mensah, King Bruce, Kwaa Mensah, Beattie Casely-Hayford, Oscarmore Ofori, Koo Nimo and T.O. Jazz, etc), to preserve, research, promote and disseminate Ghanaian/African performing arts, with the focus on popular performing arts. BAPMAF was first opended to the public in 1996 and then after extensive re-building at Bokoor House BAPMAF was re-opened in 2007 during Ghana‘s 50th anniversary Independence Day celebrations. The BAPMAF and its Highlife-Music Institute exhibited the ‘Golden Years of Highlife Exhibition’ through literally 100’s of photos, diagrams, maps, captions and posters as well a instuments and memoribilia connected with Ghanaian, African and Black Diasporic music. The BAPMAF complex also included of a large seminar/work-shop space, digital documentation room, audio-video laboratory and library. The BAPMAF Highlife Institute archival holdings prior to the October 2011 floods consisted of 1,200 photographs/slides, 700 publications, hundreds of rare and old documents and 1,500 hours of recorded music; including almost a thousand old highlife songs on shellac and vinyl records. It provideds materials for teaching and research purposes and has collaborated over the years with many local and foreign agencies: the Goethe Institute, the University of Ghana, the Alliance Francaise, the Dubois Centre, the Swizz Embassy, The Muscians Union of Ghana (MUSIGA), Ghanaba’s African Heritage Library, the US Embassy Public Affairs Section (Black History Month) and Rocky Dawuni’s Africa Live Project. BAPMAF is also a member of the UNESCO Global Alliance for Cultural Diversity and has provided materials too both local and foreign media agencies: the BBC, Joy FM, Ghana Broadcasting, TV3, Citi FM, ETV, American Public Radio, Radio France International, Mietzer-keiner-filmproduktion, Cinecon Africa, Creative Storm, the Soul to Soul project, Archiafrika, Analysis Lost Productions and Panafricas/Instituto Midia Etnica."
I have little to add, apart from an encouragement to donate generously to this very worthy cause.
He writes:"As mentioned in my previous email letter - due to a number of factors that include climate change unplanned development and blocking of natural waterways Accra was severely flooded on 26th Oct and my own Bokoor House and the BAPMAF Music archives its hosts were severely affected. After this I spent a frantic months trying to save the damaged materials and at a guess I roughly estimate that about 10% of the BAPMAF archives was destroyed . Please see the following blogspots of the American Public Radio program Afropop for pictures and more details of the disaster - and also the BBC and Batuki Music of Toronto
http://blog.afropop.org/2011/11/flood-disaster-at-john-collins-bokoor.html
www.bbc.co.uk/news/world-africa-15797338
http://www.batukimusic.com/index.php?option=com_content&view=article&id=76&Itemid=118
Also see youtube video clip: http://www.youtube.com/watch?v=hncle453r_0
In my previous email letter I also mentioned some of the things I have to do - which include
· Storing all the BAPMAF archives temporarily upstairs in the BAPMAF Exhibition Room.
· Repairing flood damage and build circa 200 feet of reinforced concrete wall with gravel embankment to immediately protect the Bokoor/BAPMAF property from flooding.
· Replacing thousands of dollars of lost equipment, computers, car, scanners, cameras, record player, stabilizers, 4-track recorder, chargers and 12 volt battery backup system, power point and slide projector etc..
· Finding means and funds to temporarily relocate both my residence and the exhibition section of BAPMAF (either together or separately) elsewhere.
· Salvaging and restoring the BAPMAF holdings and make its exhibition section available again to the public.
In just one month I have already done some of the above. I have saved all the materials that could be saved, dried them and stored them with other BAPMAF materials safely upstairs. I have built about 80 feet of wall and embankment. And right now I am making arrangements with a Ghanaian national cultural institution to loan the exhibition section of BAPMAF and have it relocated at somewhere in Accra (possibly the National Museum) - so that it can remain open to the public whilst I am salvaging, re-organising and re-building the BAPMAF archives.
I will also relocate myself my family and the BAPMAF library, research documents and archival holdings elsewhere for the meantime. During this time I will repair flood damage to my Bokoor property and also convert the upstairs property into an area suitable for both accommodation and BAPMAF activities (other than its public exhibitions facilities). It may also be possible later - if a sensible system of drainage is introduced to the area and people are prevented from blocking the river with sawdust and other materials - for my downstairs property to become the location for the BAPMAF Exhibitions space. However, as mentioned, for the meantime, the BAPMAF exhibitions and photo gallery might be located at a suitable national public space in Accra.
