Since achieving independence from Portugal in 1974, the small west African nation of Guinea-Bissau hasn't been much in the news until recently, when a series of political upheavals, fueled in part by drug trafficking, has brought it to the world's attention.
Bissau's music is also little-known, but Super Mama Djombo and Kaba Mane have achieved some recognition outside the country. Another prolific Bissau artist is Ramiro Gómes Días, better known as Ramiro Naka, or sometimes Naka Ramiro. He was born in 1955 and formed his first band, N'kassa Cobra, sometime around Independence. His disagreements with Bissau's new rulers led him to relocate to Lisbon in 1976, and later to Paris, where he established the Orchestre de Guinea-Bissau, which achieved some distinction in the lively African music scene as the foremost purveyor of Bissau's indigenous Goumbé style.
A series of excellent, if not always well-known recordings has followed, and Naka has also established himself as an actor in the nascent Guinea-Bissau film industry. I hope you will enjoy these selections from his early recording career, all released in the 1980s.
In "Ou Moundou Balas," from his album Je Viens d'Ailleurs (Rá Dya Music DYA 81055, 1983), Ramiro Naka sings in Mandjacque, "The world of singers is considered to be a crazy world. But in my eyes this world is more important than being a king. I will sing about it to the new world":
Ramiro Naka & l'Orchestre de la Guinee-Bissau - Ou Moundou Balas
"Fanta Mané," also from Je Viens d'Ailleurs, is in the Portuguese-based Crioulo language of Guinea-Bissau and the Casamance region of Senegal. It is about a boy who traveled to the town of Farim to meet the beautiful Fanta Mané. In this way he discovered the happiest city in Guinea-Bissau:
Ramiro Naka & l'Orchestre de la Guinee-Bissau - Fanta Mané
"Meu Trabalho," from Bikelia Ma Fiancée (Ramiro Naka RA 81065) expresses Naka's philosophy of life: "I prefer to entertain you so that you can forget life's chimeras. It's impossible to do both at the same time. Earning money is nice, but it is still necessary to do what one wants":
Ramiro Naka & l'Orchestre de la Guinee-Bissau - Meu Trabalho
Also from Bikelia Ma Fiancée. "I never get tired of talking to you about Guinea-Bissau. She is found at the end of the world in a small corner, but she exists all the same":
Ramiro Naka & l'Orchestre de la Guinee-Bissau - M'bin de Lundju
The title track of Bikelia. "You arrived with only one glance and only one smile. You changed my life. For freedom let us remain good friends in happiness and keep trouble far from our marriage":
Ramiro Naka & l'Orchestre de la Guinee-Bissau - Bikelia Kelly
Na Bolon (N'kassa Cobra NK 04880) finds Ramiro Naka reuniting with his old band N'kassa Cobra (who also did at least one recording on their own, 1995's Lundju), and hewing closer to the "mainstream" African sound. Unfortunately, summaries of the lyrics aren't available:
Ramiro Naka & N'kassa Cobra - Na Bolon
Ramiro Naka & N'kassa Cobra - Kara Bacile
Ramiro Naka & N'kassa Cobra - Nha Indimigo
Many thanks to my daughter Aku for translating the liner notes from Je Viens d'Ailleurs and Bikelia Ma Fiancée.
Sunday, May 3, 2009
Ramiro Naka Ramiro
Posted by John B. at 10:34 AM 3 comments
Labels: Goumbé, Guinea-Bissau, Ramiro Naka
Tuesday, April 21, 2009
Tilahun Gessesse is Dead
His wife, Roman Bezu, said that he passed away while she was taking him to the nearest private hospital. “It was unfortunate that he couldn’t able to get medical assistance as most clinics had no doctors due to the Ethiopian Easter,” Roman added. Family sources also said that Tilahun will be buried in public funeral scheduled on Wednesday, 22 April, at Holy Trinity Church in Addis Ababa. Tilahun was attacked on his throat the same day, 16 years ago. Many were surprised by the coincidence. Tilahun had received an Honorary Doctorate Degree from Addis Ababa University, in appreciation of his contribution to Ethiopian music.
I was saddened to hear of the death Sunday of a true master of Ethiopian music, Tilahun Gessesse, who has been the subject of several posts here at Likembe. The BBC reports:
Ethiopian Media Forum writes:
The popular Ethiopian singer, Tilahun Gessesse, has died at the age of 68. He had been the most dominant figure in Ethiopian music for more than half a century and will receive a state funeral later this week.
