Buhary.

Thanks for the history on my favourite band.Ifangbondi did their best but
at the end the system fail them.Let Jammeh stop talking loud and doing
nothing and start supporting our artists as Senegal has been doing for many
years now.

Btw i have a question for you,Oko or Badou Jobe if he is still with us...

What does Pa Touray mean in his song *Nyepeto Bundayele* obs. the spelling.

Niamorkono.




On 8/20/06, Momodou Buharry Gassama <[log in to unmask]> wrote:
>
> Hi!
>    Thanks Oko for the additional info on Ifangbondi. Pa Musa, Coach and
> Karamba, thanks for realising the role Ifang played in the subregion. I
> hope
> they will be given their rightful place very soon, i.e., while the
> remaining
> members are still alive. I will dedicate one of these coming days to
> Ifangbondi on Raki Web Radio. I will let you know the day. I hope Dave
> Manneh will be able to tune in as he is an Afromanding fan. Have a good
> night.
>
>
>                            Buharry.
>
>
> ----- Original Message -----
> From: "pasamba jow" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Sunday, August 20, 2006 3:45 PM
> Subject: Re: Ifangbondi - History
>
>
> > Buharry,
> >  Thanks for this wonderful info. It is always refreshing to read
> something
> > inspiring about Gambian heroes, and believe or not  the Pap Tourays and
> > the Badou Jobes are as important to the shaping of Gambia's identity as
> > any politician. Just maybe one day, soon i hope, Gambia will put these
> > great pioneers in their right historical place, as Gambia's social and
> > cultural icons.
> >  Pasamba Jow
> >
> > Momodou Buharry Gassama <[log in to unmask]> wrote:
> >  Biography:
> >
> > For more than twenty years the Gambian roots band Ifang Bondi ('be
> > yourself') has had a leading role within West African popular music. It
> > was one of the first groups that decided to return to its African roots
> by
> > playing traditional Manding music.
> >
> > To talk about an influential band such as Ifang Bondi, one needs to know
> > how its origins came about. It was the year 1970. The auditorium of
> Legon
> > University in Accra (Ghana) was filled to capacity. There was an
> > environment of restless expectation awaiting the arrival on stage of the
> > Super Eagles of The Gambia. The devastating performance of highlife,
> soul,
> > Cuban music, reggae and western pop songs which followed, faultlessly
> > delivered by the men in sharp suits, revealed why this band from The
> > Gambia had become West Africa's number one superstar attraction. West
> > Africa had just completed its first decade of independence and was in
> the
> > throes of anticolonialist sentiment, pan-Africanism and 'Say it loud, I
> am
> > Black and Proud'. This was to be the last time most people saw the Super
> > Eagles, leaving only the legacy of their all-time classic album 'Viva
> > Super Eagles'.
> >
> > Unknown to their thousands of fans, this was not the end of the story,
> but
> > just the end of the First chapter in one of the longest-running sagas in
> > African musical history. The truth is that the founders of the band,
> > leader Badou Jobe and vocalist Paps Touray had taken a deliberate
> decision
> > to end Super Eagles at the height of their popularity. Being true
> > revolutionary pan Africanists and musical pioneers, they had become
> > increasingly disturbed by the music they were playing and the image they
> > presented. Despite the greater fame and fortune that was theirs for the
> > taking. They radically gave it all up to go back to square one, back to
> > the roots, to create something African for Africans, to challenge the
> > cultural imperialism of the west which still gripped the continent. They
> > went into the bush to sit at the feet of the jelis - the master drummers
> > and the old maestros of the kora, xalam, and bala - the guardians of a
> > thousand years of culture and tradition.
> >
> > After two years of exhaustive research and hard practice, Badou Jobe and
> > the few musicians like Paps Touray and Ali Harb, who had felt inspired
> to
> > join, came back with unique new music, born from their amazingly rich
> > heritage. To their modern electric outfit, including the novelty of an
> > electric organ, they had added traditional drums, which, next to the
> drum
> > kit's chromium sheen and the fancy sunburst of the guitars, looked like
> > alien objects from another planet. The new repertoire, painstakingly
> > composed according to the rules of the jeli teachers, had meant a
> struggle