DONATIONS
Those who wish to contribute to getting BAPMAF back on its feet should either send donations (especially larger ones) to my bank account (bank transfer) in the UK (see below) - or to a paypal account that has been set up with the help by American colleagues and well wishers. Anyone who already has a PayPal account can simply make a donation through PayPal to at . People who don't have a PayPal account should click on the donate button (marking these as a "gift") on either of the two following blogspots.
http://bapmaf.blogspot.com/
or http://blog.afropop.org/2011/11/flood-disaster-at-john-collinss-bokoor.html
[BANK DETAILS :NATWEST, Tottenham Court Rd Branch, P.O.BOX 2EA 45 Tottenham Court Rd. London WIT 2EA ,Reward Reserve Account of E .J. Collins, Account number 26592258, Sort Code 56-00-31, Swift code NWBK GB 2L, IBAN number GB16 NWBK 56003126 5922 58]
All the best, John Collins
SOMETHING BRIEF ON BAPMAF
I am a Ghanaian-British national, a musician, musicologist and music lecturer at the University of Ghana - and I have been operating the BAPMAF music archives in Ghana since 1990. BAPMAF (the Bokoor African Popular Music Archives Foundation) is an NGO established in 1990 by myself with the assistance and encouragment of some leading Ghanaian musicians and musicologists (like E.T. Mensah, King Bruce, Kwaa Mensah, Beattie Casely-Hayford, Oscarmore Ofori, Koo Nimo and T.O. Jazz, etc), to preserve, research, promote and disseminate Ghanaian/African performing arts, with the focus on popular performing arts. BAPMAF was first opended to the public in 1996 and then after extensive re-building at Bokoor House BAPMAF was re-opened in 2007 during Ghana‘s 50th anniversary Independence Day celebrations. The BAPMAF and its Highlife-Music Institute exhibited the ‘Golden Years of Highlife Exhibition’ through literally 100’s of photos, diagrams, maps, captions and posters as well a instuments and memoribilia connected with Ghanaian, African and Black Diasporic music. The BAPMAF complex also included of a large seminar/work-shop space, digital documentation room, audio-video laboratory and library. The BAPMAF Highlife Institute archival holdings prior to the October 2011 floods consisted of 1,200 photographs/slides, 700 publications, hundreds of rare and old documents and 1,500 hours of recorded music; including almost a thousand old highlife songs on shellac and vinyl records. It provideds materials for teaching and research purposes and has collaborated over the years with many local and foreign agencies: the Goethe Institute, the University of Ghana, the Alliance Francaise, the Dubois Centre, the Swizz Embassy, The Muscians Union of Ghana (MUSIGA), Ghanaba’s African Heritage Library, the US Embassy Public Affairs Section (Black History Month) and Rocky Dawuni’s Africa Live Project. BAPMAF is also a member of the UNESCO Global Alliance for Cultural Diversity and has provided materials too both local and foreign media agencies: the BBC, Joy FM, Ghana Broadcasting, TV3, Citi FM, ETV, American Public Radio, Radio France International, Mietzer-keiner-filmproduktion, Cinecon Africa, Creative Storm, the Soul to Soul project, Archiafrika, Analysis Lost Productions and Panafricas/Instituto Midia Etnica."
I have little to add, apart from an encouragement to donate generously to this very worthy cause.
Categories: blogs
Disaster
This is not really a post. I am just trying to point any readers who may have missed this to the appeal made on the Afropop and the Osibisaba blog.
I am sure the original poster won't mind me quoting John Collins' appeal for help:
"Dear colleagues, supporters, fans, friends and well wishers,
As you know I have been operating the BAPMAF music archives since 1990 which was partly opened at my Bokoor House to the public in 1996 and more fully in 2007. However, devastation struck in the middle of the night of 26th Oct, 2011 in the form of a flood. This occurred over many parts of Accra due to more and more people building in or blocking water ways - so that rivers could no longer easily run into the sea. In our particular Taifa-Ofankor area this was compounded by the construction of a 3 mile section of the Kumasi highway (from Achimota to Ofankor) without adequate gutters - and also saw-millers who have been dumping sawdust in rivers and wetlands.
We residents have complained to both the Ghana National Highways Authority and the Ga District Assembly (Council) over the years to no avail Indeed the National Highways Authority told us residents that they had to build the road first before constructing the drains and that these 2 projects even fell under 2 different ministries. Furthermore, the saw-millers in the MUUS next to us, who are relative newcomer to the area, did not allow space on their adjacent land to ours for a gutter. In fact, by dumping sawdust on the drainage river (Brenyah River) they re-directed part of this river though my house and garden – which broke my wall – they are even now claiming my garden is their ‘natural’ gutter.
The resulting flooding on the 26 Oct. was unprecedented with almost 6 feet of water entering our land and 5 feet into the downstairs house and premises where some of the BAPMAF archival holdings are kept. I was in Mali at the time at an African popular music conference organized by the French Institute in conjunction with and the Malian Ministry of Culture. On returning to Ghana on the 29th I met my family perched upstairs in the BAPMAF exhibition space. They had escaped drowning by 2 minutes due to a timely call from a neighbor upstream who noticed the water build up and got them to leave the house and flee upstairs.
Some of the losses are as follows:
• Approx 10-20% 0f BAPMAF archival holding lost. Some we are still trying to dry and salvage.
• Loss of all electronic equipment including materials donated a few years ago to the BAPMAF archives by the German Goethe Institute for a digitization project.
• Loss of car, backup generator, various pumps, etc.