Ethiopian radio and television interrupted programmes to broadcast tributes to the singer.
He started performing in the days of the Emperor Haile Selassie, and was for a time the lead singer in his imperial bodyguard band.The BBC's Elizabeth Blunt in Addis Ababa says that over the years, his plaintive tenor voice sang of love, family and friendship, as well as the more public themes of liberty, unity and justice.
He had been in poor health in recent years because of diabetes.
In honor of this consummate professional, here are three tracks from Tilahun's 1995 release Wegen Alegne (Ethio-Grooves EG- 95-1):
The legendary Ethiopian singer, Dr. Tilahun Gessesse passed away on Sunday due to a sudden heart attack, EMF confirmed the news from close family sources. Dr. Tilahun has died at the age of 69, just hours after a surprise return from USA with his wife to celebrate the Ethiopian Easter.
Tilahun Gessesse - Aykedashim Libe
Tilahun Gessesse - Ethiopia
Tilahun Gessesse - Ene Alamaregnem
Many thanks to Andreas Wetter of Ntama Journal of African Music for bringing this sad news to my attention. Andreas also points out that I mis-spelled Tilahun's name in the G'eez script in the graphics in my last two posts concerning him. Sigh! I'll have to go back and correct that at some point.
Posted by John B. at 3:43 PM 9 comments
Labels: Ethiopia, Tilahun Gessesse
Friday, April 10, 2009
More Senegal Swag
Aku and I recently returned from a trip out East for Installment Two of the Spring Break College Tour. I'm happy to report that she's been accepted by a number of renowned institutions - the problem now is to figure out how to pay for the school she finally decides on!
Landing in New York of course we had to make a beeline for Little Senegal, for Thiebou Yaap, Diiby, Mafé, and pirated CDs by the armful! To hear some of the music we picked up, scroll down.
After a tour of Fordham University (we checked out NYU & Columbia last year) it was off to Boston, where we had dinner with Uchenna of With Comb & Razor fame at Asmara, an excellent Eritrean restaurant in Cambridge, and toured Boston University the next morning. Suitably impressed, we departed for Montréal and world-renowned McGill University.
Never having been there, my impressions of Québéc have all been second-hand: following the traumatic events of 1970, when martial law was declared in the province; reading Pierre Vallières' White Niggers of America; the subsequent election of the separatist Parti Québécois and the ensuing "language wars." So, I didn't know what to expect. Unfortunately, Aku's French-language skills weren't put to the test - everybody we met was enthusiastically bilingual, and often multi-lingual.
I should have asked the crew at Masala for some travel advice before the trip. I'm sure they could have steered us to the (so I'm told) happenin' Afro/Latin/Caribbean scene in Montréal, but as time was at a premium, we had to content ourselves with wandering the streets around our hotel, mainly in the Vieux Montréal area. Rapidly gentrifying, it still retains a scruffy charm and thankfully hasn't yet been turned into a French-Canadian theme park. Towering cathedrals, funky old architecture and restaurants abound.
You may know that I love good food almost as much as I love good music, and it's apparent that Montréal is a serious food town. French food stars, of course, but just about any cuisine can be found easily. Unfortunately, we didn't get to sample poutine, and we missed out on the legendary Au Pied de Cochon restaurant, but we did follow our guidebook's advice and had a lovely meal at Boris Bistro on rue McGill. I had the Duck Magret with cardamom espresso sauce, and Aku had Duck Risotto, both truly delightful, and reasonably priced as well. Finished off with Tarte Tatin and espresso, it was truly a meal for the ages. The staff couldn't have been nicer, and the manager came over and had a friendly chat with us.
Anybody have any suggestions about what to see, do, eat or hear in Montréal? I definitely want to go back again!
Now to the music we obtained in Little Senegal. I'd wanted to showcase selections from a number of musicians, but one stood out: multi-instrumentalist and vocalist Ousmane Diallo, better known as Ouza, is a "musician's musician" who has achieved cult status in Senegal, not only for his fine music but for his socially-conscious lyrics and his run-ins with the authorities. Over the years he has associated with a series of female backup groups - Les Brancheés, Les Ouzettes and Les 4 Femmes dans le Vent, as well as the Ballet Nationale and the Orchestre Nationale du Senegal. He remained mostly unknown outside of Senegal until 2001 & 2002, when two compilation CDs, Ouza & ses Ouzettes 1975-1990 (Popular African Music PAM OA 208) and Best of Ouza (Africa Productions 01028-2) were released.
