tag:blogger.com,1999:blog-54591040990605779762024-03-19T05:34:18.411-05:00LikembeUnknownnoreply@blogger.comBlogger313125tag:blogger.com,1999:blog-5459104099060577976.post-21452246848421408342020-03-17T00:01:00.000-05:002020-03-17T00:01:11.527-05:00Sweet and Smooth Highlife<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaVpPn3NTSUf5GlrP5O3IRiT80-KsjMXM9EpGXW18W9WV-2aLrpfc7yl6OuixwFJrfQlaKJ25ia9Dp-uZXWC5TcrCYf3wfmNfUy4CicSm3NqqsQWFqOUNq3jHhPiFSseOz80IL0POzU_Y/s1600/Front.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="1600" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaVpPn3NTSUf5GlrP5O3IRiT80-KsjMXM9EpGXW18W9WV-2aLrpfc7yl6OuixwFJrfQlaKJ25ia9Dp-uZXWC5TcrCYf3wfmNfUy4CicSm3NqqsQWFqOUNq3jHhPiFSseOz80IL0POzU_Y/s1600/Front.jpg" width="480" /></a></div>
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If you're in the market for sweet, smooth Ghana highlife music, Nana Tuffour always delivers!</div>
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James Kwaku ("Nana") Tuffour was born on Valentine's Day, 1954 in Kumasi and first came to notice in <a href="https://likembe.blogspot.com/search/label/Alex%20Konadu">Alex Konadu</a>'s band, then moved on to stints with Waza Africo and <a href="https://likembe.blogspot.com/search/label/King%20Sunny%20Ad%C3%A9">King Sunny Adé</a>'s African Beats. He released his first solo album, <i>Highlife Romance</i>, in 1979.<br /><br /><i>Odo Ye Nteasee</i> (KAM Records KAM 1004, 1988) is just the thing to chill out and relax to if you're stuck inside all day. Enjoy! <br />
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<a href="http://likembe.net/Sounds/Odo%20Ye%20Nteasee/01%20Menim%20M'Anomee.mp3"><b>Nana Tuffour - Menim M'Anomee</b></a></div>
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<a href="http://likembe.net/Sounds/Odo%20Ye%20Nteasee/02%20Owuo%20Begya%20Hwan%20Ni.mp3"><b>Nana Tuffour - Owuo Begya Hwan Ni</b></a></div>
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<a href="http://likembe.net/Sounds/Odo%20Ye%20Nteasee/03%20Odo%20Ye%20Nteasee.mp3"><b>Nana Tuffour - Odo Ye Nteasee</b></a></div>
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<a href="http://likembe.net/Sounds/Odo%20Ye%20Nteasee/04%20Odo%20Ani%20Nisuo.mp3"><b>Nana Tuffour - Odo Ani Nisuo</b></a></div>
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<a href="http://likembe.net/Sounds/Odo%20Ye%20Nteasee/05%20Sikyi%20Medley.mp3"><b>Nana Tuffour - Sikyi Medley</b></a></div>
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Download <i>Odo Ye Ntease</i> as a zipped file <a href="http://www.mediafire.com/file/jhizu889hq40sfj/Odo_Ye_Nteasee.zip/file">here</a>.</div>
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Unknownnoreply@blogger.com17tag:blogger.com,1999:blog-5459104099060577976.post-81104895562494803222020-03-10T10:13:00.002-05:002022-03-05T10:55:41.843-06:00Malagasy Divas 2<br />
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<b>Mbolatiana</b></div>
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Since posting <i><a href="https://likembe.blogspot.com/2020/01/malagasy-divas.html">Malagasy Divas</a></i> back in January, I've been continuing my explorations of Malagasy music via YouTube, and have come to a realization: That collection was merely scratching the surface - there is a universe of talented <i>chanteuses </i>in the Big Island! And applying the criteria I used before - sticking with all-new artists, and only one track from each one, there is enough material for at least <i>two </i>more compilations. Hence this collection: <i>Malagasy Divas 2</i>. I hope to put together another volume in the future.<br />
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Here you'll find more variations on <i><a href="https://www.pri.org/stories/2014-12-18/go-inside-salegy-music-dominates-madagascar">salegy</a></i> from the northern part of Madagascar, more red-hot <i><a href="https://www.npr.org/2014/09/29/352474766/tsapiky-dance-music-fit-for-a-funeral">tsapiky</a></i> from the South, and updates of traditional Central Highlands music. What's come as a revelation to me, though, something I was completely unaware of before setting out on this journey, is the world of Malagasy jazz.<br />
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I think it's fair to say that out of all the countries in Africa that, apart from South Africa, Madagascar is the one where jazz is the most popular and has the deepest roots. The <a href="https://fr.wikipedia.org/wiki/Jazz_%C3%A0_Madagascar">Wikipedia article</a> on the subject dates its introduction to the country at 1950, when a group of talented amateurs - "the Rabeson brothers, Georges Rahoerson, Rakotoarivony, Arnaud Razafy, Berson, Stormy, Ramboatina Étienne"- organized a concert at the Hotel Fumarolli. Ten years later they established the Tananarive Jazz Club, where aspiring musicians could get support and hone their craft. Over the years the genre has had its ups and downs in Madagascar. Numerous musicians have been forced to emigrate because of political turmoil and economic difficulty, but this has also had the effect of encouraging musical cross-pollination, as Malagasy jazz musicians played alongside their American and European counterparts. A memorable product of the early '70s is the album <i><a href="http://www.expose.org/index.php/articles/display/jef-gilson-gilson-et-malagasy-3.html">Malagasy</a></i> (Lumen LD 33 908, 1972), a collaboration between French jazz pianist <a href="https://en.wikipedia.org/wiki/Jef_Gilson">Jef Gilson</a> and a group of players from Madagascar.<br />
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In the last thirty years Malagasy jazz has really developed and come into its own, supporting numerous festivals, most notable among them <a href="http://www.madajazzcar.mg/">Madajazzcar</a>. The pioneers - Jeannot and Lalao Rabeson, Serge Rahoerson, and Fanja Andriamanantena, among others - have made way for a new generation of singers, players and composers, in many cases their own children. Among these are Ella, Datita and Tony Rabeson, Silo Andrianandraina, Joel Rabesolo, Solo Andrianasolo, Olivier Andriamampianina ("Tôty") and many, many others. Jazz musicians in Madagascar have struck out in bold new directions, taking inspiration not just from players like Pat Metheny and Jaco Pastorius but masters of Malagasy music like <a href="https://www.youtube.com/watch?v=3wOAJcnMWzA">Rakotozafy</a> and <a href="https://en.wikipedia.org/wiki/Rakoto_Frah">Rakoto Frah</a> and traditional sounds from all over the island.<br />
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Of course, pride of place in Malagasy music belongs to a number of wonderful female singers, either in or influenced by the jazz scene, who are a major part of this compilation - not just the aforementioned Lalao Rabeson and Fanja Andriamanantena but amazingly talented younger singers like Mbolatiana, Poopy, Lalatiana and Joëlle Claude, all featured here. I'm not embarrassed to say that such is the beauty, technical ability and emotional depth of their music that I'm sometimes brought to tears listening to it. They're not just pop stars but "divas" in the true sense of the word.<br />
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It's been commented that Malagasy music is not only like every other music in the world but totally <i>unlike</i> all of them. The island, of course, is unique in Africa, having been populated by waves of settlers from modern-day Indonesia beginning around two thousand years ago. These were supplemented by the slave trade from East Africa beginning around 1000 AD, contacts with Omani traders and others and the rise of various kingdoms and empires that spawned a variety of different cultures and traditions. Madagascar was conquered by France at the end of the 19th Century, bringing a different set of influences, and regained independence in 1960.<br />
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The music of the island reflects all of these influences. The lovely polyphonic vocals which are characteristic of much of Malagasy music, especially that of the central highlands, are also heard in Polynesia. The national instrument of Madagascar, the <i>valiha</i>, is from southeast Asia as are a number of other instruments. The handmade guitar, or <i>kabosy</i>, is probably derived from the Arabic <i>oud, </i>while the various rhythms of popular music around the periphery of the island come from East Africa. Over the last 70 years Malagasys have been exposed not only to jazz but to French <i>chansons</i>, rock & roll, R&B, South African <i>mbaqanga</i>, <i>soukous </i>from Congo,<i> coupé décalé</i> from West Africa, <i>zouk </i>from the Antilles, gospel and hip-hop. The music on this collection is testimony to the fact that these genres have not only been mastered and assimilated but thoroughly "malagasified."<br />
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All of the music on <i>Malagasy Divas 2</i> was downloaded from YouTube. It was a real struggle to winnow all of this wonderful music down to an 80-minute format (you can make your own CD if you like), so I've posted videos of songs that didn't make the cut. Unlike my usual practice I'm not making the tracks available individually as they're meant to be listened to in sequence. Here's the playlist:<br />
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<blockquote class="tr_bq">
1. Aiza Ilay Malala - Lalao Rabeson<br />
2. Telo Mianaka - Mbolatiana<br />
3. Tiaka Raha Ianao - Fanja Andriamanantena<br />
4. Ranomason'ankizy - Lalatiana<br />
5. Miala Tsiny - Joëlle Claude<br />
6. Topimaso - RyKala Vazo<br />
7. Misy Antenaina - Poopy<br />
8. Reggae Music - Adriann aka ADR<br />
9. Tsy Vahaolana - Stéphanie<br />
10. Mifankatiava - Onja<br />
11. Kamarady - Vaiavy Chila<br />
12. Za Baban'ny Zanako - Lianah<br />
13. Zana Drafy - Khelene<br />
14. Amboaro Tarehy - Mamehy w. Bodida<br />
15. Capitaine - Star w. Tsiheje<br />
16. Ankarabe - Warda Metis</blockquote>
Let's discuss the artists.<br />
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It's only fitting that <i>Malagasy Divas 2</i> should open with "Aiza Ilay Malala," ("Where Are You, My Beloved?"), a lovely song that <a href="http://lalao.rabeson.free.fr/spip/"><b>Lalao Rabeson</b></a> first recorded in 1969 (this is a later rendition). Lalao (Minoalinoro) Rabeson was born in 1945 in the cosmopolitan city of <a href="https://en.wikipedia.org/wiki/Mahajanga">Mahajanga</a> (Majunga) in northwestern Madagascar. She established herself as an actress at the age of six in the theatrical play "Ny Firenko" ("My Homeland"), and recorded her first LP with the group <a href="http://www.nyrailovy.com/ny_railovy.html">Ny Railovy</a> when she was 20. It was upon meeting and marrying Jean Bernard ("Jeannot") Rabeson, a pioneer of the Malagasy jazz scene, that Lalao achieved her greatest fame. "<a href="https://www.youtube.com/watch?v=1WA046iyGRE">Matokia</a>," a Malagasy rendition of Miriam Makeba's "Ntjilo Ntjilo," was a massive hit for them in 1968. Jeannot passed away in 2017 and Lalao, who has lived in France since 1977, periodically returns to Madagascar to great acclaim. Lalao's and Jeannot's son <a href="https://www.youtube.com/watch?v=oCUT7zKCgwQ">Tony</a> and daughter <a href="https://www.youtube.com/watch?v=m2qISQgHOoc">Ella</a> are both acclaimed musicians in their own right.<br />
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The wonderful singer <a href="https://www.facebook.com/profile.php?id=100063615764383"><b>Mbolatiana</b></a> has been on the scene since the early '90s and released her first single, "Mpilalao Fitia," in 1995. In 1997 she played a leading role in the musical "Kiolonolona." She's lived in France for many years but periodically returns to Madagascar for concerts. Like many of her songs, "Telo Mianaka" ("Three Children"), featured here, was penned by <a href="https://fr.wikipedia.org/wiki/Silo_Andrianandraina">Silo Andrianandraina</a>, one of Madagascar's most esteemed composers and arrangers. Mbolatiana has also released an album of Malagasy children's songs, <i><a href="https://www.amazon.com/Madagascar-Rondes-comptines-berceuses-Mbolatiana/dp/B004VTTHHI/ref=sr_1_2?keywords=Mbolatiana&qid=1583245956&sr=8-2">Madagascar: Rondes, Comptines et Berceuses.</a> </i>Not only does Mbolatiana have the voice of an angel, her arrangements are always top-notch. Here's another one of her songs:<br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="300" src="https://www.youtube.com/embed/W9CQf12i-xo" width="480"></iframe>
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<a href="https://www.facebook.com/Fanja.Andriamanantena.Compositrice/"><b>Fanja (Fananjofy) Andriamanantena</b></a> is the doyenne of Malagasy jazz and a mainstay of the Malagasy music scene since the mid-'60s, although she didn't pursue a serious career in music until late in life. Niece of the famed Malagasy poet <a href="https://fr.wikipedia.org/wiki/Georges_Andriamanantena">Georges Andriamanantena</a> ("Rado"), Fanja was born in Antananarivo and first made her mark in 1964 as the winner of a local contest for "Best Singer of the Blues." From 1964-66 she composed and recorded several compositions and fronted for several local and visiting jazz groups. After studying commerce in France she chose to devote her next 30 years to raising a family and pursuing a career in business while occasionally performing. Her first album, <i>Ravin-Dohataona</i>, was recorded in 2000, and since she has performed frequently and served as a mentor for the younger generation of Malagasy musicians. She has produced a number of albums and her many compositions are standards of Malagasy music. "Tiaka Raha Ianao" ("I Love You") is a slow-burning scorcher in the style of Aretha Franklin.<br />
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<a href="https://www.facebook.com/ilalatiana/"><b>Lalatiana</b></a> (Malalatiana Rajaofara) began her career in the early '80s as a member of the group Oro and in 1986 wrote her first song, "Ho An'iza ny Masoandro" ("The Sun Will Bring Warmth For Those Who Will Receive It"), a standard for her to this day. Other canonical hits followed - "Avelao," "Nofy" and many others. In the late '90s Lalatiana held the post of Director of Heritage in the Ministry of Culture under the regime of <a href="https://en.wikipedia.org/wiki/Didier_Ratsiraka">Didier Ratsiraka</a>. When a contested election and civil conflict in 2002 led to his fall and exile, she too was forced to leave the country for Paris, but returned to great acclaim and a triumphant performance at the Palais des Sports in Antananarivo in December 2012. In "Ranomason'ankizy" ("Children's Tears") she is accompanied by her longtime guitarist <a href="https://www.facebook.com/rija.randrianivosoa?__tn__=C-R&eid=ARDFr2E9soQxbmKjGcIfyKQBrNFtVQqaHD49vrMfgxC0YLUK3jCPnBKGPWe_485CjKOSxa1NnQR-rQkY&hc_ref=ARQWxZkbAWEJZfVEvFomu7yVEcdTaArTXme_e5mKl4F8pIUlOY5QDxiCnLxIkGuAZKg&fref=nf&__xts__[0]=68.ARBtxQWqj53loxEsmBaoyhUyceyEEPZD_xITwdv0OGqCCLrk7g0TzU-a9PXxwggi0ulAOG-kwJYydCvpmaO9pAMLsVVBrueFIuitofn0Keuv_IkjBzpM0OC0mCdq62fA-fLFvxO2cmTa5pzG2RDZVUM1fsrBZmVb11pWTgEC1yqkN7Y8hD9-jtt0zAk4ZY_JYC4Sqy6mNFvBwdeaOBLl-wknmdem-W_OIvekQ3LPcXGadXBd8JvrWhgURlbQgYj1GaTmGMMfbSjOLEEbSBZ0iAb13iQSpPwthTlFdzIAd2gjMBpvkiipaew0yChJtYS2bavDmK9pmnusTj3C2aI">Rija Randrianivosoa</a>. From the Palais des Sports concert:<br />
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<a href="https://www.facebook.com/joelle.claude.page.officielle/"><b>Joëlle Claude</b></a> was a "revelation" at the Madajazzcar jazz festival of 1993. However, she only released her first album, <i><a href="https://open.spotify.com/album/246vXXhNoQNnqkV10cTsca">I'll Sing For You</a></i>, in 2016. A <i>tour de force</i> of some of the best musicians in Madagascar, it combines updated versions of beloved Malagasy songs with jazz standards. "Miala Tsiny" ("Im Sorry"), featured here, is a classic first recorded in the '70s by the legendary singer and composer Bessa (Rabe Samuël). Innumerable versions have been recorded over the years, but Joëlle Claude gives it her own unique spin. She is accompanied by the brilliant guitarist <a href="https://www.facebook.com/JoelRabesoloMusic/">Joël Rabesolo</a>, <a href="https://en.wikipedia.org/wiki/Nicolas_Vatomanga">Nicolas Vatomanga</a> on <i>sodina </i>(traditional flute) and <a href="https://www.facebook.com/miora.rabarisoa">Miora Rabarisoa</a> on drums.<br />
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<a href="https://www.facebook.com/RyKala-Vazo-176655329351863/"><b>RyKala Vazo</b></a> was founded in 2015 by three young singers - Mitchou Amy, Mirana and Vanintsoa - who had some experience in the entertainment industry but sought to create modern sounds using traditional Malagasy instruments - the <i>valiha</i>, a tubular zither that is the national instrument of Madagscar, the <i>kabosy</i>, or traditional guitar, and percussion. Their first hit was "O Rykala!" and a number of others have followed, one of them a Malagasy remake of Pitbull's "Options." The group suffered a big blow last year when group leader Mitchou Amy (Miarintsoa Andriambolatiana) <a href="https://lexpress.mg/31/05/2019/anjozorobe-le-dernier-voyage-de-mitchou-amy/">passed away</a> from an ischemic stroke at the age of 34. An actress, dancer and multi-instrumentalist, she leaves a huge void in the Malagasy music scene, but RyKala Vazo have pledged to continue her legacy. <i>Malagasy Divas 2</i> features their song "Topimaso" ("A Small Glance"). Here's another one:<br />
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Josée Helihanta Ramahavalisoa ("<b>Poopy</b>"), who comes from a musical family, started her career in 1983 with the group Njila, which notched a number of hits before falling apart in 1990. The singer continued with a solo career, releasing her first album, <i>Andao Handihy</i>, in 1991. Her professional collaboration with the musician Naivo, who later became her husband, has led to a series of well-received albums - <i>Fandresena, Malagasy Rainbow</i> and <i>Ny Tiako Rehena</i> among others. Ms. Ramahavalisoa usually sings in a contemporary pop genre, but "Misy Antenaina" ("There is Hope"), featured here, is a lovely piece in the traditional Malagasy Highlands style.<br />
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I 've been unable to unearth any information about the singer <b>Adriann aka ADR</b>, but enjoy this tune by her, appropriately entitled "Reggae Music."<br />
