Wassa,You are deep.
Let's go deeper into the roots, thanks for opening the gates.
You remembered the essence well, everything. If I recall well you lived near the Mask club allso not far from the shop of late Alhagi Chamsu Coker were the loud music with the latest hits used to play all day long. Late Alhagi Chamsu, started the African Jazz band importating musicians from Congo to join his band ( Sammy Ndame & Marcellin).@ You knew the Ritz band ( former Boogie Boys/ the shoeshop at Fitzerald Street), / and also late Mr.Anthoney Leon (Black Star bar & band.
You talked about the Patrons Yes ! I have covered them in the story of Paps Touray. they are too much to mention but to remind you a few and to reflect on The Flamingo Band.The Flamingo bar recruited musicians from Ritz band, and other talents who could not make ot at African Jazz ubnder Chamsu Coker. I have to research more on this, yet to be done. That state have to research on this as well. There wre lots of musicians and there wre many bands criss crossing from band to band. Before Pa Touray & Badou were estabilshed there were player like Koto Buru Buru, Uncle Adams, Jimmy Coron, Ebou Touray(customs) , etc and many more. I will give your a detail report and accurate on this in my follow ups.
The Mboge Brothers Pitcha Darboe, Sogie, all started at The Flamingo and many other musicians like Abdoulie Jeng, Boy Njie etc started at the Mask Club. All Bars and clubs had resident bands. Also Kan ku Jare ( from Late Tapha John) former Kanku Jare. This is were the soul brother number Chex,Ousman Kumba exloded and made big hits like "Nyo Rakru" & the hit "Gorr Dai Bah- Gorr Dai Legei".Great Dancers like Bunama, Mass Sosseh, Rick, Nabi & Assan Bopa all dreesed up in style showing each show a new dance. It was these shows at the Odean Cinema, when Laye Ngum (Abdel Kabir) was discovered to Sing Otis Redding songs because Sogie Sock was sick. That's how his career stared until, Gelewerr and Abdel Kabirr.
With the Flamingo Band the musicians changed on short periods. It is the root that end up into Supreme Eagles and Gelewar. I called it the left wing.
In the line of Ifangbondi, Super Eagles and African Jazz was the Badou Jobe Pap Touray & Ousu njie line. they wre never members of the flamingo. The younger bands that followed the steps of Ifangbondi were Bags of Fame, Wild Cats ( Arthur Oliver, Pa Jabel, Ala Sosseh & Dodou Manneh)later Magadan Band.
Before the Afro-Manding Sounds (Afro Beat) the band experimented with music similar to what they experienced in England with Osibisa & other Pan African Bands. Kwame Nkumarha offered scholaship to Osibisa &other African musicians including Late Fela Kuti (who lived in Ghana at the time) to make a Pan Africa sound for one Africa. Ifangbondi joined this league (as Gambians always do) self support- and created a half baked Afro -Sound which was sealed by the discovery of the Jola sound Atis-A-Atis which sounded very close to the Ghanese Super band The Osibisa's Akwaaba Beach. The music was local but yet global. The word frightening was an expression refering to the song Devil Dance, a trance tune that had all from cowbells to cow horns.This was the3 breakthrough into mainstream Afro Mandingo Sounds (as Senegal used to call it).