The tunes I've chosen here well display his unique blend of mbalax, funk, r&b and jazz.
Here are two tracks from 1975-1990. "Guajira," of course, is an old Cuban song, while "Diriyankee," which originally appeared on the cassette Nakhe M'Baye (GDL 001, 1982) addresses the exploitation of African resources by the Western world:
Ouza et ses Ouzettes - Guajira
Ouza et le Nobel - Diriyankee
Best of Ouza features music from the latter part of the maestro's career. "La Sante" originally appeared on the 2000 cassette Le Vote (Origines), while "Tamboulaye" is from Sen Sougnou Sama (Talla Digne), which was issued in 1997:
Ouza - La Sante
Ouza ack Ndiaguamarees - Tamboulaye
Diapason Ouza (Keur Serigne Fall) is a live recording released in 1996:
Ouza - Gouye Gui
Ouza - Xadimo
20 Ans?, about which I've been unable to find any recording information, is also apparently a live recording:
Ouza - SIDA Retro
Ouza - Boul Teury
The picture at the top of this post is taken from Ouza & ses Ouzettes 1975-1990. More Senegal swag in a future post. More non-Senegal music too!
Posted by John B. at 10:00 AM 9 comments
Labels: African Restaurants, Food, Mbalax, Ouza, Senegal
Sunday, March 22, 2009
Africa Roots Vol. 4
I'll be out of town for a week and don't expect to be able to blog, but I wanted to get something in, so this one's a quickie.
I never managed to snag Vols. 1-3 of the legendary Africa Roots series, recorded at the Melkweg in Amsterdam in the early '80s. I did get hold of the fourth and final (?) installment, and what a wonderful recording it is!
Click on the picture below to read about the artists and the songs. The standout here is Mali's legendary Salif Keita along with the equally fabled Kante Manfila and Ousmane Kouyate, who deliver a scorching rendition of the Ambassadeurs classic "Primpin." Senegal's Baaba Maal, Algeria's Cheb Mami, Angola's Bonga and A.B. Crentsil from Ghana don't disappoint either with inspired renditions of some of their greatest songs. It's all good!
Listening to these tracks will take some of you back to the exciting days of the '80s when every day brought a new revelation for us African music fans and World Music™ had yet to be conceived. Enjoy!
Salif Keita & Les Ambassadeurs - Primpin
Baaba Maal & l'Orchestre - Dental
Baaba Maal & l'Orchestre - Yela
Baaba Maal & l'Orchestre - Lomtoro
Cheb Mami - Sanlou Ala Enabi
Bonga - Kua' Sanzala
Bonga - Camin Longe
A.B. Crentsil - Osokoo
A.B. Crentsil - Atia
A.B. Crentsil - Ahurusi
Posted by John B. at 6:03 AM 4 comments
Labels: A.B. Crentsil, Algeria, Angola, Baaba Maal, Bonga, Cheb Mami, Ghana, Highlife, Mali, Salif Keita, Senegal
Tuesday, March 17, 2009
Racines Africaines et Feeling Jazzy
Idrissa Diop's LP Femme Noire (Volume LK 0188, 1987) is complimentary, and a companion of sorts, to Seydina Insa Wade's Yoff (Disques Esperance ESP 8415, 1985), featured in my last post.
Superficially, of course, Diop's electronic explorations couldn't sound more different from Yoff's mellow groove. But Diop was the featured percussionist on Yoff, and both discs share a willingness to push the boundaries of the mainstream Senegal sound. According to the profile on Diop's MySpace page, Diop and Wade pursued parallel careers, both playing in the Rio Sextet and Calypso Jazz in Dakar besides collaborating in the folk group Tabala. Since parting way with Wade in the '80s Diop has pursued an adventurous career in Paris, founding the jazz group Sixun and performing with the likes of Harry Belafonte, Carlos Santana, Wayne Shorter and other musical luminaries.
The musicians on Femme Noire are unfortunately uncredited, although Diop gives thanks on the album sleeve to Xalam and French musician Jean-Philippe Rykiel.
