Likembe

Sabar Attack!

2012-01-01T00:01:00.007-06:00

Bonne Année! Sixty-six minutes of red-hot Mbalax from Senegal's master of the sabar, Mbaye Dieye Faye, help us kick off the New Year.

Faye was born in 1960 in the Dakar neighborhood of Medina and was a childhood friend of Youssou N'dour. He joined N'dour in the influential Star Band in 1974, leaving with him to form Etoile de Dakar in 1979 and Super Etoile in 1981. Over the years Faye has been a featured percussionist on recordings by Coumba Gawlo Seck, Omar Pene, Ismael Lô and many other notable Senegalese musicians. He founded his own group, Le Sing-Sing Rythme, in 1990, featuring a battery of sabar drums. 1995's Oupoukay (Xippi) was its second release:

Mbaye Dieye Faye & le Sing-Sing Rythme - Ya Moustapha

Mbaye Dieye Faye & le Sing-Sing Rythme - Labane

Mbaye Dieye Faye & le Sing-Sing Rythme - Sing-Sing

Mbaye Dieye Faye & le Sing-Sing Rythme - Soul & Ragga

Mbaye Dieye Faye & le Sing-Sing Rythme - Sapalima

Mbaye Dieye Faye & le Sing-Sing Rythme - Bamba Maodo

Download Oupoukay as a zipped file here.

1996's Tink's Daye Bondé Biir Thiossane (Jololi) was recorded live in Youssou N'dour's Thiossane night club:

Mbaye Dieye Faye & le Sing-Sing Rythme - Tink's

Mbaye Dieye Faye & le Sing-Sing Rythme - Oupoukay

Mbaye Dieye Faye & le Sing-Sing Rythme - Dama Doon Sath Lalo

Mbaye Dieye Faye & le Sing-Sing Rythme - Sapalima

Mbaye Dieye Faye & le Sing-Sing Rythme - Labaane

Mbaye Dieye Faye & le Sing-Sing Rythme - Interlude 1

Mbaye Dieye Faye & le Sing-Sing Rythme - Interlude 2

Mbaye Dieye Faye & le Sing-Sing Rythme - Sabar 1,5 cm

Download Tink's Daye Bondé Biir Thiossane as a zipped file here.

In Praise of "Mami Wata"

2011-12-28T12:13:00.003-06:00

For many months now I've put off posting this in an effort to find out more about our featured artist, Bob Sir Merenge. Unfortunately, I can't say I've found out much. I can tell you that he is one of innumerable traditional Igbo musicians who have released recordings, sometimes to great acclaim, sometimes without making any ripples at all. I would say that Merenge's efforts have not gone totally unnoticed (I have a couple more records by him) but haven't drawn much attention outside of a small area of eastern Nigeria (and the Igbo diaspora, of course).

The second thing I can tell you about Bob Sir Merenge is that he is from the town of Uli in southern Anambra State. Uli is a fairly nondescript down on the Onitsha-Owerri Highway, but during the Biafran War (1967-70) the airstrip at Uli was literally a lifeline for the embattled rebel enclave, all sea access to the nascent Biafran republic having been lost early on (the map is from John de St. Jorre's The Nigerian Civil War [Hodder & Stoughton, 1972]):

Anyway, Bob Sir Merenge's album Eze Nwanyi (Okoli Music Co. OFC 4) is about as representative and fine an example of Igbo traditional music as you'll find (in the near future I'll be posting Show Promoter's LP Azu Alala, which is also an excellent example of the genre).

Eze Nwanyi begins with an elegy entitled "Ugbo Ezeh," "The Chief's Lorry." It tells the tale of Asampete, who was married for 20 years but was unable to conceive - the couple had money but no child. When she finally got pregnant Asampete was the object of cruel gossip by the villagers, who whispered that she was either sick or had slept with another man. When she finally gave birth to a daughter, her husband was very disappointed and beat Asampete. Finally she took her daughter and went to live with her mother.

Asampete's daughter grew up to be very beautiful, but one day the villagers came running to inform Asampete that she had been struck and killed by one of the fleet of trucks owned by the village chief. The chief told her to wait until the lorries came back from Asaba to see which one killed her daughter. Asampete wailed that she had no husband and now had no daughter. She went with a rope to the tree to hang herself but one of the villages stopped her. Asampete asked God how He could let this happen:

Bob Sir Merenge & his Igbo Cultural Singers - Ugbo Ezeh

I wouldn't be surprised if "Ugbo Ezeh" was based on a true story, as are many songs of this type. The song, along with the others on Eze Nwanyi, also ably displays the various instruments in the arsenal of Igbo music: the opi (horn), the ogene (twin bell), udu (pottery drum), ekwe (slit drum), ashakala (beaded gourd), and samba (square drum).

"Ude Ndi Egwu" also concerns people who wish to become parents. A woman is praying to God to give her a child while she is still young. The singer expresses that while many wish for children, those who already have them often complain of the trouble they bring:

Bob Sir Merenge & his Igbo Cultural Singers - Ude Ndi Egwu

The title track, "Eze Nwanye," relates the "Mami Wata" legend, which, in different forms, can be found throughout Africa and the diaspora. The invocation at the beginning of the song states, "Ekene kene eze nwanyi," "Greetings to the Queen, our mother, the mother of the waters." The song further asks for her divine protection: "Great praise to the Queen, the one who lives in the ocean, the most beautiful, the lady of all ladies, we are asking for your protection sailing on oshimiri (the deep sea). When you bless us we will have a good life."

The choruses, "Onye o gaziri orie" and "Uwa e, uwa bu ogaziere onye orie" mean, respectively, "Whoever gets the blessing enjoys life" and "If you are blessed you will enjoy this world."

Bob Sir Merenge & his Igbo Cultural Singers - Eze Nwanyi

"Onwu Bu Onye Ilo" ("Death is the Enemy in this World") is a standard praise song, a tribute to those who have passed on. At the beginning a man is crying, and his comrades console him, saying "Uwa anyi no aburo nbe anyi," "This world is not our home." The singer recites the names of the fallen, preceded by the phrase "Onwu gburu ogaranya" ("Death killed a great man") and followed by the chorus "Amaghi m onye irom" ("I don't know my enemy"):

Bob Sir Merenge & his Igbo Cultural Singers - Onwu Bu Onye Ilo

Download Eze Nwanyi as a zipped file here. Many thanks to my wife Priscilla for interpreting these songs.

Adventures in Angularity

2011-10-13T02:02:00.001-05:00

I hate to say this, but it's been ages since Ebenezer Obey has waxed anything worth listening to. For the last twenty years he's been devoting himself to spreading the Gospel, only occasionally setting foot in a studio to record something of a religious nature. Not that I'm putting that sort of thing down, of course. It's just that I miss the days when the Chief Commander was on the cutting edge of jùjú music, notably with a series of LPs in the early '80s that combined deep Yoruba roots music and funky R&B influences.

I'm going to post the 1980 LP Current Affairs here (Decca DWAPS 488, released in the UK as Oti OTI 488), not because it's my favorite of these recordings (that honor goes to Eyi Yato, also released in 1980, which I'll probably make available in the future) but because more than any other record it displays the brilliant blend of Yoruba harmonies, off-beat blue notes and discordant, "angular" sounds that defines the '80s Obey style. As an illustration of what I mean, check out the passage in "Oba Sijuade" that begins at the 6:35 mark:

Chief Commander Ebenezer Obey & his Inter-Reformers Band - Oba Sijuade

"Oba Sijuade" comemmorates the coronation in 1980 of Alayeluwa Oba Okunade Sijuwade as the Ooni of Ifè, one of the foremost traditional leaders of the Yoruba people. Legend has it that at the site of the present-day city of Ile-Ifè the supreme being Olódùmarè directed the creation of the world. The god Obàtálá created human beings out of clay, while the god Oduduwa became the first leader of the Yoruba nation. It is said that all of the succeeding Oonis are direct descendents of Oduduwa. In his 1969 release On the Town (Decca WAPS 28), Obey also paid tribute to then-prince Sijuade.

The great Ibadan Flood Disaster of 1980, in which the Ogunpa River overflowed, killing at least 100 people and laying a good part of the city waste, is commemorated on side 2 of Current Affairs. It is ironic that on August 26 of this year, five days short of the 31st anniversary of that calamity, and despite many years of attempts to channelize the Ogunpa, the river overwhelmed its banks again, exacting a similar toll in lives and property:

Chief Commander Ebenezer Obey & his Inter-Reformers Band - Ogunpa Flood Disaster

Download Current Affairs as a zipped file here. In the course of researching this post, I was saddened to read of the death on August 23 of Juliana Olaide Obey-Fabiyi, Ebenezer Obey's wife of 48 years. I'm sure everyone reading this will join me in offering Mr. Obey their deepest condolences.

A Heads Up

2011-10-09T14:23:00.012-05:00

Kudos to Siemon Allen at the always-worthwhile Electric Jive blog for Miriam Makeba - Tracks Less Travelled (1958-98), a fascinating overview of the work of the great South African diva. There are plenty of audio rarities here and lots of little-known facts. Altogether a must-read and must-listen, and highly recommended!

Smooth as Butter

2011-10-06T19:43:00.000-05:00

Congo music doesn't get much smoother and more elegant than Bumba Massa's 1982 outing L'Argent et la Femme (Star Musique SMP6017), recorded in Togo with the participation of Bopol Mansiamina, Syran Mbenza and Lokassa ya Mbongo, among others. When I posted Bumba's 1983 LP Dovi earlier this year, I promised this one would be coming your way also. Enjoy!

Bumba Massa - L'Argent et la Femme

Bumba Massa - Africa Music

Bumba Massa - Confession

Bumba Massa - Mbanda Akoma Television

Download L'Argent et la Femme as a zipped file here.

Cameroon Fever Vol. 1

2011-10-01T15:55:00.000-05:00

Ken Abrams does it again with Cameroon Fever Vol. 1, a tasty collection of tracks from that country, mostly from the golden '80s, when Makossa, Makassy, Tchamassi and Bikutsi ruled.

A few notes about some of the artists here: Besides being a prolific artist in his own right, Isidore Tamwo in the '80s was the producer of Sam Fan Thomas, who achieved world fame with his smash "African Typic Collection," among others. Andre-Marie Tala popularized the Tchamassi rhythm and won a court case against James Brown for plagiarizing his hit "Hot Koki." Betuel Enola is better known as a backup singer for the likes of Manu Dibango and Lapiro de Mbanga, but she did make at least one solo recording, Propriete Privée, from which the song "Oa" is taken. The Golden Sounds, led by Jean Paul Zé Bella, are arguably one of the most influential African groups of all time, thanks to their 1986 smash "Zangalewa," better known as "Waka Waka," whose serpentine history is discussed by Uchenna Ikonne here.

Johnny Tezano acheived fame in the '80s with a synthesis of Camerounian and Congolese music that he called Ma-kwassa, while Ebanda Manfred is best known as the author of the song "Ami," made famous by Bebe Manga (and which you can download here). Jean Bikoko Aladin, who passed away last year, was one of the founders of modern Camerounian music, who popularized the Assiko style in the early '60s.

1. Emancipée Mariama - Isidore Tamwo
2. Celle Qui T'A Aime - Andre-Marie Tala
3. Oa - Betuel Enola
4. Maladie Difficile - Golden Sounds
5. Bobe Na Bongo - Cella Stella
6. S.O.S Mon Coeur - Marcel Tjahe
7. Balong - Maurice Njoume
8. Carreau Magique - Johnny Tezano
9. Baby Na Mamy Na - Ebanda Manfred
10. Humanisme African - Tonye Jackson
11. A Yiga Tchome - Jean Bikoko Aladin Et L'Assiko Rigueur
12. Pane Pane - Georges Seba
13. Mengabo Wo Dze - Alao Javis

Download Cameroon Fever Vol. 1 here. And explore Ken Abrams's artwork here.

From the Banks of the Oubangui River

2011-09-14T08:29:00.002-05:00

The music of the Central African Republic is little-known. There are some excellent recordings of traditional music on the Ocora label (Empire Centrafricain: Musique Gbáyá/Chants à Penser [558 524, 1977] is a standout), but its "modern" artists are often overlooked in favor of those of the CAR's neighbors, Cameroun and the two Congos.

Some may have wondered if there is a serious music "scene" in the CAR at all, but as recounted in a fascinating post in Matt Lavoie's African Music Treasures blog, indeed there has been since 1954, when Prosper Mayélé founded Tropical Jazz, which became the house band at Bangui's Le Rex club. As is the tendency in African music, Tropical Jazz spawned splits and sub-splits, giving rise to Orchestre Centraficain, Vibro Jazz and Tropical Fiesta. A group called Zokela, founded in 1981, in 1999 split into four different Zokela permutations. For samples of music from several of the groups I've mentioned, I would refer you to Matt's well-researched article.

It has not been my practice to post more recent, commercially-available recordings on Likembe, but as it apparently has long been out of print, I am making available here RCA: Centrafrica Compil (Déclic 50 608, 1997), which is a pretty good overview of the Central African music scene, at least as it existed in the late '90s. I regret that I can't give you any information about the musicians. As you might expect, the sound owes a lot to Congo music, but there are plenty of uniquely Central African touches (take note especially of Francis Gon's "Caresse de Î Les"). Enjoy!

Musiki - Magalina

Super Stars - Molamogui

Melo Divine - Géné

Mobanza Ley - Troumba Lô

Jezu Lokota - Mama Ateka

Ouaka Stars - Ma Yvonna

Mayele - Wo Ti Mo Bè Mo

Canon Star - M.P.S.

Petit Tchadien - Pauvreté

Centro Mix - Sanza Nostalgie

Zokela - Injection

Francis Gon - Caresse des Î Les

Africa Musica - Tout Se Paye Ici Bas

Download RCA: Centrafrica Compil as a zipped file here. I suspect that some of the tracks on this CD were mislabeled. If someone has information about the correct track-listing, let me know and I'll make a correction.

Enjoy this video by Canon Star, one of the groups featured on Centrafrica Compil:

l'ANPAC Presente Vol. 3

2011-09-07T18:18:00.001-05:00

Some sweet sounds conclude our presentation of the three-volume series l'ANPAC Presente with Volume 3 (AN 400 3, 1984). Like musicians on Volumes One and Two, Pierre Claver Zeng Ebome, who performs "Eyala," has been active in Gabonese politics for many years, holding various posts in the government of President Omar Bongo as well as being elected to Parliament. Norbert Epandja, who gives us the lovely "N'oublie Jamais," has been involved in politics of a different sort, as president of the Musicians' Union of Gabon. I can tell you nothing about the other talented musicians here. Enjoy l'ANPAC Presente Vol. 3!

Pierre-Claver Zeng Ebome - Eyala

Angèle Revignet - Iyanoayile

Santo Backita - Idja

Julien Nziengui Mouelle - Julien Mwana

Norbert Epandja - N'oublie Jamais

Download l'ANPAC Presente Vol. 3 as a zipped file here.

l'ANPAC Presente Vol. 2

2011-09-04T10:27:00.005-05:00

Back in the '80s the three volume collection of Gabonese music l'ANPAC Presente was frequently on our turntable and, dubbed onto C90 cassettes, our auto sound system. Continuing Likembe's presentation of this interesting series, l'ANPAC Presente Vol. 2 (ANPAC AN 400 2, 1984) features a couple of songs that are among our all-time favorites.

Mack Joss is the only musician here known to me, and all I can tell you is that he's been on the Gabonese music scene for a while - at least since the 1970s. "Mounombi" here is a really nice adaptation of Gabonese folklore, as is "Motobetheyi," performed by Pierre Emboni, who in addition to his musical efforts, was a leader of one of Gabon's political parties and Minister of Youth and Sports in the late '90s. "Souviens Toi" by Yvon Dawens is a nice song in the Congo-Cameroun musical continuum, but the real standout of this LP is Obiang Okane's "Dokira," which incorporates the mvet, a traditional musical instrument of the Fang people of Gabon, Equatorial Guinea and southern Cameroun. I hope you'll enjoy l'ANPAC Presente Vol. 2 as much as I do:

Mack Joss - Mounombi

Pierre Emboni - Motobetheyi

Yvon Dawens - Souviens Toi

Obiang Okane - Dokira

Download l'ANPAC Presente Vol. 2 as a zipped file here. For those interested in learning more about the mvet, featured in "Dokira," I would recommend Francis Bebey's magisterial African Music: A People's Art (Lawrence Hill & Co., 1975), and also the LP Gabon: Chantres du Quotidien/Chantres de l'Epopee (Ocora 558 515, 1981). The mvet plays a role in traditional Fang society very similar to that of the kora among the Mandinka peoples of West Africa, as an accompaniment to epic ballads, the performance of which is said to last all night. From Gabon: Chantres du Quotidien/Chantres de l'Epopee, here is an extract from one of those performances, performed by Akwé Obiang (pictured below):

Akwé Obiang - Chant Épique du Mvet (Fragment)

l'ANPAC Presente: Vol. 1

2011-09-02T23:58:00.003-05:00

The small country of Gabon has never loomed large in the African music scene, although artists like Pierre Akendengue and Oliver N'goma have certainly made their mark. Back in the 1980s, though, the Libreville radio station Africa No. 1 and its powerful signal ruled the African airwaves, and along with Gabon's first modern recording studio, Mademba, founded around the same time, brought increased attention to musicians from the country.

Africa No. 1 was the inspiration of Gabonese President-for-life Omar Bongo, who apparently sought to use his country's oil wealth to raise its prestige in the world. Another Bongo initiative, l'Agence National de Promotion Artistique et Culturelle (ANPAC), in 1984 issued a three-volume series of recordings, l'ANPAC Presente, showcasing a number of popular musicians of the decade.

I can't tell you much about the musicians on Vol. 1 (ANPAC AN 400 1), presented here, or on Vols. 2 and 3, which will follow shortly. Hilarion Nguema, the best known of these, founded Orchestre Afro-Success in the early '80s and scored a number of hits, notably 1988's Crise Economique. The Wikipedia entry for Jean-Boniface Assélé describes a politician and brother-in-law of Omar Bongo, but makes no mention of a musical career, which leads me to question if they are indeed the same person (see update below). The other artists draw a complete blank on Google.

I think you will agree with me that these mellow sounds have congruences with the music of Congo and Cameroun, with some unique local touches. Enjoy!

Hilarion Nguema - Collé, Collé

Marcel Djabioh - Mwa Nkala

Jean-Boniface Asssélé - Joie de Vivre

Itsiembu Bi-Mbin - Monde Nouveau

Jo-Man Anguilet - Iwengi Sono

Download l'ANPAC Presente Vol. 1 as a zipped file here. There's an interesting coda to the story of Africa No. 1. The radio station left the airwaves for a number of weeks earlier this year, apparently a result of the political crisis and civil war in Libya. Libyan Jamahiriya Broadcasting was a 52% shareholder, and when Libya's assets were frozen, the station was unable to pay its bills. You can read the story here and here.

My apologies for Likembe's three-month hiatus, by the way. A lot of personal issues intervened, but I hope to keep things going on a more regular basis from now on.

Update: Thanks to commenter Peter for confirming that the Jean-Boniface Assélé of this LP and the one described in Wikipedia are indeed one and the same.

Congo Memories with Bumba Massa

2011-05-30T11:01:00.004-05:00

Best-known for his work with the super-group Kékélé and last year's release Apostolo, the honey-voiced Bumba Massa is one of the great unsung heroes of '80s Congo/Zaïre music. Born in Kinshasa in 1945, in 1963 he founded Orchestre Cubana Jazz with Empopo Loway and Siongo Bavon Marie-Marie, the younger brother of Luambo Makiadi Franco. He then progressed to work alongside Johnny Bokelo in Conga '68 and with Vicky Longomba in Lovy du Zaïre, before joining Franco's TPOK Jazz in 1976.

Bumba Massa launched his career as a solo artist in 1978 with a tour of West Africa, ending with the release in 1981 of Gare à Toi Mon Ami in Ivory Coast. Despite a number of outstanding releases like l'Argent et la Femme and Dovi in subequent years, Massa was unable to really "break through" on the international scene (l'Argent et la Femme did receive some limited distribution by Brooklyn's African Record Centre) until 2001, when Kékélé's first recording Rumba Congo (Sterns STCD 1093) brought the sounds of classic Congo music to a new generation.

Listen to Bumba Massa's brilliant 1983 outing Dovi (Syllart SYL 8306) and understand why I consider the 1980s the last "Golden Age" of Congolese music. Recorded in Paris under the direction of the great producer Ibrahima Sylla, and with the participation of outstanding sidemen like Pablo Lubadika Porthos and Syran Mbenza, it stands as a pinnacle of the sound: smooth, seemingly effortless and sublime. If you like this one, in the future I will post 1982's l'Argent et la Femme, which is almost as good.

Bumba Massa - Sous-Marin

Bumba Massa - Dovi

Bumba Massa - Mariage Intermédiaire

Bumba Massa - Père Bouchez

Download Dovi as a zipped file here.