Patrons of the arts in The Gambia that started bands and create activities for the bands Teacher John Thomas, Malick Secka, Chamsu Coker, Solo Darboe, Mr. Bright (owner Ritz cinema), Anton Tabal, Tapha john Njasse( Kanku jare), B.O Janneh( Dippa Kunda), Matar Sarr, Madam Haddy Taban, Mali Joiner, Ousainou Njie, saihou Ceesay & Hatib Janneh, etc, etc, etc, the list is too long. It was the people not the government that promoted and sustauned the bands. Not forgeting the youths of Brikama Black dragons, etc, Gunjur Dabanani, Kebba kora (Bansang), Sam in Farranenni, Basse Late Sol Oathman, Malick Kurbally & Jahe Sumareh, Inspector Kebba Ceesay b(composer of Duma julo), etc, the list is too long, all the way to youth patrons like .JO.J in Gunjur , Peter Gomez in Bwiam. There was a net work of promoters and 4 days a week, from Wednesday to saturdays all band were working. They had class they were stars. I used to call my self Pa Touray. My Mom bought me a
Yellow shirt and I wrote with paint on it Super Eagles Fan, I was smacked. For example the friends of Super eagles were people in the system like late Sol Samba, Hyde Park, Commissioner of Plic Evans (after the big fight), late Dr. Peters, they were elites and wore double brested suites, owned motobikes, cars and offices, they ride on new Bebes and every sunday people dress to go out and see cutural eveing Hewaerh shows were the bands will compete in music and costumes. We had pride in our band to a point that when they were traveling outside the Gambia peole would line the streets as if the President was parading, this resulted to the famous Super Eagles song : "Tagu Nang Len"- Ya Marie Nyan nal nu-Nu nga Wore Rew. Before all this there was Western music, Congloles, Pop & Soul but the Super eEgles overshowed all of them by touching the hearts and souls of Gambian people with their songs.
P/S: This is not the full story but only a flash respond to your teaser./ Excuse the typos.
It was jamming.
Regards
Oko
www.sotokoto.tv
________________________________
From: Wassa Fatti <[log in to unmask]>
To: [log in to unmask]
Sent: Sun, February 28, 2010 3:32:29 PM
Subject: Re: The Panorama of the Gambia Music Revolution/ Documentation of The Legacy- Part 1
Just to add a missing point in the history: Before Super Eagles, I think some of the boys such as Pa Touray, Ousu Njie, Badou Jobe were mentored by Labba Sosseh before he left The Gambia for Senegal in 1960. After Laba's departure, I think there was a band formed called the "Falmingo", which later laid the foundation for the birth of the Super Eagles. I may be wrong, but it need to be researched. I think the role of individuals as patrons to these bands has not mentioned. The late Malick Secka (Photographer on Hagan Street) was vital for the survival and promotion of the early Super Eagles and others before it.
With regard to Infang Bondi and the Afro beat music, I think Ifang Bondi experimented with a stlye of music called "Frightened" before the Afro beat. I was a kid when the Super Eagles were on the musical throne, but all of them were my "Salbehs" when I entered the bush or society (circumcision) in 1966 as a kid in Banjul.
Oko, keep it up and record our cultural history and the cultural giants. Your contributions are very important at this period.
Wassa
________________________________
Date: Sun, 28 Feb 2010 09:21:16 -0800
From: [log in to unmask]
Subject: The Panorama of the Gambia Music Revolution/ Documentation of The Legacy- Part 1
To: [log in to unmask]
A Powerful History
Complied by Oko Drammeh/ Soto koto Music
www.sotokoto.tv
Reference: Wikipedia
& Various.
Oko under the Soto Koto Tree @ 22,Hagan Street
in Banjul, The Gambia, West Africa.
The Gambian Music Revolution
50 YEARS IN MUSIC
1960-2010
"A people without culture is like a tree without roots"
Modern ethnic Mande in The Gambia are called the Mandingosand they make up around 36 per cent of the country's population. The region of Brikamahas produced some very famous musicians, including Amadou Bansang Joberteh and Foday Musa Susso. The latter founded the Mandingo Griot Society in New York City in the 1970s, bringing Mande music to the New York avant-garde scene and collaborating with Bill Laswell, Philip Glassand the Kronos Quartet.