Idrissa Diop - Yaracodo
Idrissa Diop - M'bidane (La Bonne)
Idrissa Diop - Gueule Tapée
Idrissa Diop - Worunana
Idrissa Diop - Kawele Ciosane (Ouverture)
Idrissa Diop - Djiguene Diou Nioule (Femme Noire)
Idrissa Diop - Sahel
Posted by John B. at 6:51 PM 4 comments
Labels: Idrissa Diop, Jazz, Senegal, Wolof, Xalam
Sunday, March 15, 2009
A Senegalese Auteur
I ordered Seydina Insa Wade's LP Yoff (Disques Esperance ESP 8415, 1985) from Sterns many years ago not knowing anything about the album or the artist, and it was a revelation. The LP achieves a magical blend of acoustic and electric sounds that stands out even among the many great Senegalese recordings of the '80s.
I had always thought that Yoff was a one-off effort by an otherwise obscure musician, but in researching this post I discovered that Seydina Insa Wade is anything but a flash in the pan. He is a highly accomplished auteur and composer whose work is greatly respected by all the giants of Senegalese music.
Wade was born in Dakar in 1948 and began his musical career in the Rio Sextet, later moving on to Calypso Jazz, with whom he performed in the first Festival Mondial des Arts Nègres (FESTAC I) in 1966. A sympathizer of the political Left in Senegal, Wade's compositions took on many of the social issues of the day. In the late '60s he briefly joined the first incarnation of Xalam, moving on to the Negro Stars, La Plantation and the Sahel Band.
It was in the early 1980s that Wade achieved what many consider the apotheosis of modern Senegalese folk music with the formation of the acoustic group Tabala, featuring percussionist Idrissa Diop and multi-instrumentalist Oumar Sow. These were the musicians with whom Wade recorded Yoff, which brought him a measure of renown and a tour of several European countries. The musicians subsequently went their separate ways, Sow returning to Senegal to join Youssou N'dour's Super Etoile, Diop forming the jazz-fusion group Sixun, and Wade rejoining the reconstituted Xalam.
In 2003 Seydina Insa Wade returned to Senegal to reunite with Oumar Sow and record the CD Xalima, the subject of a documentary by filmmaker Ousmane William Mbaye, "Xalima-La Plume."
Click on the pictures to read the liner notes (in French).
Seydina Insa Wade - Ciat
Seydina Insa Wade - Fama Re
Seydina Insa Wade - Yoff
Seydina Insa Wade - So Bugge
Seydina Insa Wade - Beure Bouki Ak M'Bam
Seydina Insa Wade - Seni Dom
Seydina Insa Wade - Taaruna
Seydina Insa Wade - Len Dem
Download Yoff as a zipped file here.
Posted by John B. at 4:28 PM 5 comments
Labels: Idrissa Diop, Mbalax, Senegal, Seydina Insa Wade, Wolof
Wednesday, March 11, 2009
Navigating the Boundary Between Highlife and Jùjú
There's been a lot of good jùjú on the Internets lately - from Comb & Razor here and here, Worldservice here and here, and at Snap, Crackle & Pop here - so I figured why shouldn't I get into the act? Besides, it's been a while since I posted some good old Yoruba Soul Music.
I can tell you very little about Ade Wesco and his Destiny Dandies. Wesco rates a brief entry in Ronnie Graham's The World of African Music (Pluto Press/Research Associates, 1992) where his sound is described as ". . . highlife enriched with traditional percussion and distinctly Yoruba vocals." The label of his LP Aye Wa Adun (Ibukun Orisun Iye MOLPS 35, 1976) describes the contents as "jùjú," and judging by that album at least (the only one by him I've heard, although he released a number of others) his music is a true synthesis of the two styles, much like that of Orlando Owoh.
Be that as it may, you can decide for yourself. Here's the album in full. It's fine, fine stuff:
Ade Wesco & his Destiny Dandies - Aye Wa Adun/Adun ni Gbehin Ewuro/Ibukun Orisun Iye/Tiwa ni Tiwa
Ade Wesco & his Destiny Dandies - Ogo ni Fun Baba Loke/Irawo Wa Ntan Loke/A Dupe Baba Wa/Bayi Loda/Amariran Wo/Oniyeye