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She was born in 1988 in Ambatondrazaka, north central Madagascar, of an Arab father and a Chinese mother, and spent much of her early life in Nosy Be off of the northwestern coast. Ramanampison Niriana <a href="https://www.facebook.com/razanamapionona.stephaniebarcha"><b>Stéphanie</b></a> Bachra came to notice in <a href="https://www.facebook.com/pazzapa.madagascar">Pazzapa</a>, a televised talent competition, in 2008, and was a member of the group Tsakarao before striking out on her own to great success. Some of her recent songs have addressed social issues like economic inequality. In 2017 she won the title "Best Malagasy Artist" by the Voix de l’Océan Indien in Saint-Denis, Réunion. My selection for <i>Malagasy Divas 2</i>, "Tsy Vahaolana" ("No Solution") is from 2014. Here's a video from Ms. Bachra's Tsakarao days:<br />
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From Ambovombe in far southern Madagascar, the traditional musical group Tinondia was founded in 1994 by brother and sister Tooler and <a href="https://www.facebook.com/Onjatinondia.official/"><b>Onja</b></a> Nofisoa Pascal. It lasted until 2009, when Onja went her own way. During its existence Tinondia toured extensively throughout the world and leant its prestige to numerous campaigns, including for childhood health. Onja's numerous hits since and her skills as a dancer have brought her the nickname "La Petite Shakira Nationale." Recently she's expanded her aspirations to cinema, starring in the film <i>Jalôko</i> with fellow musician <a href="https://en.wikipedia.org/wiki/Jerry_Marcoss">Jerry Marcoss.</a> The song "Mifankatiava," featured here, has a definite "South African" feel, as do many of her songs, but Onja, and the group Tinondia before her, have also become well-known as ambassadors for the culture of the Antandroy people of southern Madagascar. Here's a video they made with the group Vilon'Androy featuring the traditional <i>lokanga </i>fiddle:<br />
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<a href="https://en.wikipedia.org/wiki/Eus%C3%A8be_Jaojoby">Eusèbe Jaojoby</a> has been called the "King of <i><a href="https://en.wikipedia.org/wiki/Salegy">Salegy</a></i>," and <a href="https://en.wikipedia.org/wiki/Ninie_Doniah">Ninie Doniah</a>, who will be included on the next edition of <i>Malagasy Divas</i>, its "Queen," but Chilaristin Soamazava, better known as <a href="https://www.facebook.com/chilaristine.soamazava?fref=ts"><b>Vaiavy Chila</b></a>, has been dubbed the "Princess of <i>Salegy</i>." From Borizny (Port Bergé) in northern Madagascar, she began her career as a backup singer for the musician <a href="https://www.facebook.com/pages/category/Musician-Band/Tianjama-135878923234171/">Tianjama</a> in 1996, releasing her first album, <i>Mahangaoma, </i>in 2004. Successful appearances in Paris and across Madagascar have followed, as well as numerous hits. Soamazava calls her particular style of music <i>salegy mahangôma</i>, and it incorporates all sorts of influences. "...When I was very young, I sang the antsa <i>sakalava </i>, the traditional song from the countryside of my home. I always use it in my shows. It's a bit of my rallying point, even if in the group, I have dancers from Tana, Fianar, musicians from Sambava, Maroantsetra… It's very mixed, like the salegy..." "Kamarady" ("Friends") seems to be about Facebook!<br />
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The singer <a href="https://www.facebook.com/lianahgassy/"><b>Lianah</b></a> was born in Mahajanga (Majunga) and hit the scene in 2005 with hits like "Tiavo Mama sy Papa," "Sifirity" and "Tano Tsara." <i>Malagasy Divas 2</i> features her song "Za Baban'ny Zanako" ("Child of a Child"). Lianah is known as much for her sexy image and hot dance moves as her music. Here is her video "Ass":<br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="300" src="https://www.youtube.com/embed/q-tp4MgLcbk" width="480"></iframe>
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<i>Malagasy Divas 2</i> closes out with four artists I've been unable to find much about. <a href="https://www.facebook.com/Mpakafy-groupe-khelene-573101762850964/"><b>Khelene</b></a> ("Zana Drafy") and <a href="https://www.facebook.com/warda.metis.9"><b>Warda Métis</b></a> ("Ankarabe") are both up-and-coming stars of <a href="https://www.pri.org/stories/2014-12-18/go-inside-salegy-music-dominates-madagascar">s<i>alegy</i></a>, while <b>Bodida</b> of the group Mamehy ("Amboaro Tarehy") and <b>Tsiheje</b> of Star ("Capitaine") both front very popular <i><a href="https://www.npr.org/2014/09/29/352474766/tsapiky-dance-music-fit-for-a-funeral">tsapiky</a></i> groups from Toliara in southern Madagascar.<br />
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So that's it for now. There is far more great music than I've been able to put on one 80-minute compilation. As well I've had to leave out some great singers like Nanie, Bodo and Ninie Doniah, so they'll be included on <i>Malagasy Divas 3</i> when I get around to putting it together. But for now, enjoy!<br />
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<a href="https://www.mediafire.com/file/6tfwp292na4xqlm/Malagasy_Divas_2.zip/file" style="font-weight: bold;">Download <i>Malagasy Divas 2</i> here.</a><br />
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<b><a href="https://likembe.blogspot.com/2020/01/malagasy-divas.html">Download <i>Malagasy Divas</i> here.</a></b><br />
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Row 1: Lalao Rabeson, Mbolatiana, Fanja Andriamanantena, Lalatiana</div>
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Row 2: Joëlle Claude, RyKala Vazo, Poopy, Adriann aka ADR</div>
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Row 3: Stéphanie, Onja, Vaiavy Chilla, Lianah<br />
Row 4: Khelene, Bodida (Mamehy), Tsiheje (Star), Warda Métis<br />
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Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-5459104099060577976.post-2374825488957254432020-02-17T10:34:00.000-06:002020-02-17T10:34:15.901-06:00Farewell, "Evil Genius"<div class="separator" style="clear: both; text-align: center;">
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Dr. Victor Abimbola Olaiya, known as the "Evil Genius" of Nigerian Highlife music, passed away Wednesday, February 12, at the age of 89. Thus ends an era in Nigerian music. Olaiya was probably the last paladin of the classic "Big Band" highlife style, certainly one of the few remaining practitioners of highlife of any kind in southwestern Nigeria. The genre continues as a guitar-based style in southeastern Nigeria, although there it is endangered as well.<br />
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The <i>Daily Post</i> of Lagos <a href="https://dailypost.ng/2020/02/13/buhari-mourns-legendary-musician-olaiya-recounts-his-contributions-to-nigeria/">reports</a> that President Muhammadu Buhari of Nigeria responded to the news with a statement of condolences:<br />
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<blockquote class="tr_bq">
A statement signed by Femi Adesina, the president’s spokesperson, said President Buhari “condoles with the family, friends and all lovers of vintage highlife music as played by Dr Victor Abimbola Olaiya, who passed on at 89.” The President noted that the highlife maestro, known for his mastery of the trumpet, brought joy and delight to people across generations, with his songs which were both entertaining and didactic. </blockquote>
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According to President Buhari, “His place in history is guaranteed. He sang, not just for the entertainment value, but also taught critical lessons on life, good neighbourliness, and national cohesion. He will be sorely missed.” He urged the younger generations of musicians to learn a lesson from Olaiya, so that their songs can also remain evergreen, and outlive them, noting that the departed musician’s works transcended Nigeria, the West Coast, and, indeed, the African continent, the President prayed God to rest Olaiya’s soul, and comfort all those who mourn him.</blockquote>
Commiserations have poured in from across the Nigerian entertainment world. <a href="https://likembe.blogspot.com/search/label/Ebenezer%20Obey">Ebenezer Obey</a> said, “Nigeria has lost one of the African fathers of highlife music. He has contributed his quota to the development of the entertainment industry and I pray his soul rests in peace and God comforts his family. Olaiya was a very serious-minded person who projected the highlife music throughout the entire world. He is indeed a man to emulate. He later diverted to do business and he was a successful businessman also,.”<br /><br />Olaiya was born on New Years Eve, 1930 in Calabar, present-day Cross River State, where his parents, Yorubas from southwestern Nigeria, had settled. Moving to Lagos after finishing secondary school he found his musical calling as a trumpeter with various local bands. In 1952 he left <a href="https://en.wikipedia.org/wiki/Bobby_Benson">Bobby Benson</a>'s famous highlife orchestra to establish his own Cool Cats Band, achieving such popularity that he was chosen to play at Nigeria's Independence celebrations in 1960. Olaiya's band, rechristened the All Stars, was the launching pad for <a href="https://likembe.blogspot.com/search/label/Fela">Fela Ransome-Kuti</a>, <a href="https://likembe.blogspot.com/search/label/Victor%20Uwaifo">Victor Uwaifo</a> and numerous other musicians over the years. Olaiya and the Cool Cats were also called up to perform for the Nigerian Army during the Congo Crisis of the Early '60s and the Biafran war of 1967-70.<br /><br />As highlife music receded in western Nigeria during the '70s Olaiya persisted, notching numerous hit records like "Trumpet Highlife" and "Omele 'Dele," serving as president of the Musicians Union of Nigeria, building a thriving business importing musical instruments, and establishing the Stadium Hotel in Surulere, Lagos, home of his Papingo Davalaya nightclub.<br /><br /><i>Papingo Davalaya</i> (Polydor POLP 156, 1986) may be the last album Victor Olaiya ever recorded. It is a worthy coda to a life well-lived. Enjoy!<br />
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<b><a href="http://likembe.net/Sounds/Papingo%20Davalaya/01%20Tina%20Ma%20Te.mp3">Dr. Victor Olaiya - Tina Ma Te</a></b><br />
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<b><a href="http://likembe.net/Sounds/Papingo%20Davalaya/02%20Papingo%20Davalaya.mp3">Dr. Victor Olaiya - Papingo Davalaya</a></b><br />
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<b><a href="http://likembe.net/Sounds/Papingo%20Davalaya/03%20Africa.mp3">Dr. Victor Olaiya - Africa</a></b><br />
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<b><a href="http://likembe.net/Sounds/Papingo%20Davalaya/04%20Oruku%20Tindi%20Tindi.mp3">Dr. Victor Olaiya - Oruku Tindi Tindi</a></b><br />
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<b><a href="http://likembe.net/Sounds/Papingo%20Davalaya/05%20Gbemi%20Sola.mp3">Dr. Victor Olaiya - Gbemi Sola</a></b><br />
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<b><a href="http://likembe.net/Sounds/Papingo%20Davalaya/06%20Aiye%20Yi%20Dun.mp3">Dr. Victor Olaiya - Aiye Ye Dun</a></b><br />
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<b><a href="http://likembe.net/Sounds/Papingo%20Davalaya/07%20Akwa%20Mberi%20Nugo.mp3">Dr. Victor Olaiya - Akwa Mberi Nugo</a></b><br />
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Download <i>Papingo Davalaya</i> as a zipped file <a href="https://www.mediafire.com/file/fcgeuildul80idw/Papingo_Davalaya.zip/file">here</a>.<br />
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<br />Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-5459104099060577976.post-39308879285077010882020-01-24T18:44:00.000-06:002020-01-28T14:01:43.927-06:00Malagasy Divas<div class="separator" style="clear: both; text-align: center;">
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<b><br />Sisca</b></div>
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Many years ago, Matthew Temple's <a href="http://matsuli.blogspot.com/"><i>Matsuli Music</i></a> blog posted a series of fifty compilations, <i>African Serenades.</i> Back in 2007, I assembled a two-part installment for <i>African Serenades</i>, <i>Vol. 47 Pts. 1 & 2: African Divas</i>. Later I posted them here on <i>Likembe </i>as <i>African Divas <a href="https://likembe.blogspot.com/2008/09/african-divas-vol-1.html">Vol. 1</a></i> and <i>African Divas </i><i><a href="https://likembe.blogspot.com/2008/09/african-divas-vol-2.html">Vol. 2</a></i>, which you can still download (follow the links)! Our good friend Ken Abrams later weighed in with two more volumes in the series. You can get <i>African Divas </i><i>Vol. 4 </i><a href="https://likembe.blogspot.com/2011/02/african-divas-vol-4.html">here</a>.<br />
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For a long time I've been wanting to do another installment in the <i>African Divas</i> series. My idea for these collections is to get only the best music by female singers, eighty minutes or a CD's worth in each one, with the caveat that each installment would feature <i>only </i>artists that hadn't appeared in earlier volumes. By those criteria I easily have enough great music for at least two more sets.<br />
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However, I got sidetracked a while back. Lately the African music blogosphere has brought forth some excellent music from Madagascar - for instance, on the blogs <a href="http://thewealthofthewise.blogspot.com/2019/11/madagascar-another-tulear-market-mix.html">Wallahi le Zein</a> and <a href="https://lolaradio.blogspot.com/2019/12/hazohaly-madagaskar.html">Lola Vandaag</a>. In search of more of these sounds, I took to YouTube, and discovered something I should have known already: If you're interested in what people <i>in Africa are listening to right now</i>, YouTube is where it's at, in all its crass, commercial, raw, AutoTuned glory. There's an incredible variety of sounds that don't make it to mainstream European and North American African music releases, which often contain music that's twee, deracinated or 20 to 30 years old.<br />
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Anyway, back to the subject of this post. I discovered something else: If you're in the market for talented female singers, Madagascar is the motherlode! There is an amazing diversity there, enough for a whole volume of <i>African Divas</i>, and probably more.<br />
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So I present to you this collection. My aim with <i>Malagasy Divas</i> was to gather only the best of Malagasy <i>chanteuses</i>, with as much variety as possible. The first half features the folkish sounds of Njava and Hanitra Ranaivo, the jazzy Faniah and Minah Bolimakoa, the "bubblegum music" of Wendy Cathalina, techno-pop hits by Tence Mena, Aïna Quach, and Black Nadia, even a reggae tune by Dah' Mama! Part Two covers two geographical extremes - pumped-up <i><a href="https://en.wikipedia.org/wiki/Salegy">salegy</a> </i>from northwestern Madagascar by Perle Noire and Sisca, and raw, electrified <i><a href="https://fr.wikipedia.org/wiki/Tsapiky">tsapiky</a> </i>by Rasoa Kininike, Mizeha, Mirasoa and Mahafaly Mihisa from the southwest corner of the country.<br />
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With the exception of two tracks, all of the tunes here were downloaded from YouTube, so the sound quality is not always up to snuff, i.e. there's a fair amount of digital <a href="https://producelikeapro.com/blog/audio-clipping/">clipping</a>. I tried to correct for this with audio software, but the results were not satisfactory, so I left the files the way they were. It's not too distracting. From all the wonderful material that was available, it was very difficult trying to winnow it down to 80 minutes, so I've thrown in some videos that <i>aren't </i>included on <i>Malagasy Divas</i>. Here's the tracklist:<br />
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<blockquote class="tr_bq">
1. Paoary - Njava<br />
2. Ny Foko No Ni Mbaiko - Faniah<br />
3. Raopilany - Hanitra Ranaivo<br />
4. Tsara Ny Tany – Minah Bolimakoa<br />
5. Je T'emmènerai - Aïna Quach<br />
6. Miangotro – Wendy Cathalina<br />
7. Papa Money - Black Nadia w. H'Mia<br />
8. Tompinbady – Tence Mena<br />
9. Nahazo Ny Tiako - Dah' Mama<br />
10. Salama Salimina – Perle Noire<br />
11. Manambaly Mampirafy – Rasoa Kininike<br />
12. Vorom-Be - Mizeha<br />
13. Mahapotake - Mirasoa<br />
14. Berene - Mahafaly Mihisa<br />
15. Tara Baly - Sisca</blockquote>
Let's discuss the artists.<br />
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<b><a href="https://worldmusiccentral.org/2018/10/09/artist-profiles-njava/">Njava </a></b>was founded in Europe by a group of five brothers and sisters from Morondava in western Madagascar. They achieved international fame in the '90s with the groups Deep Forest and African Diva, and released two CDs. Two members of the group, Monika and Lala Njava, have gone on to solo careers. Monika sings lead on "Paoary," from Njava's 1999 album <i><a href="https://www.amazon.com/Vetse-Njava/dp/B00000JAIV">Vetse</a></i>.<br />
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The eclectic sound of<b> </b><a href="https://www.facebook.com/Faniah-Chanteuse-Interpr%C3%A8te-354365914670758/" style="font-weight: bold;">Faniah</a> (full name Faniah Ramalanjaona) draws on jazz, R&B and Malagasy traditions. She came to notice in the reality show <i>Pazzapa </i>in Madagascar in 2004 and assiduously built a career until releasing her first album, <i><a href="https://www.amazon.com/Lavitra-ahy-FANIAH/dp/B082P3KW3H/ref=sr_1_1?keywords=Lavitra+Ahy&qid=1579905257&sr=8-1">Lavitra Ahy...</a> </i>in 2017, from which "Ny Foko No Mibaiko," ("My Heart Decides") is taken.<br />
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<b><a href="https://hanitra.com/">Hanitra Ranaivo</a></b> was born in 1962 in Fianarantsoa, south central Madagascar. She established herself in the early '80s as a member of the folk-pop group Lolo Sy Ny Tariny. The band relocated to France later in the decade and subsequently dissolved, its members, among them <a href="https://www.facebook.com/pg/erickmananaPAGEOFFICIELLE/posts/">Erick Manana</a>, forging successful solo careers. Hanitra self-released her first solo album, <i><a href="https://www.amazon.com/gp/product/B00F9CG3IM/ref=dm_ws_sp_ps_dp">Omeko Anao</a></i>, containing "Raopilany," featured here.<br />
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Called "The Black Panther of Malagasy Funk," <b><a href="https://www.facebook.com/minahbolimakoa/">Minah Bolimakoa</a></b>, from the northeast corner of the Red Island, has established herself as a model as well as a <i>chanteuse</i>. "Tsara Ny Tany" ("The Earth is Good") from last year, is only the most recent of her numerous hits. Here's a video of another one:<br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/PRGOLE4hnQc" width="480"></iframe><br />