Gambian popular music began in the 1960s, when The Super Eagles and Guelewar formed while hip bands were playing American, British and Cuban music. The Super Eagles went to London in 1977, appearing on Mike Raven's Band Call. They played merengue and other pop genres with an African flourish, including Wolof lyrics and minor stylistic elements. After the performance, the band began jamming out some traditional tunes and an unknown man heard, told the group that that was the style they should be playing. This inspired the group to return to their country's musical roots, and they spent two years travelling around The Gambia and studying traditional music. The reformed band was called Ifang Bondi, and their style was Afro-Manding blues.
Gambian Laba Sosseh was a significant presence in the African and New York salsa scene. Sosseh, who relocated to Dakar, Senegal as a teenager, spent his entire career outside of the Gambia.
Civil unrest caused Ifang Bondi and the band's promoter Oko Drammeh and most Gambian musicians to emigrate to countries like the Netherlands decimating the nascent music industry. Today, Jaliba Kuyateh and his Kumareh band is the most popular exponent of Gambian Mandinka music. There is also a thriving Gambian hip hop scene.
Former Ifang Bondi musician Juldeh Camara has been working with Justin Adams since 2007 and has been touring all over the world.
Also from Ifang Bondi, Musa Mboob and Ousman Beyai joined the Soto koto band have now started a new group XamXam which started with a project in The Gambia to produce new music by taking six musicians based in the UK to The Gambia to work with top musicians from four different tribal backgrounds. Ousman Beyai moved to the UK where he worked with Musa Mboob to set up the live band XamXam.
HISTORY:
Make It or Be It.
THE FIRST GAMBIAN STAR
Laba Sosseh
Laba Sosseh
Laba Sosseh, R.I.P! -
the undisputed master of Salsa/ Inventor of African Salsa Mbalax
African Music suffered a big blow, when death laid its icy hands on a Gambian-born Music star Laba Sosseh. He passed away in Dakar, Senegal, where his music was well-known and the African artist was recognized as one of Africa's greatest artists.
Influenced by the Cuban music of the 50's, Laba Sosseh formed the Star Band du Dakar in the sixties, which became very popular in the late sixties and in which artists such as Papa Seck and Youssou N'Dour have both been singing.
Born in The Gambia on March 12, 1943, Laba Sosseh was half Senegalese, half Gambian. Laba’s father was from Senegal and his mother is Gambian. Although he is frequently categorized as Senegalese, Laba grew up in Banjul (The Gambia), listening to Cuban music and Johnny Pacheco, who was one of his stars.
He was the first Senegambian musician to win an international musician award, and for no other reason that his music was simply amazing!
Laba Sosseh's Group in Senegal
SUPER STAR
( Later Star Band)
Star Band became Star Band Kasse
& later a New Star Band Number One was formed after the
Star Band Kasse later became Etoile,
then Super Etoile & Youssou Ndour.
This is Youssou Ndour's origin.
GAMBIA GIRL POWER
Gambia's first singing superster worldwide
Voir : Vicky BLAIN
Face A : Gambia
Face B : Nebon-nar
Discographie
BLAIN Vicky ,
Noels d'Afrique: Nowal Sunui Musalkat / Tya Bethlehem ,
Philips B370951F , 1967 F 45T , VG++/EX ,
price : € 5 , Recorded in Gambia,
Xmas songs with organ, in wolof
Gambia
VICKY BLAIN
AFRO LP
MANU DIBANGO & FRANCIS BEBEY
The Gambian Girl
VICKY BLAIN AFRO ORIGINAL RCA LP CHANTE L AFRIQUE
ARRANGED BY MANU DIBANGO INCLUDES A
DUET FRANCIS BEBEY GATEFOLD LISTEN TO THIS COOL
EXTRACT MANDALI WITH NICE ORGAN COVER EX++
THE SUPER EAGLES
GAMBIA
The Gambian boys
SUPER EAGLES / GAMBIA
Pa Touray, Sememie, Badou Jobe
Ousu Njie, Malang, Modou Cham,
Edu Hafner, Charlie Valentine.