The house and area is now too dangerous for human habitation (i.e. residential purposes ). All this due to the short sightedness of the government in not insisting the National Highways Authority build storm gutters alongside the highway they have been constructing for seven years (which incidentally also went under water on the 26th Oct). And also the government’s inability to stop individuals or saw-millers etc from building on or blocking natural water flows.
As this is not likely to be resolved in the near future I have no recourse but to remove myself and my family from the house that myself and my father before me have been living since the 1970’s – and find rented property where we will not be drowned like rats.
So my immediate plans are as follows:
- Find temporary storage space for the BAPMAF archives so that at some point in the future these can become available again to myself and the general public.
- Find temporary accommodation relatively near the university at Legon.
- Build circa 200 feet of reinforced concrete wall with gravel embankment to protect the Bokoor/BAPMAF proper from future flooding – so I and the BAPMAF archives can move back to upstairs properties. This alone will cost around 7000$.
- To replace lost equipment, computers, car, scanners, cameras, digital record player, stabilizers, chargers and 12 volt battery backup system, slide projector, etc.
- At some point I will write to various individuals and organizations that donated general books, videos and DVD’s and music materials to BAPMAF to send me, if possible, copies.
- To replace the broken wall and add an embankment to it - or possibly even build a wall and embankment closer to my house and the BAPMAF premises. Even though I will lose my garden this will keep the building premises intact - so that in the future and the government demolishes obstacles to the water course, stops the saw-miller dumping saw dust in rivers and get the Highways Authority to build a storm drain alongside the Achimota-Ofankor Highway --I could at least use the BAPMAF premises again.
If you have any suggestions as how I could proceed – including any agencies, individuals, organizations who could assist financially or by replacing lost books and music this would be most appreciated. Letters of sympathy would also be most welcome.
Yours sincerely
John Collins (Prof).
POSTAL ADDRESS: P.0 Box LG 385, Legon , Accra, GHANA
EMAIL: newbapmaf@yahoo.com
If money is sent to help rebuild please send it to my UK bank account at follows.
NATWEST, Tottenham Court Rd Branch
P.O.BOX 2EA 45 Tottenham Court Rd. London WIT 2EA
Reward Reserve Account of E .J. Collins
Account number 26592258
Sort Code 56-00-31
Swift code NWBK GB 2L
IBAN number GB16 NWBK 56003126 5922 58"
I am sure the original poster won't mind me quoting John Collins' appeal for help:
"Dear colleagues, supporters, fans, friends and well wishers,
As you know I have been operating the BAPMAF music archives since 1990 which was partly opened at my Bokoor House to the public in 1996 and more fully in 2007. However, devastation struck in the middle of the night of 26th Oct, 2011 in the form of a flood. This occurred over many parts of Accra due to more and more people building in or blocking water ways - so that rivers could no longer easily run into the sea. In our particular Taifa-Ofankor area this was compounded by the construction of a 3 mile section of the Kumasi highway (from Achimota to Ofankor) without adequate gutters - and also saw-millers who have been dumping sawdust in rivers and wetlands.
We residents have complained to both the Ghana National Highways Authority and the Ga District Assembly (Council) over the years to no avail Indeed the National Highways Authority told us residents that they had to build the road first before constructing the drains and that these 2 projects even fell under 2 different ministries. Furthermore, the saw-millers in the MUUS next to us, who are relative newcomer to the area, did not allow space on their adjacent land to ours for a gutter. In fact, by dumping sawdust on the drainage river (Brenyah River) they re-directed part of this river though my house and garden – which broke my wall – they are even now claiming my garden is their ‘natural’ gutter.
The resulting flooding on the 26 Oct. was unprecedented with almost 6 feet of water entering our land and 5 feet into the downstairs house and premises where some of the BAPMAF archival holdings are kept. I was in Mali at the time at an African popular music conference organized by the French Institute in conjunction with and the Malian Ministry of Culture. On returning to Ghana on the 29th I met my family perched upstairs in the BAPMAF exhibition space. They had escaped drowning by 2 minutes due to a timely call from a neighbor upstream who noticed the water build up and got them to leave the house and flee upstairs.
Some of the losses are as follows:
• Approx 10-20% 0f BAPMAF archival holding lost. Some we are still trying to dry and salvage.
• Loss of all electronic equipment including materials donated a few years ago to the BAPMAF archives by the German Goethe Institute for a digitization project.
• Loss of car, backup generator, various pumps, etc.
The house and area is now too dangerous for human habitation (i.e. residential purposes ). All this due to the short sightedness of the government in not insisting the National Highways Authority build storm gutters alongside the highway they have been constructing for seven years (which incidentally also went under water on the 26th Oct). And also the government’s inability to stop individuals or saw-millers etc from building on or blocking natural water flows.
As this is not likely to be resolved in the near future I have no recourse but to remove myself and my family from the house that myself and my father before me have been living since the 1970’s – and find rented property where we will not be drowned like rats.
So my immediate plans are as follows:
- Find temporary storage space for the BAPMAF archives so that at some point in the future these can become available again to myself and the general public.