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The background of <b><a href="https://www.facebook.com/ainaquachofficiel/">Aïna Quach</a> </b>is diverse, as is her music. Born in Europe, her father is Chinese/Vietnamese and her mother is from Madagascar. She got her start as an artist at the age of 9 with a performance at the Embassy of Madgascar in Paris and has recorded and performed across Europe and the US. The song we hear, "Je T'emmènerai" ("I Will Take You") was recorded in 2016. She sings mainly in French but recorded a lovely album of traditional Malagasy songs in 2008, <i><a href="https://www.youtube.com/watch?v=9LPt0xAGSGU">Ry Iarivo Tsy Foiko</a></i>, with veteran guitarist <a href="https://en.wikipedia.org/wiki/Erick_Manana">Erick Manana</a>.<br />
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<b><a href="https://www.facebook.com/WendyCathalinaOfficiel/">Wendy Cathalina</a></b> Rakotomalala just turned 18, but she's already made quite a mark on the Malagasy music scene. From Antsohihy in northwestern Madagascar, she's released an album, <i><a href="https://www.amazon.com/Voly-Wendy-Cathalina/dp/B07WPFTQZX">Voly,</a></i> and a number of hit singles, among them her latest, "Miangotro" ("Please Be Careful"), presented here.<br />
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Kantoniana Ornella Edith Nadia, aka <b><a href="https://www.facebook.com/Black-Nadia-Officiel-1677944949155672/">Black Nadia</a></b>, has a reputation for <a href="https://www.youtube.com/watch?time_continue=33&v=yh0P3151QEg&feature=emb_logo">packing in the crowds</a> wherever she goes and has a number of international tours under her belt, including in China. She's from South Amboasary in far southeast Madagascar but has lived in Toliara in the southwest as well. Last year her hit with Nael, "Tsy Vazaha Fa Teany," was accused of <a href="https://www.koolsaina.com/black-nadia-supprime-son-clip-tsy-vazaha-fa-teany-de-sa-chaine-youtube/">plagiarizing</a> the hit song "Yélélé" by Ivorian singer Elody and the controversy has only boosted views for both videos online! Yet the hits keep coming, not only 2019's "Papa Money," recorded with <a href="https://www.facebook.com/Hmia.officiel/?tn-str=k*F">H'Mia</a> and featured on <i>Malagasy Divas</i>, but this one, also from last year:<br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/hHsxM7cFtrQ" width="480"></iframe>
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It's debatable who is the bigger star in Madagascar in 2020, Black Nadia or <b><a href="https://www.facebook.com/tencemenamahery/">Tence Mena</a></b> (<i>née </i>Hortencia Moroanjana). From Antsirana (formerly Diego Suarez) in far northern Madagascar, she started out as a dancer in groups like Ejema, Tirike, Wawa and Fandrama before hitting the scene on her own in 2010. <a href="https://afropop.org/">Afropop Worldwide</a> writes, "...Her roots lie in <i>salegy </i>dance music, generally associated with northern Madagascar, but like so many 'tropical' music artists today, Tence Mena has incorporated musical influences from a number of popular African dance music styles - <i>ndombolo </i>from Congo, <i>coupé decalé</i> from Ivory Coast, and others..." "Topimbady"("Spouse") is featured on <i>Malagasy Divas</i>. As one online profile put it, "...The story of Tence Mena is that of thousands of Malagasy women who (in the bush, but not only) spend their days at home, in the pain of waiting for a fickle husband...."<br />
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<b><a href="https://www.facebook.com/DahMamaOfficiel/">Dah' Mama</a></b> (real name Elda Narijaona) was born in 1975 in the Sofia region of northern Madagascar, and got started in music at the age of 13. Her music is a fusion of <i>antosy</i>, a traditional style of the region, with afrobeat, but "Nahazo Ny Tiako" ("My Favorite") which we hear now, is reggae. <i><a href="http://www.midi-madagasikara.mg/culture/2015/12/12/dah-mama-un-noel-de-joie-offert-aux-enfants-malades-de-lhopital-ambohimiandra/">Midi Madagasikara</a></i> writes, "She is one of the most popular female stars of Malagasy tropical music and she proves every year during this period that she has a Golden Heart. Yesterday morning, Dah Mama came to Ambohimiandra hospital to comfort sick children and offered them gifts and treats to allow them to spend a Christmas of joy and happiness. She was, yesterday morning, at the bedside of 18 of them, forced to spend the end of the year there because they are undergoing treatment. They warmly thanked the artist who was very touched by their smiles and their thanks."<br />
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What to make of the wonderful vocalist <b>Perle Noire</b>? I haven't been able to find out much about her, other than that she's from the island of Nosy Be in northwestern Madagascar and quite popular. Her island origins may explain her musical style, especially the song we feature here, "Salama Salamina," which seems to owe a lot to the <i>chakacha </i>sounds of the Swahili coast of mainland Africa and the Comoros. We know that many people from the Comoros have settled in Madagascar and vice versa, and that Malagasy musicians often perform in that island country. To add to the mystery, we have this video, which is apparently in Malagasy and Swahili, or the Comorian variety of it. Can someone solve this for us?<br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/uUrYxp71og0" width="480"></iframe>
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Travelling now to the southwestern port city of Toliara (Tulear), we encounter the fiery local genre called <i>tsapiky toliara.</i> Born of the convergence of local styles, southern African music broadcast across the Mozambique channel, the ubiquitous <i>soukous </i>from Congo and any number of other foreign influences, it is <i>the </i>sound of the relatively poor southwestern region, isolated by many miles of bad roads from the capital Antananarivo. There are a number of <i>tsapiky </i>subgenres, including all-acoustic versions, but your modern electric <i>tsapiky </i>band usually features a guitar wizard, often accompanied by a sassy female vocalist. Here we listen to four of them.<br />
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Claudine Rasoakamisy, better known as <b>Rasoa Kininike</b>, "The Queen of <i>Tsapiky</i>," sadly passed away in a car accident on September 22, 2014 on her way to a show. Rasoa was from Tongobory in southwestern Madagascar, stopped her schooling at an early age and began making music when she was twelve years old. She then joined the group Los Belia and scored her first solo hit, "Fohaza Izay Miroro," in 1996. She caught the notice of the guitarist Pascal, who became her husband and musical partner. <i>Malagasy Divas</i> features her song "Manambaly Mampirafy" ("Happy Marriage"). Her son <a href="https://www.youtube.com/watch?v=vaXEGxfM4C0">Lico</a> is carrying on Rasoa's musical legacy.<br />
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A few years back <a href="https://www.awesometapes.com/">Awesome Tapes From Africa</a> shared with us a wonderful <a href="https://www.awesometapes.com/mizeha-ii-tratrike/">cassette </a>by the group <b>Mizeha</b>, graced by vocalist Tsatsiky. Today we feature a tune by them called "Vorom-Be." Banning Eyre of <a href="https://afropop.org/">Afropop Worldwide</a> writes, "...On our recent visit to Tulear, Madagascar, the Afropop team met Lamily, the lead guitarist, and Tsatsiky, the lead singer, of the <i>tsapiky </i>band Mizeha. Since the mid-90s, this has been one of the most in-demand <i>tsapiky </i>acts for ceremonies – usually funerals, but also huge parties that last for days with non-stop <i>tsapiky</i> music. Mizeha means something like “young people gathering in a high place,” and the spot where Lamily and Tsatsiky, who are married, live seems to qualify. It’s perched on a high sand dune overlooking the town of Tulear and St Augustine Bay – very sweet. Their lives are tough as there are less ceremonies these days, mostly on account of deteriorating security in the countryside, but they seemed quite determined to press on with their music-making..."<br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/bvyXBwrzt9c" width="480"></iframe>
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I've been unable to find out anything about <b>Mirasoa</b>, who is ubiquitous in <i>tsapiky </i>videos, not only on her own but in collaboration with groups like Star, Los Belia and Les Metis. "Mahapotake"is her contribution to <i>Malagasy Divas</i>. Pretty sweet, no?<br />
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<b>Mahafaly Mihisa</b> has been called the "flagship" of the <i>tsapiky toliara</i> style, and here we present their killer track "Berene." The group was founded by Marcel Voriandro in Betioky, southwest Madagascar, in 2013. <i>Midi Madigasikara</i> <a href="http://www.midi-madagasikara.mg/culture/2018/10/19/portrait-mahafaly-mihisa-remonte-le-temps-du-tsapiky/">writes</a>, "... it is difficult to evoke this group without speaking of the voice of singer Nina. A comet, recalling the warmth of the south, enveloping with a liberating natural power. In octaves and accuracy, nothing to complain about, probably one of the best voices of the <i>tsapiky </i>at present. Between rhythms and guitar solos, sometimes organic, sometimes stealthy, her proud voice flows...."<br />
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By the way, if you're interested in more <i>tsapiky toliara</i>, I highly recommend the collection <i>Tulear Never Sleeps</i> (Sterns/Earthworks STEW 49CD, 2003), which you can purchase <a href="https://www.amazon.com/Tulear-Never-Sleeps-VARIOUS-ARTISTS/dp/B0000AHJA0">here</a>. There is another fine compilation, <i>Tsapiky: Panorama d'Une Jeune Musique de Tuléar</i> (Arion ARN64661, 2004), which is unfortunately out of print (but you can get it <a href="https://www.mediafire.com/file/1goea786ro4eshk/Tsapiky_-_Panorama_d%27Une_Jeune_Musique_de_Tul%E9ar.zip/file">here</a>). Some years ago, the <i>Aduna </i>blog posted a wonderful collection, <i>Tulear Market Mix 2008</i>, which you can get <a href="http://adunablog.blogspot.com/2014/11/tulear-market-mix-2008.html">here</a>. Finally, our friend Matthew Lavoie recently posted <i>Roots Tsapiky</i> on his blog <i>Wallahi le Zein</i>. Get it <a href="http://wallahi%20le%20zein/">here</a>.<br />
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Finally we journey back north and close out this collection with "Tara Baly," in the <i>mogodro </i>style, a pumped-up, red-hot version of s<i>alegy</i> from <b><a href="https://www.facebook.com/sisca.jobikelyvaleur/">Sisca</a> </b>(real name Francisca Razafy), a native of Sofia region in northwest Madagascar. Ms. Razafy honed her style on the island of Mayotte, the French dependency off the coast of Madagascar. A multi-instrumentalist, she is quite popular throughout Southern Africa and the Indian Ocean islands as well as Madagascar. Here's another killer <i>mogodro </i>track:<br />
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So here I present <i>Malagasy Divas</i> for download. In a departure from my usual practice I'm not making the tracks available for individual streaming/download as they're meant to be listened to in sequence. I've supplied an inlay card if you want to make your own CD. I'm pretty proud of this compilation and I hope you like it also!<br />
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<b><a href="https://www.mediafire.com/file/o1070bgssy71ytv/Malagasy_Divas.zip/file">Download <i>Malagasy Divas</i> here.</a></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW8Gk8isG9iUiV3MRWEKtPFlq0K2aa6lpXkjbllu1bO8DEnWm9t3x3AS1492g741RFhEZZevKDOtRPgTr6Oc78KJ6efw-anCVA2fH-FigEkQiDRuJkfWR-eoJJm0dzi9pSWbZIksd6hXQ/s1600/Malagasy+Divas.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="1500" data-original-width="900" height="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW8Gk8isG9iUiV3MRWEKtPFlq0K2aa6lpXkjbllu1bO8DEnWm9t3x3AS1492g741RFhEZZevKDOtRPgTr6Oc78KJ6efw-anCVA2fH-FigEkQiDRuJkfWR-eoJJm0dzi9pSWbZIksd6hXQ/s900/Malagasy+Divas.jpg" width="480" /></a></div>
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Row 1: Monika Njava, Faniah, Hanitra Ranaivo</div>
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Row 2: Minah Bolimakoa, Aïna Quach, Wendy Cathalina</div>
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Row 3: Black Nadia, Tence Mena, Dah Mama</div>
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Row 4: Perle Noire, Rasoa Kininike, Tsatsiky (Mizeha)</div>
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Row 5: Mirasoa, Nina (Mahafaly Mihisa), Sisca</div>
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Unknownnoreply@blogger.com13tag:blogger.com,1999:blog-5459104099060577976.post-24643210074833056622019-11-26T00:01:00.000-06:002019-11-26T00:01:00.284-06:00Fast-paced Anioma Highlife From King Ubulu<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJWEFw2yPEld3CzWWoGpWeRCA00oXPFLSqbl8cpYQl0JFrqN0CDwasIZ8vktuC_ycfz5J6d9KrHwO7vyUUPa0ZfHCWVC0GHpssjx1D9sxJNBJ2xf2DapDjKhwt-mis-Cwue6tzuIrXG68/s1600/Front.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="1600" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJWEFw2yPEld3CzWWoGpWeRCA00oXPFLSqbl8cpYQl0JFrqN0CDwasIZ8vktuC_ycfz5J6d9KrHwO7vyUUPa0ZfHCWVC0GHpssjx1D9sxJNBJ2xf2DapDjKhwt-mis-Cwue6tzuIrXG68/s1600/Front.jpg" width="480" /></a></div>
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A while back I made <a href="https://likembe.blogspot.com/search/label/Anioma">a few posts devoted to to music from Anioma</a>, or the Igbo-speaking region of Delta State in Nigeria, immediately to the west of the Niger River. This style is generally faster-paced and harder hitting than mainstream Igbo sounds. I don't want to claim too much credit, but those write-ups may have spurred some interest in the genre, including <a href="https://francoleeezute.bandcamp.com/album/onye-kata-obia">recent reissues</a>. One of the musicians I highlighted was King Ubulu. If I may be allowed to plagiarize myself, here is something I wrote about him for <a href="http://endolab.jp/endo/africa.html">Toshiya Endo's African music discography</a>:</div>
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Chief Augustine Ojinji, better known to Nigerian music fans as "King Ubulu" and "Love A.U.," breathed his last in late 2004. </blockquote>
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King Ubulu was born in 1949 in Amorji-Onicha in present-day Ndokwa Local Government Area, Delta State. Along with his fellow Ndokwa indigenes Charles Iwegbue and Rogana Ottah, he did much to advance the cause of Anioma (Western Igbo) highlife in the Nigerian music scene.His generosity was such that he was given the honorifics <i>Ochiligwe </i>("Majority Leader"), <i>Elishi Egwu </i>("Music Leader") and <i>Ofodile </i>("Mighty"). </blockquote>
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Ubulu trained as a shoemaker, but soon opened a record store in Amorji. Because of his skill with the traditional repertoire, he was often asked to sing at funerals, naming ceremonies and other important occasions. Together with Agu Risky and a number of other musicians, he formed the Ubulu International Band in the early 1970s. The group's first LP, <i>Ukwuani Special</i>, was released in 1976 to wide acclaim, followed by a number of other releases. </blockquote>
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In 1983 the Ubulu International Band of Nigeria recruited the late Charlie Boogie of Cameroun, who brought much animation to the group's stage show with his penchant for playing guitar and keyboards with his teeth. </blockquote>
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In the 1986 album <i>Onyebu Uwa Nishi</i>, Ubulu warned against those who would try to copy his musical technique, as it came from water (presumably it was as transparent, flowing and natural as that substance).</blockquote>
Here is a 1992 album by King Ubulu, <i>Ichonionun</i>, SI 022 on the Super International label:
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<b><a href="http://likembe.net/Sounds/Ichonionum/01%20Ichonionum.mp3">King Ubulu & his International Band of Africa - Ichonionum</a><br /><br /><a href="http://likembe.net/Sounds/Ichonionum/02%20Ifeoma.mp3">King Ubulu & his International Band of Africa - Ifeoma</a></b></div>
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Download <i>Ichonionum </i>as a zipped file <a href="http://www.mediafire.com/file/e3im7t2qib0p1l4/Ichonionum.zip/file">here</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlHIAeeRNuveWWPavAVQsb13lzOWaXrnyo6apg5oNx4-uFQOh_zOGbZEhPUgjhSVoK60ZVLoMrC-B7O4C6ENmFUL3-Oxq8ghibLwS3xQAVQOBpwFltcYoWd8hzuH6CJ0mb2Z1tXeZXkUU/s1600/Back.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="1600" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlHIAeeRNuveWWPavAVQsb13lzOWaXrnyo6apg5oNx4-uFQOh_zOGbZEhPUgjhSVoK60ZVLoMrC-B7O4C6ENmFUL3-Oxq8ghibLwS3xQAVQOBpwFltcYoWd8hzuH6CJ0mb2Z1tXeZXkUU/s1600/Back.jpg" width="480" /></a></div>
<br />Unknownnoreply@blogger.com13tag:blogger.com,1999:blog-5459104099060577976.post-67304397027795125592019-11-20T00:01:00.000-06:002019-12-02T12:21:58.722-06:00Sweet 'n' Sour Sounds<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc8RcVRS2n21pG2Hq6mnTgNqWla7_zwFx5WFKea_1fMf-ZIUIzgdndMpxeLPk4-_pDl_WWxpsqcOQFOA4Da2HPdrFrMaNEeQm3DhmRMXN6jC8cwr_Wl38tOK9qUERKj7EGq4-wN0xxYIw/s1600/Front.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="1600" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc8RcVRS2n21pG2Hq6mnTgNqWla7_zwFx5WFKea_1fMf-ZIUIzgdndMpxeLPk4-_pDl_WWxpsqcOQFOA4Da2HPdrFrMaNEeQm3DhmRMXN6jC8cwr_Wl38tOK9qUERKj7EGq4-wN0xxYIw/s1600/Front.jpg" width="480" /></a></div>
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We return once again to the <a href="https://likembe.blogspot.com/search/label/Awijiri">Niger River Delta</a>, and some more Ijaw-language highlife music in the style known as <i>awijiri</i>. The rather melancholy vocals and understated guitar work of this music have grown on me over the years - I can't get enough of it! I can tell you nothing about the Ebiogbo International Band other than they were from the small town of Agoloma on the Forcados River in Delta State.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd-Ji4pdxH0Hys8ZKaxwBlkE0Umor9_sInxp0AQ5tHTPKpAS9lTkyQl-Kt2HWU2ryub98oVi9WlnAZop2FaODPlLyZmxWjOJSQIUObE2akemYW0XNY_ieQU93w9jc6ZYH15cUxkcaTO1w/s1600/Agoloma.png" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="600" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd-Ji4pdxH0Hys8ZKaxwBlkE0Umor9_sInxp0AQ5tHTPKpAS9lTkyQl-Kt2HWU2ryub98oVi9WlnAZop2FaODPlLyZmxWjOJSQIUObE2akemYW0XNY_ieQU93w9jc6ZYH15cUxkcaTO1w/s1600/Agoloma.png" width="480" /></a></div>
