Another Souvenir

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

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

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

International Orchestra Safari Sound - Shukrani Kwa Mjomba

International Orchestra Safari Sound - Shida

International Orchestra Safari Sound - Pendo

International Orchestra Safari Sound - Majuto

International Orchestra Safari Sound - Kaka Kinyongoli

International Orchestra Safari Sound - Chatu Mkali

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

A Tanzanian Souvenir

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

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

Orchestra Vijana Jazz - Jiko Limenuna

Orchestra Vijana Jazz - Najilaumu

Orchestra Vijana Jazz - Nilitaka Iwe Siri

Orchestra Vijana Jazz - Unikubalie

Orchestra Vijana Jazz - Ndoa Ni Kuvumiliana

Orchestra Vijana Jazz - Madaraka Kwenye Bar

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

An Ethiopian Pearl

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

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

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

"She Has It:"

Mahmoud Ahmed - Allat Nägär

"Oh Her Tears:"

Mahmoud Ahmed - Erri Embwa

"Appearing Abruptly:"

Mahmoud Ahmed - Zäww Zäww

"Let Me Live With It:"

Mahmoud Ahmed - Lenurebbät

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

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

"Come (down) From the Highlands:"

Mahmoud Ahmed - Näy Kädägaw

"How Should I Forget Her:"

Mahmoud Ahmed - Endet Lersat

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

Mahmoud Ahmed - Näy Bäfäräs

"Who Can it Be?:"

Mahmoud Ahmed - Man Yehon

"It (or he) Was:"

Mahmoud Ahmed - Näbbär

You can download Tezzetta Enqu as a zipped file here.

Lovers' Soukous for Soukous Lovers

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

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

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

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

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



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

Papa Noël - Allegria

Papa Noël - Sem-Sem

Papa Noël - Nzoto Pasi

Papa Noël - Sante Pepele

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

Carrying on the Family Business

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

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

Eugene de Coque & Igede Band International - Ojinbe-Eyimegwu

Eugene de Coque & Igede Band International - Egwu-Igede

Eugene de Coque & Igede Band International - Asi Si Jebe

Download Egwu-Igede as a zipped file here.

The Ladies of Ihiagwa-Owerri

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

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



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

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

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

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

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

Yoruba Muslim Women's Music

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

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

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

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

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

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

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



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

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

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

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

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

Sister Riskat Lawal & the Aaqibat Lil-Mutaqeen Society Group - E Gboro Oluwa / Omo Iya Ni Wa / Oro Shekh Adam-Oba To Ni Ike Lodo / Islam Esin Ola
Download Asalamu Alaekumu as a zipped file here.

Black Warriors

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

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

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

The Black Warriors - Zimbabwe Pts. 1 & 2

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

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

The Black Warriors - Najuta Pts. 1 & 2

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

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

Jaliba Sounds

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

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

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

Jaliba Kuyateh & the Kumarehs - Hera Bangku

Jaliba Kuyateh & the Kumarehs - Sherifolu

Jaliba Kuyateh & the Kumarehs - Julu-Jo

Jaliba Kuyateh & the Kumarehs - Fitna

Jaliba Kuyateh & the Kumarehs - Kebalang Camara

Jaliba Kuyateh & the Kumarehs - Nyananding

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

A Malian Arrow

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

Ama Maïga - Keleya

Ama Maïga - Lannaya-Tilebana

Ama Maïga - Souboury

Ama Maïga - Djougou Sago

Download Une Fleche Malienne as a zipped file here.