- Find temporary accommodation relatively near the university at Legon.
- Build circa 200 feet of reinforced concrete wall with gravel embankment to protect the Bokoor/BAPMAF proper from future flooding – so I and the BAPMAF archives can move back to upstairs properties. This alone will cost around 7000$.
- To replace lost equipment, computers, car, scanners, cameras, digital record player, stabilizers, chargers and 12 volt battery backup system, slide projector, etc.
- At some point I will write to various individuals and organizations that donated general books, videos and DVD’s and music materials to BAPMAF to send me, if possible, copies.
- To replace the broken wall and add an embankment to it - or possibly even build a wall and embankment closer to my house and the BAPMAF premises. Even though I will lose my garden this will keep the building premises intact - so that in the future and the government demolishes obstacles to the water course, stops the saw-miller dumping saw dust in rivers and get the Highways Authority to build a storm drain alongside the Achimota-Ofankor Highway --I could at least use the BAPMAF premises again.
If you have any suggestions as how I could proceed – including any agencies, individuals, organizations who could assist financially or by replacing lost books and music this would be most appreciated. Letters of sympathy would also be most welcome.
Yours sincerely
John Collins (Prof).
POSTAL ADDRESS: P.0 Box LG 385, Legon , Accra, GHANA
EMAIL: newbapmaf@yahoo.com
If money is sent to help rebuild please send it to my UK bank account at follows.
NATWEST, Tottenham Court Rd Branch
P.O.BOX 2EA 45 Tottenham Court Rd. London WIT 2EA
Reward Reserve Account of E .J. Collins
Account number 26592258
Sort Code 56-00-31
Swift code NWBK GB 2L
IBAN number GB16 NWBK 56003126 5922 58"
Categories: blogs
Mama Sissoko
I would like to start this post with a video of the concert by Orchestre Super Biton. This - in my opinion historic - concert took place at the Institut Français in Bamako on October 24, - i.e. on the evening of the first day of the colloque.
Unaware of any seating arrangments, we (Graeme Counsel, John Collins and me) went and sat down in the middle of the first row. Just before the concert began, the Malian Ministre de la Culture, Hamane Niang, made his entry surrounded by his bodyguards. John, to the right of me, was obviously sitting in the seat that was meant for his excellency. But the minister made no attempt to claim his privilege and sat down next to John, and subsequently proceeded to noticeably (but in a dignified manner) enjoy the concert.
This video was recorded with a smaller camera (hence the movement), with mono audio. I am still trying to correct the slight distortion on the songs I recorded (in stereo) with my other camera. So there is more to come....
The title of this song is "Kara Demba". You may remember my post of the Balandzan lp and Bomama cassette, both of which feature this track. The singers in this video are, from the left, Toussaint Siané, Gaoussou 'Papus' Diarra, Aboubacar 'Cubain' Kissa and - the oldest surviving member of the group - Mamadou 'Coulou' Coulibaly. Left of Toussaint is Mama Sissoko, the lead guitarist and chef d'orchestre.
I hadn't seen Mama Sissoko perform as a member of Biton since 1988, and I have to admit I wasn't very enthousiastic about his solo projects. During the tour of 1986, which brought the orchestra to Holland, his fellow musicians complained about his tendency to prolong the guitar solos. The annoyance was one of the factors which led to chef d'orchestre Amadou 'Armstrong' Bah retiring from the orchestra, which in turn contributed to the decline of the orchestra after 1988. So it is ironical that one of the persons who was in a way co-instrumental to the disappearance of this great orchestra is now playing such a major role in its revival.
And not only through his position as chef d'orchestra.
I was particularly impressed by his very controlled and well-dosed guitar playing. I think that most of the participants of the colloque agreed that his well-tempered* guitar managed to compensate to some extent for the absence of a horn section. Or perhaps I should write: the horn section. And, please, don't get me wrong: I still hope Biton finds some good horn players to fill in the gap left by the demise of the great Amadou Bah and Mamadou 'Blick' Diarra.
I hope I can correct the distortion on the other videos so I can share some more examples of the brilliance of this great Malian orchestra.
In the meantime I would like to share with you two examples of Mama Sissoko's guitar playing from the 1980's.
The first was recorded in Amsterdam on October 2, 1986 by Dave van Dijk for VPRO radio. Super Biton did three concerts in the Netherlands, in Amsterdam, Rotterdam and Utrecht. Especially during the concert in Rotterdam Mama was virtually instoppable, also as a result of the audience reaction.
Tere (Super Biton, Melkweg Amsterdam, October 2, 1986) [FLAC]
The second was recorded by myself two years later in Segou, during a concert for president Moussa Traoré, which was recorded by Malian television. This song was actually a 'prelude' to the concert, - which incidentally was attended by no more than 30 persons, including the technicians of the ORTM. The singer of this version of a Malinke classic is Papa Gaoussou Diarra.
Moriba Kaba (Super Biton, Segou November 19, 1988) [FLAC]
I intend to post the complete recordings of the Segou concert in a future post.