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Here is the one album by the Ebiogbo International Band that I'm aware of, <i>Akpoesololo </i>(Sann Records SR 3, 1984). Enjoy!<br />
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<a href="http://likembe.net/Sounds/Akpoesololo/01%20Bayoukumo.mp3" style="font-weight: bold;">Ebiogbo International Band of Agoloma - Bayoukumo</a><br />
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<a href="http://likembe.net/Sounds/Akpoesololo/02%20Akpoesololo.mp3" style="font-weight: bold;">Ebiogbo International Band of Agoloma - Akpoesololo</a><br />
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<b><a href="http://likembe.net/Sounds/Akpoesololo/03%20Biboyafado.mp3">Ebiogbo International Band of Agoloma - Biboyafado</a></b></div>
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<a href="http://likembe.net/Sounds/Akpoesololo/04%20Eneagbaiara.mp3"><b>Ebiogbo International Band of Agoloma - Eneagbaiara</b></a></div>
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Download <i>Akpoesololo </i>as a zipped file <a href="http://www.mediafire.com/file/1jwzouxqlpxliog/Akpoesololo.zip/file">here</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfQE8OeEpqrjO8BILSR7BM_gnvwX_NqeKwNt-c4EgA7sl6_KBBVdd9IKJJ4G-uY6vMgHG4Z_nmLVkBxBrFq4-6h1gH9h107b54D6rsiK35nbX8Rg5G6DMUs0UkuIVpM4Z111uGH-3a0rQ/s1600/Back.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="1600" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfQE8OeEpqrjO8BILSR7BM_gnvwX_NqeKwNt-c4EgA7sl6_KBBVdd9IKJJ4G-uY6vMgHG4Z_nmLVkBxBrFq4-6h1gH9h107b54D6rsiK35nbX8Rg5G6DMUs0UkuIVpM4Z111uGH-3a0rQ/s1600/Back.jpg" width="480" /></a></div>
<br />Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-5459104099060577976.post-86346749904690540252019-11-14T06:52:00.000-06:002019-12-11T18:34:45.954-06:00Tshala Muana: The Voice of Kasai<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibhu0kme9XlkoBsM7P35gsUn6ytWwcM8T1s9BOxxC799JMnhDEhpxQ4IXq-iMB2kH1yjqUrPKoDDHZ5XaoBxdntdn0pZkmpQnzdFiYQHoFdQVKbpKE5Ihr_zZw5CpX8etlFYUre7jolJE/s1600/Front.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="1600" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibhu0kme9XlkoBsM7P35gsUn6ytWwcM8T1s9BOxxC799JMnhDEhpxQ4IXq-iMB2kH1yjqUrPKoDDHZ5XaoBxdntdn0pZkmpQnzdFiYQHoFdQVKbpKE5Ihr_zZw5CpX8etlFYUre7jolJE/s1600/Front.jpg" width="480" /></a></div>
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Acclaimed as one of Congo's greatest female singers, Tshala Muana over four decades in the business has emerged as <i>the</i> international ambassadress for <i>Mutuashi</i>, the insistent rhythm and dance style of Kasai Province in central Congo, very different from the mainstream <i>soukous</i> that is usually associated with the country.</div>
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She was born in Lubumbashi on March 13, 1958 and made her way to Kinshasa in 1976, where she joined <a href="https://en.wikipedia.org/wiki/M%27Pongo_Love">M'Pongo Love</a>'s orchestra as a dancer. After recording two singles that didn't make a mark, she joined the group <a href="https://likembe.blogspot.com/2008/12/merry-christmas.html">Minzoto Wella-Wella</a>. It was in Abidjan, Ivory Coast, though, where she would make the acquaintance of the musician and arranger Jimmy Hyacinthe in 1981, that she finally made her breakthrough with her smash hit "Amina." Gary Stewart writes in <i>Rumba on the River </i>(Verso Book, London/New York, 2000):<br />
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With her straightened hair and evening gown, Tshala resembled one of the Supremes as she glided on stage at the cultural center of Abidjan’s Treichville neighborhood. She sang her songs and danced the <i>mutuashi</i>, a traditional dance of the Baluba from Zaire’s Kasai province. ‘Mutuashi,’she explained, was a Tshiluba word, a shout of encouragement for dancers that eventually became synonymous with the dance itself, and with Tshala Muana too. Subsequent appearances in Abidjan increased her nascent following. </blockquote>
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In 1982, financed by money borrowed from a friend, she flew to Paris with Hyacinthe’s band to cut a record. The A side, ‘Amina’ - a song given her by guitarist Souzy Kasseya, whom she’d met in M’Pongo Love’s band - packs a funky West African feel and lots of brass in support of Tshala’s tart commentary. </blockquote>
<blockquote class="tr_bq">
Amina, shake my hand.<br />
Even if you’re my opponent in this run-off.<br />
I can’t hold it against you.<br />
The world is like that, today it’s you, tomorrow it’s me.<br />
Amina, I know what I think,<br />
I’ve known a long time:<br />
A man is like a hospital bed that takes in all the sick.<br />
When you’re there it’s you,<br />
When I’m there it’s me. </blockquote>
<blockquote class="tr_bq">
Tshala sang ‘Amina’ in French to reach the widest possible audience, while the B side, ‘Tshebele,’ presented a more traditional piece with a percussion driven <i>sebene </i>in the <i>mutuashi </i>style and lyrics in Tshiluba. Back in Abidjan, the finished disc was reported to have sold more than 11,000 copies in Cote d’Ivoire alone.</blockquote>
<i>Amina / Tshebele</i> was licensed to Roland Francis's African Record Centre in Brooklyn (African Record Centre ARCS 3690) and released in the US to little notice, but nonetheless, Tshala was on her way to international fame:<br />
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<a href="http://likembe.net/Sounds/Amina%20-%20Tshebele/01%20Amina.mp3" style="font-weight: bold;">Tshala Muana - Amina</a><br />
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<b><a href="http://likembe.net/Sounds/Amina%20-%20Tshebele/02%20Tshebele.mp3">Tshala Muana - Tshebele</a></b><br />
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Here's another US pressing from the early '80s (Disco Stock-Makossa DMGM 500, 1984):<br />
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<b><a href="http://likembe.net/Sounds/Akouffah%20-%20Chokepansh/01%20Akouffah.mp3">Tshala Muana - Akouffa</a></b><br />
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<a href="http://likembe.net/Sounds/Akouffah%20-%20Chokepansh/02%20Chokepansh.mp3"><b>Tshala Muana - Chokepansh</b></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqorxh2idjYrnf8HXVt75HJAFmOkg_cjyfXM3icUFhcCCn0gcAs70kdnrKdvYuL3TojOybYhaPmUhrF0yvpuPBg-kIrxpLH4ZWD0kJ-6JG6vZLaBCJha1bgC9NxdL86zWAahZm7qoFyPo/s1600/Kasai+Map.png" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="690" data-original-width="940" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqorxh2idjYrnf8HXVt75HJAFmOkg_cjyfXM3icUFhcCCn0gcAs70kdnrKdvYuL3TojOybYhaPmUhrF0yvpuPBg-kIrxpLH4ZWD0kJ-6JG6vZLaBCJha1bgC9NxdL86zWAahZm7qoFyPo/s1600/Kasai+Map.png" width="480" /></a></div>
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Tshala Muana's outstanding 1984 release <i>Mbanda Matiere</i> (Safari Ambiance SAS 051) showcasing the stellar guitar work of <a href="https://likembe.blogspot.com/search/label/Souzy%20Kasseya">Souzy Kasseya</a>, is the one that really cemented her international reputation. Recorded in Paris, featuring <i>soukous </i>and <i>mutuashi</i> and lyrics in Lingala and Tshiluba, it established her in her home country as well. The collaboration with Souzy Kasseya is one that has continued on and off throughout Muana's career:</div>
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<a href="http://likembe.net/Sounds/Mbanda%20Matiere/01%20Mbanda%20Matiere.mp3"><b>Tshala Muana - Mbanda Matiere</b></a></div>
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<a href="http://likembe.net/Sounds/Mbanda%20Matiere/02%20Cher%ed%20Mamadou.mp3"><b>Tshala Muana - Cherie Mamadou</b></a></div>
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<a href="http://likembe.net/Sounds/Mbanda%20Matiere/03%20N'Galula.mp3"><b>Tshala Muana - N'Galula</b></a></div>
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<a href="http://likembe.net/Sounds/Mbanda%20Matiere/04%20Koumba.mp3"><b>Tshala Muana - Koumba</b></a></div>
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<a href="http://likembe.net/Sounds/Mbanda%20Matiere/05%20Faute%20Ya%20Familie.mp3"><b>Tshala Muana - Faute Ya Familie</b></a></div>
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In the late '90s Tshala Muana returned to Congo from a long sojourn in Paris. She has continued her recording career, serving as a mentor to younger musicians who will carry the <i>mutuashi </i>torch. She's also gotten involved in politics and efforts to improve the status of women. </div>
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Download <i>Amina/Tshebele</i> as a zipped file <a href="http://www.mediafire.com/file/r2ohupuzaeq5ilu/Amina_-_Tshebele.zip/file">here</a>. <br />
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Download <i>Akouffa/Chokepansh</i> as a zipped file <a href="http://www.mediafire.com/file/0xih62x64yd7sji/Akouffah_-_Chokepansh.zip/file">here</a>. <br />
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Download <i>Mbanda Matiere</i> as a zipped file <a href="http://www.mediafire.com/file/a72d4f6agsj4uvd/Mbanda_Matiere.zip/file">here</a>.<br />
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An informative article about Tshala Muana by Ken Braun from <i>The Beat</i> (Vol. 10, No. 5, 1991) <a href="http://likembe.net/Sounds/Mbanda%20Matiere/Tsearching%20for%20Tshala.pdf">here</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpH1O1HLeKO6VwhxYQRH_V1FlhAq-86hYYI35vbI46yh18a2C1f9PBgG2BN7pNh9RI3JCy3EFH8JKSqIJ7wn48NbkthlUtbotiMxTsB4REW3FINc1HTnkn5s0_54DvBbzIKaqCEszJqHU/s1600/Amina+-+Akouffa+Covers.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="600" data-original-width="1230" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpH1O1HLeKO6VwhxYQRH_V1FlhAq-86hYYI35vbI46yh18a2C1f9PBgG2BN7pNh9RI3JCy3EFH8JKSqIJ7wn48NbkthlUtbotiMxTsB4REW3FINc1HTnkn5s0_54DvBbzIKaqCEszJqHU/s1600/Amina+-+Akouffa+Covers.jpg" width="480" /></a></div>
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-5459104099060577976.post-16332178418736818052019-10-29T00:01:00.000-05:002019-10-29T00:01:03.928-05:00The Morning Star Group<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf4vUfdq_ffulKtsZyJCRHczMnbpM33T5mfTLt6xkde_cpwCjvcbcOPhhXot_TM-1I6moF6-5xqPN3P8Cib-ffsQWyHN3Vyrbi_KKN952Jka3AFC-Dv9mHh8dBrRxY-oLhXkOuXbeyiXw/s1600/Front.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="1600" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf4vUfdq_ffulKtsZyJCRHczMnbpM33T5mfTLt6xkde_cpwCjvcbcOPhhXot_TM-1I6moF6-5xqPN3P8Cib-ffsQWyHN3Vyrbi_KKN952Jka3AFC-Dv9mHh8dBrRxY-oLhXkOuXbeyiXw/s1600/Front.jpg" width="480" /></a></div>
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Here's a mysterious Nigerian album, <i>Idanre Makin</i> (Idanre Makin EILP 002) I got not too long ago - by a Yoruba vocal/percussion group led by Francis Akinde called Ẹgbẹ Irawọ Owurọ, whose name translates, as best I can tell, as "Morning Star Group." A lovely moniker, if Google Translate can be trusted!<br />
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The label and liner notes say nothing about this congregation, and give little indication as to what "style" the music is. It's within the broad spectrum of <a href="https://likembe.blogspot.com/search/label/Yoruba%20Percussion%20Styles">Yoruba percussion styles</a> that we've been exploring recently. Enjoy!<br />
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<b><a href="http://likembe.net/Sounds/Idanre%20Makin/01%20Okungba%20So%20Gba%20-%20Ore%20Ma%20Ba%20Mi%20Je%20-%20Ibi%20Aiye%20Tire%20Aomo%20-%20Fiwa%20Jaiye%20Mo%20Boni%20Mi%20Rode.mp3">Ẹgbẹ Irawọ Owurọ - Okungba So Gba / Ọrẹ Ma Ba Mi Je / Ibi Aiye Tire Aomo / Fiwa Jaiye Mo Boni Mi Rode</a></b><br />
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<b><a href="http://likembe.net/Sounds/Idanre%20Makin/02%20Ola%20Me%20Lo%20Si%20Igbo%20Bini%20-%20Ede%20Sun%20Mi%20Daiko%20-%20E%20Are%20Babangida%20-%20Awa%20Feni%20Soro.mp3">Ẹgbẹ Irawọ Owurọ - Ọla Mẹ Lọ Si Igbo Bini / Ede Sun Mi Daiko / E Are Babangida / Awa Feni Sọrọ</a></b><br />
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Download <i>Idanre Makin</i> as a zipped file <a href="https://www.mediafire.com/file/h5bd1frj3dbg4qg/Idanre_Makin.zip/file">here</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWzf6dhVLWofqgG4G9dKUqc8U8Wc4wUSrGcuCfjoan9U72mFHlJG6RyS7kwCdcsKk-ka6yxttWljKU_54tTsVXV9PyIFk6QHnqLhueLZgzpzSPWabZbZ32FBcfcA3cWFa9pAXPuVTwCmY/s1600/Back.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="1600" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWzf6dhVLWofqgG4G9dKUqc8U8Wc4wUSrGcuCfjoan9U72mFHlJG6RyS7kwCdcsKk-ka6yxttWljKU_54tTsVXV9PyIFk6QHnqLhueLZgzpzSPWabZbZ32FBcfcA3cWFa9pAXPuVTwCmY/s1600/Back.jpg" width="480" /></a></div>
<br />Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-5459104099060577976.post-31118380790074958712019-10-23T00:01:00.000-05:002019-10-23T18:32:05.010-05:00Jack of All Trades, Master of All<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-xQEY2jbZgMB4HN4Mj5ZFs1MUYgI0r57n3gY0ucEwsVOPlyQ2QrcvudvcKoyYAlSui_V2pHRXzkcN0r7xSlMZSrbl90qVEHvORlqvV703cfhJSd9DU-pp6AUwMApZMX3rRktW9lE9EKQ/s1600/Front.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="1600" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-xQEY2jbZgMB4HN4Mj5ZFs1MUYgI0r57n3gY0ucEwsVOPlyQ2QrcvudvcKoyYAlSui_V2pHRXzkcN0r7xSlMZSrbl90qVEHvORlqvV703cfhJSd9DU-pp6AUwMApZMX3rRktW9lE9EKQ/s1600/Front.jpg" width="480" /></a></div>
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Footballer, guitarist and composer of many of the most memorable songs in Congolese music, Mayaula Mayoni (1946-2010) has often been overlooked. I posted one of his biggest solo hits, <a href="https://likembe.blogspot.com/2007/12/those-were-days.html">"Ba Chagrins</a>", back in 2007. The blog <a href="http://afroriginal.blogspot.com/">AfricOriginal</a> ably summarized Mayaula's career <a href="https://afroriginal.blogspot.com/2012/05/freddy-mayaula-mayoni-1946-2010.html">in this post</a>, which I reproduce here. Follow the link for pictures and further information about this well-respected musician. </div>
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<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3i3vc4NQFt-HEXovusp0hvvvuHdWlg93xKWMg5I2grBn9BxJEYHNRHSgy4W9-3e74JH9Qu81TO2bvXb9DoKgSnYs7ta3bH8nUAJOsmJqxFGMiz6MdVBRtm7_Eo_6OxBof8e8X0UIqEO4/s1600/Break.jpg" /></div>
Born in Léopoldville (now Kinshasa) on the sixth of November 1946, Mayaula passes effortlessly through primary school. In 1962 he completed secondary education at the College of Kisantu. The young Mayaula appears to be a passionate and good football player. Between 1968 and 1971 he plays at a high level as a left winger in the first team of "AS Vita Club" in Kinshasa. In this period he is also selected for the national team of Zaïre.<br />
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When his father is stationed as a diplomat in Dar es Salam, Mayaula follows his father to Tanzania and plays some time with "Yanga Sports". Then he leaves for Charleroi in Belgium where he follows a course in data processing. In Belgium his talent is also noticed and he plays professional soccer with "Racing Club de Charleroi" and "Racing Club de Jette"in Brussels. He also plays for some time in Switzerland with "FC. Fribourg". In this period he gets acquainted with the guitar through a study friend. Also musically he shows himself a talented student and soon he joins the Congolese student orchestra "Africana" as rhythm guitarist.<br />
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When he returns to Kinshasa, Mayaula makes a career switch from professional soccer player to professional composer and musician. Back home he immediately draws the attention of his former football president and band leader <a href="https://en.wikipedia.org/wiki/Franco_Luambo">Franco</a>, who asks Mayaula to join his band and adds his song "Cherie Bonduwe" to the repertoire of his TPOK Jazz.<br />
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The melodic and thematically rich song receives much attention, not in the least because the National Censorship Commission prohibits the song. "Cherie Bondowe" presented the life of a prostitute from her point of view and is considered by the authorities as a defense of prostitution. The song was first released in Brussels, and rapidly found its way back to Kinshasa, despite the ban by the government.<br />
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Although Franco requested him to join TPOK Jazz, Mayaula Mayoni has never been an official band member of the TPOK Jazz. "He was something of an independent oddity in the music business" writes Gary Stewart in "Rumba on the River". "He prefered to compose his songs and then offer them to whichever artist he felt they fit. Many of his memorable efforts like 'Nabali Misère' and 'Momi' found their way to OK Jazz".<br />
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In 1977 it was female singer Mpongo Love who scored with Mayaula"s composition "Ndaya," a song that tells the story of a woman happy in her marriage and confident of keeping her husband, despite the overtures of other women.<br />
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Many people mistakenly think that Mayaula was not only a gifted guitarist and composer, but a good singer as well. Although he sometimes acted as background vocalist during recordings and live performances, he has never presented himself as a lead singer. Probably this misconception is caused by a picture on the cover of the album 'Veniuza', on which we find Mayaula behind the microphone.In 1981 Mayaula leaves Zaire together with some musicians from female singer Abeti's band Les Redoutables, to try his luck in West-Africa. In the period between 1981 and 1984 he records several solo LP's in Lomé (Togo) for the record label Disc-Oriënt'. In 1984 he returns to Zaire where he releases the album 'Fiona Fiona' in 1986. In the same year female singer Tshala Muana gains success with 'Nasi Nabali', a composition written by Mayaula Mayoni. He records his next album 'Mizélé' with the help of musicians of TPOK Jazz and singers Carlito Lassa and Malage de Lugendo.<br />