SUPER EAGLES Band in London, England
Super Eagles The Gambia
The Gambian band Super Eagles were pioneers of African popular music at the end of the 1960s/start of the 70s, delivering a progressive blend of afrocuban, pop, soul, bluebeat, Congolese rumba, highlife and ndagga music. Their use of electronic equipment to express the Wolof lyrics & rhythms of original compositions laid the foundation for mbalax, which was popularised a decade later by Youssou N’Dour. During their five-year existence, the Super Eagles became one of West Africa’s best travelled bands and pan-African music heroes.
________________________________
The Super Eagles were: Badou Jobe (solo guitarist/bandleader), Paps Touray and Dauda Njie, aka Edu Haffner (lead vocals), Francis 'Senami' Taylor (guitar/keyboard), Modou Cham (tenor sax and congas), Oussou Njie (singer and lyricist), Charles Valentine (bass) and Malan 'Malando' Gassama (drums, percussion).}
________________________________
1. Mandal Ly (B.Jobe/F.Taylor/O.Njie) 2:55
2. Su Nous Harit (B.Jobe/F.Taylor/O.Njie) 3:04
3. Viva Super Eagles (B.Jobe/F.Taylor/E.Touray/M.Cham) 2:57
4. Dohi Gudi Bahut (B.Jobe/F.Taylor/Dauda Njie) 2:55
5. Gambia Su Nous Raew (B.Jobe/O.Njie) 3:05
6. Aduna Poti Ndala (B.Jobe/F.Taylor/M.Cham) 2:55
7. Love's A Real Thing (B.Jobe/E.Touray) 2:55
8. Hey Jude (Lennon & McCartney) 3:15
9. Gambia Zambia - African Unity (B.Jobe/O.Njie) 3:30
10. Don't Do That To Me (B. Jobe/E.Touray) 2:50
11. Tagu Nein Lein (B.Jobe/ M.Cham/O.Njie/Dauda Njie) 3:16
12. Aliou Gori-Mami (B.Jobe/ F.Taylor/O.Njie) 2:38
13. False Love (B. Jobe/ E.Touray) 3:15
14. Gail Gain Chi Rabi (Trad/arr.B.Jobe/F.Taylor) 3:05
15. Bada Tourey (O.Njie/F.Taylor) 3:08
16. Dauda Sarge (B.Jobe/F.Taylor/O.Njie) 3:06
Badou Jobe(right)
and Francis Taylor
Excellent background story!! I’m working on the Funky & Groovy Music Records Lexicon and therefore looking for infos/label-scans from contributors.I’m looking for scans by Super Eagle 45s on Ghana Film Studio FNS009 and FNS0011.
Super Eagles Band
Malang Gassama/ Malando
Percussionist for:
ABBA,
ROLLING STONES &
Al JERREAU
Sock It To Me
Tribute To Otis Redding
Anyone who has heard the song Love’s A Real Thing from Luaka Bop’s World Psychedelic Classics volume 3: Love’s A Real Thing will know why that song’s title was selected for the title of the compilation.
Here are the liner notes from the RetroAfric disc Senegambian Sensation (which for some reason, these two songs were left off):
The Gambian band Super Eagles were pioneers of popular music in the Senegambian region at the end of the 1960s / start of the 70s, delivering a progressive blend of afrocuban, pop, soul, bluebeat, Congolese rumba, highlife and ndagga music. Using Wolof lyrics and rhythms, ndagga is the basis of what was to become ‘mbalax’. During their five year existence, the Super Eagles became one of the best travelled bands in West Africa.
In Bathurst (now Banjul), the capital of this ex-British colony, the first modern dance band was a loose collection of musicians who played under the name African Jazz. Members included Badou Jobe, Paps Touray, Laha Sosseh (later to join Afrocuban outfits such as Africando), Modou Cham and Oussou Njie.