* I used this analogy intentionally, as Mama is trying to play in two tonal scales: the heptatonic of the traditional Malinké music and the 'classic' Malinké guitar and the pentatonic of (amongst others) the traditional Bambara music and the classic Bambara ngoni.
Unaware of any seating arrangments, we (Graeme Counsel, John Collins and me) went and sat down in the middle of the first row. Just before the concert began, the Malian Ministre de la Culture, Hamane Niang, made his entry surrounded by his bodyguards. John, to the right of me, was obviously sitting in the seat that was meant for his excellency. But the minister made no attempt to claim his privilege and sat down next to John, and subsequently proceeded to noticeably (but in a dignified manner) enjoy the concert.
This video was recorded with a smaller camera (hence the movement), with mono audio. I am still trying to correct the slight distortion on the songs I recorded (in stereo) with my other camera. So there is more to come....
The title of this song is "Kara Demba". You may remember my post of the Balandzan lp and Bomama cassette, both of which feature this track. The singers in this video are, from the left, Toussaint Siané, Gaoussou 'Papus' Diarra, Aboubacar 'Cubain' Kissa and - the oldest surviving member of the group - Mamadou 'Coulou' Coulibaly. Left of Toussaint is Mama Sissoko, the lead guitarist and chef d'orchestre.
I hadn't seen Mama Sissoko perform as a member of Biton since 1988, and I have to admit I wasn't very enthousiastic about his solo projects. During the tour of 1986, which brought the orchestra to Holland, his fellow musicians complained about his tendency to prolong the guitar solos. The annoyance was one of the factors which led to chef d'orchestre Amadou 'Armstrong' Bah retiring from the orchestra, which in turn contributed to the decline of the orchestra after 1988. So it is ironical that one of the persons who was in a way co-instrumental to the disappearance of this great orchestra is now playing such a major role in its revival.
And not only through his position as chef d'orchestra.
I was particularly impressed by his very controlled and well-dosed guitar playing. I think that most of the participants of the colloque agreed that his well-tempered* guitar managed to compensate to some extent for the absence of a horn section. Or perhaps I should write: the horn section. And, please, don't get me wrong: I still hope Biton finds some good horn players to fill in the gap left by the demise of the great Amadou Bah and Mamadou 'Blick' Diarra.
I hope I can correct the distortion on the other videos so I can share some more examples of the brilliance of this great Malian orchestra.
In the meantime I would like to share with you two examples of Mama Sissoko's guitar playing from the 1980's.
The first was recorded in Amsterdam on October 2, 1986 by Dave van Dijk for VPRO radio. Super Biton did three concerts in the Netherlands, in Amsterdam, Rotterdam and Utrecht. Especially during the concert in Rotterdam Mama was virtually instoppable, also as a result of the audience reaction.
Tere (Super Biton, Melkweg Amsterdam, October 2, 1986) [FLAC]
The second was recorded by myself two years later in Segou, during a concert for president Moussa Traoré, which was recorded by Malian television. This song was actually a 'prelude' to the concert, - which incidentally was attended by no more than 30 persons, including the technicians of the ORTM. The singer of this version of a Malinke classic is Papa Gaoussou Diarra.
Moriba Kaba (Super Biton, Segou November 19, 1988) [FLAC]
I intend to post the complete recordings of the Segou concert in a future post.
* I used this analogy intentionally, as Mama is trying to play in two tonal scales: the heptatonic of the traditional Malinké music and the 'classic' Malinké guitar and the pentatonic of (amongst others) the traditional Bambara music and the classic Bambara ngoni.
Categories: blogs
Colloque
I returned from the symposium - or 'colloque' - in Bamako last weekend, but still haven't been able to digest all the impressions and information from this highly compressed (only one week) but absolutely fascinating meeting. The highlights of this inspiring gathering were too many to deal with in one post, so I intend to dedicate several posts to these.
I am planning to post images of a brilliant concert by the legendary orchestra Super Biton, led by Mama Sissoko, who demonstrated he must be counted as one of the most outstanding guitarists in West-African music.
Then there will be a post dedicated to the fantastic research done by Vincent Kenis (who unfortunately was unable to attend the colloque), Césarine Sinatu Bolya and a young Congolese whose name I forgot to write down. They interviewed 'survivors' (musicians and mélomanes) from the golden era of Congolese music, i.e. the 1950s and early 1960s. This includes Paul Mwanga (photo right), who, contrary to what I wrote in my post about the song "Mokolo Nakokufa", is clearly not dead, - or at least was still very much alive at the time of the interview some five years ago.
More mysteries were resolved (and others added...). I was able to retrieve the titles of some unreleased Super Biton tracks, which I also hope to share with you in the near future. I found out more about the Malian lamellophone about which I reported a short while ago.
Other highlights of the colloque included a performance in the restaurant of the Institut Français by a group of azmaris from Ethiopia, which led to a remarkable encouter between a masengo and a sokou (photo right)... I intend to post a few videos of this encounter.