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In 1993 he hits the charts again with the album "L'Amour au Kilo". It then lasts until 2000, before he comes with a new album, "Bikini". Not long after the release of this album, Mayaula settles again in Dar es Salam, where he accepts a job at the diplomatic service. In the years that followed he began to suffer increasingly the consequences of hemiplegia, a disease that may result in loss of speech and paralysis of limbs. In 2005 he returns to his place of birth, Makadi. As his condition continues to deteriorate his family decides in cooperation with the authorities to bring Mayaula to Brussels for medical treatment. After a long illness of several month"s he dies in Brussels on May 26, 2010 at the age of 64 years. During his impressive career, Mayaula Mayoni was repeatedly voted "composer of the year" in Zaïre. In 1978 for the song "Bonduwe II", in 1979 for "Nabali misère" and in 1993 for the song "Ousmane Bakayoko".<br />
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<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3i3vc4NQFt-HEXovusp0hvvvuHdWlg93xKWMg5I2grBn9BxJEYHNRHSgy4W9-3e74JH9Qu81TO2bvXb9DoKgSnYs7ta3bH8nUAJOsmJqxFGMiz6MdVBRtm7_Eo_6OxBof8e8X0UIqEO4/s1600/Break.jpg" /></div>
I present here Mayaula Mayoni's album <i>La Machine a Tube</i> (Tabansi/Africa New Sound WNL 405), recorded during his Togolese sojourn in the early '80s:<br />
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<a href="http://likembe.net/Sounds/La%20Machina%20a%20Tube/01%20Veniuza.mp3"><b>Mayaula Mayoni - Veniuza</b></a><br />
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<a href="http://likembe.net/Sounds/La%20Machina%20a%20Tube/02%20Mokili%20Makambo.mp3"><b>Mayaula Mayoni - Mokili Makambo</b></a><br />
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<a href="http://likembe.net/Sounds/La%20Machina%20a%20Tube/03%20Omari.mp3"><b>Mayaula Mayoni - Omari</b></a><br />
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<a href="http://likembe.net/Sounds/La%20Machina%20a%20Tube/04%20Sauce%20ya%20Bolingo.mp3"><b>Mayaula Mayoni - Sauce Ya Bolingo</b></a><br />
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Next I offer this late '80s LP <i>Motors </i>(Sukuma SUK 001), with Mayaula on Side 1 and guitarist/composer Dino Vangu on Side 2. I don't think this is a true collaboration between the two, but rather something that was stitched together by a record producer. Vangu is another often-overlooked figure on the Congolese scene. He got his start in <a href="https://en.wikipedia.org/wiki/Sam_Mangwana">Sam Mangwana</a>'s orchestra Festival des Maquisards in 1969 and then moved on to a number of other musical congregations, notably <a href="https://en.wikipedia.org/wiki/Tabu_Ley_Rochereau">Tabu Ley Rochereau</a>'s Afrisa International. His guitar work with Afrisa is featured <a href="https://likembe.blogspot.com/search/label/Tabu%20Ley%20%22Rochereau%22">in several posts</a> here at <i>Likembe</i>.<br />
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<a href="http://likembe.net/Sounds/Motors/01%20Motors.mp3"><b>Mayaula Mayoni - Motors</b></a><br />
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<b><a href="http://likembe.net/Sounds/Motors/02%20Bondumba.mp3">Dino Vangu - Bondumba</a></b><br />
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<b><a href="http://likembe.net/Sounds/Motors/03%20Pumaza.mp3">Dino Vangu - Pumaza</a></b><br />
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<b><a href="http://likembe.net/Sounds/Motors/04%20Ngole.mp3">Dino Vangu - Ngole</a></b>
<br /><span style="font-style: normal;"><br />Download </span><i style="font-weight: 400;">La Machine a Tube</i><span style="font-style: normal; font-weight: 400;"> as a zipped file <a href="https://www.mediafire.com/file/vvcg81fj1y9ekx4/La_Machine_a_Tube.zip/file">here</a>. Download </span><i style="font-weight: 400;">Motors</i> as a zipped file <a href="https://www.mediafire.com/file/jg8acc5i4xyqpzi/Motors.zip/file">here</a>. Both files contain scans of the front and back covers as well as the labels.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCaHNhczCX_EjEOouNJbhBgnn723u2-ykG60xs4GaIYQtZ5T6FTltglU0rFnUY-x5WB00Je4mRy1JYJJiNxS4qOGIrUTiN_L0oZtzGu8tg-phHno_iVisXkHVdpgj7U-_Qm4FX_eV4IF4/s1600/Front.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="1600" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCaHNhczCX_EjEOouNJbhBgnn723u2-ykG60xs4GaIYQtZ5T6FTltglU0rFnUY-x5WB00Je4mRy1JYJJiNxS4qOGIrUTiN_L0oZtzGu8tg-phHno_iVisXkHVdpgj7U-_Qm4FX_eV4IF4/s1600/Front.jpg" width="480" /></a></div>
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-5459104099060577976.post-66158710076444416702019-10-17T00:01:00.000-05:002019-10-18T16:01:19.052-05:00An Èwi Deep Dive with Lanrewaju Adepọju<div class="separator" style="clear: both; text-align: center;">
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Even if I weren't already a huge fan of Lanrewaju Adepọju, I would have bought this album for the cover art alone! <i>Aláfọwósowópó</i> (Lanre Adepoju Records LALPS 72, 1980) is a tribute to the cooperative movement in Nigeria: "The greatest weapon the masses have to fight the formidable forces of oppressive capitalism, mindless and the unconcerned attitude of few privileged rich overlords, is to form themselves into cooperative societies."</div>
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In <a href="https://likembe.blogspot.com/2012/04/alasa-of-ibadanland.html">a previous post</a>, I wrote of Alhaji Adepoju and his mastery of the Yoruba poetic form known as <i>èwi</i>, of which this LP is a fine example. Many of his compositions deal with Islamic religious themes but apparently not the ones here. Although I know only a few words of Yoruba, I find his lyrical declamations thoroughly entrancing. And check out the instrumental breaks from 12:32 to 13:37 and from 16:01 to 16:46 in the first track. Somebody should sample those!<br />
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<a href="http://likembe.net/Sounds/Alafowosowopo/01%20Ebiti%20O%20Peera.mp3"><b>Lanrewaju Adepọju & his Akewi Theatre - Èbìtì 'Ò P'eèrà</b></a></div>
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<a href="http://likembe.net/Sounds/Alafowosowopo/02%20Alafowosowopo%20-%20Ebge%20Owolowo%20(ibadan).mp3"><b>Lanrewaju Adepọju & his Akewi Theatre - Aláfọwósowó̩pò / Ẹgbe Owolowo (Ibadan)</b></a></div>
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Download <i>Aláfọwósowópóó </i>as a zipped file <a href="https://www.mediafire.com/file/vdkrbstyoho3qfh/Alafowosowopo.zip/file">here</a>.<br />
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Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-5459104099060577976.post-7780649776627906422019-10-11T09:56:00.000-05:002019-10-13T19:49:16.100-05:00Raji Owonikoko's "Kwara System"<div class="separator" style="clear: both; text-align: center;">
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I just came into possession of a raft of great Yoruba recordings from Nigeria - lots of <i>jùjú, àpàlà fújì, wákà, èwi,</i> what have you - and I'll be sharing some of them with you over the next few months. For now we have on tap Raji Owonikoko, with his take on the venerable <i>àpàlà</i> genre, which he calls his "Kwara System." About <i>àpàlà</i> Christopher Alan Waterman writes in his excellent book <i>Jùjú: A Social History and Ethnography of an African Popular Music</i> (University of Chicago Press, 1990):</div>
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... <i>Àpàlà</i>, a praise song and social dance music, developed in the late 1930s in the Ijebu area, and was popularized by a musician named Haruna Ishola ... <i>àpàlà </i>groups generally included small hourglass-shaped pressure drums called <i>àpàlà</i> or <i>àdàmòn</i>, an <i>àgídìgbo </i>bass lamellaphone, several conga-type drums, and a metal idiophone such as an <i>agogo </i>or truck muffler (Thieme 1969). Like postwar <i>jùjú</i>, <i>àgídìgbo</i> and <i>àpàlà </i>drew upon Latin American recordings, preexistent popular genres, and deep Yoruba rhetorical devices. These social dance and praise song genres provided an urban-centered musical lingua franca, a set of stylistic coordinates for the construction of modem Yoruba identity. Each of them relied upon indigenous principles as a unifying framework for innovation... </blockquote>
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The rather sedate, philosophical sound of <i>àpàlà,</i> whose foremost practitioners were the late <a href="https://en.wikipedia.org/wiki/Haruna_Ishola">Haruna Ishola</a> and <a href="https://www.last.fm/music/Ayinla+Omowura/+wiki">Ayninla Omowura</a>, gave way to the more frenzied sounds of <i>jùú, </i><i>fújì </i>and the like, but it's never disappeared, and has been given new life in recent years by artists like Musiliu Haruna Ishola, son of Haruna Ishola, who was featured in a previous <i>Likembe </i><a href="https://likembe.blogspot.com/2017/08/juju-apala-roots.html">post</a>.</div>
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Alhaji Mohammed Ahmed Raji Alabi Owonikoko, better known as Raji Owonikoko, is one of the musicians who have carried the <i>àpàlà </i>torch into the present day. At least judging from today's musical offering, <i>Kwara System Originator</i> (Olumo ORPS 58, 1977), his "Kwara System," named after his home state, adds a few uptempo fillips to the basic sound. In a 2012 <a href="https://www.pmnewsnigeria.com/2012/02/10/todays-musicians-are-lazy/">interview</a> with <i>PM News</i> (Lagos) he said:<br />
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...I hail from Kwara State. My father is a native of Buhari while my mother hails from Ijomu, Oro both in Irepodun Local Government Area of Kwara State. I was born in Oro that is why many people believe I am from Oro ... I grew up with elderly friends and contemporaries. I became more popular among them because I always sang during Ramadan fasting period, waking Islamic faithful in the community at dawn to observe <i>Shaur </i>[<i>Suhoor</i>] ... As a result of my talent, I became the leader of our musical group. Thereafter, I moved to Lagos with some members of the group where I recruited others to join my group. Along the line, I met King Sunny Ade, and Jide Smith, who was into music instrument rentals. I eventually changed to <i>àpàlà</i> music genre because of the love I had for the late <i>àpàlà </i>music sage, Alhaji Haruna Ishola, in spite of other types of music around then...</blockquote>
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I hope you will enjoy this offering of <i>àpàlà</i>, Kwara style!</div>
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<a href="http://likembe.net/Sounds/Kwara%20System%20Originator/01%20Eyin%20Ojogbon%20-%20Late%20Madam%20Ayisatu%20-%20Kini%20Won%20Ro%20De%20Bi%20Ohun%20Ti%20Won%20Nse%20-%20Ehin%20Kete%20Nibi%20Se.mp3"><b>Raji Owonikoko & his Apala Group - Eyin Ojogbon / Late Madam Ayisatu / Kini Won Ro De Bi Ohun Ti Won Nse / Ehin Kete Nibi Se</b></a></div>
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<a href="http://likembe.net/Sounds/Kwara%20System%20Originator/02%20Salamu%20Alekun%20Ohile%20-%20T'Oluwa%20Oba%20Nio%20Se%20-%20Oluwa%20Ma%20Se%20Wa%20Larungun%20-Egbe%20Young%20Star%20(Ile-Ife).mp3"><b>Raji Owonikoko & his Apala Group - Salamu Alekun Ohile / T'Oluwa Oba Nio Se / Oluwa Ma Se Wa Larungun / Egbe Young Star (Ile-Ife)</b></a></div>
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Download <i>Kwara System Originator</i> as a zipped file <a href="https://www.mediafire.com/file/vtm5jmc77n4n7z2/Kwara_System_Originator.zip/file">here</a>.</div>
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<br />Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-5459104099060577976.post-54599519971300250152019-10-05T09:20:00.000-05:002019-10-05T09:20:01.901-05:00Master of the Ngurumi and the Biram<div class="separator" style="clear: both; text-align: center;">
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I present today four cassettes by <i>Malam </i>Maman Barkah, the Niger Republic's acclaimed master of two traditional instruments of that area - the <i>ngurumi</i>, a two stringed lute (pictured), and the <i>biram,</i> a five-stringed harp. <i>Malam </i>Barkah passed away on November 21 of last year to much sadness in Niger and the neighboring Hausa-speaking areas of Nigeria. Radio France International reported, "Great emotion this morning in Niger when the local press reported the death of musician <i>Malam</i> Maman Barka, immensely popular in his country and also well known in neighboring Nigeria. The popularity of <i>Malam</i> Maman Barka is explained by his mastery of <i>biram</i>, a very particular instrument, and also by his committed songs."<br />
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My understanding is that while Maman Barkah sang mainly in the Hausa language, he was a member of the nomadic <a href="https://en.wikipedia.org/wiki/Toubou_people">Toubou</a> people, born in Tesker, southern Niger, in 1958 or 1959. He started his professional life as a teacher and learned the <i>ngurumi</i>, a two-stringed lute common in the Sahel region, where it is known by various names. It was as a master of this instrument, and his incisive lyrics which addressed classical themes as well as current events and notable individuals, that Maman Barkah achieved fame throughout Niger and northern Nigeria. This led to many appearances throughout the world.<br />
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In 2002 <i>Malam </i>Barkah received a grant from UNESCO to travel to the shores of Lake Chad and learn the <i>biram</i>, a five-stringed harp played by the Boudouma (Yedina) people of the region. The instrument, considered sacred, had fallen into disuse. Before passing, the last living master of the <i>biram</i>, Boukou Tar, taught Maman Barkah the secrets of the instrument<i> </i>and gave him his own. Before his death <i>Malam </i>Barkah was the director of the Center for Music Promotion and Training (CFPM) "El Hadji Taya" in Niamey, the capital of Niger.<br />
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The four cassettes in this post are the result of two cassette-hunting expeditions: By me in Kano, Nigeria in 1995 and by my wife Priscilla in Jos, Nigeria in 1998. He was very popular throughout the region! All feature Maman Barkah on the <i>ngurumi</i>. Recordings of him playing the <i>biram </i>are available on the CD <i><a href="https://worldmusic.net/products/introducing-mamane-barka">Introducing Mamane Barka</a></i> (World Music Network INTRO114CD, 2009).<br />
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Labeling for the songs here is very confusing. <i>Africa 1</i> and <i>Africa 4</i> seem to be mispackaged or mislabeled, as the songs don't seem to correspond to listings on the inlay cards. <i>Africa 2</i> and <i>Republic Niger No. 4</i> do seem to be properly labeled. Not knowing how to determine the proper song titles I've just listed them as they appear on the cassettes, and the extra songs are just labeled "Song Title Unknown." I'd appreciate it if someone could clear the confusion up for us.<br />
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I confess I haven't paid these cassettes much attention since obtaining them in the '90s. However, repeated listenings in the course of preparing them for this post have given me a new appreciation for this music. I had always thought that the mysterious Korean lady who appears on the covers of three of the cassettes was <i>Malam </i>Barkah's wife, but apparently that picture was taken during a musical performance in North Korea!<br />
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Here is <i>Africa 1</i>:<br />
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<b><a href="http://likembe.net/Sounds/Africa%201/01%20Amerame.mp3">Maman Barkah - Amerame</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%201/02%20Gourmi%20Story.mp3">Maman Barkah - Gourmi Story</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%201/03%20Iyani%20Mai%20Towo.mp3">Maman Barkah - Iyani Mai Towo</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%201/04%20Feronguila.mp3">Maman Barkah - Feronguila</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%201/05%20Unknown%20Title.mp3">Maman Barkah - Song Title Unknown</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%201/06%20Unknown%20Title.mp3">Maman Barkah - Song Title Unknown</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%201/07%20Massagui.mp3">Maman Barkah - Massagui</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%201/08%20Awa%20Sakehali.mp3">Maman Barkah - Awa Sakehali</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%201/09%20Zaman%20Duniya.mp3">Maman Barkah - Zaman Duniya</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%201/10%20Begue%20Tunani.mp3">Maman Barkah - Beghue Tunani</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%201/11%20Arri%20Na%20Bin%20Tou.mp3">Maman Barkah - Arri Na Bin Tou</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%201/12%20Unknown%20Title.mp3">Maman Barkah - Song Title Unknown</a></b><br />
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Download <i>Africa 1</i> as a zipped file <a href="https://www.mediafire.com/file/ozry597tublrul2/Africa_1.zip/file">here</a>.<br />
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<b><br /></b>While digitizing these cassettes I realized that side 2 of the cassette <i>Africa 1, </i>apparently a reissue, actually contains the full contents of <i>Africa 2</i>! (There are around 45 minutes of music on each side). As the recording quality of <i>Africa 1</i> is superior I've gone with that version:<br />
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<b><a href="http://likembe.net/Sounds/Africa%202/01%20Tabaraka%20Allah.mp3">Maman Barkah - Tabaraka Allah</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%202/02%20Oubedatu.mp3">Maman Barkah - Oubedatu</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%202/03%20Massoyi%20da%20Massoya.mp3">Maman Barkah - Massoyi da Massoya</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%202/04%20Dabarabara.mp3">Maman Barkah - Dabarabara</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%202/05%20Maman%20Maki.mp3">Maman Barkah - Maman Maki</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%202/06%20In%20Nabaki%20Mikike.mp3">Maman Barkah - In Nabaki Mikike</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%202/07%20Beby%20Elinna.mp3">Maman Barkah - Beby Elinna</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%202/08%20Archatelfara.mp3">Maman Barkah - Archatelfara</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%202/09%20Unknown%20Title%20(Instrumental).mp3">Maman Barkah - Song Title Unknown (Instrumental)</a></b><br />
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Download <i>Africa 2</i> as a zipped file <a href="https://www.mediafire.com/file/96zvpgbjqq1ll1d/Africa_2.zip/file">here</a>. I don't have <i>Africa 3</i>, but here is <i>Africa 4</i>. Who knows how many volumes were released?<br />