Happier Days

2011-04-17T17:01:00.002-05:00

Back with a reminder of much, much happier days in Somalia, our good friend Sanaag passes on almost 80 minutes worth of music by the legendary Afro-funk band Dur Dur, who were among the most popular groups in Mogadishu back in the '80s. You may remember them from this post, and this one. I understand that after the collapse of Somalia in 1991, vocalist Sahra Dawo and other "newer" members of the group relocated to Columbus, Ohio, USA, where they have a presence on Facebook. Sanaag reports that the other members of the "old guard" featured here are scattered all over the world, except Muktar "Idi" Ramadan who unfortunately passed away a few months ago in Saudi Arabia.

As usual for Somali recordings of this vintage, the audio quality of these songs is not up to modern standards, but I'm sure you'll agree that their musical and historical qualities more than compensate. Here's what Sanaag has to say about them:

Durdur's songs are almost always drenched in love. To the best of my knowledge, they didn't address social or political issues during the military dictatorship and that's why their lyrics didn't make a lasting impression on me or flare up my interest in the band; hence my sketchy knowledge about their work and background. I was really delighted with the post-Siad Barre cassette Andreas posted at Kezira, in which they've several socially engaged tracks.

These songs are mainly in southern vernacular languages. I hail from about 1100 kms further up North and, though I understand the basics fairly well, I don't have the required baggage to fathom the linguistic and literary subtleties inherent to these dialects. Neither can I contextualize the songs since I don't know if, as was common during the military dictatorship, some of the songs were meant as protest double entendres, were adopted as such by the general public, if events were associated with them etc. That's why I'd rather not venture into summarizing, let alone publicly interpreting, the lyrics. Nevertheless, all the songs are conspicuously about love and I've tried to translate the tracktitles. Corrections are, of course, most welcome!

The following six songs are from the soundtrack of "Rafaad iyo Raaxo" ("Misfortune and Comfort"), a 1986 tragicomedy that was also filmed a couple of years later. "Duruuf Maa Laygu Diidee" means "Rejected Due to My Circumstances." The vocals are by Muktar "Idi" Ramadan:

Dur Dur - Duruuf Maa Laygu Diidee

In this song vocalist Shimaali Axmed Shimaali pleads, "Oh, Saafi! I Won't let You Go" (Saafi is a female name):

Dur Dur - Saafiyeey Makaa Samraayee!

"Waanada Waxtarkayga Waaye" means "This Advice Does me Good/I'm Well Advised." Vocals by Cabdullaahi Shariif Baastow & Maryan Naasir:

Dur Dur - Waanada Waxtarkayga Waaye

"Muraadkay Waa Hellee" means "We've Reached Our Goal." Vocals by Muktar "Idi" Ramadan & Sahra Dawo:

Dur Dur - Muraadkay Waa Helee

"Ma Hurdee" ("I Can't Sleep"). Vocals by Sahra Dawo & Muktar "Idi" Ramadan:

Dur Dur - Ma Hurdee

"Rafaad iyo Raaxo" ("Misfortune & Comfort"). Vocals by Sahra Dawo & Muktar "Idi"Ramadan:

Dur Dur - Rafaad iyo Raaxo

These next songs are from two tapes without album or song titles. The track names are thus the popular titles under which the songs were dubbed by the public (see the post on Iftin). "Waxan Sugi Ma Helayaa?" ("Shall I Get What I'm Waiting For?") is also known as "Saqda Dhexe Riyadiyo Sariir Maran" ("Midnight Dream in an Empty Bed"). Vocals by Sahra Dawo:

Dur Dur - Waxan Sugi Ma Helayaa?

"Shaacaan Ka Qaadaa" ("I'm Revealing all of it") is also known as "Shallay Ma Roonee" ("Remorse Is Pointless"). Vocals by Sahra Dawo & Cabdullaahi Shariif Baastow:

Dur Dur - Shaacaan Ka Qaadaa

"Rag Kaleeto Maa Kuu Riyaaqayee?" ("Are Other Men Admiring You?"), aka "Reerkaagaa Joogee" ("Stay With Your Family"). Vocals by Cabdullaahi Shariif Baastow:

Dur Dur - Rag Kaleeto Maa Kuu Riyaaqayee?

Cilmi Ismaaciil Liibaan (better known as Boodhari) is the main protagonist in a true love story that took place in in the 1930s in Berbera, a town in the current Somaliland. He was in his thirties when he fell head over heels in love with Hodon, a teenage girl whose parents were opposed to a relationship between the two due to the difference in age and social class; he worked in a bakery and she belonged to one of the richest families in the area. Hugely burdened and dismayed by the unrequited love, Boodhari composed numerous poems and songs about this forbidden love. Hodon eventually got married to another man and, though this is not corroborated by watertight evidence, Boodhari became so disconsolate that he finally committed suicide. It's not established beyond doubt that all the poems and songs attributed to Boodhari were indeed written by him, but his legend and compositions have certainly been part and parcel of Somali love stories ever since. The song "Boodhari Sidiisii" ("In Boodhari's Footsteps") is also known as "Maruun ii Bishaarey!" ("Surprise Me Once With Good News!"). The vocals are by Cabdullaahi Shariif Baastow:

Dur Dur - Boodhari Sidiisii

"Doobnimaadey Maka Dogoownee" ("Getting Old Single") is also known as "Dersi Anaa Lahaa" ("I Need A Lesson [In Love]"). Vocals by Sahra Dawo:

Dur Dur - Doobnimaadey Maka Dogoownee

"Oh, Angelic Beauty!" Vocals by Cabdullaahi Shariif Baastow:

Dur Dur - Ilwaad Quruxeey!

The title of this song means "A Joking Madman." Vocals by Cabdullaahi Shariif Baastow & Sahra Dawo:

Dur Dur - Jaajuumoow Jees

"Waxla Aaminaan Jirin" ("Nobody To Confide In/NothingTo Trust"), aka "Is Yeelyeel" ("Simulation, Pretense"). Vocals by Sahra Dawo:

Dur Dur - Waxla Aaminaan Jirin

Download these songs as a zipped file here.

Lapiro de Mbanga Freed!

2011-04-13T21:01:00.002-05:00

By way of Makossa Original and Freemuse we receive the happy news that Camerounian musician Lapiro de Mbanga was freed April 8 after three years of harsh imprisonment.

Lapiro was arrested following riots in 2008 against the high cost of living and constitutional changes that made Cameroun's kleptocratic president Paul Biya eligible to run for re-election indefinitely. He ran unsuccessfully in local elections on the opposition Social Democratic Front slate in 2006 but the precipitating event for his arrest and sentence seems to have been his song "Constitution Constipeé," a critique of the Biya regime that became the unofficial anthem of the protests.

The past three years have seen an international campaign on behalf of Lapiro, which apparently fell on deaf ears. He served every day of his sentence.

Join me in celebrating the release of Lapiro De Mbanga with his wonderful album Ndinga Man (Energy Productions NE 5003), which was released in the late '80s:

Lapiro de Mbanga - Mimba Wi

Lapiro de Mbanga - Mi Nding Mi Bè

Lapiro de Mbanga - Foua

Lapiro de Mbanga - Fôguô ma Wô

Download Ndinga Man as a zipped file here, and enjoy this video, "Everybody to Kondengui Prison," about which Dibussi Tande says, ". . .In this fiery and no-holds-barred song released last year [2007], Lapiro lashes out against the symbols of decay in today's Cameroun: A regime in power which has turned its back on all the nationalist slogans of the early years; generalized corruption that has affected every stratum of society ; an insolent and arrogant ruling elite brazenly parading symbols of ostentatious consumption (vulgar SUVs out of place on Cameroon's roads, huge castles amidst appalling squalor, some shown in the video). . .":

African Divas Vol. 4

2011-02-14T19:02:00.004-06:00

Once again I'm forced to apologize for the infrequency of my posts lately. As usual, I have several projects in the hopper, but all kinds of personal business has intervened to prevent me from finishing them.

Fortunately, what should come over the transom but a fine new compilation by our friend Ken Abrams, who was responsible for a couple of installments in the fondly remembered African Serenades series a few years back. Ken calls this collection of tracks by female artists "African Woman is Boss" (a play on a calypso, "Woman is Boss") but with his permission I'm rechristening it African Divas Vol. 4, since I've been wanting to put together another installment in that series for some time.

Mostly off the World Music™ radar, these chanteuses are testimony to the talent and artistry of Africa's female singers. Enjoy!

1. Deka - Ade Liz (Cote d'Ivoire)
2. Fide (Le Repos) - N. Lauretta (Cameroun)
3. Mumi We Njo - Cella Stella (Benin)
4. Je Caime Larsey - Lady Talata (Ghana)
5. Oa - Betuel Enola (Cameroun)
6. Time - Sissy Dipoko (Cameroun)
7. Shameributi - Oyana Efiem Pelagie & Soukous Stars (Gabon)
8. Komeka Te - Pembey Sheiro (Congo)
9. Mu Mengu - Itsiembu-y-Mbin (Cameroun)
10. Mbo Ya? - Lolo (Cameroun)
11. Gbaunkalay - Afro National (Sierra Leone)
12. Gnon Sanhon - Rose Ba (Togo)
13. Djombo - Hadja Soumano (Mali)
14. Kanyama - Amayenge (Zambia)
15. Mesa Ko Noviwo O - Okyeame Kwame Bediako & his Messengers (Ghana)
16. Mede Yta - Yta Jourias (Togo)
17. Play Play - Wulomei (Ghana)

Download African Divas Vol 4 here (and you can get Vol. 1 here, Vol. 2 here, and Vol. 3 here). Be advised also that in addition to his musical interests, Ken Abrams is a talented artist. Check out his work here.

More From the Ministry of Information and National Guidance

2011-01-02T09:40:00.009-06:00

Our good friend Sanaag comes through once again with Famous Songs: Hits of the New Era (Radio Mogadishu SBSLP-102, 1973), Volume Three in the series that began with Somalia Sings Songs of the New Era, one of Likembe's most popular recent posts.

These records were issued under the aegis of the Somali Ministry of Information and National Guidance to rally support for the military government of Mohammad Siad Barre, which in the early '70s had "socialist" pretensions. For all their propagandistic aspects, it would be a mistake to dismiss their musical qualities. Waaberi, the Somali super-group featured on Somalia Sings and Famous Songs, pre-dated the 1969 military coup and was a training ground for many great singers, including Xaliimo Khaliif Magool, Maryam Mursal and Sahra Axmed. Moreover, some of Somalia's greatest poets and songwriters, in a burst of revolutionary enthusiasm, contributed to this project. Like Somalia's "revolutionary socialism," this support was destined not to last.

By the way, diligent readers/listeners may be interested in this blog post (also brought to my attention by Sanaag). As far as I can understand what this fellow is trying to say, he's drawing a parallel between Siad Barre's dictatorship in Somalia and the current U.S. Administration. Or something like that. Although his logic seems a little convoluted to me, I'm glad he appreciates what we're offering here at Likembe.

Heres is Sanaag's take on Famous Songs: Hits of the New Era:

A couple of the songs are in the same vein as in Somalia Sings Songs of the New Era but there are notable differences. I'll try to provide some context while commenting on the tracks.

"Aabbe Siyaad" ("Father Siyaad") is sung by Ubaxa Kacaanka ("The Revolutionary Flowers"), destitute and often orphaned children raised in government-sponsored centres. In this song, they are deploring the hardships they and the whole nation had to endure before that period. They're also expressing their gratitude and loyalty to their adoptive father, i.e. Siad Barre, for the "striking structural changes overall" and particularly for "the light he brought into their lives". Although caring for these children was an excellent deed, the flipside of the medal was that they were horribly indoctrinated to the extent that some eventually had to spy on their families and friends. I'm not familiar with composer Cabdikariin Faarax and I couldn't find anything about him.

Waaberi & Ubaxa Kacaanka - Aabbe Siyaad

"Itaageer Allahayow" ("God, Stand by Me!"): Composer Maxamed Cali Kaariye (left) was a fertile songwriter and playwright. He's arguably the king of the love genre of his generation. In this track, he's exhibiting his admiration for the initial achievements of the military regime while putting the emphasis on the necessity for each Somali to support the revolution by contributing his/her best to the development of the whole society. In short: One for all, all for one and god/the revolution for us all. N.B. The title is probably wrongly printed. "Itaageer Allahayow" was another love hit from the same period sung by Mooge. If my memory doesn't fail me, this track is called "U Bogaadinee Allhayow!" ("By God, We Congratulate Them!").

Waaberi & Students - Itaageer Allahayow

"Magac U Yaal" ("Pronoun"): The composer is Maxamud Cabdullahi Ciise ("Sangub," right) who, despite his immense contribution to Somalia's contemporary poetry and prose, fell from popular grace by allegedly supporting the dictatorship till the bitter end. The track is dealing with the widespread joy that came with the official standardization of the Somali language in 1972. Somali is an agglutinative language with a rather complex grammar.This song introduces a number of ingenious and dexterous tricks to the trade of remembering and applying the new grammatical rules correctly.

Prior to the formalization, a score of scripts existed for the language - some for centuries. The discussions, overheated debates and tug-of-wars around this issue started in the late 19th century but couldn't materialize because of differences in interest and allegiance. For practical convenience, an 'independent' advisory committee set up right after the independence finally chose one of the Latin-based alphabets. That decree didn't go down well with some of the supporters of the original Somali scripts or Arabic-based alphabets. The ensuing conflict had eventually led to the imprisonment of some cacophonous antagonists, who were supposedly offered to set an example for any prospective dissonance:

Waaberi - Magac U Yaal

"Tolweynaha Hantiwadaagga Ah" ("The Socialist Community") is in spirit comparable to "The Internationale" and calls for justice and equality by and for all humans, as well as solidarity among the working classes.

I couldn't find when exactly the song was written but I believe it predates the coup d'état of 1969. The composer, Abdi Muhumud Amin (left), was a genuine socialist and a quintessential patriot who firmly believed that the Government should use its authority and resources justly, and primarily to empower the poor, the powerless and the voiceless silent majority. In addition to the general indignation towards the egregious crimes committed by the regime, his longstanding personal commitment to high morality was probably why he was extremely offended by Siad Barre. The latter abused socialism and other ideologies merely to deceitfully contrast himself with the preceding corrupt and loathed authorities, therefore hoping to bolster his power base.

Under the illusion that Barre and his minions embraced socialism, Abdi initially composed revolutionary songs for which he later publicly apologized and even nullified by composing new songs with exactly the opposite meaning. For example, "Caynaanka Hay" ("Hold the Bridle/Lead Us") on the album you've already posted became "Caynaanka Daa" ("Let the Bridle Go/Resign"). His scorching criticism of the system and personal attacks on Barre became subsequently legendary material. It culminated in the staging of his play "Muufo mise Laankruusar" ("Dry Bread versus Landcruisers") opposing goatee-sporting, Gucci-dressed and SUV-driving elites to the common man and woman, some of whom couldn't even afford a dry bread. It's widely believed this was one of the plays that incited the people to rise up against the tyranny, hence precipitating the downfall of the dictatorship. It would amount to a miracle if this drama was approved by the omnipresent Censorship Board. It's more plausible the artists circumvented the long claws of the bureaucratic red tape by presenting a different play or programme for the customary preemptive inspections.

The play premiered on 1st May 1979, in the presence of the plenary upper echelons of the government and the top brass of the army. As the theme of the production was crystal clear right from the very first sentences, some of the disconcerted and vexed all-loyalist spectators jumped up immediately to interrupt the performance. It's alleged that the splendid conductor Barre faced the audience and mockingly rebutted with: "Let them have their moment of glory and make us laugh. Nobody here agrees with them, anyway, and we shouldn't spoil this festive Labour Day". Maestro, let the festivities begin! Or not? Well, Barre's honourable admonition and solemn vow, for which he's rewarded with the single standing ovation of that fateful night, vanished like vapour. Abdi and most of the artists were arrested on the stage (long) before the curtains fell. The celebration was thus metamorphosed into a tragedy, with a brilliant final chord: An original method to preserve a night for the posterity saw the daylight! (Note: See update below).

Waaberi - Tolweynaha Hantiwadaagga Ah

"Beletweyne Pts 1 & 2": This is an epic about a love at first sight. The singer catches a glimpse of a stunning beauty queen in Beletweyne, a city in south-central Somalia. It was during a short working visit "in the prosperous, blithe, rapturous, golden days" and he instantly falls in love with her. Their paths cross each other once more and they exchange very brief but amorously charged amenities. Unfortunately, the "cursed, insensitive leader of the group" decides they'd be leaving on the very same day and his appeals and pretexts were not heeded. The story ends dramatically as our Cupido's profound yearnings remained (involuntarily) unrequited. In fact, he never sets eyes on the obscure object of his desires again and he's still looking for his Beerlula (a nickname meaning "bellydancer", symbol of freedom and freedom of expression). He "now realizes, like Boodhari (Somalia's Romeo) did ages ago, that love can be an incurable disease, a dagger in your heart and liver, a reason to commit suicide. . ."

As of mid-70s, a growing number of observers interpreted it as a depiction of the various stages of the military dictatorship - from the initial immediate infatuation, through the subsequent intense disappointment to the prediction of the final demise of the crown and the current on-going disaster. That's why it's branded with the ominous term "kacaandiid" (anti-revolutionary) and was banned from the airwaves. Ironically, the roots of this ill-chosen compound word is "kacis" (to rise up) and "diidis" (to reject). As people and language are both endowed with the capacity to remember and retaliate, it's thus only a matter of happy coincidence that those frequent prohibitions consequently and justly abetted the public appetite to rebel and to shower the forbidden fruits with more (underground) exposure and accolades. "Beletweyne" was indeed the most played song in the whole decade. It's banned from the official channels but the volume surged up in homes, cafes, buses, street corners etc. If they wanted to arrest everyone who defied the ban, they would have been obliged to transform all government offices into prisons:

Waaberi & Xasan Aadan Samatar - Beletweyne Pt. 1

Waaberi & Xasan Aadan Samatar - Beletweyne Pt. 2

As far as I know, Maxamed Ibraahim Warsamehe ("Hadraawi," left), composer of "Beletweyne," one the most famous and highly esteemed living poets and playwrights in Somalia, declined all requests to provide footnotes as to to the whys and hows behind the lyrics. However, he's well known for his vehement and unremitting protest against the dictatorship. He even passed more than a decade behind bars and in exile, including five years in solitary confinement in the notorious Qansax Dheere - Somalia's "Robben Island" where many dissidents were incarcerated. He left the country a few years after his release to join the Somali National Movement (SNM), the front that defeated Barre's army in the current secessionist Somaliland. He's nonetheless against the dismemberment of the country and didn't take part in any of the post-Barre political factions. Instead, he undertook many activities stressing the importance of unity and rule of law. For example, he organized an arduous "Long March for Peace" together with other bardic heavyweights belonging to all clans and regions who were joined along the way by an ever-growing number of citizens. They categorically declined to be protected by body guards, and that was tantamount to risking their lives in the face of the pervasive and undiscriminating war. Their premonition that peace couldn't strut with weapons paid off well. In (almost) all the districts they visited, the guns were briefly silenced and the marchers were welcomed with an overwhelming warmth and hospitality, as if they were long lost friends and relatives. A Somali proverb goes "Gabayaa geyi waa gubi karaa. Abwaan asay waa aasi karaa" ("A poet can set a land on fire. A poet can put an end to the mourning!") More on Hadraawi here.

Download Famous Songs: Hits of the New Era as a zipped file here. For more music like this, two songs from Volume Two in this series are available here.

Update: Sanaag writes, "Thanks to Baraxow who contacted me after this entry was posted. According to him, the play was staged again in the late 80s, at the sunset of Siad Barre's regime. It started with the following short poem, spoken in choir while pointing fingers at Siad Barre and the rest of the bigwigs:

Dalkan dadkiisii baannahayoo
Muufo maraqle baan dalbanaynaa
Laankruusarkiinna waan diidnayoo
Dacalladaan ka dalandalin doonnaa

Annagu weli* muufaan rabnaa
Muufo macaan baan rabnaa
Maraqaan ku dhuuqnaan rabnaa
Markan maqaloo yeelo miyir waasacan

We're the people of this land
We demand dry bread with sauce/soup
We reject/resent your Landcruisers
We'll throw them down a steep cliff

We still demand dry bread (or we demand dry bread from the saint)*
We demand delicious dry bread
We demand sauce/soup to imbibe/imbue it with
Listen this time and be wise and just

* The Somali word "weli" means both still and saint, a derogatory epithet for the big sinner/human rights violator Siad Barre.

Update 2: An interesting commentary on this post here.

An Igbo Minstrel

2010-12-29T09:53:00.005-06:00

There is a parallel universe of popular music in Nigeria that exists mostly unknown to the international audience that listens to Fela, King Sunny Ade and other World Music™ icons. It consists of the innumerable amateur and semi-professional musicians and performing troupes who contribute so much to the richness of village and neighborhood life. While most of these artists remain unheralded outside of their own localities, enough have been recorded that traditional, or "Native Blues" music is a significant part of the Nigerian music industry.