Then there were two very short but delightful performances by John Collins, the eminent expert on highlife music in general (and Ghanian music in particular). Unfortunately on Thursday John received news that his house in Accra had been hit by the floods which destroyed parts of the city. It seems likely (but I have had no confirmation of this) that his music archive has been damaged.... I will keep you informed.
We had some interesting discussions about the influence of the Kru sailors on the musics of west and central africa. No doubt this will lead to another post...
The presentations during the colloque gave plenty of food for thought. I was particularly interested in Lucy Duran's presentation about the phenomenon of the "sumu" (soirée), and the domination of female singers in the Malian music scene (in Mali, that is...). I will certainly come back to this, - and probably soon.
Others. like Ariel de Bigault and Uchenna Ikonne (of the Comb and Razor blog), surprised me with presentations packed with information on subjects about which I know little or nothing.
I could go on about the meeting with experts like Francis Falceto (of the brilliant Ethiopiques series), Wolfgang Bender (the author of - amongst others - the classic "Sweet Mother, Modern African Music", who in his presentation spoke about a subject which is very close to my heart: the archiving and preservation of African musics) and Gérald Arnaud (a francophone expert on yoruba music). I am sure I will dedicate posts to subjects about which they talked.
As I wrote, the programme was very compact. I would have loved to have talked more with South African lawyer, radio presenter and researcher Richard Haslop, who in his excellent presentation on South African music not only came up with some intriguing musical examples, but also appeared to have a fine nose (or ear) for good music in general.
The same goes for prolific writer (he will be finishing books about Malian and Burkinabe music very shortly, and has just published "Afro Pop, L'Âge D'Or Des Grands Orchestres Africains") and almost manic record (vinyl) collector Florent Mazzoleni, who I assume was mainly responsible, or at least instrumental, for my invitation to the colloque, and whom I certainly expect to meet more often (assuming he will be in Europe long enough).
And, of course, it was a great pleasure to meet 'my brother from the other end of the world': Graeme Counsel. We were fortunate enough to - again (after our visit to the first new-style Semaine Nationale in 2001) - share some memorable experiences in Bamako, one of which was the 'excursion' to a performance by one of the new style Apollo groups, Les Frères Dembélé, fronted by a very convincing female singer with a voice somewhere between Tata Bambo and Coumba Sidibé (photo left). This excursion too will be the subject of a post.
I am sure you have understood by now that it was a great meeting. I met many others, who I will mention in future posts. But special thanks must go to Lucien Roux (photo right), the 'directeur adjoint' of the Institut Français, who together with his very friendly staff not only organised the meeting but also proved to be a very pleasant and warm host.
More soon......
I had planned to post this video before leaving for Bamako, but just didn't have the time. It seemed a suitable way to get into the mood for a trip to Bamako. The video is by that almost archetypal Malian musician, 'Tasidoni' Karamoko Keita. This video from 1986 is not of the same exceptional image quality as the one I posted earlier, but is in my opinion musically more exiting. The title, "Randevou Ma Gne", seems to be a misspelling of "Rendezvous magnin" (magnin = bad).
I am planning to post images of a brilliant concert by the legendary orchestra Super Biton, led by Mama Sissoko, who demonstrated he must be counted as one of the most outstanding guitarists in West-African music.
Then there will be a post dedicated to the fantastic research done by Vincent Kenis (who unfortunately was unable to attend the colloque), Césarine Sinatu Bolya and a young Congolese whose name I forgot to write down. They interviewed 'survivors' (musicians and mélomanes) from the golden era of Congolese music, i.e. the 1950s and early 1960s. This includes Paul Mwanga (photo right), who, contrary to what I wrote in my post about the song "Mokolo Nakokufa", is clearly not dead, - or at least was still very much alive at the time of the interview some five years ago.
More mysteries were resolved (and others added...). I was able to retrieve the titles of some unreleased Super Biton tracks, which I also hope to share with you in the near future. I found out more about the Malian lamellophone about which I reported a short while ago.
Other highlights of the colloque included a performance in the restaurant of the Institut Français by a group of azmaris from Ethiopia, which led to a remarkable encouter between a masengo and a sokou (photo right)... I intend to post a few videos of this encounter.
Then there were two very short but delightful performances by John Collins, the eminent expert on highlife music in general (and Ghanian music in particular). Unfortunately on Thursday John received news that his house in Accra had been hit by the floods which destroyed parts of the city. It seems likely (but I have had no confirmation of this) that his music archive has been damaged.... I will keep you informed.
We had some interesting discussions about the influence of the Kru sailors on the musics of west and central africa. No doubt this will lead to another post...
The presentations during the colloque gave plenty of food for thought. I was particularly interested in Lucy Duran's presentation about the phenomenon of the "sumu" (soirée), and the domination of female singers in the Malian music scene (in Mali, that is...). I will certainly come back to this, - and probably soon.
Others. like Ariel de Bigault and Uchenna Ikonne (of the Comb and Razor blog), surprised me with presentations packed with information on subjects about which I know little or nothing.