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<b><a href="http://likembe.net/Sounds/Africa%204/01%20Nahissa.mp3">Maman Barkah - Nahissa</a><br /><br /><a href="http://likembe.net/Sounds/Africa%204/02%20Kidan%20Maman%20Daban.mp3">Maman Barkah - Kidan Maman Daban</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%204/03%20Aochatou%20Dogoya.mp3">Maman Barkah - Aochatou Dogoya</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%204/04%20La%20Six.mp3">Maman Barkah - La Six</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%204/05%20Unknown%20Title.mp3">Maman Barkah - Song Title Unknown</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%204/06%20Musha%20Shagamu%20Talki.mp3">Maman Barkah - Mousha Shagaumu Talki</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%204/07%20In%20Ada.mp3">Maman Barkah - In Ada</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%204/08%20We%20Day%20Hassour.mp3">Maman Barkah - We Day Hassour</a></b><br />
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<b><a href="http://likembe.net/Sounds/Africa%204/09%20Unknown%20Title.mp3">Maman Barkah - Song Title Unknown</a></b><br />
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Download <i>Africa 4</i> as a zipped file <a href="https://www.mediafire.com/file/bmkrokviv7lsq6u/Africa_4.zip/file">here</a>.<br />
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The final cassette here, <i>Republic Niger No. 4</i> (no connection with <i>Africa 4</i> above), seems to be the most recently recorded:<br />
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<b><a href="http://likembe.net/Sounds/Republic%20Niger%20No.%204/01%20Tankari%20Dan%20Garba%20No.%201.mp3">Maman Barkah - Tankari Dan Garba No. 1</a></b><br />
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<b><a href="http://likembe.net/Sounds/Republic%20Niger%20No.%204/02%20Ramm%e1%20Ta%20Mirria.mp3">Maman Barkah - Rammá Ta Mirria</a></b><br />
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<b><a href="http://likembe.net/Sounds/Republic%20Niger%20No.%204/03%20Tankari%20Dan%20Garba%20No.%202.mp3">Maman Barkah - Tankari Dan Garba No. 2</a></b><br />
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<b><a href="http://likembe.net/Sounds/Republic%20Niger%20No.%204/04%20Kar%20Ki%20Bami%20A.mp3">Maman Barkah - Kar Ki Bami A</a></b><br />
<b><br /></b>
<b><a href="http://likembe.net/Sounds/Republic%20Niger%20No.%204/05%20Delu%20El%20Fulani.mp3">Maman Barkah - Delu El Fulani</a></b><br />
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<b><a href="http://likembe.net/Sounds/Republic%20Niger%20No.%204/06%20Hawa%20Merama.mp3">Maman Barkah - Hawa Merama</a></b><br />
<b><br /></b>
<b><a href="http://likembe.net/Sounds/Republic%20Niger%20No.%204/07%20Er%20Koumatou.mp3">Maman Barkah - Er Komatou</a></b><br />
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<b><a href="http://likembe.net/Sounds/Republic%20Niger%20No.%204/08%20Tankari%20Dan%20Garba%20No%203.mp3">Maman Barkah - Tankari Dan Garba No. 3</a></b><br />
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Download <i>Niger Republic No. 4 </i>as a zipped file <a href="https://www.mediafire.com/file/uw4jk3f76w45r80/Republic_Niger_No._4.zip/file">here</a>.<br />
<br />
Two CDs by Maman Barkah, <i><a href="https://www.amazon.com/Introducing-Mamane-Barka/dp/B001TW68G8/ref=sr_1_fkmr0_1?keywords=Introducing+Mamane+Barka&qid=1570143710&sr=8-1-fkmr0">Introducing Mamane Barka</a></i> and <i><a href="https://www.amazon.com/Guidan-Haya-Malam-Maman-Barka/dp/B0018YDKPE/ref=sr_1_1?crid=26D3HKZ6K9P32&keywords=malam+maman+barka&qid=1570143850&s=dmusic&sprefix=maman+Barka%2Cdigital-music%2C161&sr=1-1">Guidan Haya</a></i>, are available from Amazon. Follow the links!<br />
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Here is a clip of Maman Barkah playing the <i>biram </i>in 2010:<br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="300" src="https://www.youtube.com/embed/6O9alGFUyv8" width="480"></iframe>
<br />Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-5459104099060577976.post-55803403069050549742019-09-15T09:39:00.000-05:002019-09-16T18:53:58.790-05:00The Queen of Wassoulou<br />
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="280" src="https://www.youtube.com/embed/VQ4NrXPq0eQ" width="480"></iframe>
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<br />Kudos to <a href="https://www.facebook.com/thelostmaestros/?__tn__=%2Cd%2CP-R&eid=ARCKlqlahHEbKsXA3Sms5Lf7wJJuSbw-UnV7_tNoe3i77MB8KP20NzbivslJaxf4nIqmj7IuFtgiVOul"><i>The Lost Maestros</i></a> for posting this wonderful video (from <a href="http://wrldsrv.blogspot.com/">World Service</a>'s YouTube channel) of the Malian diva Coumba Sidibe. I have nothing to add to their summary of her career:<br />
<br />
<blockquote class="tr_bq">
Mali's Coumba Sidibe was a pioneering force behind the
evolution of <i>wassoulou</i>, the earthy, propulsive music that first captured the
imagination of west African listeners in the mid-'70s. A singer of elemental
power, she set the stage for a generation of artists including Oumou Sangaré,
Issa Bagayogo, and Nahawa Doumbia, although their international fame
consistently eluded her. </blockquote>
<blockquote class="tr_bq">
Born in <st1:place w:st="on"><st1:city w:st="on">Koninko</st1:city>,
<st1:country-region w:st="on">Mali</st1:country-region></st1:place> in 1950,
Sidibe began singing at regional harvest festivals at the age of seven,
following in the footsteps of her father Diara, a famed dancer and sorcerer
skilled in the ecstatic percussion and dance tradition known as <i>sogoninkun</i>, and
her mother, a vocalist of great local renown. </blockquote>
<blockquote class="tr_bq">
The first female member of l'Ensemble Instrumental National
du Mali, a state-sponsored orchestra created to represent the nation's
folkloric traditions, Sidibe exited their ranks in 1977 to team with Alata
Brulaye, the creator of the <i>kamelengon</i>, a six-string harp modeled on the sacred
<i>dosongoni</i>, an instrument effectively off limits to popular musicians. </blockquote>
<blockquote class="tr_bq">
The <i>kamelengoni</i>'s funky, percussive sound quickly emerged as
the foundation of the <i>wassoulou </i>aesthetic, a neo-traditional style that
threatened the long-standing cultural dominance of <st1:country-region w:st="on"><st1:place w:st="on">Mali</st1:place></st1:country-region>'s <i>jelis</i>, the music-making
caste whose roots date back to the 13th century. While the <i>jelis</i> performed
traditional songs targeted to the wealthy and powerful, the so-called
<i>"kono" </i>(i.e., the predominantly female "songbirds" at the
forefront of the <i>wassoulou </i>movement) addressed contemporary themes like romance
and feminism; hits like "Diya ye Banna" earned Sidibe the unofficial
title "Queen of Wassoulou," and her backing group Le Super Mansa de
Wassoulou was the launching pad for future superstars including Sangaré,
arguably the most successful Malian artist of her generation. While a revered
figure in her homeland, Sidibe never attracted the attention of the world music
cognoscenti, and in the late '90s she and her family relocated to New York
City, where she headlined a Sunday night residency at Harlem's St. Nick's Pub.
Sidibe died in <st1:place w:st="on">Brooklyn</st1:place> on May 10, 2009.</blockquote>
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Today I present two cassettes from the early '90s by Sidibe. Here's the first, <i>Wary </i>(Shakara Music SHA 09032):<br />
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<a href="http://likembe.net/Sounds/Wary/01%20Wary.mp3"><b>Coumba Sidibe - Wary</b></a><br />
<b><br /></b>
<a href="http://likembe.net/Sounds/Wary/02%20Mougoukan.mp3"><b>Coumba Sidibe - Mougoukan</b></a><br />
<b><br /></b>
<a href="http://likembe.net/Sounds/Wary/03%20Didady.mp3"><b>Coumba Sidibe - Didady</b></a><br />
<b><br /></b>
<a href="http://likembe.net/Sounds/Wary/04%20Kana%20Kassi.mp3"><b>Coumba Sidibe - Kana Kassi</b></a><br />
<b><br /></b>
<a href="http://likembe.net/Sounds/Wary/05%20Konyan.mp3"><b>Coumba Sidibe - Konyan</b></a><br />
<b><br /></b>
<a href="http://likembe.net/Sounds/Wary/06%20Nalena.mp3"><b>Coumba Sidibe - Nalena</b></a><br />
<br />
Download <i>Wary </i>as a zipped file <a href="http://www.mediafire.com/file/wqp4khhtp75a0mr/Wary.zip/file">here</a>. And here's the second, <i>Dounouyan </i>(Shakara Music/Syllart SHA 02901):<br />
<br />
<a href="http://likembe.net/Sounds/Dounouyan/01%20Dounouyan.mp3"><b>Coumba Sidibe - Dounouyan</b></a><br />
<b><br /></b>
<a href="http://likembe.net/Sounds/Dounouyan/02%20Ninin.mp3"><b>Coumba Sidibe - Ninin</b></a><br />
<b><br /></b>
<a href="http://likembe.net/Sounds/Dounouyan/03%20Baba.mp3"><b>Coumba Sidibe - Baba</b></a><br />
<b><br /></b>
<a href="http://likembe.net/Sounds/Dounouyan/04%20Tch%e9%20Kani%20W%e9l%e9.mp3"><b>Coumba Sidibe - Tché Kani Wélé</b></a><br />
<b><br /></b>
<a href="http://likembe.net/Sounds/Dounouyan/05%20H%e9%e9!!!%20Ndanani.mp3"><b>Coumba Sidibe - Héé!! Ndanani</b></a><br />
<b><br /></b>
<b><a href="http://likembe.net/Sounds/Dounouyan/06%20Ka%20Lonongon%20Yan.mp3">Coumba Sidibe - Ka Lonongon Yan</a></b><br />
<br />
Download <i>Dounouyan </i>as a zipped file <a href="http://www.mediafire.com/file/cpnzolvqrtxb9ao/Dounouyan.zip/file">here</a>.<br />
<br />
More music by Coumba Sidibe is available on the Sterns compilations <i>The Wassoulou Sound: Women of Mali</i> (STCD 1035, 1991) and <i>The Wassoulou Sound: Women of Mali Vol. 2</i> (STCD 1048, 1994), available through the usual purveyors. <i>The Lost Maestros</i>, by the way, is a wonderful effort to bring back to light some of the forgotten masters of Malian music. Read this article (in French) <a href="http://djolo.net/the-lost-maestros-la-superbe-collection-de-musique-malienne/">here</a>, or go to the Facebook page <a href="https://www.facebook.com/thelostmaestros/">here</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5B9ppPENrxOQz-tmTcvGwLcrkSZXiFj05HAwGATDWC7mxV1ub_KuooFDOnmgooNcnee_GvxkapVhl1vdF7lGfOzicPcN-WY9JAMPjqYx4ZsNwvya47VEKksX6BETfiqLs0fuGGNW7DGs/s1600/Coumba+Sidibe.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="1190" data-original-width="1550" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5B9ppPENrxOQz-tmTcvGwLcrkSZXiFj05HAwGATDWC7mxV1ub_KuooFDOnmgooNcnee_GvxkapVhl1vdF7lGfOzicPcN-WY9JAMPjqYx4ZsNwvya47VEKksX6BETfiqLs0fuGGNW7DGs/s1550/Coumba+Sidibe.jpg" width="480" /></a></div>
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Unknownnoreply@blogger.com8tag:blogger.com,1999:blog-5459104099060577976.post-91223933453221638142019-09-06T09:27:00.000-05:002019-09-06T09:27:51.758-05:00An Overlooked Obey Gem<br />
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I thought I had <i>all </i>of Ebenezer Obey's great LPs from the '80s, until I came across this gem in <a href="https://www.dustygroove.com/">Dusty Groove</a> in Chicago a few months ago.</div>
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It turns out that, while <i>Gbeja Mi Eledumare</i> (Afrodisia DWAPS 2252) was released in 1985, it was recorded in 1979. The reason I missed it before is that it was released on Afrodisia instead of the Chief Commander's own Obey label. Some time in the '70s, Obey's label, Decca West Africa, was "indigenized" and transformed into Afrodisia Records, most of its reference numbers retaining the old WAPS or DWAPS prefixes. Around the same time Obey, having obtained the rights to his archive recordings, began releasing them on the Obey imprint, again with the WAPS prefix. Newer recordings had reference numbers beginning with OPS.<br />
<br />
So what I think happened was that <i>Gbeja Mi Eledumare </i>was recorded, never released and Afrodisia somehow retained the rights to it, only to release it a few years later. An excellent recording it is!<br />
<br />
<a href="http://likembe.net/Sounds/Gbeja%20Mi%20Eledumare/01%20Gbeja%20Mi%20Eledumare%20-%20Olorun%20Oba%20Tiwa%20Dowo%20Re%20-%20Aiye%20Ju%20Daniel%20Si%20Iho%20Kinniun%20-%20Rere%20A%20Pe%20Ika%20a%20Pe.mp3"><b>Chief Commander Ebenezer Obey & his Inter-Reformers Band - Gbeja Mi Eledumare / Olorun Oba Tiwa Dowo Re / Aiye Ju Daniel Si Iho Kinniun / Rere A Pe Ika a Pe</b></a><br />
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<a href="http://likembe.net/Sounds/Gbeja%20Mi%20Eledumare/02%20Olorun%20Oba%20Ni%20Baba%20-%20Kosi%20Ohun%20To%20Soro%20Se%20F'Olorun%20-%20Werepe%20Ma%20So%20Mo%20-%20Eni%20To%20Gbera%20Ika.mp3"><b>Chief Commander Ebenezer Obey & his Inter-Reformers Band - Olorun Oba Ni Baba / Kosi Ohun To Soro Se F'Olorun / Werepe Ma So Mo / Eni To Gbera Ika</b></a></div>
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Download <i>Gbeja Mi Eledumare </i>as a zipped file <a href="https://www.mediafire.com/file/9g2bz30cbywh3vw/Gbeja_Mi_Eledumare.zip/file">here</a>.<br />
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<br />Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-5459104099060577976.post-90505946582456258892019-08-31T11:23:00.000-05:002019-08-31T11:23:12.566-05:00"Live" at the Kilimanjaro<div style="text-align: center;">
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An often-overlooked item in the discography of <a href="https://en.wikipedia.org/wiki/Les_Quatre_%C3%89toiles">Les Quatre Etoiles</a>, 1988's <i>Four Stars at the Kilimanjaro</i> (Kilimanjaro International Productions KIP-006-88) purports to be a "live" recording at the Kilimanjaro Club in Washington, DC but is no such thing. While I'm sure Les Quatre Etoiles did perform at the Kilimanjaro, Side One of this LP is obviously a studio recording to which dubbed-in crowd noises have been added! This occasionally occurs in classic African recordings for inexplicable reasons. Sometimes, when the records are reissued, it has been possible to locate the original masters <i>sans </i>the additions. That's when we're lucky, but that usually isn't the case. Oh, well, at least Side Two of <i>At the Kilimanjaro</i> hasn't been defaced in this manner!<br />
<br />
Les Quatre Etoiles (the Four Stars) are, of course, the Congolese super-group that was founded in the early '80s by <a href="https://likembe.blogspot.com/2017/10/une-etoile-brillante.html">Wuta Mayi</a>, <a href="https://en.wikipedia.org/wiki/Nyboma">Nyboma Muan'dido</a>, <a href="https://en.wikipedia.org/wiki/Bopol_Mansiamina">Bopol Mansiamina</a> and <a href="http://www.africanmusiciansprofiles.com/SyranMbenza.htm">Syran Mbenza</a>. They're still around and active! For whatever reason (probably visa-related) Nyboma does not appear here, and has been replaced by drummer <a href="https://www.standardmedia.co.ke/article/1144018945/beat-goes-on-for-veteran-drummer">Komba Bellow</a>, a fine musician in his own right. That begs the question, though - without Nyboma, can this group really claim to be Les Quatre Etoiles? He's a pretty essential part of the ensemble, after all! Despite this, I think <i>At the Kilimanjaro</i> is an excellent recording, phony crowd noises and all. I hope you'll agree!<br />
<br />
<a href="http://likembe.net/Sounds/At%20the%20Kilimanjaro/01%20Kouame%20-%20Elena%20-%20Ayant%20Droit%20-%20Tuti%20-%20Zou-Zou.mp3"><b>Les Quatre Etoiles - Kouame / Elena / Ayant Droit / Tuti / Zou Zou</b></a><br />
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<a href="http://likembe.net/Sounds/At%20the%20Kilimanjaro/02%20Amerika.mp3"><b>Les Quatre Etoiles - Amerika</b></a><br />
<b><br /></b>
<a href="http://likembe.net/Sounds/At%20the%20Kilimanjaro/03%20Djina.mp3"><b>Les Quatre Etoiles - Djina</b></a><br />
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<a href="http://likembe.net/Sounds/At%20the%20Kilimanjaro/04%20Dovi%20Dina.mp3"><b>Les Quatre Etoiles - Dovi Dina</b></a><br />
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Download <i>At the Kilimanjaro</i> as a zipped file <a href="https://www.mediafire.com/file/z98sy7arvsrpuoh/At_the_Kilimanjaro.zip/file">here</a>. By the way, apparently when Syran Mbenza was in DC, he recorded another album, <i>Africa: The Golden Years</i> (African Music Gallery AMG 007), with some of the same musicians. I posted it many years ago <a href="https://likembe.blogspot.com/2008/11/dawn-of-age-of-medley.html">here</a>.<br />
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<br />Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-5459104099060577976.post-60062442882027708542019-06-20T10:21:00.001-05:002019-06-20T20:10:43.824-05:00Ripoff Alert!<div class="separator" style="clear: both; text-align: center;">
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For some time now, a dubious operation called "Kipepeo Publishing," apparently based in Kenya, has been peddling on Amazon CDs made from MP3s downloaded, for free, from this site and others. Moos's <a href="http://www.globalgroovers.com/">Global Groove</a> in particular has also been a prominent victim.</div>
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Now, I want to emphasize that neither I, nor Moos, nor any of our fellow African music bloggers own the rights to this music. We digitize old LPs that are long out of print, we clean up the sound quality as best we can, scan the covers and labels, etc. because we love the music and want to share it with others. Obtaining these recordings often entails considerable expense, travel and so forth (Moos in particular spends thousands of dollars at record fairs digging up these gems). In return we don't expect remuneration, but recognition and gratitude are appreciated.<br />
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We don't have much legal recourse against these shysters, of course. As I say, we don't own the rights to the music. It's disappointing to see Amazon party to this fraud, and supposedly there is an appeals process, which some people have already utilized, to little avail apparently. For my part, I see no point.<br />
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Here's a suggestion: If you're scanning Amazon for some classic African sounds and you see something you're interested in from this "Kipepeo Publishing," do a little internet search. There's a good possibility you'll find it for free here or on some other site. Save your money!<br />
<br />Unknownnoreply@blogger.com9tag:blogger.com,1999:blog-5459104099060577976.post-88346566600580370242019-06-14T10:31:00.000-05:002019-06-14T10:31:55.497-05:00The Ladies of Missema, and Pamelo Mounk'a too!<div class="separator" style="clear: both; text-align: center;">
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The all-female Gabonese choral group Missema was founded in the 1970s, apparently with some official sponsorship, with the purpose of promoting Gabon's President and kleptocrat-for-life <a href="https://en.wikipedia.org/wiki/Omar_Bongo">El Hadj Omar Bongo Ondimba</a> and the ruling <a href="https://en.wikipedia.org/wiki/Gabonese_Democratic_Party">Parti Démocratique Gabonais.</a> This is well-illustrated by today's musical offering, <i>Omar Bongo 20 Ans</i> (Missema Productions M 2005, 1986).<br />