> > with unfamiliar scales and mind-boggling rhythm structures. They proudly
> > coined their music the Afro Manding Sound after the legendary Manding
> > empire, cradle of their West African culture.
> >
> > By 1973 the group had shed its eagles' feathers to reappear as Ifang
> Bondi
> > ('Be yourself), a fearsome Manding spirit that puts the newly initiated
> to
> > the test and seeks out evildoers within society. The band's First public
> > performances were greeted with dismay and disbelief by their devoted
> fans,
> > who were outraged by the 'bush' sound of mbalax and jambadongo rhythms,
> > although the musicians had been careful to hide the sabar (drums) under
> > the British flag. At that time this type of music was considered to be
> > played only at weddings and family-gatherings and not for big audiences.
> > But bandleader Badou Jobe, veteran of an earlier bade against caste
> taboos
> > to become a musician in the first place, stuck by his guns through the
> > sticks and stones of this initial period. The only support at this time
> > came from fellow musicians, later to form Toure Kunda and Super Diamono,
> > who appreciated the Afro Manding Sound for the momentum it was bound to
> > give African music. Gradually their
> > revolutionary ideas got accepted, and this was the birth of the popular
> > West African modern music that has since catapulted Toure Kunda, Youssou
> > N'dour, Mory Kante, and Baaba Maal onto the world stage.
> >
> > The role of Ifang Bondi has been pivotal - by rehabilitating the
> > traditional musicians they made people aware of their own heritage, and
> > they offered new dimensions to African artists in search of an authentic
> > sound. To rigorously deprive a devoted public of their pop idols, the
> > ultimate symbol of modern western cultureto induce them to set their own
> > cultural values and to get rid of the inferiority complex, a lingering
> > legacy of colonialism, had not been a venture for the faint-hearted. But
> > in the end the effort proved to be worthwhile. Ifang Bondi have achieved
> > their goal - to create something African for Africans - beyond
> > expectations.
> >
> > Badou Jobe's innovative ideas, based on a vast musical knowledge, have
> > crystallized into a comprehensive artistic concept that created also the
> > inimitable sound, Ifang Bondi's trademark. Throughout the years, Ifang
> > Bondi has continued to develop its unique music which reflects the
> > enormous variety and richness of authentic styles, be it Wolof,
> Mandingo,
> > Fula, Jola or other. The band's line-up shows a similar ethnic diversity
> > They put fresh blood into musical traditions, not only by a prolific
> > output of original material but also by organizing festivals in which
> they
> > invited pop, jazz and reggae musicians from as far as the US and Jamaica
> > to play with traditional performers.
> >
> > From the beginning Ifang Bondi have acted as a true academy of music
> from
> > which many great artists have graduated. Outside West Africa Ifang Bondi
> > has always had a solid cult following. The infrequency of record
> releases,
> > all sought after collector's items, plus the enigmatic personality of
> its
> > bandleader, who seems quite happy to stay out of the limelight, "I once
> > opened the door to the hell of stardom, had a good look around, and
> > slammed it shut again", has only enhanced the mystique surrounding this
> > group. Badou Jobe received the prestigious Kora All Africa Music Award,
> > also known as the African Grammy Award, in 1989.
> >
> > The band:
> >
> > Badou Jobe - bass
> > El Hadj Samb - vocals, percussion
> > Jali Momodou Suso - kora, vocals
> > Juldeh Camara - riti, vocals
> > Lin Diaw - guitars
> > Bassirou Mbaye - sabar, bugarabu, tama, jembe
> > Tafa Ndiaye - keyboards
> > Ibou Gueye - drums
> >
> >
> >
> --------------------------------------------------------------------------
> >
> > Discography:
> >
> > Saraba (Disques Griot, 1979)
> >
> > Mantra (Interstate Records LPH 2366, 1983)
> >
> > Sanjo (D&K 860017, 1989)
> >
> > Daraja (MW Records MWCD 3009, 1994)
> >
> > Gis Gis (MW Records MWCD 3019, 1998)
> >
> >
> >
> >
> > --------------------------------------------------------------------
> >
> > Booking:
> >
> > Musik + Aktion. Address: Uta Hofmann, Musik + Aktion, Egilolfstr.77,
> 91349
> > Egloffstein, Germany. Phone: +49 (0) 9197697970, Fax: +49(0)9197697971.
> > E-mail: [log in to unmask]
> >
> >
> >
> >
> > Source: http://worldmusiccentral.org/artists/artist_page.php?id=1021
> >
> >
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