Jobe, Cham and Njie had started their careers with the Foyer Jazz Band, formed by veteran, partly classically trained musicians, which provided a rich cocktail of European & Latin ballroom music, light classical, old jazz and the hugely popular ‘morna’ from Cape Verde. The popular music scene, catered for by modern dance hands, had no connection with traditional music, which remained the exclusive domain of the hereditary musicians caste known as griots.
In 1965 seven of the African Jazz musicians turned full-time professionals as The Eagles of Banjul. They played regularly in Banjul’s dancehalls and throughout the country and their patron Malick Seck took them on international tours to Senegal and Sierra Leone. After Sammy Ndami left, Badou Jobe took over as bandleader, and increasingly defined the band’s repertoire by composing original music.
Eventually the core members regrouped in 1967 as the Super Eagles. Helped with a generous gift from diamond dealer Solo Darboe, they ordered instruments, amps and a PA from England. this independence enabled them to travel and play what they liked for whom they liked.
The front men of the new Super Eagles were solo guitarist / bandleader Badou Jobe, lead vocalists Paps Touray (seen in this photo) and Datida Njie (a.k.a. Edu Haffner) and guitar / keyboard wizard Francis ‘Senami’ Taylor. Other members were Modou Cham (tenor sax and congas), Oussou Njie (singer and lyricist), Charles Valentine (bass) and Malan Gassama (drums, percussion), who was one of The Gambia’s finest drummers.
Jobe assisted by Taylor formed the creative team behind most of the compositions and arrangements. The songs were mostly in Wolof or (broken) English with Touray providing some belting vocals in the style of Otis Redding – he was voted best soul singer of Africa – and the band’s compositions melded elements from the indigenous music of The Gambia, specifically Wolof and Mandinka.
The Super Eagles’ use of amplifiers, effects and electric keyboards to interpret African music laid the foundation for mbalax, which was popularised a decade later by Youssou N’Dour. In 1968, while touring all over the larger neighbouring country, the band earned acclaim as the top group in Senegal.
In 1969 they visited Europe and were the first Senegambian band to tour England, where they recorded their albumViva Super Eagles, the title track of which called on Gambians to unite in support of the group. At a memorable concert at the Commonwealth Institute in London the band was joined by Teddy Osei and Mac Tontoh, founders of Osibisa. The album was a hit throughout West Africa but, typically the musicians claim never to have seen a penny of the royalties.
Jobe and Touray deliberately disbanded the Super Eagles in 1972 at the height of their popularity. As pan-Africanists and music pioneers they felt the urgent need for an authentic African identity which led to the creation of the seminal roots hand Ifang Bondi (Be Yourself), since grown into one of West Africa’s leading bands.
<!--[endif]-->
In 1999 Badou Jobe Won the prestigious KORA All Africa Music Award – the African equivalent of the Grammy – for Best Arranger in Africa.
The song “Sock It To Me” was re-recorder by El Rego as “Feeling You Got” for the Legendary Albarika Store label in Dahomey (now Benin), which was the first hit for the label.
Catalog number FN28 Ghana Films Label FNS, manufactured and distributed by Decca.
This is one of my favorite finds of the year. Luaka Bop's "Love's a Real Thing" compilation of West African fuzz-rock was one of my favorite albums for walking around when it came out, so I was excited to spot a disc by Super Eagles (who have a track on that comp) when I was at NYC's other music this winter. This music is totally languid... it feels as if it was recorded on some Carribean island. Most of the songs are in the Gambian/Senegalese language Wolof, which sounds a lot like Spanish to me. The liner notes have a good story about how Super Eagles were the first band from Gambia to get electric guitars and amplifiers. They're worth reading if that's your kind of thing. I really enjoyed listening to this one all the way through, so here's a track I like and then the full album.