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What makes this LP extra-interesting to me is the presence of <a href="https://fr.wikipedia.org/wiki/Pam%C3%A9lo_Mounka">Pamelo Mounk'a</a>, an outstanding star of the '80s music scene in Congo-Brazzaville. Here Pamelo contributes not only his considerable vocal talents but his arranging skills and apparently many of the backing musicians. <i>Omar Bongo 20 Ans</i> is therefore a worthy and overlooked entry in Mounk'a's stellar discography.<br /><br />Sadly Pamelo Mounk'a passed away, too young, on January 14, 1996. Omar Bongo managed to weather the political changes sweeping Africa in the early '90s, hanging on to power through hook or crook before dying of cancer on June 8, 2009. He was then succeeded in office by his son <a href="https://en.wikipedia.org/wiki/Ali_Bongo_Ondimba">Ali Bongo</a>.<br /><br />Missema too have managed to hang on, at least until the last decade, and continue their praise-singing ways, as exemplified by this video:<br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/GbPKXdl0vj0" width="480"></iframe>
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<b><br /><a href="http://likembe.net/Sounds/Omar%20Bongo%2020%20Ans/01%20Mbela%20Bongo.mp3">Missema - Mbela Bongo</a></b><br />
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<a href="http://likembe.net/Sounds/Omar%20Bongo%2020%20Ans/02%20Missema%2010%20Ans.mp3"><b>Pamelo Mounk'a w. Missema - Missema 10 Ans</b></a><br />
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<a href="http://likembe.net/Sounds/Omar%20Bongo%2020%20Ans/03%20Keli%20Bongo.mp3"><b>Missema - Keli Bongo</b></a><br />
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<a href="http://likembe.net/Sounds/Omar%20Bongo%2020%20Ans/04%20Au%20Gabon%20la%20Vie%20est%20Belle.mp3"><b>Missema - Au Gabon la Vie est Belle</b></a><br />
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<a href="http://likembe.net/Sounds/Omar%20Bongo%2020%20Ans/05%20Josepha.mp3"><b>Missema - Josepha</b></a><br />
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<a href="http://likembe.net/Sounds/Omar%20Bongo%2020%20Ans/06%20Liboue%20la%20Bossi.mp3"><b>Missema - Liboue la Bossi</b></a><br />
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Download <i>Omar Bongo 20 Ans</i> as a zipped file <a href="http://www.mediafire.com/file/68yhqt6c0u67ndb/Omar_Bongo_20_Ans.zip/file">here</a>.<br />
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<br />Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-5459104099060577976.post-84215262022900655762019-05-15T08:17:00.000-05:002019-05-15T08:17:01.018-05:00Kickin' Kikuyu!<div class="separator" style="clear: both; text-align: center;">
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Daniel Kamau's Kikuyu-language <i><a href="https://en.wikipedia.org/wiki/Benga_music">benga</a></i> sounds a little different from the Luo, Kamba and Swahili versions of the music this blog has featured in the <a href="https://likembe.blogspot.com/search?q=Benga">past</a>. Together with the late <a href="https://en.wikipedia.org/wiki/Joseph_Kamaru">Joseph Kamaru</a> he was one of the great innovators and popularizers of the Kenyan sound in the '60s, '70s and '80s. In addition to addressing current issues in his music he participated in the political process as councillor of Gatanga ward north of Nairobi from 1979 to 1992. <i>The Daily Standard</i> of Nairobi <a href="https://www.standardmedia.co.ke/article/1144021638/dk-a-thousand-songs-down-and-still-going">had this to say</a> in 2009, when the great maestro was 42 years into his career:</div>
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Daniel Kamau, popularly known as DK, proudly clings to the title of pioneer of Kikuyu benga music. At 60 and with over 1,000 songs to his credit, DK is unwilling to hang up his cherished guitar. He is scaling new heights by not only producing music videos of his past hits but also releasing new songs. </blockquote>
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When <i>Sunday Magazine</i> paid him a visit one afternoon, DK was busy working on a new video at a music production studio in downtown Nairobi. The soft-spoken man who meets us does not look like a celebrity but the large number of visitors seeking audience with him proves he is no ordinary person. </blockquote>
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"I am recording my 1,013th song and also editing videos for the song "Muiritu wa Nyiri" (Girl from Nyeri), which I released last year," he says as he ushers us into the studio. DK has been a leading figure in music ever since 1967, when he dropped out of Karatina High School while in Form Two due to lack of school fees. </blockquote>
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And so successful has his music career been that the artiste never regrets dropping out of school. At the time, he was already deeply entrenched in music as he had started to sing while in primary school in his home village of Mabanda in Gatanga District. He had learnt how to play the guitar at just ten. </blockquote>
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"I had three older brothers who were musicians and owned a guitar that they used to entertain people in the village. But they never allowed me to touch it as they feared it would spoil me and prevent me from pursuing my education," DK recounts. </blockquote>
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But determined to realise his dream of being a musician and satisfy his curiosity, DK says he would often sneak away with the guitar while his siblings were away and teach himself how to play it. "I would hide nervously in a thick bush behind the main house, praying that they would not come back home and find me toying with their treasured tool of work," DK says. </blockquote>
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He perfected playing the guitar and earned instant eminence when he finally performed in public for the first time. "On Madaraka Day in 1964, my brothers turned up for a public performance too drunk to perform. I offered to play the guitar, only to be become the talk of the village for a week as no one could believe a young boy could be so skilful," he says. </blockquote>
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After dropping out of school, DK says he just had one dream - to hear his voice on radio. He subsequently wrote a letter to a Voice of Kenya presenter, Mrs Kabeberi, requesting assistance so that he could produce his own music. </blockquote>
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"Mrs Kabeberi directed me to musician David Amunga who co-owned a production studio. He helped me release my first record in 1968," he recounts. The album contained the songs "Mami Tiga Guthura" (Mum don’t hate me) and "Kenyatta wa Muigai." DK went on to release five other records with hits such as "Surusuru ni ya ki?" (Why the gossip) and "Muiritu wa Thukuru" (Schoolgirl). But he felt short-changed when he was paid "a meagre Sh450" for all his toil. He shifted to Sokota Productions in 1969 and released three albums that fetched him Sh2,500. </blockquote>
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He used the earnings to establish his own studio, DK Nguvu Sounds, which was located near Tea Room in downtown Nairobi. It is in this studio that he recorded hit songs "Njika na Njika" (Tit for Tat) and "I Love You" in 1970, with the latter getting cross-ethnic approval. </blockquote>
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In the same year, DK made history when his maiden <i>benga </i>hit, "Kanini," sold 9,000 records. His studio became an instant hit, attracting then upcoming stars such as Kakai Kilonzo and Joseph Gicheha. After just over a decade in music, DK had become an irresistible darling of the people in his home village and, inevitably, he says, he found himself entrenched in politics. "I was under pressure to vie for the Gatanga Ward civic seat in 1979. I gave in to the people’s request, contested and won. I was thus forced to mix music with politics until 1992, when I quit politics to fully focus on music," he says. </blockquote>
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With the advance in technology that has made video production cheaper, DK has now turned his mind to shooting videos of his past hits, a move he says has been influenced by public demand. He has already produced five videos of his past music, featuring "Kanini," "Ningwite Nawe" (I have fallen for you), "Kamugunda-ini ka Mahua" (In the flower garden), and "I Love You." And looking over his shoulder, DK admits that he is today a worried man - all because of modern trends in the local music industry. </blockquote>
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He notes that while in the past he could only record four songs in one year, he is baffled to see some modern artistes enter a recording studio and come out with 12 songs in a day. "It took time to record music in the 1970s through the 1990s as we performed as a hobby and our greatest desire was to hear ourselves on radio. Today, music has been turned into a business and this has badly lowered the quality. It is no a surprise that you need a presenter to say whose song is playing. In the past, the music needed no introduction," DK states. </blockquote>
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He is furious about the high level of piracy in the country, saying he was recently shocked to learn that his music was being sold online to Kenyans in the Diaspora without his knowledge. He is also bitter that a local ring tones firm has been illegally selling some of his top songs to mobile phone users for over five years without his consent.</blockquote>
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I'm happy to present <i>The Best of DK Vol. 1</i> (CBS 026), which features some of DK's evergreen hits.</div>
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<b><a href="http://likembe.net/Sounds/The%20Best%20of%20DK%20Vol.%201/01%20I%20Love%20You.mp3">Daniel Kamau - I Love You</a></b></div>
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<b><a href="http://likembe.net/Sounds/The%20Best%20of%20DK%20Vol.%201/02%20Elizabetta.mp3">Daniel Kamau - Elizabetta</a></b></div>
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<b><a href="http://likembe.net/Sounds/The%20Best%20of%20DK%20Vol.%201/03%20Njara%20Ruhi.mp3">Daniel Kamau - Njara Ruhi</a></b></div>
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<b><a href="http://likembe.net/Sounds/The%20Best%20of%20DK%20Vol.%201/04%20Zuwelle.mp3">Daniel Kamau - Zuwelle</a></b></div>
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<b><a href="http://likembe.net/Sounds/The%20Best%20of%20DK%20Vol.%201/05%20Irene.mp3">Daniel Kamau - Irene</a></b></div>
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<b><a href="http://likembe.net/Sounds/The%20Best%20of%20DK%20Vol.%201/06%20Kanini.mp3">Daniel Kamau - Kanini</a></b></div>
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<b><a href="http://likembe.net/Sounds/The%20Best%20of%20DK%20Vol.%201/07%20Nana.mp3"><br /></a></b></div>
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<b><a href="http://likembe.net/Sounds/The%20Best%20of%20DK%20Vol.%201/07%20Nana.mp3">Daniel Kamau - Nana</a></b></div>
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<b><a href="http://likembe.net/Sounds/The%20Best%20of%20DK%20Vol.%201/08%20Ndege%20Ti%20Huungu.mp3">Daniel Kamau - Ndege Ti Hungu</a></b></div>
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<b><a href="http://likembe.net/Sounds/The%20Best%20of%20DK%20Vol.%201/09%20Chiru.mp3">Daniel Kamau - Chiru</a></b></div>
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<b><a href="http://likembe.net/Sounds/The%20Best%20of%20DK%20Vol.%201/10%20Gikuu%20Ti%20Uriga.mp3">Daniel Kamau - Gikuu Ti Uriga</a></b></div>
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<b><a href="http://likembe.net/Sounds/The%20Best%20of%20DK%20Vol.%201/11%20Ucio%20Niguo%20Wendo.mp3"><br /></a></b></div>
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<b><a href="http://likembe.net/Sounds/The%20Best%20of%20DK%20Vol.%201/11%20Ucio%20Niguo%20Wendo.mp3">Daniel Kamau - Ucio Niguo Wendo</a></b></div>
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<b><a href="http://likembe.net/Sounds/The%20Best%20of%20DK%20Vol.%201/12%20What%20Can%20I%20Do.mp3"><br /></a></b></div>
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<b><a href="http://likembe.net/Sounds/The%20Best%20of%20DK%20Vol.%201/12%20What%20Can%20I%20Do.mp3">Daniel Kamau - What Can I Do?</a></b></div>
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Download <i>The Best of D.K. Vol. 1</i> as a zipped file <a href="http://www.mediafire.com/file/598s34b8eq03s8p/The_Best_of_DK_Vol._1.zip">here</a>.</div>
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-5459104099060577976.post-29051165046727309612019-05-09T02:20:00.000-05:002019-05-09T02:20:01.122-05:00Pumped-Up Makossa<br />
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As the title would have it, <i>Turbo-Hits '89</i> (Editions Haïssam-Records MH 112, 1989) is a collection of remixed <i>makossa </i>(and a couple not-so-<i>makossa</i>) tracks from the house of Gabonese producer Moussa Haïssam.<br />
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Hilarion Nguema from Gabon leads off this set with an instrumental version of his tune "SIDA." Nguema is one of the biggest stars Gabon has produced, starting out with Orchestre Afro-Succès in the '70s before becoming a solo artist in the '80s.<br />
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Ben Decca from Cameroun has been on the music scene for 40 years and has recorded 25 albums and numerous singles. He is considered a paragon of the <i>makossa </i>sound and is the oldest of a musical family, including <a href="https://www.youtube.com/watch?v=jS2Ybmcalyw">Grace Decca</a>, who has also made quite a career for herself.<br />
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Dina Bell was a leading light of the Camerounian <i>makossa </i>scene in the '80s, scoring his first hit, "Yoma Yoma," in 1979. In the '90s his output slowed and he hasn't been heard from recently.<br />
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Moussa Haïssam was a leading producer of Camerounian music in the '80s and contributes the instrumental "Ipanema" here. His native country, Gabon, is not well known for its musical output, but wields an outsize influence across the continent and around the world through the pan-African radio station <a href="https://de.wikipedia.org/wiki/Radio_Africa_No._1">Africa No. 1</a>. It can be heard on shortwave and online <a href="https://tunein.com/radio/Africa-N1-945-s50236/">here</a>.<br />
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<b><a href="http://likembe.net/Sounds/Turbo-Hits%20'89/01%20SIDA%20(Instrumental).mp3">Hilarion Nguema - SIDA (Instrumental)</a></b><br />
<b><br /><a href="http://likembe.net/Sounds/Turbo-Hits%20'89/02%20Amour%20a%20Sens%20Unique.mp3">Ben Decca - Amour a Sens Unique</a></b><br />
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<b><a href="http://likembe.net/Sounds/Turbo-Hits%20'89/03%20Tumba%20Longo.mp3">Ben Decca - Tumba Longo</a></b><br />
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<b><a href="http://likembe.net/Sounds/Turbo-Hits%20'89/04%20Ipanema.mp3">Moussa Haïssam - Ipanema</a></b><br />
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<b><a href="http://likembe.net/Sounds/Turbo-Hits%20'89/05%20Dilango-Longo.mp3">Dina Bell - Dilango Longo</a></b><br />
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<b><a href="http://likembe.net/Sounds/Turbo-Hits%20'89/06%20Okone%20Yanem.mp3">Hilarion Nguema - Okone Yanem</a></b><br />
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<b><a href="http://likembe.net/Sounds/Turbo-Hits%20'89/07%20Muendi%20Mu.mp3">Dina Bell - Muendi Mu</a></b><br />
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Download <i>Turbo-Hits '89</i> as a zipped file <a href="http://www.mediafire.com/file/vua3kzkmw2e7rx6/Turbo-Hits_%252789.zip/file">here</a>. The track listings on the album sleeve are inaccurate. I've followed the track listing on the label.<br />
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<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-5459104099060577976.post-48156589611441759302019-05-04T00:01:00.000-05:002019-05-04T00:01:00.779-05:00Kinshasa Acoustic: Ali & Tam's avec l'Orchestre Malo<div class="separator" style="clear: both; text-align: center;">
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Ali and Tam's together with Orchestre Malo wrap up our retrospective look at three interesting Congolese LP's released in the mid '80s by the Swiss label Plainisphare. Their contribution is <i>Malo</i> (Plainisphare ZONE Z-5, 1986), and it's arguably the most interesting and creative of them.</div>
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Aly Sow Baidy and Tamisimbi Mpungu were professors at the Institut National des Arts du Zaïre in Kinshasa and founded Orchestre Malo "...to revalue and to disseminate this authentic musical culture in the spirit of a broad openness to current movements of music." Toward this end they combined traditional Congolese instruments with modern ones "to give birth to new sounds while respecting traditional drives." In a review of the three Plainispare releases in Volume 6, issue 4 of <i>The Beat</i> from 1987, Elizabeth Sobo wrote:</div>
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...From the Switzerland-based Plainisphare label comes three novelty albums, all recorded in Kinshasa, Zaire, between July 1984 and October 1985, and none of which bears much resemblance to the well-known Kinshasa sound. </blockquote>
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Ironically, the first of these is titled <i>Kinshasa</i>, by Kawende et ses Copains. This production is not consistently great, but it does contain two selections that deserve praise. "Ekusulu" is gentle, guitar-dominated folk music, made special by a youthful-voiced female singer who delivers the Lingala lyrics in a manner quite unlike her classy, professional counterparts in Kinshasa, but who projects an innocence that makes her one solo appearance on this lp truly memorable. "Eh Ya Ele" is reminiscent of some recent material from the Zairean group, Somo Somo, differing from the standard Kinshasa sound both in language - it is done only partly in Lingala by a male lead singer - and in its generous use of percussions. The nine tracks on this album offer a variety of music not found on many other collections (though most have an emphasis on drumming and folk guitar in common) and a mix of languages from south-central and eastern Africa. </blockquote>