One such artist is the legendary Igbo musician Chief Akunwafor Ezigbo Obiligbo, who was born on August 10, 1904 in the city of Nteje near Onitsha in eastern Nigeria. He apparently died sometime in the '80s. Some years ago a friend of mine loaned me one of his LPs, which I dubbed to a 10" tape reel. Unfortunately, the record had a bad warp, and the first tracks on Side 1 and 2 were unplayable. As best I can remember (the written notations I made have been lost) the album was entitled Egwu Ogbada and was on the Melody label.

So that's where things stood until a few years ago, when I was able to digitize Egwu Ogbada and a number of other recordings. Obiligbo's music lay further neglected on my hard drive until a few months ago when my friend Ed Keazor posted a very interesting write-up about the great artiste on his Facebook page. It occurred to me that Ed could not only identify the tracks, but provide first-hand insight into their meaning and context for Likembe readers and listeners. Here are his thoughts:

For those who are unaware, Akunwafor Ezigbo Obiligbo was a famous minstrel (Akunwafor being his traditional Ozo title) whose career spanned the period 1940 till his death in the early 80's. Obiligbo was a master lyricist, composer, poet and exponent of the Ekpili style and master of the native thumb piano (ubo) similar to the mbira of Southern Africa, but marginally different in the flat tapered metal key arrangements and the variations in size from smaller sized version to the larger varieties used by more contemporary performers like the popular transvestite performer Area Scatter.

Ekpili was a style peculiar to the riverine area of Anambra state such as Onitsha, Nsugbe, Nteje, Umuleri, Aguleri etc. The musicians often played alone, singing along central themes of morality, praise singing, sorrow and pain- essentially reflecting the society's heartfelt thoughts. The bigger players often had a native orchestra of sorts with the native maracas, ekwe (gong) and udu (bass claypot) and backing vocals as components. Sometimes for funerals or coronations (ofala) they would add the native drums igba, which were usually employed as part of a distinct style of same name (Igba), which differed to the extent of having the oja (as the lead vocal instrument and voice as chorus). One key element of Obiligbo's Ekpili is the almost ethereal use of the backing vocals as a form of musical instrument either in bass format or even as percussion.

The main difference between Obiligbo's and Area Scatter's music was that the latter was from Owerri area, hence his style was not Ekpili. His singing style was also a faster and more syncopated, rather than melodic, style akin to Igede. His ubo playing style was very similar, however, to up-tempo Ekpili. The simple answer is that the differences were very subtle, being more based on the structural differences inherent in the dialect of the Anambra riverine area and the faster-paced Imo based dialects, which then translated into differences in the musical output.

While he was one of many native musicians, Obiligbo very quickly gained popularity via a thriving local fan-base, performing at funerals, weddings and other traditional ceremonies in and around Nsugbe. His fame grew exponentially, driven by his powerful lyrics - steeped deeply in native idiom and with hugely thought-provoking lyrics - with a fair dash of praise-singing to boot.

Obiligbo left a huge body of work, mostly in the gramophone record format, but many of his greatest works have been preserved, especially those recorded in the pioneering Nigerphone Recording Studios at Onitsha. Owned by the famous Igbo businessmen of the early 20th century, T.C. Onyekwelu, it was the most advanced (if not the only) facility available in the East of Nigeria at the time (the 30’s-50’s) and was the forebear of subsequent recording studios/companies like Rogers All Stars and Tabansi Records. The tracks were subsequently released by Onyekwelu's employee Chief Melody Okpelo through his Melody Record Company.

"Nteje Enyi No Bianya" is a mid tempo easy-listening track. It praises Obiligbo's home-town Nteje and his kinsmen, with names like Emeka Enyiogugu, Chima Mgbogu, Mayor Udenka, Apaka Udealor, Sunday Okeagu, Nweke Ijego, and ends in praise of himself - "Ezigbo Obiligbo Nwa Nteje":

Chief Akunwafor Ezigbo Obiligbo & his Group - Nteje Enyi No Bianya

"Odogwu Umuleri" is basically a story (not sure if idiomatic or factual) about Odogwu, a native of Umuleri (Anambra State, Nigeria) who impregnates his mother in furtherance of a money-making ritual. It is a mid-tempo track starting with the standard call and response chorus and quickening into a feverish up-tempo Igba.

Opening: "Ogbondu na ekwu ndi ogbu, Orimili na ekwu ndi oli" ("The waters always reveal who they have consumed") "Odogwu ebulu afo ime ya na aro ato." Chorus: "Oro Misita Odogwu [note the corrupted use of the English title "Mister," used clearly here in derogatory terms] Ewe puta ofu mbosi, ewe muta yabunwa, ewe muaya izu nabu na azu no, mama ya ewe bebe akwa." Odogwu's mother is pregnant for 2 and then 3 years and in labour for 2 weeks. She then bursts into a lament as to her plight, "Have you ever seen any one suffer the way I have?" The community discusses it. "Odogwu answer your mother," they say. "She is lamenting at the back of the house." When she delivers the child, he is asked, "What did you do to this child? Who carries a child for three years?" Odogwu essentially admits that he impregnated his mother for the purpose of a money-making ritual. The chorus then changes to “Ebenebe gbulu odogwu" ("Sacrilege has killed Odogwu.") The song tempo increases on this discovery: "Ndi Umuleri, Atu uwa bili na be unu" - "A horrible evil resides in your midst. Odogwu, the evil child who placed his hands on his mothers womb. Umuleri cleanse yourself of this evil:

Chief Akunwafor Ezigbo Obiligbo & his Group - Odogwu Umuleri

"Late Chief TC Onyekwelu" is a great track epitomising once more Obiligbo's typical style. An 11 minute tribute and dirge for the late Chief T.C.Onyekwelu, it starts off with the slow ubo intro and call-and-response chorus, building up to a feverish vocal crescendo. The real power behind this track is the lyrics. The track starts with Obiligbo tracing his relationship with Onyekwelu, back to the first meeting, after Onyekwelu's return from Europe when Onyekwelu invited him to play at an occasion at a location called "Berger," (which is presumed to be a meeting of the ruling regional party, the National Council of Nigeria and the Camerouns, which Onyekwelu belonged to), ferrying him to the occasion in a chauffeur driven car and challenging him to perform "wonders with his music" by promoting consensus at the meeting, at which Obiligbo did not disappoint, even affirming that the gathering "agreed to his words." Subsequently Onyekwelu gave him two bags of money as his reward.

He then extols his virtue as his benefactor from that day onwards. He describes a day when he arrives at Onyekwelu's residence to hear the sounds of wailing and sorrow, only to hear of his death, which was confirmed by the look of despair and sorrow on the face of Onyekwelu's wife, whom he describes as Amalu Uche Diya ("she who knows the thoughts of her husband"). He expresses his sorrow with the chorus: "Onyekwelu Onye Ocha, Onyekwelu Ala na zu nwa" ("Onyekwelu a white man; Onyekweku, the breast that feeds the child"). He extols the symbolism, that the burning of Otu Onitsha Market is a huge blow to the Igbos. He further extols Onyekwelu's generosity, by the saying that a stingy man dies dies poor and miserable. The song carries on to give praise to named greats of Igbo land at the time: George Mbonu, Aaron Obijiofor (my children's great-grandfather), Sunday Nwankwo, John Ibeanu and Eze Omenaka. The song then ends after a roll-call of these greats by his repeating his usual refrain- "Okwo Chukwu Ka anyi na gbalu Odibo" ("In spite of wordly wealth, we are all still slaves to God.")

Mention must be made of Melody Okpelo, who is a recurrent mention in Obiligbo's song. Apparently, Melody Okpelo was the owner of Melody Records, Obiligbo's original record company, Onyekwelu's involvement being as financier of this company:

Chief Akunwafor Ezigbo Obiligbo & his Group - Late Chief TC Onyekwelu

"Oyi Mu Ikegbunem" appears to be a dirge, mourning the death of hi friend Godwin Nwa Ukonu (Godwin the son of Ukonu). The lyrics being thus: "Okpelo invited us to go to the town, anyone who needs the record come quickly." He then goes into a roll call of Igbo great and good, inviting them to mourn the dead man: Patrick Nwa (son of) Analiko, Nkwocha na Enugwu Ukwu (Nkwocha of Enugu-Ukwu) "Kanyi na kwa ya" ("let us mourn him") Alfred Nwa Onyiuke (A succcessful businessman of Nimo town) "bia ngwa ngwa" ("come quickly"), Angus Na Abagana (Angus of Abagana- referring to The King of Abagana- Angus Ilonze), "let us mourn him," Ejidike Bread (Mazi Ejidike was the owner of one of the most popular Bakeries in Igboland), Nwafor Orizu (Dr Nwafor Orizu was The Senate President) , Oye Aga Ufoeze, Michael Umeadi (a businessman of Nri in Anambra State):

Chief Akunwafor Ezigbo Obiligbo & his Group - Oyi Mu Ikegbunem

Download Egwu Ogbada as a zipped file here.

The picture of the ubo above is from Wolfgang Bender's book Sweet Mother: Modern African Music (University of Chicago Press, 1991), which devotes several pages to Chief Akunwafor Ezigbo Obiligbo.

Nigeria's Lady of Songs

2010-12-05T09:20:00.003-06:00

I'll admit to being a little mystified by the current fascination with the cheesier byways of African music - '70s and '80s Afro-Rock, Afro-Disco and the like. The tracks on Frank Gossner's collection Lagos Disco Inferno, for example, strike me as cheap-sounding and derivative. But what do I know? The first pressing of LDI, released in May, has already sold out. And if you think it's just ironic hipsters in Brooklyn who are boppin' out to this stuff, check out With Comb and Razor or the many Naija message boards out there. They prove that Nigerians of a certain age are still pining for the sounds of Ofege, Harry Mosco and Doris Ebong. It all goes to show that African music, as listened to by Africans themselves, has never been as exalted or "pure" as we outsiders may have once thought.

Back in the day, Christy Essien (later Christy Essien-Igbokwe) was the queen of disco music in Nigeria. She cut her first album, Freedom (Anodisc ALPS 1015, 1976), when she was sixteen, and copies of her '70s pressings today command astronomical prices on Ebay. Essien was just one of a cohort of female singers who made a splash in Nigeria in the '70s & '80s, like Onyeka Onwenu, Patty Boulaye and Martha Ulaeto, and if you want to know more, Uchenna Ikonne discusses them extensively here. According to Uchenna, Essien's 1981 outing Ever Liked my Person? (Lagos International LIR 1), was meant to take her to the next level of international stardom, and it certainly made an impression in Nigeria, where henceforth she would be known as "Nigeria's Lady of Songs."

I present for your perusal two late '80s recordings by Essien-Igbokwe which display her mature sound. Taking my Time (Soul Train Records STR 1) showcases slick production values and plenty of influences from country-western ("Show a Little Bit of Kindness") to makossa (the Yoruba-language "Iya Mi Ranti" and Igbo "Ibu Ndum"). All in all, a pretty decent example of middle-of-the-road Nigerian pop music:

Christy Essien-Igbokwe - Taking My Time

Christy Essien-Igbokwe - Ku Saura Re Ni

Christy Essien-Igbokwe - Show a Little Bit of Kindness

Christy Essien-Igbokwe - Iya Mi Ranti

Christy Essien-Igbokwe - Let's Change the System

Christy Essien-Igbokwe - Ibu Ndum

Christy Essien-Igbokwe - We Need Jesus

Christy Essien-Igbokwe - Eyen Kop Uyo Nmi

Download Taking My Time as a zipped file here. 1988's It's Time. . . (His Master's Voice HMV 066) is a little less successful in my opinion, being a little too dependent on the synthesizers for my taste. Still, it has its moments:

Christy Essien-Igbokwe - There's Time for Everything

Christy Essien-Igbokwe - She's a Woman

Christy Essien-Igbokwe - Live and Let Live

Christy Essien-Igbokwe - Iwo Lo Se Mi

Christy Essien-Igbokwe - Teta Nu Na Ula

Christy Essien-Igbokwe - My People

Christy Essien-Igbokwe - Am Going Up

Christy Essien-Igbokwe - Let Your Light Shine

Download It's Time as a zipped file here. In later years Essien-Igbokwe devoted herself to acting in Nigeria's burgeoning video industry and in November celebrated her fiftieth birthday, an occasion duly noted in the Nigerian media. Here she is today:

The Unsung Genius of African Music

2010-10-31T20:46:00.001-05:00

In a just world, Nigeria's "Gentleman" Mike Ejeagha would be considered one of the giants of African music, accorded the same respect as, say, Congo's Franco or Tanzania's Mbaraka Mwinshehe. As it is, he is barely recognized in his own country, such is his intimate connection to the folklore and culture of his native Enugu. But make no mistake - among the Igbo people Ejeagha is a colossus indeed. His lyrics are full of the parables & shaded meanings that are the essence of Igbo culture. His arrangements & guitar work, in addition, are sublime.

Ejeagha was born August 1932 in Imezi Owa, Eziagu LGA, present-day Enugu State, and learned to play guitar from two fellow residents of the coal-mining camps of Enugu, Moses "Moscow" Aduba and Cyprian Uzochiawa. Around the age of 18, he formed his first musical group, the Merry Makers. Soon he was performing and producing for Nigeria Broadcasting Services, and later joined the Paradise Rhythm Orchestra, a group owned by an Enugu hotelier, and the Leisure Gardens Dance Band. He founded the Rhythm Dandies in 1964, which later changed its name to the Premiers Dance Band. The group was forced to disperse during the Biafran war of independence in the late '60s, but reformed after hostilities ended in 1970.

Since the early 1970s, Mike Ejeagha's musical explorations of Igbo folklore have earned him a much-beloved place in the pantheon of modern Igbo highlife music. Some years ago I posted a discography of his recordings, which my friend Maurice O. Ene circulated among his acquaintances, eliciting these heartfelt comments:

"Let me begin by telling you that I am relieved to know that someone is considering to do a discographic project on the works of Gentleman Mike Ejeagha. I almost wrote my University of Nigeria BA thesis on Ejeagha. But, . . . well, that is a long story I'd rather not tell. To cut it short, I have a modest collection of Oga Ejeagha's songs on tapes. I also have some of his records, including Onye Nwe Ona Ebe, Onye Enwero Ana Ebe (POLP 057) and Akuko N'egwu (POLP 094). Ejeagha's music belongs to a genre of music that I call Igbo Popular Traditional as opposed to Igbo Popular Commercial. The latter to which most highlife music belongs is less faithful to Igbo tradition. That is all I can say about that for now." - JAK.

"I grew up (sort of) with Gentleman Mike Ejeagha. My father, a "master" of the Bachata guitar, taught Mike Ejeagha how to play the guitar - that is, the Spanish Guitar (so I'm told). As a four or five year old, I used to "hang out" with and enjoy them playing together for the "house" at their favorite beer joint on Gunning (Hill?) Road, Abakaliki, enjoying the free time my dad had just shortly after the Nwa-Iboko Obodo trials (my dad was one of the judges on the case at the Abakaliki High Court). Mike Ejeagha visited Abakaliki regularly in those days, spending much time with my dad as they investigated their musical interests together - for both of them it was more of a hobby than anything else. It wasn't until the middle of the sixties that Gentleman Ejeagha was talked into considering music as a profession. In the seventies, when he had become an icon of Igbo folk music, I used to visit with him at Enugu, and listen to him think out loud on the ideas he had of making Igbo folk music larger than life..." - Obi Taiwan

"The Gentleman is a very unique musician. He has been playing for a long time. He used to come and play in Ihe during Christmas festivities. I was only a kid then, but I remember some of his early tunes, 'Okuku Kwaa Uche Echebe Onye Ugwo,' 'King Solomon's Wisdom' and others. I believe these were some of his first songs... He is a phenomenal Musician and an exceptional guitarist. I am not sure he has played any thing recently, but he is still alive and well. Unfortunately, when I inquired about him last time, I was informed that he suffered glaucoma and is clinically blind. I cannot confirm this news yet, and until I do, I refuse to believe that it is true." - Hygi Chukwu

I present here a selection of tunes from several of Ejeagha's albums, with translations by my wife Priscilla Nwakaego. "Yoba Chineke" ("Pray to God") from the LP Ude Egbunam (Philips 6361 074, 1974) is a popular gospel tune in Nigeria. The chorus, "Yoba Chineke, chekwube Chineke, yoba Chineke, ogaazo yi" means "Pray to God, put your hope in God, pray to God, He will save you." Ejeagha sings, "Jesus come and hear our voice. Father who created this world, we your children are calling to you to ask for your help. Have mercy and answer our prayers." He calls on listeners to pray to Chineke (God) every morning and night:

Gentleman Mike Ejeagha & his Premiers Dance Band - Yoba Chineke

Another song from Ude Egbunam, "Nyelu Nwa Ogbenye Aka," calls on listeners, "Always Try to Help the Poor." Ejeagha states that the poor do all the hard work in the community, and asks if there is anything that happens that they do not play a part in?

Gentleman Mike Ejeagha & his Premiers Dance Band - Nyelu Nwa Ogbenye Aka

"Ikpechakwaa Kam Kpee," from 1975's Onye Ndidi (Philips 6361 110) is one of those Igbo folk songs, riddled with allegory, that almost defy literal translation. The title means "After you tell your side, let me tell my side." Ejeagha sings "Do not let the ngene [a wild animal] impugn my good name." He sings that he saw Ngene grazing on on the turf of Eleh (a deer), but that Ngene lied to Eleh about him, turning him against Ejeagha. In the spoken interlude Ejeagha says, "After the child tells his side, listen to the mother's side," and sings, "When the elephant goes, when mgbadu goes, when my turn came I didn't get what I wanted." The chorus is "Ajabula aja o ma nkwe kwa mee" - "I'm not going to let that happen."

Gentleman Mike Ejeagha & his Premiers Dance Band - Ikpechakwaa Kam Kpee

"Obiako Nnwam (Omenani No. 2)" from Akuko Na Egwu Vol. 1 (Polydor POLP 009, 1976) concerns a great chief and his conflict with his oldest son, Obiako. The chief has come to hate Obiako's mother so much that he can't even stand the sound of her voice. In return Obiako has come to resent his father so much that he has grabbed his igene (the staff that is the source of the chief's status and power) and is threatening to shatter it. The chorus:

Obiako obi nnwam,
Ngekene m igene mu,
Igene mu ji agba mgba
Obulu na be mmuo igene mu na akpa ike ya,
Obulu na be mmadu igene mu na akpa ike ya

means, "Obiako my son, give me back my igene. Even in the land of the dead it is very powerful. Even in the land of the living it is very powerful." Obiako does not understand how his father can hate his mother so much, but his father knows that if Obiako breaks the igene, he himself will die. He gathers the village together to beg him not to break the igene, but Obiako breaks it and dies. The "Omenani" in the title means Igbo folklore.

Gentleman Mike Ejeagha & his Premiers Dance Band - Obiako Nnwam (Omenani No. 2)

"Udo Kan Mma," also from Akuko Na Egwu Vol. 1, means "Peace is Better." Ejeagha sings, "Peace is more beautiful. Sibling should not hurt sibling. Friends must not seek to hurt friends. Children of the dead should not hurt children of the living. A wife should not hurt her husband (& vice versa)."

Gentleman Mike Ejeagha & his Premiers Dance Band - Udo Kan Mma

"Onye Nwe Ona Ebe, Onye Enwero Ana Ebe (The Haves Complain, and the Have-Nots Also Complain)" from the 1982 LP Onye Nwe Ona Ebe, Onye Enwero Ana Ebe (Polydor POLP 057) is notable not only for its brilliant guitar work but for its wry social commentary. Ejeagha sings that people with children complain about the trouble they bring, while people who can't have children beg God for any progeny at all. A healthy person complains, but a sickly person wishes for health. Some people say that money is trouble, others say that money doesn't complete a household, while still others say that health is worth more than wealth (ndu ka aku).

"Uche bu akpa onye kolu nke ya, (Ogaba) (ona aga)." In other words, thoughts are like a handbag (akpa). To each their own, and you cannot read someone's mind.

Ejeagha sings that the haves complain that guarding their money is too much trouble, while the have-nots say that their worldly troubles are too much to bear. Healthy people complain that God didn't give them wealth, while the sick pray for health instead of money. He asks, "My friends, do you see how the world is? Nobody is happy where they are."

Finally Ejeagha relates the tale of a wise, wealthy chief, and a poor man who was once well-to-do. The poor man spends his days looking at the chief and his affluent friends, wishing to be like them. The chief remembers that the poor man had once been wealthy himself and had spent much of his riches on those less fortunate, and gives him a big bag of money as a reward.

Soon the formerly-poor man returns the money to the chief, saying "Since you gave me this money I can't sleep, nor eat, nor sit down and rest for worrying that someone will steal my money." The song praises the chief for his great wisdom:

Gentleman Mike Ejeagha & his Premiers Dance Band - Onye Nwe Ona Ebe, Onye Enwero Ana Ebe

"Praise my good deeds while I'm alive," is the meaning of "Ja'am Mma na Ndu" from the 1983 album of the same name ( Polydor POLP 100). This would seem to allude to the practice of having elaborate funerals for the deceased. Ejeagha sings, "If you love me, show it while I'm alive. Give me something when I'm alive, not when I'm dead. My mouth speaks what I see. I tell the truth and the truth is bitter":

Gentleman Mike Ejeagha & his Premiers Dance Band - Ja'am Mma Na Ndu

Download these songs as a zipped file here.