I could go on about the meeting with experts like Francis Falceto (of the brilliant Ethiopiques series), Wolfgang Bender (the author of - amongst others - the classic "Sweet Mother, Modern African Music", who in his presentation spoke about a subject which is very close to my heart: the archiving and preservation of African musics) and Gérald Arnaud (a francophone expert on yoruba music). I am sure I will dedicate posts to subjects about which they talked.
As I wrote, the programme was very compact. I would have loved to have talked more with South African lawyer, radio presenter and researcher Richard Haslop, who in his excellent presentation on South African music not only came up with some intriguing musical examples, but also appeared to have a fine nose (or ear) for good music in general.
The same goes for prolific writer (he will be finishing books about Malian and Burkinabe music very shortly, and has just published "Afro Pop, L'Âge D'Or Des Grands Orchestres Africains") and almost manic record (vinyl) collector Florent Mazzoleni, who I assume was mainly responsible, or at least instrumental, for my invitation to the colloque, and whom I certainly expect to meet more often (assuming he will be in Europe long enough).
And, of course, it was a great pleasure to meet 'my brother from the other end of the world': Graeme Counsel. We were fortunate enough to - again (after our visit to the first new-style Semaine Nationale in 2001) - share some memorable experiences in Bamako, one of which was the 'excursion' to a performance by one of the new style Apollo groups, Les Frères Dembélé, fronted by a very convincing female singer with a voice somewhere between Tata Bambo and Coumba Sidibé (photo left). This excursion too will be the subject of a post.
I am sure you have understood by now that it was a great meeting. I met many others, who I will mention in future posts. But special thanks must go to Lucien Roux (photo right), the 'directeur adjoint' of the Institut Français, who together with his very friendly staff not only organised the meeting but also proved to be a very pleasant and warm host.
More soon......
I had planned to post this video before leaving for Bamako, but just didn't have the time. It seemed a suitable way to get into the mood for a trip to Bamako. The video is by that almost archetypal Malian musician, 'Tasidoni' Karamoko Keita. This video from 1986 is not of the same exceptional image quality as the one I posted earlier, but is in my opinion musically more exiting. The title, "Randevou Ma Gne", seems to be a misspelling of "Rendezvous magnin" (magnin = bad).
Categories: blogs
Why worry?
I know I shouldn't, but I can get very worked up about stupid adverts. Unfortunately for me, there is an ever expanding range of those, and the level of stupidity has gone down to way below what until not very long ago was considered absolute zero. When it comes to that paradigms shift faster than the speed of light......
One advert that has completely put me off buying anything from that particular brand is by a manufacturer of cameras. In this advert a lady announces that she is a type of camera. Who are you kidding, woman? Are you receiving treatment for this psychopathic delusion?!
And this brings me seamlessly (!) to the subject of this post. For there are very few musical groups that have a name that is more inviting, more curiosity provoking than the group of the late Suberu Oni. Indeed: Why Worry?
I have attempted to dig up some background to this musical master from Nigeria, but have found it a challenge. Suberu Oni appears have been one of the pioneering highlife artists rising to fame in the 1950s and 1960s. A contemporary of Ayinde Bakare and Theophilus Iwalokun, he was a native of Ondo (and assume they mean the city in the state of the same name) and sang in a local Ondo dialect with a distinct, deep guttural voice.
The name of his record label suggests Suberu Oni was proud of his origins. The name Ekimogun is probably related to the name of an annual event. "On Ekimogun Day all sons and daughters of Ondo Kingdom at home and in the Diaspora come together to showcase their culture and raise funds for the development of their community.
In the past 23 years that the Ekiomogun Day has taken place, hundreds of indigenes have benefited from scholarship awards and trainings, through the funds generated by the organisers of the event, the Ondo Development Committee."
I think it would be too much of a coincidence to assume that Oni´s label led to the naming of this event. It seems more likely that both refer to another element of Ondo tradition and/or culture.
As to this lp, I am totally in the dark when it comes to titles and other useful info. Perhaps someone can help us out. If not, we still have the solid, old style music and those remarkable voices. And that in itself is good enough, if you ask me.
So why worry?
Ekimogun EKLP 096 (alternative link)
One advert that has completely put me off buying anything from that particular brand is by a manufacturer of cameras. In this advert a lady announces that she is a type of camera. Who are you kidding, woman? Are you receiving treatment for this psychopathic delusion?!
And this brings me seamlessly (!) to the subject of this post. For there are very few musical groups that have a name that is more inviting, more curiosity provoking than the group of the late Suberu Oni. Indeed: Why Worry?
I have attempted to dig up some background to this musical master from Nigeria, but have found it a challenge. Suberu Oni appears have been one of the pioneering highlife artists rising to fame in the 1950s and 1960s. A contemporary of Ayinde Bakare and Theophilus Iwalokun, he was a native of Ondo (and assume they mean the city in the state of the same name) and sang in a local Ondo dialect with a distinct, deep guttural voice.
The name of his record label suggests Suberu Oni was proud of his origins. The name Ekimogun is probably related to the name of an annual event. "On Ekimogun Day all sons and daughters of Ondo Kingdom at home and in the Diaspora come together to showcase their culture and raise funds for the development of their community.