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While the Kawende disk at least presents a glimpse of some uncommon but authentic Central African music, Ali and Tam's Orchestre Malo on their self-titled lp can make no such claim. The group is apparently named for its two principals: Aly Sow Baidy (whose name strongly suggests a West African origin) and Tamisimbi Mpungu. The languages heard on the album are no help in categorizing this effort, and the music's rhythms, instruments and vocals are an odd combination that gives no hint of a dominant regional influence. Two tracks, "Tcheko" (you can hear a few words in both Lingala and Swahili here) and "Anita," include some nice horn playing. And the vocal on "Sougmad" is definitely intriguing — in fact quite likeable —but with a sound that is more like Khartoum than Kinshasa. "Tshikona," an instrumental cut, is a low point, a senseless and unsatisfying Fela imitation. This record has little to offer except its originality and even that runs thin at times... </blockquote>
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...If these recordings suggest a trend towards the promotion of music from places we seldom hear, it is a welcome change indeed. But they also demonstrate some of the pitfalls of "mixed" music, which often ends up representing no particular region or style...</blockquote>
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I must say I disagree with this assessment! Ms. Sobo's writings in the <i>The Beat</i> were often informative but just as often infused with an intolerance toward any sort of African music that didn't fit her dogmatic conception of what "African Music" was supposed to sound like. Heaven forbid that Congolese and West African musicians might want to record together, or make music that doesn't represent any "particular region or style!" In my opinion this disc by Orchestre Malo succeeds admirably. In the years since 1986, Congolese music, at least the stuff we've heard, has become hopelessly formulaic. One wishes that the example set by this disc had been taken to heart and emulated more.</div>
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<b><a href="http://likembe.net/Sounds/Malo/01%20Malo.mp3">Ali & Tam's avec l'Orchestre Malo - Malo</a></b></div>
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<b><a href="http://likembe.net/Sounds/Malo/02%20Tcheko.mp3">Ali & Tam's avec l'Orchestre Malo - Tcheko</a></b></div>
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<b><a href="http://likembe.net/Sounds/Malo/03%20Mulogi.mp3">Ali & Tam's avec l'Orchestre Malo - Mulogi</a></b></div>
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<b><a href="http://likembe.net/Sounds/Malo/04%20Tshikona.mp3">Ali & Tam's avec l'Orchestre Malo - Tshikona</a></b></div>
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<b><a href="http://likembe.net/Sounds/Malo/05%20Anita.mp3">Ali & Tam's avec l'Orchestre Malo - Anita</a></b></div>
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<b><a href="http://likembe.net/Sounds/Malo/06%20Sougmad.mp3">Ali & Tam's avec l'Orchestre Malo - Sougmad</a></b></div>
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Download <i>Malo</i> as a zipped file <a href="https://www.mediafire.com/file/uk4yy9g1xbbg31a/Malo.zip/file">here</a>. </div>
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Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-5459104099060577976.post-83549500462728757412019-04-29T06:59:00.000-05:002019-04-29T06:59:33.925-05:00Kinshasa Acoustic: Orchestre Sim-Sim International<br />
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Here is the second of three "unorthodox" Congolese albums released by the Swiss label Plainisphare in the mid-'80s. Nsimba Vuvu was a former associate of <a href="https://en.wikipedia.org/wiki/Manu_Dibango">Manu Dibango</a> and assembled Orchestre Sim-Sim International from members of a number of bands then extant in Kinshasa. Apparently their only recording, <i>Nasiwedi</i> (Plainisphare ZONE Z-4, 1986) continues the casual ambiance of the first album in this series, <i>Kinshasa!, </i>by Kawende et ses Copains (Plainisphare ZONE Z-1, 1984), which I posted a <a href="https://likembe.blogspot.com/2019/04/kinshasa-acoustic-kawende-et-ses-copains.html">few days ago</a>. Apart from one electric guitar, <i>Nasiwedi</i> is also acoustic and refreshingly casual in its approach, almost like a recorded jam session.<br />
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Researching this blog I often have occasion to consult my collection of back issues of <i>The Beat</i>, an indespensible magazine that was published in the US from the early '80s to the early 2000s. Volume 6, Number 4 from 1987 contains a rather dismissive review of the Plainsphare series by Elizabeth Sobo, who did admit to enjoying Orchestre Sim-Sim's album:<br />
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By far the best of the three Plainisphare contributions is the one by Orchestre Sim-Sim. Its opening selection, "Nasiwedi," combines Congolese guitars reminiscent of the Le Peuple productions of years past, highlife-style horns, sharp percussion, a fascinating, catchy beat and two rather ordinary (but adequate) male voices. Perhaps the best track and the one closest to contemporary Kinshasa music is "Sekele," a captivating dance number sung in Lingala. "Kokiko," another welcome addition to the album, is slower, with an East African flavor and alternating male and female lead vocals. </blockquote>
Sobo seems to have a rather dogmatic view of how "real" African music is supposed to sound. As I noted about <i>Kinshasa!</i>, these three recordings, while different from the Congolese music we usually hear, are undoubtedly authentic and probably representative of a whole stratum of sounds that is seldom recorded. In a few days I'll post the final entry in the Plainisphare series, an album by Ali & Tam's and Orchestre Malo.<br />
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<a href="http://likembe.net/Sounds/Nasiwedi/01%20Nasiwedi.mp3"><b>Orchestre Sim-Sim International - Nasiwedi</b></a><br />
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<a href="http://likembe.net/Sounds/Nasiwedi/02%20Eh!%20Ya%20Ya.mp3"><b>Orchestre Sim-Sim International - Eh! Ya Ya</b></a><br />
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<a href="http://likembe.net/Sounds/Nasiwedi/03%20Sekele.mp3"><b>Orchestre Sim-Sim International - Sekele</b></a></div>
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<a href="http://likembe.net/Sounds/Nasiwedi/04%20Mio%20Nsamu.mp3"><b>Orchestre Sim-Sim International - Mio Nsamu</b></a></div>
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<a href="http://likembe.net/Sounds/Nasiwedi/05%20Ngogo.mp3"><b>Orchestre Sim-Sim International - Ngogo</b></a></div>
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<a href="http://likembe.net/Sounds/Nasiwedi/06%20Nakupenda.mp3"><b>Orchestre Sim-Sim International - Nakupenda</b></a></div>
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<a href="http://likembe.net/Sounds/Nasiwedi/07%20Makom-Mese.mp3"><b>Orchestre Sim-Sim International - Makom-Mese</b></a></div>
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<a href="http://likembe.net/Sounds/Nasiwedi/08%20Kokiko.mp3"><b>Orchestre Sim-Sim International - Kokiko</b></a></div>
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Download <i>Nasiwedi</i> as a zipped file <a href="http://www.mediafire.com/file/nbvlyqw5sycl3kb/Nasiwedi.zip/file">here</a>.<br />
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<br />Unknownnoreply@blogger.com6tag:blogger.com,1999:blog-5459104099060577976.post-4100523320980778852019-04-24T12:03:00.002-05:002019-04-24T20:36:44.537-05:00Kinshasa Acoustic: Kawende et ses Copains<div class="separator" style="clear: both; text-align: center;">
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<i>Kinshasa!</i>, by Kawende et ses Copains (Plainisphare ZONE Z1, 1984), was the first of three LPs released in the mid-'80s by the Swiss recold label Plainisphaire. These pressings, all recorded in Kinshasa, in the country then known as Zaïre and today as the Democratic Republic of Congo, are notable for sounding <i>not really very much</i> like what is generally perceived as Congolese music at all! This is no reflection on their authenticy, though. I'm sure they're quite typical of the sort of genuinely <i>popular</i> Congolese music that is never recorded, or recorded but not considered "commercially viable" outside of the country.<br />
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The sound here is loose and unpolished, probably recorded in one take. The musicians are not slick but all the more affecting for that. I don't know who Kawende and his group are as the liner notes give little information. I'm sure you'll enjoy this!<br />
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<b><a href="http://likembe.net/Sounds/Kinshasa!/01%20Kinshasa!.mp3">Kawende et ses Copains - Kinshasa!</a></b><br />
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<b><a href="http://likembe.net/Sounds/Kinshasa!/02%20Tshura.mp3">Kawende et ses Copains - Tshura</a></b><br />
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<b><a href="http://likembe.net/Sounds/Kinshasa!/03%20Sawande.mp3">Kawende et ses Copains - Sawande</a></b><br />
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<b><a href="http://likembe.net/Sounds/Kinshasa!/04%20Ekulusu.mp3">Kawende et ses Copains - Ekulusu</a></b><br />
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<b><a href="http://likembe.net/Sounds/Kinshasa!/05%20Mtoto%20Mpotevou.mp3">Kawende et ses Copains - Mtoto Mpotevou</a></b><br />
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<b><a href="http://likembe.net/Sounds/Kinshasa!/06%20Kabibi.mp3">Kawende et ses Copains - Kabibi</a></b><br />
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<b><a href="http://likembe.net/Sounds/Kinshasa!/07%20Eh%20Ya%20Ele.mp3">Kawende et ses Copains - Eh Ya Ele</a></b><br />
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<b><a href="http://likembe.net/Sounds/Kinshasa!/08%20Tshingoma.mp3">Kawende et ses Copains - Tshingoma</a></b><br />
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<b><a href="http://likembe.net/Sounds/Kinshasa!/09%20Sosange%20Mosi.mp3">Kawende et ses Copains - Sosange Mosi</a></b><br />
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Download <i>Kinshasa!</i> as a zipped file <a href="https://www.mediafire.com/file/yohebuhzqtsdwas/Kinshasa%21.zip/file">here</a>. I will soon be posting the other two albums in this series, <i>Nasiwedi </i>(Plainisphare ZONE Z-4, 1985), by Orchestre Sim-Sim International, and <i>Malo </i>(Plainisphaire ZONE Z-5, 1986), by Ali & Tam's avec l'Orchestre Malo.<br />
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<br />Unknownnoreply@blogger.com9tag:blogger.com,1999:blog-5459104099060577976.post-41875548005611575722019-04-10T15:53:00.000-05:002019-04-10T15:53:22.818-05:00Reggae Senegal<div class="separator" style="clear: both; text-align: center;">
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Barry Allama Boy is a musician about whom I've been able to find nothing, and I mean NOTHING, on the internet or anywhere else. This cassette, <i>Medina Larabi</i>, was recorded in Ivory Coast, but I believe he is from Senegal, probably from the southern Casamance region. I like this indigenous Senegalese take on reggae music and I hope you will too!</div>
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<a href="http://likembe.net/Sounds/Medina%20Larabi/01%20Larabi.mp3"><b>Barry Allama Boy - Larabi</b></a></div>
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<a href="http://likembe.net/Sounds/Medina%20Larabi/02%20Iman.mp3"><b>Barry Allama Boy - Iman</b></a></div>
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<a href="http://likembe.net/Sounds/Medina%20Larabi/03%20Truandage.mp3"><b>Barry Allama Boy - Truandage</b></a></div>
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<a href="http://likembe.net/Sounds/Medina%20Larabi/04%20Awario.mp3"><b>Barry Allama Boy - Awario</b></a></div>
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<a href="http://likembe.net/Sounds/Medina%20Larabi/05%20Gniman.mp3"><b>Barry Allama Boy - Gniman</b></a></div>
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<b><a href="http://likembe.net/Sounds/Medina%20Larabi/06%20Ressources.mp3">Barry Allama Boy - Ressources</a></b></div>
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Download <i>Medina Larabi</i> as a zipped file <a href="https://www.mediafire.com/file/il54ljgwcvbnncn/Medina_Larabi.zip/file">here</a>.</div>
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Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-5459104099060577976.post-42202460102526193052019-04-05T20:23:00.000-05:002019-04-05T20:27:34.060-05:00Music For Ramadan<div class="separator" style="clear: both; text-align: center;">
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I just realized that Ramadan this year begins the evening of May 5 and ends the evening of June 4. It's a little early, but I thought it would be nice if we could listen to some music from Nigeria that is intended for this auspicious occasion.<br />
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There are two terms for Yoruba Islamic music used to arouse the faithful during Ramadan: <i>Ajísáàri </i>and<i> </i><i>wéré. </i><i>Ajísáàri </i>refers either to the style of music or the person who performs it. <i>Ajísáàri</i> is usually performed solo and <i>wéré </i>by ensembles. <i>Ajísáàri </i>and<i> </i><i>wéré</i> are performed by men. A related genre, <i>wákà</i>, is performed by women. These popular Islamic styles are percursors of secular <i><a href="https://likembe.blogspot.com/search/label/Fuji">fújì</a> </i>music, which is quite popular in Yorubaland. Christopher Alan Waterman discusses this music in his essential study <i>Jùjú: A Social History and Ethnography of an African Popular Musc</i> (University of Chicago Press, 1990):<br />
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Extensive Islamic conversion led to the development of musical genres performed during Muslim holidays (e.g., Ramadan, Id El-Fitr) and ceremonies marking the return of pilgrims from Mecca (<i>àláji</i>, m.; <i>àlájà</i>, f.). One of the earliest of these genres was <i>wákà</i>, sung by women and accompanied by beaten <i>sélí </i>or <i>péréṣéké</i>, pounded tin discs with metal rings attached. Another popular genre, <i>wéré </i>or <i>ajísáàri</i>, was performed by groups of young men during the Ramadan fast to wake the faithful for their early meal. Both of these genres incorporated aspects of Islamic cantillation — nasalized, tense vocal quality, melismatic text settings, microtonal melodic embellishments, and Qur'anic texts — into performances guided by Yoruba musical values and techniques. <i>Wákà</i> and <i>wéré</i> were associated with the high status of Islam in traditional Lagos and the continued vitality of economic networks linking the Yoruba to Muslim societies in the northern hinterland. </blockquote>
Today's musical offereing, <i>Itan Anabi Muhammad</i> (Leader Records LRCLS 61, 1987), is one of a number recorded by the youth group of the Ansar-Ud-Deen Society of Lagos. The Society itself is a fraternal and educational association founded by Yoruba Muslim notables in 1923. It was a response to the ascendence of Christian elites and had a reformist conception of Islam which sought to reconcile it with modern ideas.<br />
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<b><a href="http://likembe.net/Sounds/Itan%20Anabi%20Muhammad/01%20Yatarikan%20Li%20Solathi%20-%20Itan%20Anabi%20Muhammad.mp3">Ansar-Ud-Deen Youth (Lagos Branch) - Yatarikan Li Solathi / Itan Anabi Muhammad</a></b><br />
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<b><a href="http://likembe.net/Sounds/Itan%20Anabi%20Muhammad/02%20Alhamdu%20Lil'Lahi.mp3">Ansar-Ud-Deen Youth (Lagos Branch) - Alhamdu Lil'Lahi</a></b><br />
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<b><a href="http://likembe.net/Sounds/Itan%20Anabi%20Muhammad/03%20Latarkanana%20Ilal%20Ahwah%20-%20Eje%20Ka%20Ronu%20Eyin%20Araiye%20-%20Bi%20Al%20Ouyaoma%20Ba%20De.mp3">Ansar-Ud-Deen Youth (Lagos Branch) - Latarkanana Ilal Ahwah / Eje Ka Ronu Eyin Araiye / Bi Al Ouyaoma Ba De</a></b><br />
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Download <i>Itan Anabi Muhammad</i> as a zipped file <a href="https://www.mediafire.com/file/lns6v1h4pbfhw4m/Itan_Anabi_Muhammad.zip/file">here</a>.<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5459104099060577976.post-81310080312501445162019-03-25T09:40:00.000-05:002019-03-25T09:40:08.603-05:00Back to the Village<div class="separator" style="clear: both; text-align: center;">
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It's time for another deep dive into the world of "Igbo Blues"- real village music from southeastern Nigeria!<br />
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I know nothing about Goddy and Achinkwa and their musical group. This LP, <i>Anya Ukwu Adiro Nma</i> (Nigerphone NXLP 014, 1989), though, is one of the best examples of this genre I've heard, displaying the full panoply of traditional bells and percussion - <i>ogene, onye ekwe, igba</i> and the like. Enjoy!<br />
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<b><a href="http://likembe.net/Sounds/Anya%20Ukwu%20Adiro%20Nma/01%20Uchicha%20Melu%20Ife%20Ebolu%20Oke.mp3">Goddy na Achinkwa Musical Group - Uchicha Melu Ife Ebolu Oke</a></b><br />
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<b><a href="http://likembe.net/Sounds/Anya%20Ukwu%20Adiro%20Nma/02%20Ezigbo%20Omume%20Akaka.mp3">Goddy na Achinkwa Musical Group - Ezigbo Omume Akaka</a></b><br />
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<b><a href="http://likembe.net/Sounds/Anya%20Ukwu%20Adiro%20Nma/03%20Anya%20Ukwu%20Adiro%20Nma.mp3">Goddy na Achinkwa Musical Group - Anya Ukwu Adiro Nma</a></b><br />
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<b><a href="http://likembe.net/Sounds/Anya%20Ukwu%20Adiro%20Nma/04%20Lagos%20Special%20(Ego%20Igwe).mp3">Goddy na Achinkwa Musical Group - Lagos Special (Ego Igwe)</a></b><br />
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Download <i>Anya Ukwu Adiro Nma </i>as a zipped file <a href="http://www.mediafire.com/file/yax91c53cgvpce4/Anya_Ukwu_Adiro_Nma.zip/file">here</a>.<br />
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