Thanks once again to my wife Priscilla Nwakaego for her translations, and thanks to Gilbert Hsiao for sending me a rip of Ude Egbunam many years ago. In a future post I will be discussing "Akuko n'Egwu Original," a series of recordings Ejeagha made for Anambra State Broadcasting in the 1980s. If you enjoy the music I've posted here, I would encourage you to check out some of Ejeagha's other recordings, which are available from My African Bargains. Much of the biographical information in this post is taken from "Life at Old Age is Quite Enjoyable," an interview by Nwagbo Nnenyelike which appeared in The Sun of Lagos, Nigeria on October 15, 2004.

Shortwave Memories

2010-10-09T15:32:00.001-05:00

More Congo classics via Nigeria here! Music From Zaïre Vol. 3 (Soundpoint SOP 041, 1977) opens with "Ngalula Marthe" by Orchestre Elegance Jazz, a song that provokes fond memories among West Africans of a certain age. A quick scan of the internet produces numerous comments about it, including these: ". . .I dreamed of my childhood in Sierra Leone. When I board a public transport like a taxi, private bus, pick trucks travelling to the countryside, this record was the music of the time in Sierra Leone in all these public transportations. . ." ". . . This song typified my happy childhood in the good old days in Nigeria. Late 70s and early 80s, I think. Remembered it being played on the state radio's ikwokilikwo hour in Anambra back them. The best of the classic Congolese music! It's soothing!" ". . . We used to organize dancing competitions with this song back then in Cote d'Ivoire. . ."

As regards the meaning of the lyrics, another listener writes, ". . . Ngalula is the name of a girl in the Kasai culture: Ngalula is special because of her genetic makeup. So is Ntumba from the cultural perispectives. These children were concieved without sex after mother has just had another child. . ."

There's no doubt that this 1972 classic had a broad influence on West African music. Compare the guitar work at around the 3:30 mark to Prince Nico Mbarga's "Sweet Mother," released in 1976:

Orchestre Elegance Jazz - Ngalula Marthe

Here's another song evoking the feeling of something you'd hear over a shortwave radio late at night. I'm not the only one who's looked high and low for part two of "Yokolo," but according to Alistair Johnston's discography of Docteur Nico it is avaliable only on two 45s (Editions Sukisa S.500 & Ngoma DNJ 5274) issued in the late '60s. To the best of my knowledge the only album Part 1 is available on is Music From Zaïre Vol. 3. A rarity indeed!

Docteur Nico & Orchestre African Fiesta Sukisa - Yokolo Pt. 1

Nyboma Mwan'dido made his musical debut in 1969 at the age of 16, and was recruited by the musician and promoter Kiamuangana Verckys to Orchestre Bella-Bella in 1971, and subsequently to Orchestre Lipua-Lipua. "Kamalé'" proved to be such a smash for Lipua-Lipua and its lead singer that in 1975 Nyboma split from Verckys to form his own band, Les Kamalé, which notched a series of hits, including the enduring classic "Doublé Doublé." You can hear a full-length version of "Kamalé" here.

Orchestre Lipua-Lipua - Kamalé Pt. 1

Docteur Nico & Orchestre African Fiesta Sukisa - Mokili Makambo

When Kiamuangana Verckys left OK Jazz in 1969, he soon developed a recording empire and a raucous sound to rival those of his mentor Franco and the other giant of Congo music at the time, Tabu Ley Rochereau. I've been unable to locate Part One of "Dona," the wild horns, biting guitar licks and over-the-top vocals of which showcase the "Verckys Sound" at its best:

Verckys & Orchestre Vévé - Dona Pt. 2

Part One of Bella-Bella's great "Mbuta" has also eluded me. You can hear Nyboma singing backup here:

Orchestre Bella-Bella - Mbuta Pt. 2

"Infidelité Mado," also known as "Mado," realeased in 1972, was a great hit for Franco and Orchestre TPOK Jazz. I apologize for the poor sound quality of the version here, indeed of the last four tracks on Music from Zaïre Vol. 3 (Side Two of the LP is slightly off-center). You can hear a better version of "Mado," courtesy of Worldservice, here:

Franco & l'Orchestre TPOK Jazz - Mado

Founded in 1953, Joseph Kabasele's African Jazz was the first "modern" Congolese orchestra:

Orchestre African Jazz - B.B. 69

Download Music From Zaïre Vol. 3 as a zipped file here.

More Desert Island Music

2010-09-25T15:23:00.000-05:00

Given that he's one of the most illustrious Congolese musicians of his generation, information about Côme Moutouari, better known as Kosmos, is a bit hard to come by. I know that he's one of a trio of musical brothers (the others being Michel and Pierre Moutouari), that he got started in the '60s with the legendary Bantous de la Capitale in Brazzaville, that he left that congregation in the '70s with Pamelo Mounk'a and Celio to form Trio Ce.Pa.Kos and Orchestre le Peuple, and that in the '80s he recorded a series of solo LPs that are some of finest Congo recordings of that golden decade.

Of these, Ba Camarades (Safari Sound SAS 040, ca. 1983) is true "desert island music" that stands as a distillation of all that was great about '80s Congo music: the sweeping guitar filigrees, the understated horns and above all, Kosmos's lovely voice. They sure don't make records like this any more!

Kosmos - Ba Camarades

Kosmos - Madou Sesselesse

Kosmos - Tabali

Kosmos - Liberte

Download Ba Camarades as a zipped file here. Here are some earlier recordings by Kosmos that I took from the compilation CD Best of Kosmos Vol. 2 (Glenn Music GM 324008, 1995). The song translations are from the liner notes. "Miléna," recorded with Bantous de la Capitale, is one of Kosmos' best loved songs. In it the singer recounts the pain his love for Miléna is causing him: "They make me suffer for loving you. I didn't know that my mother-in-law was a merchant of children. She wants me to give her all of the money I make. Oh mother-in-law, please don't tell Miléna to give my child to a man richer than me":

Bantous de la Capitale - Miléna

In "Kamwiya" Kosmos and Pamelo Mounk'a sing, "You are losing your way. Bring your heart back to its place. I love you but don't come to me because of bad advice. Don't lose the light of my love. I'm fed up with that suffering":

Trio Ce.Pa.Kos - Kamwiya

"Milla, I've heard something horrible. Tomorrow you're flying to a foreign country. Where you are going there are a lot of men. I am afraid you will forget me. I am crying. You leave me with a wound that can only be healed by your return":

Le Peuple - Milla

Another Rockin' One-Off

2010-09-18T20:09:00.000-05:00

Roaring out of Kinshasa by way of Paris with drum machine in tow, it's Rigo Star and Josky Kiambukuta with Jotongo (Mayala MA4005, 1986), a platter that can best be described as "soukous rock."

Josky Kiambukuta is the honey-voiced vocalist who joined Franco's legendary TPOK Jazz in 1973 and composed many of its greatest songs. Rigo Star made his mark in Papa Wemba's Viva la Musica before decamping to Paris and recording with the likes of Sam Mangwana and Kanda Bongo Man, later becoming a much-sought arranger and producer. Like Uhuru Aiye by Bob Ohiri and his Uhuru Sounds, posted in this space earlier, Jotongo is an apparent one-time studio collaboration that was never repeated. Similarly, its somewhat deracinated sound has a "hard rock" edge that sets it apart from some of the more mainstream sounds of the day. As no other musicians are credited on the sleeve, I suspect all of the musical contributions were provided by Kiambukuta and Star via overdubbing.

Rigo Star & Josky Kiambukuta - Jotongo

Rigo Star & Josky Kiambukuta - Bon Payeur

Rigo Star & Josky Kiambukuta - Promesse Ezali Niongo

Rigo Star & Josky Kiambukuta - Bilei Special

Rigo Star & Josky Kiambukuta - Malia

Download Jotongo as a zipped file here.

Still Another Re-Up

2010-09-11T09:38:00.005-05:00

I've been unable to find out much about Congo's Bobongo Stars, but their unique blend of funk, rock & roll, Soukous and Mutuashi made them stand out in the crowded '80s Kinshasa music scene. They had their own night club, made commercial jingles, played backup for the Angolan singer Diana, and achieved a measure of renown in Europe before fading from sight.

Some time ago I posted the Bobongo Stars album Makasi (Celluloid CEL 6627, 1983) over on Uchenna Ikonne's blog With Comb & Razor, and as it's since gone offline, I thought now was a propitious moment to make it available again.

The above photograph of the Bobongo Stars was taken by Chris Stapleton and appeared in his article "Kinshasa Diary: Zaïre," which was in the Summer 1986 issue of Africa Beat (London). Here are the songs from Makasi, and you can download them as a zipped file here:

Bobongo Stars - Mbati

Bobongo Stars - Joyce

Bobongo Stars - La Vie Ya Lelo

Bobongo Stars - Nazangi Yo

Bobongo Stars - Koteja

Bobongo Stars - Simba Moto

Disco Benga!

2010-08-22T08:14:00.002-05:00

Those listening to the album Muungwana (CBS ACP-CBS 1203), by Kenya's Sylvester Odhiambo & the Ambira Boys, may be reminded of the 1973 smash "Lunch Time" and other hit records by Gabriel Omolo & his Apollo Komesha. That's not surprising, as according to the liner notes Mr. Odhiambo sang on many of those recordings.

I have no idea what Mr. Odhiambo is singing about here (no doubt in keeping with Kenyan fashion the lyrics are pithy and ironic), but Muungwana is an infectious example of mid-'80s Swahili benga - propulsive, fast-moving, the synthesizer giving the music a sophisticated "disco" sheen. Enjoy!

Sylvester Odhiambo & the Ambira Boys - Muungwana

Sylvester Odhiambo & the Ambira Boys - Tumbo Na Njaa

Sylvester Odhiambo & the Ambira Boys - Baba Pombe

Sylvester Odhiambo & the Ambira Boys - Mary Mami

Sylvester Odhiambo & the Ambira Boys - Ten Commandments

Download Muungwana as a zipped file here. "Lunch Time" and other recordings by Gabriel Omolo & the Apollo Komesha, featuring Sylvester Odhiambo on vocals, may be found on the compilation Kenya Dance Mania (Sterns/Earthworks STEW 24CD), and I posted the flip side of "Lunch Time" here.

From Congo via Nigeria

2010-08-18T16:58:00.002-05:00

Priscilla tells me that in the 1970s, when she was a girl in Awo-Omamma, Nigeria, the family used to sit around the short-wave radio almost every night to catch the broadcasts from Radio Brazzaville. I imagine the music they heard sounded an awful lot like the contents of Music from Zaire Vol. 6 (Soundpoint SOP 044, 1978), today's featured recording.

Congo music, of course, was huge in the 1970s all over Africa, and especially in Eastern Nigeria, where it sparked the development of a whole new genre of guitar-based highlife music exemplified by Oliver de Coque, the Oriental Brothers and their many imitators and camp-followers. The numerous Nigerian pressings of Congo music that were made in the '70s feature the musicians that influenced this trend, in the case of Music From Zaire Vol. 6 the artists in Kiamuangana Verckys' stable like Orchestres Kiam, Lipua-Lipua and Cavacha. The music echoes down through the years. I was amazed, on viewing a video of my father-in-law's funeral, made in 1998, to hear an Igbo-language version of Lipua-Lipua's "Nouvelle Generation" played by one of the local bands. No doubt you could hear the same thing in Yaoundé or the backwoods of Kenya - truly it's one of the most influential African songs of all time.

As much of this music is already available through many reissues and postings on the internet, I was hesitant to tack it up here. But recently both Worldservice and Global Groove posted Stars From Zaire Vol. 4 (Soundpoint SOP 042), another installment in the series. That got me to thinking: Is there something about these particular Nigerian pressings that makes them unique? I think so. For one thing, as Worldservice points out, there is a tendency to not include the slower "A" sides of the various recordings and go directly to the big payoff: the "sebene," the faster, more improvisatory second half. This structure is typical of Igbo guitar highlife recordings of the '70s and '80s as well. Just listen to Oliver de Coque or Kabaka and compare them to Music From Zaire Vol. 6 and see what I mean!

The picture of the Yoruba drummers on the back of the record is also interesting:

Here, then, is the music. Just sit back and imagine you're listening to a shortwave radio in Awo-Omamma, Nigeria in the '70s . . .

Orchestre Kiam - Baya-Baya Pt. 2

Orchestre Lipua-Lipua - Mombasa Pt. 2

Orchestre Lipua-Lipua - Tika Kosaboter Motema

Orchestre Lipua-Lipua - Kuelo

Orchestre Lipua-Lipua - Nouvelle Generation Pts. 1 & 2

Orchestre Bella-Bella - Mwana Yoka Toli

Orchestre Cavacha - Shama Shama Pt. 2

I believe track 6, "Mwana Yoka Toli," was misattributed on the album sleeve. I'm following the liner notes of Jeunes Orchestres Zaïrois 1971/1973/1974/1975 (Sonodisc CD 36517, 1992) and crediting it to Orchestre Bella-Bella. To download Music from Zaire Vol. 6 as a zipped file go here, and following Worldservice's example, I'm making the "complete" versions of "Baya-Baya," "Mombasa" and "Shama Shama" available here. I'll probably be posting more of these Nigerian pressings of Congo music in the future.

Benin (The Empire, Not the Country)

2010-08-15T12:05:00.008-05:00

Back in Eighth Grade, my Social Studies class was given one of those typical assignments where we were supposed to pick out some country and write a report about it. Most of the kids picked well-known countries (I chose Austria), but one young lady, Susan Norman, chose the West African nation of Dahomey.

"Dahomey? Are you kidding?" our teacher Mr. Vezie sneered, no doubt thinking that Susan chose this obscure country to get out of doing a lot of work on the project, but she was adamant.

What does this have to do with the subject of today's post? Well, nothing, really, except that in 1975 the Republic of Dahomey changed its name to the Republic of Benin, after the Bight of Benin, which in turn was named after the Benin Empire, a powerful entity that existed from 1440 to 1897 in what is today Nigeria. "Benin" is a Portuguese corruption of "Ubinu," the administrative center of the Empire, which is today called Benin City, capital of Edo State.

Dahomey's rechristening in 1975 has caused no end of confusion ever since, so to clarify things: Benin City (& hence the historical Benin Empire) is approximately 250 miles east of Porto Novo, capital of the present-day Republic of Benin. The two entities have no historical connection! The map at right shows the sphere of influence of the Benin Empire at the height of its power. To further muddy the waters there was once another "Republic of Benin," which was established by retreating Biafran troops in the early days of the Nigerian civil war (see map below, from John de St. Jorre's Nigerian Civil War, Hodder & Stoughton, 1972, click to enlarge). This historical curiosity was proclaimed at 7 a.m. on September 20, 1967 and collapsed eight hours later!

The Benin Empire encompassed Ijaws, Igbos, Itsekitris and Urhobos, among other groups, but the Edo people constituted the core of the nation. Even today they are celebrated for their artwork, a sample of which is at the top of this post. Much of this was destroyed when Benin City was captured by the British in 1897, and much of the remainder was dispersed around the world. Today Benin City is renowned as a center of education and culture in Nigeria.

All of this exposition is by way of making up for the fact that I can't tell you a whole lot about today's featured artists. While Victor Uwaifo is justly famed as Benin City's foremost musical exemplar, the area has produced numerous other talents, like Patrick Idahosa, who had a similar sound. I can't say much about him, but among Edo musicians he was probably second only to Uwaifo in popularity during his heyday of the '70s and '80s. In the late '90s, Mossiac Records of New York released a CD compilation (Mossiac MMCD 0302) of his greatest hits, from which the following are taken:

Patrick Idahosa & his African Sound Makers - United Brothers

Patrick Idahosa & his African Sound Makers - Tamoubiyememwsm

Patrick Idahosa & his African Sound Makers - Tamiyaregbe

The Amunataba Dance Band are similarly obscure to me, but what a fine album Akenzua (Mikii MAK 504, 1978) is! Sweet guitar highlife in the Peacocks mode, and isn't the front cover great?

Amunataba Dance Band - Eronmwon

Amunataba Dance Band - Akenzua

Willy Adamosa Osagiede got in touch with me many years ago, and even sent me a CD of his recent recordings. Like all of the musicians here, he was most popular in the '70s and '80s. He's presently based in the San Francisco Bay Area, and you can access his MySpace page here. Here are some tracks from his 1976 LP Ukpakon (Afrodisia DWAPS 70):

Adamosa Osagiede & his International Band - Amayamwen Nue

Adamosa Osagiede & his International Band - Igho Nogie

Adamosa Osagiede & his International Band - Wa Gha Hio

Osayomore Joseph's Afro-funk sound has recently drawn some notice thanks to his contribution to the recent Soundway compilation Nigeria Special. Here's a song from his 1982 LP Ulele in Transit (Emotan EMOLP 01):

Osayomore Joseph & the Ulele Power Sound - Efewedo

And here's one from another 1982 album Over the Bar. . . I Beg You . . . (Emotan EMOLP 02):

Osayomore Joseph & his Ulele Power Sound - Alele

Winding things down in style with Idemudia Cole's Talents of Benin, whose Talents of Benin Vol. 5 (Shanu Olu SOS 127, 1981) is as wonderful an example of Edo highlife as you'll ever find:

The Talents of Benin - Ovbiokhokho

Somali Songs of the "New Era"

2010-08-07T23:22:00.010-05:00

Thanks to Roskow Kretschmann of Black Pearl Records for passing on a unique historical recording, the LP Somalia Sings Songs of the New Era (Radio Mogadishu SBSLP-100) issued in 1972 in the first flush of Somalia's "Scientific Socialist Revolution."

Mohammad Siad Barre (right) came to power in Somalia on October 21, 1969 as the result of a coup d'etat following the assassination of Abdirachid Ali Shermarke, Somalia's second president. The governing Somali Revolutionary Council undertook a number of arguably progressive tasks such as standardizing the Somali language and making efforts to lessen the role of clans in Somali society.

Close ties with the Soviet Union, the adoption of "Marxism-Leninism" as the ruling ideology and the development of a Stalinoid "personality cult" around Siad Barre obscured what was basically an old-fashioned military dictatorship with grievous violations of human rights and mounting popular opposition from the mid-1970s on. Following Somalia's defeat by Ethiopian and Cuban troops during the Ogaden War of 1977-78, Somalia broke with the Eastern bloc and aligned itself with the United States. Subsequently the banner of "Scientific Socialism" in the Horn of Africa would be borne by Ethiopia under Mengistu Haile Mariam's Dergue.

Opposition to Siad Barre's regime had reached a fever pitch by the late 1980s and he was overthrown by Mohammad Farah Aidid's United Somali Congress on January 26, 1991. The resulting chaos in Somalia is well-known, with various armed groups jockeying for power in the years since. Siad Barre died in Lagos on January 2, 1995.

Not only are vinyl recordings of any kind from Somalia hard to come by, I'm fascinated by Somalia Sings Songs of the New Era as a historical artifact. I asked our friend Sanaag, who was so helpful in the posts "Somali Mystery Funk" and "More Somali Funk," for his insights. Here are his thoughts:
. . . As you've already noticed, the tracks on the album are mainly contemptible praise songs for Siad Barre's ego. The lyrics are very poetic but, the anti-apartheid song and parts of "Gobanimo" and "Soomaalida Maanta" excepted, they are further devoid of any praiseworthy substance. So, I won't dwell long on their content. Instead, I'll try to shed some light on the context.

Since time immemorial, poetry has been the primary means of mass communication and cultural expression in Somali society. It's highly valued and has a tremendous impact on all walks of life. So much so that, according to an Amnesty International report dating from early 90's, poetry (and not the warlords) was the foremost weapon that tumbled the Somali military regime from it's high and haughty throne!

Siad Barre and his Jaalleyaal (comrades) understood the power of that tool all too well and tried to exploit it to promote their cause. They had initially a progressive agenda and rhetoric based on justice, socio-economic development, equal opportunities for all, protection and promotion of women's and minorities' rights etc. The political discourse was pregnant with noble promises and the expectations were high. Gutted by the corruption and nepotism rampant during the preceding civilian governments, many Somalis were enthusiastic about the new 'revolutionary course' and many artists lauded Siad Barre's initial goodwill and positive intentions. Unfortunately, it didn't take long before oppression, fear and mutual distrust were all the midwife could announce to the parturient crowds.

The artists on this series were all members of Waaberi, the house-band of the Ministry of Information and National Guidance. The name says it all: Propaganda and indoctrination! It was a large troupe with hundreds of members embracing dramaturgy, folklore dance and music.

It seems the ones on this album were carefully selected to rally support for the military regime. They were among the most popular in that period and, equally or maybe even more important, they came from practically all regions and clans. Their incipient stance in favour of the military regime, as depicted in these songs, may be genuine, fake, forced ... or all three at the same time, as dictatorial schizo-paranoia has its unfathomable ways. However, poet and playwright Sangub (composer of "Soomalida Maanta" & "Midab Gumeysi Diida") is to my knowledge the only one in this bunch who never disavowed Siad Barre's atrocities. That's why he's strongly despised across the board, notwithstanding his impressive and diverse body of literary work. The other protagonists in this album spoke their mind in subsequent songs and were, along with many others, arrested and/or exiled.