In the past 23 years that the Ekiomogun Day has taken place, hundreds of indigenes have benefited from scholarship awards and trainings, through the funds generated by the organisers of the event, the Ondo Development Committee."
I think it would be too much of a coincidence to assume that Oni´s label led to the naming of this event. It seems more likely that both refer to another element of Ondo tradition and/or culture.
As to this lp, I am totally in the dark when it comes to titles and other useful info. Perhaps someone can help us out. If not, we still have the solid, old style music and those remarkable voices. And that in itself is good enough, if you ask me.
So why worry?
Ekimogun EKLP 096 (alternative link)
Categories: blogs
Twin
For those in Bamako, Mali, from October 24 to 29 there is a chance to meet some of the experts on African music during a symposium organised by the Centre Culturel Français in Bamako. And I will be there too, not so much an expert as an experienced amateur (and/or 'dabbler').
For me it will be a chance to meet some people again. Graeme Counsel and I only meet in Bamako, and it will be just over ten years since we last met on the occasion of the first Semaine Nationale des Arts et de la Culture, which took place from September 11 to 21, 2001. But some sadness will also be inevitable, as many of my musical friends will be missing, - and missed. Daouda 'Flani' Sangaré, Zani Diabaté, Ali 'Farka' Touré: they have all passed away.
For those who are unable to attend, I will attempt to report on the event when I get back.
All this has little or nothing to do with the cassette I would like to share with you in this post. This cassette has presented a mystery to me since I got it in the early 1990s. I have no idea what ensemble, troupe or group is playing, and I can only guess what the titles are. The sleeve carries no information apart from the title "Gao Thonville". And I am pretty sure that by the last name they actually mean "Thionville", a town in the north-east of France near the German border.
Apparently Thionville is twinned with Gao. This 'jumelage' was started in 1986, was suspended in 1992 (as a result of the Tuareg rebellion) and resumed in 1999.
My guess is that this cassette is a result of the enthusiasm of the initial twinning. This enthusiasm is reflected in the musical content. Or perhaps "love" is a better word to describe the general feeling (sorry) of the music.
The songs appear to be entirely in the Sonrai (or Songhai or Songhoi) tradition, which is no wonder given the history of Gao as the capital of the Sonrai empire. Perhaps you even recognise track B3 as a version of "Tamala (Maïga)", the first song of the Songhai lp in the "Premiere Anthologie de la Musique Malienne" on Bärenreiter-Musicaphon. Compared to this, the version on this cassette is much smoother, less earthy, and this is largely a result of the strange instrument which plays a leading role on this cassette. You may be tempted at first to think it is a kind of balafon. A smaller type perhaps. But listening to the first notes on side B it becomes clear that it must be a kind of lamellophone or thumb piano. This instrument, plus the njarka (fiddle), and the proud singing of the girls' chorus make this cassette one that could claim a permanent place in your musical memory, - as it has done with me....
Gao Thonville (cassette)
For me it will be a chance to meet some people again. Graeme Counsel and I only meet in Bamako, and it will be just over ten years since we last met on the occasion of the first Semaine Nationale des Arts et de la Culture, which took place from September 11 to 21, 2001. But some sadness will also be inevitable, as many of my musical friends will be missing, - and missed. Daouda 'Flani' Sangaré, Zani Diabaté, Ali 'Farka' Touré: they have all passed away.
For those who are unable to attend, I will attempt to report on the event when I get back.
All this has little or nothing to do with the cassette I would like to share with you in this post. This cassette has presented a mystery to me since I got it in the early 1990s. I have no idea what ensemble, troupe or group is playing, and I can only guess what the titles are. The sleeve carries no information apart from the title "Gao Thonville". And I am pretty sure that by the last name they actually mean "Thionville", a town in the north-east of France near the German border.
Apparently Thionville is twinned with Gao. This 'jumelage' was started in 1986, was suspended in 1992 (as a result of the Tuareg rebellion) and resumed in 1999.
My guess is that this cassette is a result of the enthusiasm of the initial twinning. This enthusiasm is reflected in the musical content. Or perhaps "love" is a better word to describe the general feeling (sorry) of the music.
The songs appear to be entirely in the Sonrai (or Songhai or Songhoi) tradition, which is no wonder given the history of Gao as the capital of the Sonrai empire. Perhaps you even recognise track B3 as a version of "Tamala (Maïga)", the first song of the Songhai lp in the "Premiere Anthologie de la Musique Malienne" on Bärenreiter-Musicaphon. Compared to this, the version on this cassette is much smoother, less earthy, and this is largely a result of the strange instrument which plays a leading role on this cassette. You may be tempted at first to think it is a kind of balafon. A smaller type perhaps. But listening to the first notes on side B it becomes clear that it must be a kind of lamellophone or thumb piano. This instrument, plus the njarka (fiddle), and the proud singing of the girls' chorus make this cassette one that could claim a permanent place in your musical memory, - as it has done with me....
Gao Thonville (cassette)
Categories: blogs