For instance, Abdi Muhumud Amin (composer of "Aynaanka Hay" & "Ha Iilan") was a prolific songwriter and a highly respected poet-playwright. A teenage member of the anti-colonial Somali Youth League (SYL) in the 40's and 50's, he composed many patriotic songs geared towards fighting against colonialism. Disenchanted with the post-independence civilian authorities, dominated by depraved SYL stalwarts, he soon switched into instigating the masses to rise up against the homegrown neo-colonialists. When the Armed Forces toppled the civilians in 1969, he sided with them and composed revolutionary songs. Only to realize within a few years that Siad Barre's regime was as nefarious as the ones it replaced and his criticism was ubiquitous and fierce. He later joined the Somali Salvation Democratic Front (SSDF), the first armed opposition to Siad Barre's reign. Given his courageous and hapless track record, It's no wonder that Abdi was repeatedly imprisoned by the successive colonial, civilian and military administrations in Somalia. He died in 2008 in exile in Kenya where his funeral was attended by thousands of mourners, friends and foes alike.

Speaking of exile, Abdi was the composer of a song you previously asked about that I've already mailed to you - "Dalkeygow!" (Oh, my land!) by Faadumo Qaasim:

Faadumo Qaasim - Dalkeygow!

This is the passage telling why (s)he chose to live as a refugee:

. . . Oh, my land!
I didn't leave you as a tourist
No paradise on earth can replace you
In my body and soul
In my head and heart
Why am I roaming about in foreign countries?
Why am I obliged to beg and hold my hands up for strangers?
Why did I choose to live like a damned stateless person?
Why is it in my interest to opt for the status of a cursed refugee?
Oh, my land!
When clans and factions attacked each other
When relatives, friends and neighbours
Stabbed each other in the back and belly
When peace was denied and denigrated
When elders were not spared
When children were sent to the front
When all it belched was concentrated poison
That is when I had no choice
But to cross the borders
To seek a safe haven
To save my life . . .
Check out the oud solo starting at about 3:30; it summarizes this sad story pretty well.Here is Somalia Sings Songs of the New Era, with explanations of the songs from the liner notes:

"This song is one of the highly valued and widely spread songs of the New Era composed by the nationalist artist, Abdi Muhumud and sung by himself with the help of the Waaberi chorus. This widely admired song which met international recognition of many artists from friendly countries is dedicated to the beloved leader and Father of the Nation, Jaalle Maj. Mohamed Siad Barre. Its main theme goes: 'The right path you have shown us; Our beloved leader march on; Our triumphant cause be its maintainer; Towards ultimate victory lead us ever":

Abdi Muhumud Amin & Waaberi Artists - Aynaanka Hay

"The composer of this number, Hussein Aw Farah, is one of the outstanding Revolutionary and patriotic songs composers in the Somali Democratic Republic. In this song he points out the reason why the Armed Forces, with the overwhelming support of the Somali people, took over the power from the corrupt civilian regimes who misruled the country for nine years. He explains that our sovereignty was in danger of total collapse, but the Armed Forces are now ready to defend it at the cost of their lives":

Mohamed Suleiman & Hibo Mohamed - Gobanimo

"These are the first words of the song: 'A Revolution dawned in Somalia today - October 21st - and is taking gigantic strides toward progress every year, every day, every hour and every wink.' This song, composed by the talented composer Mohamoud Abdillahi Singub, marks the international cause of the Revolution in Somalia as can be observed in the first few words. It also emphasizes Somalia's call for equality for the whole of mankind without arrogance and domination by some over others, for the elimination of colonialism; for international effort toward such elimination and for the execution of the human principles asserting the right of self-`determination of various peoples in every part of the world":

Waaberi Artists - Soomalida Manta

"This is one of the numerous Revolutionary songs aimed at encouraging the Father of the Nation, Jaalle Maj. General Mohamed Siad Barre, to hold high the banner of the blessed Revolution and to fight against colonialism and all its traces. The composer Abdi M. Amin, who has been honoured for his Revolutionary thoughts, again puts more emphasis in his words which goes: "Forward ever, Backward Never!":

Ahmed Ali Egal & Waaberi Artists - Ha Iilan

"This song was composed by Mohamoud Abdillahi Singub & sung by Waaberi Artists with Abdi Ali Baalwan & Daleis in the leading role. the composer calls the African leaders to be united against the evils of colonialism, imperialism and Apartheid. The first words of this song point out why colonialism finds its way in Africa. 'Without strong bulwark, Ian Smith would have not dared to snatch off Rhodesia, nor Portugal tried to stay in Angola and Mozambique and to perpetuate genocide against African people, not the memory of the invisible knives to kill the freedom of Guinea in the dark faded away yet. We are also aware of the plight of Africans in South Africa":

Waaberi Artists with Abdi Ali Baalwan & Daleis - Midab Gumeysi Diida

Download Somalia Sings Songs of the New Era, complete with cover & liner notes, here.

The Return of Toguy

2010-06-28T00:33:00.001-05:00

Here, as promised, is Elimbi na Ngomo (Production TN, TN 591), Toto Guillaume's 1985 LP that is rightly considered a monument of the makossa genre. I agree that it's a masterpiece, but pride of place as Guillaume's "best" recording belongs, in my humble opinion, to Makossa Digital (Disques Esperance ESP 8404, 1983), which I posted here earlier. That said, there's little doubt that the title track, "Elimbi na Ngomo," is one of Toguy's most popular songs, remembered fondly by all Camerounians of a certain age.

Elimbi na Ngomo, makossa for the ages. Enjoy!

Toto Guillaume - Elimbi na Ngomo

Toto Guillaume - Bulu

Toto Guillaume - Raison

Toto Guillaume - Eh Oa

Toto Guillaume - Mulalo

Toto Guillaume - Ngila Nama

Download Elimbi na Ngomo as a zipped file here.

Another Re-Up

2010-06-25T16:12:00.001-05:00

Occupying a location somewhere near the intersection of Afrobeat, Juju and garage rock, the album Uhuru Aiye by Bob Ohiri and his Uhuru Sounds (Ashiko Records AR 001, ca. 1985) is often rumored but seldom heard. A track from it appears on the new collection Nigeria Afrobeat Special (Soundway SNWCD021), so it's worth taking a closer look.

Bob Ohiri was a guitarist with Sunny Adé's African Beats and is said to have briefly played with Fela's Africa '70, although I can't confirm that. The "Uhuru Sounds" were apparently a one-off - basically just some guys jamming in the recording studio. The only members credited on the sleeve are "Prince," "Bob" and "Shegun."

So what to make of the music? Uhuru Aiye is truly an odd and idiosyncratic amalgam - like no "World Music™" or "Afrobeat" or "Afrofunk" you've ever heard. It doesn't always succeed, but when it does it works very well.

Like my previous posts "Unknown Fela," Uhuru Aiye was originally contributed by me to Uchenna Ikonne's blog With Comb and Razor. It went off-line a while back, so I thought I'd make it available again.

Bob Ohiri & his Uhuru Sounds - Ariwo Yaa

Bob Ohiri & his Uhuru Sounds - Obhiha

Bob Ohiri & his Uhuru Sounds - Aiye

Bob Ohiri & his Uhuru Sounds - Nigeria London na Lagos

Bob Ohiri & his Uhuru Sounds - Imo State Express

Bob Ohiri & his Uhuru Sounds - Africa is Free for Us

Bob Ohiri & his Uhuru Sounds - I Like to Be Free

Download Uhuru Aiye as a zipped file here.

The Down-Home Sounds of Kakai Kilonzo

2010-06-24T18:24:00.001-05:00

Major players in the '70s and '80s music scene in Kenya, Kakai Kilonzo and his band the Kilimambogo Brothers were one of the few benga groups whose popularity crossed tribal lines. It helped that they recorded in Swahili as well as their native Kamba language, but the quality of their musical output no doubt played a major role as well.

Kilonzo's beginnings in life were modest indeed. His daughter Anita Kilonzo writes:

Kakai Kilobzo was born in1954 at Kilimambogo in Machakos district. He attended Primary education at Kilimambogo in 1962 to 1965. He definitely did not finish it because of lack of school fees. Kakai then sought for cheap labour like herding in to help his poor family. These continued for a duration of five years.

In 1970 he was employed in Thika town at farms that dealt with pineapple plantations as a harvester.

While in Thika, Kakai made single stringed guitars which were made of tin, due to his interest in music. He played then during his leisure time in the farms. Through his peanut earnings he managed to by a box guitar. He used to entertain local people at night during his off-time; which is termed as Tumisonge in Kamba.

Kilonzo's talents as a musician soon won him renown. He recorded "Kaylo Kyakwa na Mary" in 1974 and with the Kilimambogo Brothers scored many hits like "Baba Mkwe," "August One" and "Mama Sofia." Many of these recordings are collected in two CDs, Best of Kakai Vol. 1 (Shava Musik SHAVACD011-2, 2002) and Best of Kakai Vol. 2 (Shava Musik SHAVACD017, 2006) and an LP that was released in 1987, Simba Africa (Popular African Music PAM 03). As far as I can tell, these compilations are all of of print.

Well before his time, Kakai Kilonzo passed away in 1987 after a brief illness. His presence in the Kenyan music scene is sorely missed.

Many years ago I dubbed onto 10" tape reels a number of 45s by Kakai Kilonzo and the Kilimambogos, and was recently able to digitize them. None of these are on any of the above-referenced pressings. Except for "Christmas Day," which is in Swahili, these records are all in Kamba. For the most part I have no idea what the lyrics are about, but I presume that they deal with the usual subjects of Kenyan popular music: Family matters, love and harvests. It is benga, the music of Kakai Kilonzo and artists like him, that is the true voice of Kenya's rural majority - blunt and straightforward, real Kenyan "country music."

Here's a recording from the late '70s or early '80s, the A & B sides of Kakai Kilonzo Sound KLZ 7-002:

Kakai Kilonzo & Kilimambogo Brothers Band - Kithetheesyo Ki Muka

Kakai Kilonzo & Kilimambogo Brothers Band - Katuli Lungi

Les Kilimambogo LES 007:

Les Kilimambogo Brothers - Mutwawa Niwatwana

Les Kilimambogo Brothers - Mathitu Mowe

Les Kilimambogo LES 08:

Les Kilimambogo - Ngungu Na Muoi

Les Kilimambogo - Kilinga Munguti

The Kilimambogos celebrate the birth of Christ on Les Kilimambogo LES 16:

Les Kilimambogo - Christmas Day Pts 1 & 2

Hear another Kilimambogo Christmas song here. Here are the A & B sides of Les Kilimambogo LES 17:

Les Kilimambogo - Sera Ndungembeti

Les Kilimambogo - Ngomelelye Kitambaasye

Let's close with the Swahili sounds of the Original Kilimambogo (OKB) Stars. The OKB Stars were formed in 1978 when Joseph Mwania left the Kilimambogo Brothers Band to form his own group. This recording was issued as New Mwania Sound NEW 108:

Joseph Mwania & the Original Kilimambogo (OKB) Stars - Mama Sheria Pts 1 & 2

For more rustic, down-home Kamba sounds, go here. Download the songs in this post as a zipped file here.

Mensy's "New Sounds"

2010-06-04T19:04:00.001-05:00

For many years I've wanted to know the identity of the Camerounian group Mensy, whose scorching tune "Ane Ya" opened up the 1982 compilation LP Sound d'Afrique II (Mango MLPS 9754).

I'm sorry to say that 28 years of research have turned up nothing about Mensy, but many moons ago I was thrilled to discover a whole LP by the group in a long-lost African record store in DC. New Sounds of Africa Vol. 1 (Discafrique DARL 021) contains not only a longer, uncut version of "Ane Ya" but three more slices of Afro-funk that make your typical deracinated World Music™ sound like nursery rhymes!

As the LP sleeve contains no recording information at all I wish I could tell you who the nimble guitarist on "Ane Ya" is or who's responsible for the brilliant horn work of "Sotuc." I'll just have to let you hear for yourself. Enjoy!

Mensy - Ane Ya

Mensy - Dis-Le Moi

Mensy - Mari Na

Mensy - Sotuc

Download New Sounds of Africa Vol. 1 as a zipped file here.

A Musicians' Musician

2010-06-01T18:27:00.002-05:00

Back in the 80s Toto Guillaume ("Toguy") was a ubiquitous session musician on recordings coming out of Cameroun. The great guitarist and arranger first made a splash in the '70s alongside François Nkotti and Emile Kangue in the influential group Black Styl. His first solo hit "Françoise" was released in 1974, followed by "Mba Na We" in 1975. Together with the bassist and producer Aladji Touré, Manu Dibango, Emmanuel Nelle Eyoum and others, Guillaume played a pivotal role in crafting the modern makossa sound based on the traditional rhythms of the Douala region.

Among his albums, Toguy's 1985 release Elimbi na Ngomo (TN Productions TN 591) is justly famed, but I've always had a soft spot for 1983's Makossa Digital (Disques Esperance ESP 8404), with its lush strings and brilliant arrangements. A true pinnacle of makossa!

Makossa began to fade in the late '80s, a victim of its own formulaic sound, but for a time it was Congo music's main rival for the affections of African music fans. Toto Guillaume too dropped out of sight around this time, but I understand he's been making a comeback in recent years.

Enjoy Makossa Digital, and I promise I will make Elimbi na Ngomo available also sometime in the future:

Toto Guillaume - Mundende Mwa Bedimo

Toto Guillaume - Mulema Mwa Muna

Toto Guillaume - Bata Ba Nunga

Toto Guillaume - Paï 'a Nyambe

Toto Guillaume - Ewes' Am

And, because Makossa Digital, like most Camerounian releases of the era, is much too short, here's a "bonus track" from 1983's wonderful 3-disc compilation Fleurs Musicales du Cameroun (Afrovision FMC 001/002/003):

Toto Guillaume - Seto Nyola

Download Makossa Digital (+ "Seto Nyola") as a zipped file here.
A technical note: I haven't been posting many vinyl rips here lately because the stylus on my turntable was way past its expiration date, and I didn't want to harm my treasured old LPs. But listening to Makossa Digital and other rips I've made since getting a new stylus it's apparent how much sound quality I had been sacrificing with that old needle as well. I'd like to re-rip and re-upload much of the old material but that's obviously going to take a while. In the meantime I'd appreciate your input. When I processed Makossa Digital I tweaked the high frequencies upwards just a little bit as it seemed to add a fair bit of clarity to the sound. However, I'm aware that my hearing is not what it used to be, and what sounds fine to me may be hopelessly screechy to others. So, let me know. Input from people with a background in audio engineering is especially appreciated.

More Live Youssou

2010-05-09T12:20:00.005-05:00

As promised, here is another "live" recording by Youssou N'Dour & le Super Etoile de Dakar, the cassette Live Olympia (Productions SAPROM), recorded in Paris and released in 1991.

Live Olympia finds Youssou & the band in the more simplified mode they exhibited, at least in the international market, after achieving world fame in the mid '80s. The music is "catchier" and the performances shorter and less complex than in the earlier Jamm La Paix. Still, this is a recording well worth listening to, with a nice rendition of "Immigrés" and interesting alternate versions of some other Super Etoile hits.

Youssou N'Dour & le Super Etoile de Dakar - Sabar

Youssou N'Dour & le Super Etoile de Dakar - Bamako

Youssou N'Dour & le Super Etoile de Dakar - Immigrés

Youssou N'Dour & le Super Etoile de Dakar - Xaley Rew Mi

Youssou N'Dour & le Super Etoile de Dakar - Medina

Youssou N'Dour & le Super Etoile de Dakar - Jaam

Download Live Olympia as a zipped file here.

Live Youssou

2010-05-08T20:25:00.002-05:00

Thanks to Aduna for posting Show!!! A Abidjan (1983), a rare live LP by Senegal's Youssou N'Dour. I was inspired to post a couple of live recordings by him myself, starting with the cassette Jamm La Paix (Productions SAPROM).

Toshiya Endo's essential Youssou N'Dour discography lists Jamm La Paix as issued in 1986, and that sounds about right. Recorded live at the Thiossane Night Club in Dakar, it features the jazzy Super Etoile sound that got us hooked back in the '80s, before the depredations of "World Music™" took hold. The band (credited here as "Super Etoile de Dakar I") has never sounded tighter, with inspired performances by all present:

Youssou N'Dour & le Super Etoile de Dakar I - Jamm (La Paix)

Youssou N'Dour & le Super Etoile de Dakar I - Sama Doom

Youssou N'Dour & le Super Etoile de Dakar I - Ale Samba

Youssou N'Dour & le Super Etoile de Dakar I - Sabar

Youssou N'Dour & le Super Etoile de Dakar I - Yonent

Youssou N'Dour & le Super Etoile de Dakar I - Jigééni Rééw Mi

Download Jamm La Paix as a zipped file here. Later I'll be posting Live Olympia, a live recording from 1991.

The Best of Thione Seck

2010-04-03T18:08:00.001-05:00

This week I'm embarking on yet another Spring Break College Tour, this time with my younger daughter Ify. As you may recall, the last couple of times I did this with my other daughter Aku we were able to pick up some nifty Senegalese sounds from a somewhat disreputable storefront on 116th St. in New York City.

Unfortunately we won't be making it out East this time around (maybe next year), but I did want to pass on something I picked up on one of those earlier trips. Best of Thione Seck is not an "official" pressing, but it should be, gathering as it does some of the best tunes from Seck's cassette releases.

Thione Seck himself is rather well-known to African music aficionados thanks to the release in 2005 of his album Orientation (Sterns STCD 1100). He came to notice in Senegal in the late '70s as a vocalist for the legendary Orchestre Baobab, but soon left to form his own roots-orienteed ensemble Le Raam Daan ("Going Slowly Toward Your Goal"). Today he is considered one of the greatest Senegalese vocalists of all time. I featured a few tracks from Best of Thione Seck in an earlier post, but I'm sure you'll appreciate it in its entirety.

Thione Seck & le Raam Daan - Dieuleul

Thione Seck & le Raam Daan - Mane Mi Gnoul

Thione Seck & le Raam Daan - Mass Ndiaye

Thione Seck & le Raam Daan - Domou Baye

Thione Seck & le Raam Daan - Khare Bi

Thione Seck & le Raam Daan - Diongoma

Thione Seck & le Raam Daan - Yaye Boy

Thione Seck & le Raam Daan - Sakh Yi

Thione Seck & le Raam Daan - Yeen

Thione Seck & le Raam Daan - Yenn Bi (Mame)

Thione Seck & le Raam Daan - Khalel

Thione Seck & le Raam Daan - Bamba

Thione Seck & le Raam Daan - Rara

Download Best of Thione Seck as a zipped file here. The picture at the top of this post is by Tom Verhees. It is taken from the LP Le Pouvoir d'un Coeur Pur (Sterns STCD 1023, 1988).

One Man Thousand

2010-03-28T07:51:00.004-05:00

The 1976 album Asaase Asa (Brobisco KBL 016) was a breakthrough hit for Alex Konadu, establishing him as Ghana's foremost exponent of "roots highlife." The title song is based on a true story about Mr. Asaase Asa, who lost both his wife and sister when they were killed by a falling tree. It is dedicated to all who have lost their loved ones.

Konadu had been singing since an early age, and became a leader of the Kantamanto Bosco Group before moving on to the band of the well-known Kwabena Akwaboah for three years and then to the Happy Brothers Band. After going solo he was discovered by the producer A.K. Brobbey and the rest, as they say, is history.

His ability to draw crowds wherever he goes has given Konadu the appellation "One Man Thousand." Withstanding the vicissitudes of fame and fashion, and staying true to his vision of pure, unadulterated highlife music, he has been an inspiration to Ghanaian musicians for years. While Konadu has issued many wonderful recordings over the decades, Asaase Asa is still considered one of his most noteworthy achievements. Enjoy!

Alex Konadu's Band - Obi Aware Wo

Alex Konadu's Band - Me Ne Me Aserene

Alex Konadu's Band - Obiri Pajampram

Alex Konadu's Band - Owuo Mpe Sika

Alex Konadu's Band - Emum Aso Dae

Alex Konadu's Band - Asem Ne Me Ara

Alex Konadu's Band - Asaase Asa

Alex Konadu's Band - W'awu Da Ho No

Download Asaase Asa as a zipped file here. For a taste of Alex Konadu recorded before a live audience, be sure to check out his album One Man Thousand Live in London.

Another Souvenir

2010-03-13T09:20:00.003-06:00

As a follow-up to the last post, here is another ukumbusho (souvenir) from another great exponent of Muziki wa Dansi, Tanzania's International Orchestra Safari Sound.

IOSS was formed in 1985 when businessman Hugo Kisima dissolved his group the Orchestra Safari Sound, and recruited six members of Mlimani Park Orchestra to form a new orchestra. IOSS & Mlimani were considered the two top rivals for leadership of the Tanzanian music scene for a time but for some reason Kisima dissolved IOSS in the early '90s. Confusingly, at one point Ndala Kasheba briefly revived the "old" Orchestra Safari Sound, and there may have been two factions of the International Orchestra Safari Sound, the IOSS (Ndekule) and IOSS (Duku Duku).

Shukrani kwa Mjomba (Ahadi/Flatim MSCAS 513) is credited to the International Orchestra Safari Sound (Ndekule), and as usual with Ahadi/Flatim releases provides no recording information other than a track-listing. As "Chatu Mkali" on the cassette inexplicably cuts off in the middle of the song, I've used the version from the CD Musiki wa Dansi: Afropop Hits from Tanzania (Africassette AC 9403, 1995), which is still in print and available here. Enjoy!

International Orchestra Safari Sound - Shukrani Kwa Mjomba

International Orchestra Safari Sound - Shida

International Orchestra Safari Sound - Pendo

International Orchestra Safari Sound - Majuto

International Orchestra Safari Sound - Kaka Kinyongoli

International Orchestra Safari Sound - Chatu Mkali

Download Shukrani Kwa Mjomba as a zipped file here. More IOSS here. The batik at the top of this post is taken from this website.

A Tanzanian Souvenir

2010-03-11T20:20:00.003-06:00

Orchestra Vijana Jazz, one of Tanzania's top dance bands, was founded in 1971 under the sponsorship of Umoja wa Vijana Tanzania, then the Youth League of the ruling Tanzania African National Union (TANU). Over the last couple of decades as the Tanzanian economy has "liberalized" I suspect Vijana has had to make its own way. It quite possibly may not exist anymore. The Orchestra has undergone numerous personnel changes over the years, notably the death of vocalist Hemed Maneti, who wrote some of the band's most memorable tunes like "Mary Maria" and "Tambiko la Pamba Moto."

"Ukumbusho" literally translates as "reminder" but it probably more closely means "souvenir" or "in memoriam." The cassette Ukumbusho: Hayati Hemed Maneti (Ahadi/Flatim MSKCAS 514) was apparently issued to commemorate the life of Vijana's beloved lead singer. As usual for an Ahadi/Flatim production the sound quality is not up to snuff. Musically it's memorable indeed.

Orchestra Vijana Jazz - Jiko Limenuna

Orchestra Vijana Jazz - Najilaumu

Orchestra Vijana Jazz - Nilitaka Iwe Siri

Orchestra Vijana Jazz - Unikubalie

Orchestra Vijana Jazz - Ndoa Ni Kuvumiliana

Orchestra Vijana Jazz - Madaraka Kwenye Bar

Download Ukumbusho as a zipped file here. More Vijana Jazz on Likembe here, and you can find another great cassette by them here.

An Ethiopian Pearl

2010-02-27T07:37:00.004-06:00

I suspect Mahmoud Ahmed needs no introduction here - he's arguably Ethiopia's best-known musician thanks to his momentous recording Era Mela Mela and other classics. He continues to tour internationally and record music at a prolific rate. Previously I posted his 1992 cassette Live in Addis Ababa. Here's Tezzetta Enqu (Ethio Music Shop), another one from 1991 or 1992. Although the cassette states 1984 as the issue date, I believe that is according to the Ethiopian calendar.

Andreas Wetter of Humboldt University in Berlin has very kindly transliterated the Ge'ez liner notes for us. Andreas writes, ". . . I tried to translate them but some of the translations may be too literal, i.e. there may be meanings or readings I am not aware of. But you can't find these things in dictionaries. I once started to translate a list of old song titles with an Ethiopian friend and it became quickly apparent that many of the translations are quite tricky. . ." Andreas translates the title of the cassette as "Tizzita - The Pearl" or "Jewel," and further writes, ". . . Tizzita is one of the four tuning styles of Amharic music, and, by the way, the most used one in modern popular music. Mahmud Ahmed is said to be one of the best interpreters of this type of song. "

As usual, I've included the original inlay card at the bottom of this post.

"She Has It:"

Mahmoud Ahmed - Allat Nägär

"Oh Her Tears:"

Mahmoud Ahmed - Erri Embwa

"Appearing Abruptly:"

Mahmoud Ahmed - Zäww Zäww

"Let Me Live With It:"

Mahmoud Ahmed - Lenurebbät

"Kochämbi Kärsädi/Alämäna" is in two different Gurage languages, Soddo and Säbat Bet (Mahmoud Ahmed is a Gurage), and Andreas was unable to translate it:

Mahmoud Ahmed - Kochämbi Kärsädi (Soddo)/Alämäna (Säbat Bet)

"Come (down) From the Highlands:"

Mahmoud Ahmed - Näy Kädägaw

"How Should I Forget Her:"

Mahmoud Ahmed - Endet Lersat

"Come (to a woman) on a Horse:"

Mahmoud Ahmed - Näy Bäfäräs

"Who Can it Be?:"

Mahmoud Ahmed - Man Yehon

"It (or he) Was:"

Mahmoud Ahmed - Näbbär

You can download Tezzetta Enqu as a zipped file here.

Lovers' Soukous for Soukous Lovers

2010-02-20T11:37:00.005-06:00

It's no secret I'm not thrilled about some of the Congo music that's been coming out lately, particularly from the Paris-based bunch. For those of us who got to know it in the '70s and '80s, "soukous" is synonymous with the mellow, hot-yet-cool sounds popularized by the great Franco and Rochereau, Kosmos Moutouari, Pamelo Mounk'a, and of course, Lipua-Lipua and its many offshoots. That was real cuisine. The new stuff? Well, it's just fast food.

Of this crew guitarist/composer Papa Noël has always held a special place in my heart, although he's labored in the shadows of better-known musicians for many years. Born Antoine Nedule Montswet in 1940 in Leopoldville (today Kinshasa), he was nicknamed "Noël," having taken his first breath on Christmas Day.

In 1957 Noël made his first record (backing Léon Bukasa) and joined the group Rock-a-Mambo, which crossed the river in 1960 to the newly-independent French Congo and became Orchestre Bantou (later Bantous de la Capitale), a major force in Congo music for decades. In 1963 he returned to Leopoldville, and was soon asked by the great bandleader Kabaselle to join his Orchestre African Jazz. Here he played for five years, leaving to lead his own Orchestre Bamboula for a few years, and then to play with a succession of combos. In 1978, Papa Noël was asked by Franco to join his Orchestre Tout Poussaint OK Jazz, where he stayed until the great man's death in 1989 (it was as a member of OK Jazz that Noël was jailed for 22 days in 1978 as punishment for Franco's notoriously filthy song "Jacky," a recording in which, ironically, he played no role).

During the years that Papa Noël toiled as a "musician's musician" in other people's projects, lending them his soft-spoken elegance and masterful guitar work, he occasionally made solo recordings to great acclaim. Two of these were Bon Samaritain (1984) and Haute Tension (1994), tracks from which are available on the CD Bel Ami (Sterns SDCD 3016, 2000).

In 1999 the family and I had the pleasure of hearing and meeting Papa Noël when he performed in Milwaukee as part of the backup group for Sam Mangwana, who had just released his CD Galo Negro and was touring the U.S. to promote it. Although Mangwana was the "star" of the show, these two great musicians were definitely co-equals in our eyes. I could tell Noël was pleased to have been recognized in his own right, and he seemed touched that I had brought two of his hard-to-find LPs for him to autograph. Here we are below:

Papa Noël's Allegria (Editions Provil PV 015, ca. 1987) is one of those "desert island" recordings, a masterpiece that I rank, along with Fela Anikulapo-Kuti's Zombie, Kiné Lam's Galass, and Kuku Sebesebe's Munaye, one of the ten greatest African recordings of all time. See if you don't agree:

Papa Noël - Allegria

Papa Noël - Sem-Sem

Papa Noël - Nzoto Pasi

Papa Noël - Sante Pepele

Download Allegria as a zipped file here. Much of the information in this post was mined from Ken Braun's very informative liner notes for Bel Ami.

A Heads Up

2010-02-18T20:37:00.009-06:00

A big "thank you" to Zim Bida, who tipped me off to this great mix of classic Nigerian highlife (and one track from Ghana's Professional Uhuru Dance Band) from the Washington City Paper here. It's awfully tasty! The tracklisting:

1. Easy Life Dandies – “Oko Dotunla”
2. Godwin Ezike & The Ambassadors – “Gboli We”
3. The Magnificent Zeinians – “Ngozi Chukwu Ka”
4. Oriental Brothers International – “Ihe-Che-Nyerem”
5. Anyamel & His Okuato Band – “Uwa Ka Njo”
6. Eastern Minstrels Guitar Band – “Akwa Onwu”
7. Celestine Obiakor & His Entertainment Group – “Echendu Nwa Eze”
8. Godwin Ezike & The Ambassadors – “Mini Gown”
9. Eastern Minstrels Guitar Band – “Ogbu Nwa Ya Ogu Agarala Ya”
10. Easy Life Dandies – “Gbami Gbami Baba Gbogbo Oni”
11. Anyamel & His Okuato Band – “Jumbo Kedi Nnegi”
12. Professional Uhuru Dance Band – “Ewu Ngyadze”
13. Eastern Minstrels Guitar Band – “Aka Kpara Ngaji Uregbue Onu”
14. Celestine Obiakor & His Entertainment Group – “Piter Mighasi Nma Na Obo”
15. Cardinal Rex Lawson & His Majors Band of Nigeria – “Abasi Ye Enye”
16. Oriental Brothers International – “Uwa-Atualamujo”
17. Eastern Minstrels Guitar Band – “Echehula Nwa Nne Gi”
18. Easy Life Dandies – “Iyawo Madale”
19. The Magnificent Zeinians – “Good Luck To You My Girl”

Carrying on the Family Business

2010-01-31T12:43:00.004-06:00

Eugene de Coque, brother of the late Nigerian highlife master Oliver de Coque, has been based in Los Angeles since the early '90s, and along with his group the Igede Band, played backup for Oliver during his U.S. tours. They've recorded at least four albums on their own, the first of which, Egwu-Igede (Victory Productions VP 001, ca. 1992) is featured here today.

Egwu-Igede, which apparently was released only on cassette, ably continues Oliver's Ogene Sound legacy and takes it to new heights. The integration of traditional Igbo folk elements and modern studio techniques is particularly deft. Enjoy!

Eugene de Coque & Igede Band International - Ojinbe-Eyimegwu

Eugene de Coque & Igede Band International - Egwu-Igede

Eugene de Coque & Igede Band International - Asi Si Jebe

Download Egwu-Igede as a zipped file here.

The Ladies of Ihiagwa-Owerri

2010-01-24T19:24:00.000-06:00

I've been meaning to post this recording for a while. Nwanyi Ma Obi Diya (Onyeoma C.Y. Records CYLP 016, 1984) by the Obi Wuru Otu Dance Group of Ihiagwa-Owerri is guaranteed to fill the dance-floor at any Igbo party it's played.

The vocal stylings of Rose Nzuruike (above) were what made Nwanyi Ma Obi Diya stand out amid a torrent of similar releases during the '80s, and what sends Igbos, and especially Owerri indigenes, into a swoon. Which is not to short-change the talents of the group itself (below) and especially its leader, Madam Maria Anokwuru. Released on an obscure Onitsha record label, it became one of the biggest-selling Igbo records of all time.

The title tune, opening up the medley on Side One of the album, means "A Woman That Knows her Husband's Heart." The ladies sing that good behavior is better than beauty and that a woman who knows her husband's heart will work with him when times are tough. "Ego Kirikiri" literally means rattling money and refers to the olden days when commerce was conducted with cowrie shells. The group sings "Igbo je akpo ya ojo mma - Igbos called it good money" and "Owerri nnu ahuna onwu ozigbo mmadu bara uba - Owerri, you see that not everyone was rich." Furthermore, "Onye ogazirila nya nwe mmeri - If you are rich you win." Side One concludes with a paean to Chukwuemeka Odumegwu Ojukwu, the leader of the separatist state of Biafra, who was pardoned by Nigeria's president at the time, Shehu Shagari, and allowed to return to Nigeria in 1980. The group welcomes Ojukwu back to the land of his birth and sing that they are overjoyed at his return:

Obi Wuru Otu Dance Group of Ihiagwa-Owerri - Nwanyi Ma Obi Diya/Ego Kirikiri (Cowries)/Onye Ije Nno-Ezennadi

On Side Two, the group sing that they are called Obi Wuru Otu - "One Heart for All." They entreat everyone to be careful, because God's way is where humans prove their value. "Ezuru Ezu Baa? Olu - Is everyone rich? No." "Omumu si na Chukwu - To have children is a gift from God." "Ochu Okuko Nwe Ada" is a typical Igbo parable. The lyrics explain that a person who chases a chicken will always fall but the chicken will never fall. If you plot against an innocent person you'll hurt yourself in the end. "Nwa nkpe ya na Eze gbaru mkpe, nwa mkpe atagbuela onye ya na afufu - If a widow gets into a conflict with a King, she will suffer much." The song calls on the Messiah, the one who made a blind person to see and a cripple to walk. Finally, the song "Elu Uwa Were Obi Oma" calls on the people of the world to be kind to get their just rewards:

Obi Wuru Otu Dance Group of Ihiagwa-Owerri - Olum Ado Ogu-Ezuruezuba/Ochu Okuko Nwe Ada/Elu Uwa Were Obi Oma-AFA Nna Na Nwa

Many thanks to my wife Priscilla for translating the lyrics of this record. Download Nwanyi Ma Obi Diya, complete with scans of the album sleeve, here. I have a couple more albums by the Obi Wuru Otu Dance Group, and will probably post them in the future.

Yoruba Muslim Women's Music

2010-01-16T20:46:00.014-06:00

We were shopping on Nnamdi Azikiwe St. in central Lagos when we came across a fascinating sight: hundreds of men were prostrate and barefoot in the street, while overhead a speaker blared:

Allahu Akbar
Ash-had anna lah ilaha illallah
Ash-hadu anna Muħammadar rasulullah
Hayya 'ala-salatt
Hayya 'ala 'l-falah
Allāhu akbar
La ilaha illallah

"The Muslim people are praying," my brother-in-law told me. "Look at them with their faces in the dirt. And these are the people who rule over us." Such was my introduction to Friday prayers at the Central Mosque in Lagos (right), and to the complex subject of ethnic and religious power relations in Nigeria.

Across from the mosque a stall was selling pirated pornographic videotapes with covers that left nothing to the imagination, while shoppers went about their business. The loudspeakers amplified every bit of static in the recorded call to prayer, which echoed among the surrounding buildings. The atmosphere was strange and other-worldly, to my eyes and ears at least. I've believed in no deity since I was twelve, but the spectacle stirred in me trembling feelings of awe and wonderment. For just a minute I was tempted to remove my shoes and join the believers in their devotions.

Needless to say, I don't share the casual bigotry reflected in my brother-in-law's remarks, but they speak to the fact that Nigeria is a nation increasingly divided along ethnic, political and religious lines. Northern Nigeria is predominantly Muslim while the southeast of the country is almost exclusively Christian. Other areas, such as the Yoruba region around Lagos, are more complicated in their religious allegiances. About half of the Yoruba are thought to follow Islam while the remainder adhere to various Christian denominations and traditional religion.

Since Independence Nigerian rulers have tended to be Northerners, hence the resentment of "Northern Muslim domination," and at times this friction has given way to violence, notably during the Biafran War of 1967-70 and recent conflicts over the introduction of sharia law in some northern states. Islam came to Yorubaland by conversion rather than through war, and relations among the various religious groups there have been mostly peaceful.

Among Yoruba Muslims in the 19th Century were a group of repatriated slaves from Brazil who have played an important role in the economy and politics of Lagos. Among the distinctive buildings they erected in the city, all of them now in disrepair, is the Shitta Mosque on Martins St. I took this picture of it during my 1994 visit:

Among various styles of Yoruba music which have their roots in the Muslim community are waka, performed by female singers, and apala and fuji, performed by men. While these styles derive from music performed during Muslim holidays such as Ramadan, they have tended to become secularized over time.

I picked up the LP Asalamu Alaekumu (Leader Records 82, 1992) by Sister Riskat Lawal and the Aaqibat Lil-Mutaqeen Society Group during my 1995 visit to Nigeria, and I'm not sure where to situate it within the spectrum of Yoruba Islamic percussion styles. This is clearly a religious recording and not the usual exercise in praise-singing (rather, it praises God rather than rich and powerful individuals), nor is it unique. I take it there are hundreds of recordings in this genre, but I'm not aware that they have a specific label.

No matter what you call it, I'm sure you will find Asalamu Alaekumu a first-rate example of Yoruba percussion music.

Sister Riskat Lawal & the Aaqibat Lil-Mutaqeen Society Group - Asalamu Alaekumu

Sister Riskat Lawal & the Aaqibat Lil-Mutaqeen Society Group - Allahu Allahu / Eyin Anobi / Ayonfe Oluwa

Sister Riskat Lawal & the Aaqibat Lil-Mutaqeen Society Group - E Gboro Oluwa / Omo Iya Ni Wa / Oro Shekh Adam-Oba To Ni Ike Lodo / Islam Esin Ola

Download Asalamu Alaekumu as a zipped file here.

Black Warriors

2010-01-10T11:45:00.004-06:00

Ronnie Graham's The World of African Music (Pluto Press/Research Associates, 1992) states that Tanzania's DDC Mlimani Park Orchestra recorded several albums and singles in the early '80s under the name "The Black Warriors." Doug Paterson told me a few years ago, though, that The Black Warriors were actually a subgroup of Mlimani who recorded in Nairobi without permission from bandleader Michael Enoch. For this transgression they were expelled from the group, only to return later.

Whatever the true story, in the early '90s Flatim Records in Nairobi compiled six Black Warriors 45s into a compilation cassette, Tunazikumbuka Vol. 20 (AHD [MC] 038), which I present here. This cassette is compiled from vinyl pressings rather than the original source tapes, and Flatim cassettes are well-known for their dodgy technical standards. The quality of the musical performances shines through nonetheless, and I'm sure you'll enjoy hearing alternate versions of some Mlimani classics.

The Black Warriors - Nawashukuru Wazazi Wangu Pts. 1 & 2

The Black Warriors - Zimbabwe Pts. 1 & 2

The Black Warriors - Bubu Ataka Kusama Pts. 1 & 2

The Black Warriors - Nalala Kwa Tabu Pts. 1 & 2

The Black Warriors - Najuta Pts. 1 & 2

The Black Warriors - Uzuri wa Mtu Sio Sura Pts. 1 & 2

Download Tunazikumbuka Vol. 20 as a zipped file here. The artwork at the top of this post is by Tanzanian artist Mwamedi Chiwaya, and is in a style called Tingatinga. It is taken from this website.

Jaliba Sounds

2010-01-02T16:16:00.001-06:00

Another musician from the Gambia winds up our look at "updated" kora music. Unlike the two previous artists featured here, I was able to find out a fair bit about Mr. Jaliba Kuyateh, who is called "The Cultural Ambassador of the Gambia."

He has been playing the kora since the age of five and has been performing with his group, the Kumarehs, since the early '90s. They have toured the United States as well as throughout Europe.

Like the music of Ebrima Tata Jobateh, Kuyateh's sound combines vigorous kora playing with a full array of electric instruments and drum kit as well as local percussion. The cassette Hera Bangku (Kerewan Sounds, 1995) is an excellent introduction to his music. Enjoy!

Jaliba Kuyateh & the Kumarehs - Hera Bangku

Jaliba Kuyateh & the Kumarehs - Sherifolu

Jaliba Kuyateh & the Kumarehs - Julu-Jo

Jaliba Kuyateh & the Kumarehs - Fitna

Jaliba Kuyateh & the Kumarehs - Kebalang Camara

Jaliba Kuyateh & the Kumarehs - Nyananding

Download Hera Bangku as a zipped file here. More music by Jaliba Kuyateh is available here.

A Malian Arrow

2010-01-01T13:01:00.001-06:00

I'm not sure Ama Maïga's Une Fleche Malienne (Disques Sonics SONICS 79426, ca. 1984) succeeds completely as a fusion between traditional Malian kora sounds and modern African pop, but it was one of the first, and certainly bears a listen or two. Graeme Counsel's Burkinabé vinyl discography notes a 1976 pressing by Maïga, but that's the extent of what I've been able to find out about him. He recorded this one-off in Paris with a crew of session musicians and then dropped off the map, never to be heard from again. Enjoy!

Ama Maïga - Keleya

Ama Maïga - Lannaya-Tilebana

Ama Maïga - Souboury

Ama Maïga - Djougou Sago

Download Une Fleche Malienne as a zipped file here.

F.Y.I.

2009-12-28T22:44:00.003-06:00

Hi John,

I have been a fan of your website Likembe for a couple years since I came across some thing you posted about Kuku Sebsebe. I also wanted to introduce myself to you.

My name is Danny Mekonnen. I am a Ph.D. candidate in ethnomusicology at Harvard. I work on Ethiopian music and will start my dissertation in about one year. I am also a bandleader and musician -- I play saxophone in my group Debo Band. The group is an 11-piece Ethiopian pop, together now for over three years.

We've been given the incredible opportunity to bring Ethiopian music for the first time to East Africa’s largest music festival: “Sauti za Busara” on the island of Zanzibar, February 11th-16th, 2010. We will bring with us 4 Ethiopian musicians and dancers living in Addis Ababa. This is a major opportunity for us to reach a wider audience and make further connections and collaborations with music in Ethiopia and East Africa.

Debo Band has launched an online fundraising campaign, and we have just 15 days left to raise more than $5,000 to pay for our upcoming African tour. We'd love you to watch our video and help spread the word. The success of this effort depends on this news reaching people far and wide.

See the video at http://www.kickstarter.com/projects/deboband/debo-band-returns-to-africa

We've received a grant which only covers some of the cost, so we are now seeking (tax-deductible) donations to complete the budget and make this journey possible. Any amount makes a huge difference -- most donations are $25 or $50, which will add up quickly to help us to our goal.

It's hard asking strangers for help, but I feel that the fund-raising is all for a good cause: an exciting opportunity for cultural exchange through music. We hope that when you watch the video you feel inspired to contribute in some way! Check out the video link above to see what we're up to, and please pass this on to more people who would be interested in this project. (You can also learn more about Debo Band at http://deboband.com)

Many thanks in advance for your time reading this email and for the work you do through your blog Likembe. I hope than we can be in touch in the future, and that we can find a way to work on something together.

All best wishes for the new year!

Cheers,
Danny

Salam Sounds

2009-12-23T11:16:00.003-06:00

Researching that last post has got me to pondering the ways in which the kora, the traditional 21-string harp-lute of West Africa, has been combined with more modern sounds. There are plenty of examples, from the musical fusions of Foday Musa Suso and Djeli Moussa Diawara to Toumani Diabate's collaborations with Taj Mahal and Björk, to, incredibly, Naughty By Nature's 1991 smash hit "O.P.P."

None of these attempts to update the classic sound, in my opinion, approach the pure polyphonic joy of Ebrima Tata Jobateh's cassette Waato, recorded with his group Salam (apparently members of his extended family) and released by Kerewan Sounds in Gambia in 1995.

Efforts to find out more about this mysterious artist didn't yield much save this observation by Nick Deen of Natari: ". . . Tata's solo style is extremely impressive and in fact leaves the older Paris-based kora players like Mory Kante very much in the shade. Absolute magic all the way through." Of course, I wholeheartedly agree with Nick's assessment! Hear for yourself:

Tata & Salam Band - San-Chaba

Tata & Salam Band - Sabarla

Tata & Salam Band - Mali-Gambia

Tata & Salam Band - Boto Sanneh

Tata & Salam Band - Mariama Jallow

Tata & Salam Band - Kaira

Tata & Salam Band - Duwa

Tata & Salam Band - Alagie Danso

You can download Waato as a zipped file here. More new-fangled kora sounds to follow.

House of Kings

2009-12-21T13:40:00.006-06:00

The Casamance region of southern Senegal has been the scene of sporadic fighting over the years between the central government and the separatist Mouvement des Forces Démocratiques de Casamance (MFDC). The area was formerly a Portuguese possession and is culturally distinct from the rest of Senegal. The name "Casamance" is said to derive from the Portuguese word for "house" combined with the Mandinka word for "king." An alternative explanation attributes the name to an old kingdom in the region called Kassa.

The music of Casamance also differs from the mainstream Senegalese sound, having more in common with the music of Guinea and Mali, with a distinctive Lusophone flavor. Orchestre Baobab, Toure Kunda and Xalam all have roots in the region, but the foremost musical group in the area has been the Sedhiou Band, variously known as UCAS de Sedhiou or the UCAS Jazz Band.

The Sedhiou Band was founded in 1959 as the musical group of the Union Cultural Association in the town of Sedhiou, and has had a varied lineup over the years. The most recent configuration features Ibrahima Sylla Dia on lead guitar, vocals by Abdoulaye Dandou Diedhiou, Seydou Ndao, Amadou Leye Sarr and Aminata Dieng Ndiaye, and a battery of percussionists and other musicians. The group came to the attention of most African music fans outside of Senegal when Africa Kambeng (Africassette AC9404) was released in 1998, a recording that is still in print and available from Amazon and Sterns.

The Sedhiou Band have released numerous recordings over the years (a 1970s LP is available from Worldservice here). I possess four cassettes by the group released during the 1990s, from which I present selections here. It's a sort of "Sedhiou Band Best of the '90s," as it were.

The title track of Saaroo, released in 1992, is distinguished by the kora playing of Sirakata Diebaté, who also features prominently on "Kambeng" from the same cassette:

UCAS de Sedhiou - Saaroo

UCAS de Sedhiou - Kambeng

I wish I knew the name of the female singer who graces the lovely song "Nenne Suuxo," permeated with a sense of saudade, that opens A Paris, issued in 1993. "Yaa Musoolu," from the same cassette, definitely kicks things up a notch:

UCAS Band Jazz de Sedhiou - Nenne Suuxo

UCAS Band Jazz de Sedhiou - Yaa Musoolu

In 1997 the Sedhiou Band made several recordings for the Gambia-based label Kerewan Sounds, and these reflect Gambian concerns. Notable is this praise song to the Alliance for Patriotic Reorientation and Construction, a political party that grew out of a military coup in the Gambia in 1994 and swept the 1997 elections. It continues to rule the country amid charges of intimidation of opposition parties. This is from the cassette Dimbayaa:

Sedhiou Band - A.P.R.C.

Also from Dimbayaa is this lively tune:

Sedhiou Band - Khady Kebe

Africa Kambeng, also released in 1997 by Kerewan Sounds, continues the theme of uptempo dance music combined with political paeans. "22nd July Movement" is a praise song to the 1994 miltary coup:

Sedhiou Band - 22nd July Movement

Here's another praise song, but apparently not a political one. There is a Senegalese professional basketball player named Ndeye Ndiaye, but she would have been 18 when this song was recorded, so it's probably not about her. I wish I knew more:

Sedhiou Band - Ndeye Ndiaye

Download these tracks as a zipped file here. If you enjoy this music, go to this post about Ramiro Naka from Guinea-Bisaau, and see if you don't hear a connection.

The Roots of "Art Music"

2009-12-06T11:30:00.017-06:00

I didn't know what to expect when I posted a recording of Fela Sowande's African Suite a couple of weeks ago, but the reaction has been surprisingly positive, not only in comments and emails but in the the number of downloads.

I say "surprisingly positive" because I didn't know what people would make of this effort to fuse African traditional music with European classical forms. Turns out that African "Art Music" isn't the obscure back ally that I thought it was. Not only is there a lot of it out there, it is the subject of a surprising amount of scholarship. Andreas Wetter directs us to two articles on his website Ntama, and the internet offers up considerable analysis for those who are interested.

Reader/listener William Matczynski has passed on a couple of tunes that were direct influences on passages in African Suite. "Akuko Nu Bonto," a Fanti-language song by George Wiliams Aingo from Ghana bears a sharp resemblence to "Akinla" in the suite (and, I might add, to the classic highlife song "Saturday Night," which has been recorded by just about everybody). This version of the song was recorded in London in 1927 by Zonophone Records and distributed all across West Africa. It is included on the fascinating release Living is Hard: West African Music in Britain 1927-29 (Honest Jon's Records HJRCD 33). We can't tell you anything about Mr. Aingo but the CD Roots of Highlife (Heritage Records, 1992), now long out of print, collects a number of his recordings.

George Williams Aingo - Akuko Nu Bonto

Ghanaian composer Ephraim Kwaku Amu was a trail-blazer in the field of transcription of traditional African songs. He was born in 1899 and began teaching in 1920, contemporaneously with his musical education under the Rev. Allotey-Pappoe.

Soon he had composed a number of popular songs, including "Mawo do na Yesu" ("I Shall Work for Jesus"), "Onipa," "Da Wo So" and "Yen Ara Asase Ni." His cultural nationalist tendencies led to a break with the Church, and he left for London in 1937 to study at the Royal College of Music. It was here that he learned to fuse African polyphony with European forms of music. In the late '60s Amu was the director of the University of Ghana Chorus, which recorded the LP Ghana Asuafo Reto Dwom (Ghanaian Students Sing) for Afro Request Records (SPLP 5027). Amu's composition "Ennye Ye Angye Da," included on the album, was the basis for "Joyful Day" in Sowande's African Suite. From the liner notes, the lyrics are as follows:

This is a joyful day.
Why be sad, when all around is happy and merry?
Work and merrymaking alternate each other to make life enjoyable.
We pledge to engage in both, work and merrymaking, each in its appropriate time to make life happy and merry.

University of Ghana Chorus - Ennye Ye Angye Da

Miles Cleret of Soundway Records asked my wife Priscilla to translate some Igbo-language songs for inclusion on the upcoming Volume 2 of the amazing Nigeria Special. Interestingly, in light of our subject matter, one of those songs, "Egwu Umuagboho" ("The Young Maidens' Dance") is by Joy Nwosu Lo-Bamijoko (above), one of the leading lights of Nigerian Art Music. Ms. Nwosu was born in 1940 and has lived in the United States since 1996. In 1961 she journeyed to Rome on an Eastern Nigerian Government scholarship with the ambition of becoming an opera singer. Here she studied in several conservatories for ten years. Returning to Nigeria in 1972, she became Producer of Musical Programs for the Nigerian Broadcasting Corporation and became a Musical Lecturer at the University of Lagos in 1975, holding a number of posts in that institution until 1992.

Ms. Nwosu has recorded several LPs in Nigeria and is responsible for numerous popular compositions. "Egwu Umuagboho," recorded with Dan Satch Joseph's band, is quite unusual for an Igbo song, reflecting her operatic training. It is based on the traditional girls' dance of Nwosu's Enugu region. Lyrically it is more of a "tone poem" than a straight narrative, adress to a girl named Agnes: "Beautiful Agnes. . . what slight is done to another person? . . . peace, peace Udoegwu. . . anger and quarrel. . . Agnes, it's me talking, Agnes, it's me calling:

Joy Nwosu & Dan Satch Joseph - Egwu Umuagboho

"Egwu Umuagboho" is unavailable for download at this time. Many thanks again to William Matczynski and to Priscilla. The beaded artwork at the top of this post is by Nigerian artist Jumah Buraimoh. You can learn more about him here.

Nigerian "Art Music"

2009-11-19T00:22:00.003-06:00

Over the years there have been efforts to adapt African music to Western "classical" instrumentation and forms. One of the countries where this has been most successful is Nigeria, where this genre is called "Art Music."

In his book The World of African Music (Pluto Press/Research Associates, 1992), Ronnie Graham briefly discusses Nigerian Art Music and regrets that it hasn't gotten more attention. Among the composers Graham cites are Lazarus Ekwueme, Samuel Akpabot and Josiah Ransome-Kuti, a pastor and choral music composer who was the grandfather of Fela Anikulapo Kuti.

I've had little exposure to Nigerian Art Music. During a visit to Lagos in 1994, I came across a stack of LPs in the Jazz Hole, but passed them up (they were rather pricey), something I now regret. Recently, however, I was going through a box of my late father's things, and found a recording of African Suite (London LPS 426, 1951), probably the best-known composition of
Fela Sowande, left, considered by many the father of Nigerian Art Music.

Olufela Sowande was born on May 29, 1905, in Abeokuta, a historically important city that was the capital of the Egba United Government, an independent entity which became part of the British Protectorate of Nigeria in 1914. Sowande was introduced by his father, an Anglican priest, to choral music and was an accomplished pianist by the time he graduated from Kings College in Lagos. Exposure to jazz broadcasts from abroad led him to found the Triumph Dance Club Orchestra in the early 1930s.

During his studies in London to become a civil engineer, Sowande supported himself as a jazz musician, befriending a number of African American musicians in the process, notably Paul Robeson and Fats Waller. In 1940 he performed his own compositions on the BBC Africa Service and later served as Music Director of the Colonial Film Unit.

African Suite was recorded and released by Decca Records in the UK in 1951. This is apparently the same version, performed by the New Symphony Orchestra and conducted by Trevor Harvey, that I discovered in my father's posessions. The liner notes of a later recording state:

The African Suite, written in 1944, combines well-known West African musics with European forces and methods. For the opening movement, "Joyful Day," Sowande uses a melody written by Ghanaian composer Ephrain Amu, as he does in the fourth movement, "Onipe." In "Nostalgia," Sowande composes a traditional slow movement to express his nostalgia for the homeland (in itself a rather European idea). At the centre of the work is a restive "Lullaby," based on a folk original.

The finale of the Suite, "Akinla," traces a very singular musical history. It began as a popular Highlife tune - Highlife being a pungent, 20th-century style, combining colonial Western military and popular music with West African elements and a history of its own. Sowande then featured it as a cornerstone of his "argument" that West African music could be heard on European terms: the African Suite was originally broadcast by the BBC to the British colonies in Africa. Years later, in another colony far away, the sturdy Highlife dance tune became famous as the theme song of the long-running CBC Radio programme "Gilmour's Albums", a typically idiosyncratic choice of the host, Clyde Gilmour.

Despite working in a "Western" musical idiom, Sowande was very much a cultural nationalist and composed his last major work, Nigerian Folk Symphony, to mark his homeland's independence from Britain in 1960. However, Bode Omojola writes in his 1995 book Nigerian Art Music that:

He believed in the philosophy of cultural reciprocity and argued against what he called "apartheid in art." According to him: "We are not prepared to submit to the doctrine of apartheid in art by which a musician is expected to work only within the limits of his traditional forms of music." He therefore warned against: "uncontrolled nationalism in which case nationals of any one country may forget that they are all members of one human family with other nationals."

Following a long and fruitful career composing and teaching at Princeton, the University of Ibadan, Howard University and the University of Pittsburgh, Sowande died of a stroke in Ravenna, Ohio on March 13, 1987.

I confess that I'm not in a position to evaluate African Suite as a classical music composition, although it's certainly pleasant enough. The liner notes by Sowande (below, click to enlarge) shed some light on the thinking and influences behind the piece. I would be interested to hear from readers and listeners who have more personal knowledge of the folk tunes that were incorporated into the composition. African Suite is an illustration of the many varied forms that "African music" takes. Enjoy!

The New Symphony Orchestra - Joyful Day

The New Symphony Orchestra - Nostalgia

The New Symphony Orchestra - Onipe

The New Symphony Orchestra - Lullaby

The New Symphony Orchestra - Akinla

African Suite can be downloaded as a zipped file here.

A Heads Up

2009-11-14T17:54:00.005-06:00

If you like the music of Somalia's Iftin and Dur Dur, featured some time ago in this space, let me direct your attention to Andreas Wetter's new blog Kezira, whose latest post features a whole cassette by Dur Dur, recorded some time in the early 1990s.

As Andreas tells it, the developing civil war in Somalia forced the group across the border to Ethiopia, where Africa was recorded and released by Elham Video Electronics in the provincial town of Negele. Vocalist Sahra Dawo, who has drawn raves hereabouts, features on several tracks.

While I'm at it, let me comment on the current state of the African music blogosphere, whose quality has advanced dramatically in the last couple of years. Notable in this regard are three sites - African Music Treasures, Electric Jive and World Service, whose proprietors regularly grace us with their knowledge and insight. This is not to slight outstanding work also by Oro, Global Groove and Freedom Blues, whose copious postings of hard-to-find recordings have forced me to buy a new hard drive. I'm overwhelmed really - I just haven't had time to listen to all the great music that's come my way, thanks to these busy beavers.

Unknown Fela: Stratavarious

2009-11-07T20:15:00.001-06:00

In 1971, after several years of musical experimentation following the breakup of the super-group Cream, British drummer Ginger Baker made his way to Lagos, Nigeria, where he helped set up EMI's new 16-track recording studio. It was here that Baker re-united with his friend Fela Anikulapo Kuti (then known as Fela Ransome-Kuti) and recorded Stratavarious (Atco SD 7013), one of the first collaborations between an African musician and a Western rock star.

To the best of my knowledge, Stratavarious has been out of print ever since it was released in 1972 and consigned to oblivion shortly thereafter, although one or two cuts from it may have been included in compilations. It is very much Ginger Baker's "thing," although Fela plays an important role on several tracks. Also present is Fela's American girlfriend Sandra Izidore (credited as "Sandra Danielle").

Strativarious is a fascinating look at a magic time when rock, jazz and Afrobeat were taking their first tentative steps toward each other, and a harbinger of fusions to come. It certainly deserves more attention than it's gotten. Like the recordings featured in the last two posts, Stratavarious was originally posted on Uchenna Ikonne's With Comb & Razor blog.

Fela and Sandra Izidore take center stage on Side 1 of Stratavarious. Izidore provides vocals on "Ariwo," an adaptation of a Yoruba folk tune, and Fela sings lead on "Tiwa," with Sandra included in the backup chorus. Fela plays keyboard on both tunes:

Ginger Baker - Ariwo

Ginger Baker - Tiwa

Fela's keyboard work also features on the next two tracks. Both are notable also for the lead guitar work of Bobby Tench (here credited as "Bobby Gass"), who had previously played with the Jeff Beck Group:

Ginger Baker - Something Nice

Ginger Baker - Ju Ju

Fela Ransome-Kuti plays no role in "Blood Brothers 69" or "Coda." "Blood Brothers" was apparently recorded in London in 1969, a collaboration between Baker and renowned Ghanaian percussionist Guy Warren, later known as Kofi Ghanaba:

Ginger Baker & Guy Warren - Blood Brothers 69

Ginger Baker - Coda

Stratavarious can be downloaded as a zipped file here.

Stratavarious was by no means Ginger Baker's first experiment with African music. Not only had he previously recorded Fela Ransome-Kuti & the Africa '70 with Ginger Baker Live! (Signpost SP 8401, 1971), but his two LPs with Ginger Baker's Air Force had a definite African "feel," notably this tune from their first album (Atco SD 2-703, 1970, right). Compare it with "Ariwo," above:

Ginger Baker's Air Force - Aiko Biaye

This series of posts was occasioned by the recent announcement that Knitting Factory Records plans to reissue the "complete" Fela discography, although as I pointed out here, there are a few titles missing. In addition to Stratavarious, Perambulator and I Go Shout Plenty!!! the 1985 Bill Laswell "remix" version of Army Arrangement (Celluloid CELL 6109) is long out of print with no plans for reissue (it was released while Fela was in prison and he is said to have hated it). Toshiya Endo's Fela discography lists a number of other tunes that have never been released in any form. Notably, Knitting Factory plans to release the "entire" catalog of recordings Fela made with the Koola Lobitos in the 1960s. This is good news indeed.

Unknown Fela: I Go Shout Plenty!

2009-11-02T03:15:00.007-06:00

Here's another Fela rarity for your musical enjoyment: The Afrodisia disc I Go Shout Plenty!! (DWAPS 2251), released in 1986 but apparently recorded earlier. Like Perambulator, featured in my last post, I made this available to Uchenna Ikonne's With Comb and Razor blog a couple of years ago, and as it is no longer online, I'm making it available again.

According to Toshiya Endo, Side A ("I Go Shout Plenty") was recorded in 1977 as DWAPS 2038 but never released (the B Side was to be "Frustration of my Lady" or "Frustration," which later became the B Side of Perambulator).

Side B, "Why Black Man Dey Suffer," was also recorded in 1977 as the A Side of DWAPS 2036 (Side B was to be a song titled "Male," which I don't believe has ever been made public), but also not released. This is a different version of the tune of the same name that was released as African Songs AS001 (and recently reissued on CD) in 1971 (that version features Ginger Baker).

No personnel listed, but I wouldn't be surprised if Lester Bowie played on these tunes also. In fact, I wouldn't be surprised if these tracks were recorded in the same set of sessions as "Perambulator" and "Frustration." These aren't really primo Fela tunes, and he is said not to have approved their release. I suspect that in 1986, however, shortly after the Black President was let out of prison, Afrodisia Records thought it could make a few Naira off of the attendant publicity and put them out.

Fela Anikulapo-Kuti & Afrika '70 - I Go Shout Plenty

Fela Anikulapo-Kuti & Afrika '70 - Why Black Man Dey Suffer

You can download I Go Shout Plenty!!! as a zipped file here. In my next post I'll be discussing Ginger Baker's LP Stratavarious, recorded with Fela in the early '70s.

Unknown Fela: Perambulator

2009-11-01T00:02:00.004-05:00

By way of Undercover Black Man I learn that Knitting Factory Records intends to remaster and reissue the "entire catalog" of Nigeria's late Afrobeat King Fela Anikulapo-Kuti in the next 18 months.

I'm wondering what the difference is between this project and the extensive Fela reissue that saw the light of day about 10 years ago. Not that I'm complaining, of course, but I can think of several Fela pressings that are not among the "entire catalog" of 45 recordings listed for reissue on the Knitting Factory website. A few years ago, before Likembe got started, I made these available to Uchenna Ikonne to post on his With Comb and Razor blog, and as these are no longer online, it seemed like a good idea to put them out there again.

Perambulator (Lagos International Records LIR 6) was released in 1983, following a rather fallow period in Fela's career, and just before the jailing on trumped-up charges that would bring him back to the world's attention. "Perambulator," the song, was apparently recorded a number of years earlier. Toshiya Endo writes in his Fela discography that it was the B side of the French issue of Shuffering and Shmiling (Barclay 829 710-1) in 1978 while "Frustration" was recorded as "Frustration of My Lady" in 1977 as the B side of an Afrodisia LP that was never released.

If you look closely at the credits on the back of Perambulator you'll see Lester Bowie credited as a "guest artist" (I think that's his trumpet solo about 6 minutes into "Frustration"). Bowie lived with Fela in Lagos for three months in 1977. A co-founder of the Art Ensemble of Chicago, he was also married for a time to Fontella Bass, who did the awesome 1965 R&B hit "Rescue Me." So contrary to the record cover and label, I don't think Perambulator is a "true" Egypt '80 record, as it was recorded several years earlier, when Fela's band was still called Afrika '70. The record was not included in the "official" Fela CD reissue of the late '90s, although it did come out combined with Original Sufferhead (Lagos International Records 2, 1981) on a CD in Japan in 1998, a pressing that is no longer available.

As to why Perambulator is not considered part of Fela's "official" canon, I suspect it was an unauthorized release. While it may be sub rosa it is certainly not sub-standard. "Frustration" in particular is a killer track. Enjoy!

Fela Anikulapo-Kuti & Afrika '70 - Perambulator

Fela Anikulapo-Kuti & Afrika '70 - Frustration

You can download Perambulator as a zipped file here. In my next two posts I'll discuss two more "unknown" Fela releases.

Off the Beaten Track

2009-10-22T10:39:00.010-05:00

For all I know, recordings like Simon Sene's Magal (Afrique Dioundioung/KSF) could be as common as dirt in Senegal, so the title of this post may not be completely accurate. Still, the first time it came my way ten years ago, I knew that something set it apart from the general Wolof/Peul axis of modern Senegalese music.

Now, from his My Space Profile, I learn that Mr. Sene is a Serer, the third-largest ethnicity in Senegal (see map below), a people that still retain animistic beliefs, although some members in recent years have converted to Islam or Christianity. As a singer of traditional music at weddings and christenings, he was discovered by Moussa Bopp of Radio Kaolack and encouraged to record. At first his family resisted, objecting that the songs were meant only for the griot caste, but he recorded his first hit, "Ndakaru," in 1993. His first cassette, Magal, with its sparse yet striking arrangements for keyboards and percussion, was released in 1997. With two further releases, Jamm Cassamance in 2001 and Yaye in 2006, Simon Sene has clearly taken his place in the pantheon of modern masters of Senegal music. Enjoy!

Simon Sene - Roi des Arenes

Simon Sene - Magal

Simon Sene - Greve

Simon Sene - O Young

Simon Sene - Fexwe

Simon Sene - A Cang

Simon Sene - Maayaay

Simon Sene - Hommage a Mbissane

You can also download this album as a zipped file here. In the future I will be offering this option for the convenience of Likembe reader/listeners, and I will also try to make it available in older posts as well. As the zipped files use "free" file-hosting services (as opposed to the individual tracks, which I pay to have hosted) I can't assure that they will always be available. Let me know how it works out.

The "New" Igbo Thing

2009-10-17T19:59:00.004-05:00

How to explain the dire state of the Nigerian music scene? Judging by what's being spun at parties in Milwaukee these days, it's beset by a plague of cheapo synthesizers and ticky-tacky drum machines, and the less said about the derivative sludge known as "Naija Hip-Hop" the better!

The trend toward artifice and away from artistry is well exemplified by two Igbo musicians, Sunny Bobo and Eke Chima, whose recordings - copied, pirated and distributed from hand to hand - have been ever-present in the Igbo diaspora the last few years. Both singers are said to be masters of the Owerri dialect, which may well be, but judging by their recordings, Old Skool, Obareze, and the many sequels, one can't help but feel sadness at the decline of that city's music scene since the glory days of the Oriental Brothers and their colleagues. I suppose economics are behind the sparse production values of these releases, but it's a regrettable situation still.

Sunny Bobo burst upon the scene a few years ago with Old Skool, and the sequels have followed fast and furious. The first volume of Old Skool reworks a number of classic songs from the Golden Age of Nigerian highlife. In typical Igbo fashion, Bobo sings that a meeting of the minds works best with one's own siblings. He describes a problem he is having with one of his kindred. He goes to the market, or public square ("nkworji") to settle the problem.

In "Willie Willie," a rework of the Peacocks' "Mary Meriamam," he sings about a beautiful girl named Mary, with whom he is quite infatuated. The main theme of the song is to not lose your head: "Elewe ukwu egbuo ewu - look at nyash kill a goat." In other words, don't be so crazy looking at your love's behind that you will do anything for her. Sunny recounts that he and Mary were wed, but that things haven't really worked out. He asks his brothers, "What am I going to do? Love has wounded me!"

A remake of Rex Lawson's classic "Love Adure" keeps things moving. Bobo sings, "Owerri land, please forgive my sins, because love has destroyed me. I am mesmerized by Adure's beauty. O tukwusa m'ukwu odika pillow. O tukwasa m'ishi odika pillow. When Adure places her leg on me it is like a pillow. When Adure places her head on me it is like a pillow." He then calls to an old girlfriend whom he has rejected for Adure, "Rosanna, please forgive me."

"Kinkana," another old song by the Peacocks, refers to native gin, which unlike palm wine, doesn't go bad: "Kinkana no dey sour." Here the singer is proclaiming that, unlike some flashier fellows with their money and fancy clothes, he is for real. There is a reference to Osadebe's classic song "Baby Kwanangida ": "Kwanangida no go marry."

"Echendu" descibes a man who goes on a journey and doesn't come back: "Please come home. My heart is broken by your loss." "Bottom Belle," the final song in the Old Skool medley, is a classic tune from the early days of Nigerian independence.

Sunny Bobo - Nkworji-Willie Willie-Love Adure-Kinkana-Echendu-Bottom Belle

Eke Chima's offering here is similarly "Owerri-centric." As this is from a copied CD-R I'm not sure of the exact title of the medley or which CD it is taken from, only that it is from one of his numerous Obareze recordings. Chima sings that people say they don't like Owerri, and in rebuttal offers the names of many prominent Owerri families and individuals: "Ole nde onwe Owerri? Who are Owerri people?," naming among others the Amanzes, the Njokus, Chief Onukaogu and Headmaster Boniface Oha.

He then sings that someday everybody will account for their behavior in life: "Eshi ahu omenjo ga ahu njo ya, omenma ga ahu nma ya. The sinner will see his sins and the good person will see the good he has done. Ole onye ozuru oke? Who on this Earth will say that everything is complete for him?" He then calls out to a friend, "Ahu shiele m'anya - I have seen many troubles." Chima admonishes those who have taken a child's thing to raise their hand and give it back. In other words, don't mistreat another person, especially the helpless. He states once again that all will account some day for how they lived on Earth.

Family relations are a prominent theme in Igbo music. Chima asks if a person doesn't have kin by the same mother (this is presumably referring to relations within a polygamous household) will he kill himself? Of course not. He states that since he has no other siblings by his mother he works very hard and hopes that God will be there for him: "Ebe mu onwehu onye inye aka, agam ime uwam nkpo ole."

Eke Chima & his New Generation Band - Owerri

In the interests of fairness I should present evidence that things may not be so dire for Nigerian music after all: two artists, both scions of musical families, who would seem to refute my thesis that Igbo highlife is on its deathbed, if not already departed. Emperor Teddy Obinna is billed as "Junior Warrior," but he's actually the half-brother of Owerri's favorite son, the late Christogonous Ezebuiro Obinna, better known as Warrior. Ogidi's Amobi Richard Onyenze is the nephew of highlife legend Stehen Osita Osadebe, who passed away in 2007.

Obinna not only has taken up his brother's legacy, but in the CD Uwa Shekiga e Shekiga (C. Meks Music CMS 114, 2004) takes it in bold new directions, incorporating elements of Congo music to great effect. The title song ("The World is Very Shaky") takes up current events, advising that because of the world's instability, everybody should do their best. He sings that he is doing all he can for his family, but that if they are going to be irresponsible and not do for themselves in return, it's not his problem ("Onye zuzuo n'elu uwu ya aka ya aka - if you are stupid in this world it is your own fault.") He says that even in America, people are afraid because of Osama Bin Laden ("Osama bin Bomb Bomb") and mentions the war in "Iraqi land." Even old women have confirmed that the world is not as it used to be. Obinna calls on Nigeria's leaders to help make things better:

Emeror Teddy Obinna - Uwa Shekiga e Shekiga

The Emperor seems to spend a lot of time outside of Nigeria performing for the Igbo diaspora. He certainly has a feeling for their problems and concerns. In "Onye Nchem" he decries lazy Nigerians who take advantage of their hard-working relatives abroad. The song itself is about God's concern for the world. Obinna sings that without God's protection all of the guns and all of the armies in the world are useless. All of the people who bear grudges need God's blessing because he will judge them: "Let the Lord not protect an evil plotter." The chorus is "Make sure you are doing right."

Emperor Teddy Obinna - Onye Nchem

Judging by his eighth release Livin' Dey Highlife, available from Akwaaba Music, Amobi Onyenze is capably carrying on the Osadebe legacy, but one hopes that in the future he will strike out into fresh territory rather than continue to till the old man's field. In "Akachukwu di Ya" ("God's Hand"), Oyenze sings, "In everything we do in life we must seek God's hand to make it success. With God's hand our success is guaranteed. Whoever God's hand beholds shall never fall nor fail. God's hand is in my life, in my family. That's why I'm a success."

Onyenze - Akachukwu di Ya

Thanks once again to my wife Priscilla Nwakaego for interpreting these lyrics. The translation of "Akachukwu di Ya" was provided by Akwaaba Music.

Igbo Garage Bands

2009-09-28T20:24:00.005-05:00

Sad as it is for me to report, I think the Igbo highlife sound, at least as we have known it, is dead and buried, the great stylists - Osadebe, Warrior and Oliver de Coque - having passed on in the last few years. In their places have emerged a new crew - Eke Chima, Sunny Bobo and the like - who have numerous fans but offer a synthesizer-and-drum-machine-based style that's just a pale imitation of the classic sound, at least in my humble opinion.

In a future post I'll be discussing some of those new guys, but here I want to talk about some of the lesser-known musicians of the '70s and '80s, just a few of the journeymen who made the Igbo highlife scene of the time so vital and productive. In a way they're equivalent to the "garage bands" of the 1960s in the US, who toiled away in obscurity in hopes of someday scoring a regional hit. In the Nigerian case, some of these musicians put out numerous recordings and were quite popular. They just weren't in the top tier of the Igbo music scene.

One such musician was Owerri-based Douglas Olariche, whose LP Me Soro Ibe (Fontana FTLP 109, 1980) makes inspired use of native xylophone and the Igbo ogene bell. The title track, whose title means "Let the World Let Me Follow My Mates," is basically a series of Igbo proverbs such as "a gift knows who wrapped it" strung together, while "Elele" sings the praises of various individuals such as a man who makes his living in the transport business and the Owerri highlife band the Imo Brothers:

Douglas Olariche & his International Guitar Band - Me Soro Ibe

Douglas Olariche & his International Guitar Band - Elele

Also of Owerri, the guitarist Joakin followed a similar career trajectory, scoring a number of regional hits in the mid '80s. In "Nwagbeye Ebezina," from the album of the same name (Sann SR 13, 1984), he sings "poor man's son, do not cry." The chorus is "nobody comes into this world with wealth." "Chikereuwu Buonye Ogbubbonjo," from the same LP, means "God the Creator is the Preventer of All Evils." Joakin calls on God to prevent evil. He also asks God to reveal what will happen to him:

Joakin & his Royal Guitar Band - Nwagbeye Ebezina

Joakin & his Royal Guitar Band - Chikereuwa Buonye Ogbugbonjo

Ibealaoke Chukwukeziri's Anti Concord/Apama (Nigerphone NXLP 011, 1988) was one of the outstanding highlife releases of the '80s, combining traditional Igbo percussion and agile guitar work. The song "Anti Concord" is actually about Aunty Concord, the singer's betrothed, whom he questions about her sincerity. He asks, "you can see that I have many new cars and a great mansion. Is it me you love, or my wealth?" He goes on to sing that some women are like a beautiful present that a man takes home, only to find snakes and scorpions inside:

Ibealaoke Chukwukeziri & his "Anaedonu" - Anti Concord

"Nara Ndomadu Chukwu" ("Accept God's Advice") tells the story of a young man named Augustine, a trader who has the opportunity to go abroad to buy goods to sell. He asks a prophetess at his local church for advice, who tells him not to go, then he asks a prophet, who tells him the same thing. He then goes to a traditional healer, who tells him to go abroad, but asks 1000 Naira for his advice. Augustine goes abroad and buys his goods, but when he comes home the Customs service check his parcels and find only newspapers inside. Augustine has lost all of his money. Now he sits in the village shooting small animals with a slingshot:

Ibealaoke Chukwukeziri & his "Anaedonu" - Nara Ndomadu Chukwu

Finally we listen to Elvis Nzebude of Amagu, Anambra State. In "Ije Awele" ("Good Journey"), from the album of the same name (Rogers All Stars RASLPS 124, 1992), Elvis sings, "Ganiru, ganiru ("go forward"), we go where there is love, we go where there is peace, we go where there is respect. Because where there is respect there is peace. Let no one wish others death. Let everyone live."

Elvis Nzebude & his Metalic Sound - Ije Awele

Many thanks to my wife Priscilla for her interpretation of these lyrics.

Scooped Again!

2009-09-12T19:25:00.010-05:00

As you may know, I've periodically been posting classic and hard-to-find music from Ethiopia here. For some time, I've wanted to make available Lebäy (Toteel Music), a 1984 cassette by Eritrean musical legend Bereket Mengisteab (and yes, Eritrea is now an independent country, but in 1984 it was part of Ethiopia, so technically it qualifies). This is the only recording by Bereket that I possess, and I've long wondered about this enigmatic singer.

Once again, I've been scooped by one of my fellow bloggers, as Matthew Lavoie of Voice of America's African Music Treasures devotes his latest post to this iconic musician. With his usual meticulous attention to detail, Matthew supplies a wealth of background information on his subject, having interviewed the great maestro personally in the VOA studios. There's nothing more I can add, but here's a small taste:.

. . .Bereket Mengisteab was born in 1938 in the small village of Hazega, located about eighteen miles north of the Eritrean capital of Asmara, and this is where he spent the first two decades of his life farming. During these years in Hazega, Bereket taught himself the Krar (a five stringed lyre) and honed his musical skills, participating in all of the musical rituals that punctuate rural life. Then, after spending a few years in Asmara (which was part of Ethiopia at the time), Bereket moved to Addis Abeba in 1961. And it was in Addis that Bereket made his stage debut, as a member of the Haile Selassie Theater Orchestra; during the previous year he spent in Asmara he never performed outside of his circle of friends. Bereket stayed with the Haile Selassie Theater Orchestra for a little over a decade, performing with the group throughout Ethiopia, in Kenya, Uganda, Tanzania, Senegal (at the 1966 Festival mondial des Arts Nègres), and in Mexico (at the 1968 Summer Olympics). During these years he also made his first recordings, nine singles for the Philips label (I don't know the exact dates and have not been able to find any of these singles). . .

Francis Falceto writes, in the liner notes of his excellent compilation Ethiopiques 5: Tigrigna music Tigray/Eritrea 1970-1975 (Buda Musique 82965-2):

. . . Tigrigna music, dominent in Tigray [province] and Eritrea, is quite distinct, both rhythmically and melodically, from "Ethiopian" music, although both share the so-called "pentatonic" (or five-note) scale. The instruments and the traditional musical practices are similar, while their names may vary. The massenqo (single-corded fiddle played with a bow) and especially the krar (a six-corded lyre) remain the most prevalent instruments. In Tigrigna country, the massenqo is more commonly termed tchèrewata and the same wandering minstrel that Ethiopians of the central highlands call azmari is better known here as a wata. Ethiopians call the lepers and beggars who sing at dawn lalibèla: here they are termed hamien or arho. Sometimes the krar is even called massenqo. In a notable development over the last few decades, many Eritrean musicians have encouraged the spread of the electric krar, used here widely (far more than in Ethiopia), and many excel at the instrument. . .

Of course, you need to read Matthew's post and enjoy the musical samples he provides. For those who want more, here's Lebäy, in all of its wild, wailing wah-wahed-out glory:

"Lebäy" means "my heart." It can alternately mean "my emotions":

Bereket Mengisteab - Lebäy

"Wind of the Desert":

Bereket Mengisteab - Nefas nay Bäräkha

"Wäzzamu" = "handsome":

Bereket Mengisteab - Wäzzamu

The title of this song means "wicked flute." He is scolding the flute, probably because her sound evokes bad memories:

Bereket Mengisteab - Täkkalit Shanbeqo

A comb made of ebony, worn as adornment:

Bereket Mengisteab - Zebbä Mästära

Part of a proverb, the title of this song means "restless hyena":

Bereket Mengisteab - Hewwekh Zeb’i

"His Horse":

Bereket Mengisteab - Färäsu

"Utter Darkness":

Bereket Mengisteab - Deqdeq S’elmat

Many many thanks to Andreas Wetter for transliterating and translating the song titles. Andreas has recently started his own weblog, Kezira, devoted to music from the Horn of Africa. Of course, it's highly recommended.

From Congo to Kenya Pt. 2

2009-09-05T19:29:00.002-05:00

As a follow-up to my earlier post From Congo to Kenya Pt. 1, here are some melodies courtesy of the Congolese diaspora in East Africa. Like that post, this one is focused on the early 1980s. In 1985, President Daniel Arap Moi ordered the expulsion of foreign workers, including musicians, from Kenya, and the Congolese/Zairean musical community there scattered to the four winds.

For some time I had wondered who possessed the soulful voice that featured on so many 45s issued during the '80s in Kenya by such disparate groups as the Kenya Blue Stars and Bana Ngenge. Was it the same person? Along comes Alistair Johnson to clear up the puzzle in his article Congolese/Zaïrean Musicians in East Africa. Turns out the mystery voice is Moreno Batamba (nee Batamba Wenda Morris), who was born in Kisangani in 1955 and joined Orchestre Maquis Sasa in 1971. In 1974 he hooked up with Fataki Lokassa and a number of other Congolese exiles in Uganda to form Bana Ngnege, which seems to have undergone a number of permutations and name changes over the years. Although Alistair writes that Bana Ngenge broke up in 1976, a group called Bana Ngenge Stars Popote, featuring Fataki Lokassa, released this record in Kenya (Universal Sounds USD 005) in the early '80s. Moreno is relegated to supporting vocals:

Bana Ngenge Stars Popote - Dunia Imelaniwa Pts. 1 & 2

After serving stints with Orchestra Shika-Shika, Les Noirs (both featured in From Congo to Kenya Pt. 1) and Orchestre Virunga, Moreno started Moja One in Nairobi in 1980 and recorded "Dunia si Yako si Yangu" (CBS/ACP 702) around 1983:

Moreno & Moja One - Dunia si Yako si Yangu Pts. 1 & 2

Finally Moreno shows up as part of the pop/disco trio the Kenya Blue Stars, along with Margaret Safari & Sheila (pictured at the top of this post), who recorded this infectious little ditty (CBS/ACP 1201) in 1984:

Kenya Blue Stars - Shufa Pts. 1 & 2

Along with Jimmy Monimambo and Frantal Tabu (about whom more below), one of Moreno's colleagues in Shika-Shika was Lovy Mokolo Longomba, whose high-pitched voice was a perfect counterpoint to Moreno's. His father was Vicky Longomba, a founding member of OK Jazz, and his brother Awilo Longomba, is one of the biggest stars of contemporary Congo music. Lovy moved from Kinshasa to Nairobi in 1978 and joined Les Kinois, a predecessor of Orchestra Virunga. His sojourn there lasted only three months, after which he left for stints with Boma Liwanza and Super Mazembe. While a part of Orchestra Shika-Shika, he also helmed his own band, which recorded under the names Orchestre Super Lovy and Bana Likasi. Sadly, Lovy Longomba died in an auto accident in Tanzania in 1996. Here he is on Editions Lovy 01:

Orchestre Super Lovy - Elee Pts. 1 & 2

Frantal Tabu (picture below), like Moreno Batamba, hails from Kisangani, and also played a role in Orchestra Shika-Shika, as well as Boma Liwanza and other bands. He formed Orchestra Vundumuna in 1984, which also featured Ugandan Sammy Kasule on vocals. Here is a recording Frantal Tabu made with Orchestre Malekesa du Zaire on the Editions du Hudson label (EDH 01):

Frantal Tabu & Orchestre Malekesa du Zaire - Asali Pts. 1 & 2

Finally, here are a couple of sides in the style made famous by Verckys & Orchestre Veve, from a group I know nothing about. I don't know for sure that Python Mas's group Zaire Success was based in East Africa, although the name gives a clue (groups that were actually based in Congo/Zaire didn't usually include "Zaire" in the name), and this 45 (sides A & B of Africa AFR 7-36) was pressed in Kenya:

Python Mas & Orchestre Zaire Success - Sofia Motema

Python Mas & Orchestre Zaire Success - Mado

For more about these artists and many more I refer you once again to Alistair Johnson's essential article Congolese/Zaïrean Musicians in East Africa.