Oussou Njie / Vocalist (Right)
OUSSOU NJIE
The legendary ex-Super Eagle belts out his greatest hits on Faateleku Vols I and II, brilliantly recorded and produced by Elie Nachif of YellowgateThe legendary ex-Super Eagle belts out his greatest hits on Faateleku
OUSSOU NJIE Solo Almum
From the opening track’s Gambian greeting in the Wolof language, backed by infectious soca breaks, the listener realizes that there is something special about the new CD from Ismaila Oussou Njie. Formerly a member of the Gambian group Super Eagles, which toured West Africa and the UK to sold-out audiences in the late 60s and early 70s, Njie has recorded two new albums, of which a selection have been assembled on this CD for release in the US.
The first acknowledgements on the CD is the artist’s thanks to Allah "for giving me the chance to make people happy." Gratitude and optimism infuse this album from the first song, "Noou-Yoou Oussou Njie and its Africanized Muslim greeting to the track "Bada Touré," thanking this "supporter, patron, and fan par excellence to Gambian music and musicians." Underlying this message of gratitude is a great variety of music — including the increasingly popular blending of African percussion with salsa and Cuban influences.
The result is an eminently danceable album with positive messages throughout (if you speak the languages or read the translations). But one need not understand the lyrics to appreciate the spirit and energy of the music. Some listeners may find the production a little slick, but most fans of salsa and/or West African music will be dancing and wondering if they can find those old Super Eagles albums.
©Scott Stevens
THE CULTURAL REVOLUTION in THE GAMBIAN MUSIC
FROM: SUPER EAGLES To IFANG BONDIBAND
L.P Release: "Saraba"
Revolutionary record from the Gambian group formally called the Super Eagles. The "Afro Manding Sound"
fused Afro-Cuban sounds with traditional griot music & some rock influence to great effect.
Second press of the"Griot" release.
Albert Harp & Senemie (center)
"Atis-Aa -Tis"
Ifang Bondi (meaning "be yourself" in Mandinka language) was formed some 30 years ago in the Gambia, and was on the forefront of popular African music. Being one of the first trying to combine pop music and African roots, they were an example for Orchestre Baobab, (Super) Etoile de Dakar and many other Senegalese stars. Ifang Bondi, however, never really benefitted from their pioneering work, due to bootlegging and copying of their work by other artists.
Although they were based in the Netherlands at some time, they are now in Banjul, the capital of the Gambia.
MANTRA The Album
MISSION ACCOMPLISHED & The Last Soldier Standing.
SANJO-The Album
THE FULLFILLMENT
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 Honourable
BADOU JOBE/ BANDLEADER OF IFANGBONDI
Guitar, Kora, Bass Guitar, Composer & Arranger
KORA-AWARD WINNER
Respect !
Guelewar Band of Banjul
(The Gambia)
LAYE NGUM
All Music Guide Review
Danceable and festive, the sound of Abdel Kabir! adds a distinctive world flavor to any music collection. This new sound and direction in African music is a complex mixture of Mandingo, Wollof, Fula and Creole musical cultures of the Gambia. Tribal drum rhythms and exotic instrumentation create an irresistible world of emotion, exuberance and exaltation which generate the urge to dance, dance, dance! Gumbay Dance! also displays the dynamite vocal prowess of Abdel Kabirrwho is a commanding presence on the tracks which include singing. And five instrumentals round out this exciting release, an authentic taste of music from another continent, proudly dipping into the roots of African music in a contemporary setting. ~ Backroads Music/Heartbeats
MUSA NGUM
Lead Vocalist of Gelewarr Band
Born in Fatoto, Kantora District in The Gambia, Musa Afia Ngum became interested in music at a very early age. Because his father was a trader who had to travel often, he was taken care of by a caretaker who was fond of playing a one-stringed instrument known as the "mola" or "tukusi ngalam" in Wollof. The caretaker used to play this instrument for Musa until he fell asleep. Musa, even in his early years refused to go to bed unless and until the "mola" was played which, looking back, he deems quite mystic.
Musa Ngum in his youth became interested in "Kassak", songs which are sung during circumcision ceremonies and periods. He became well known in "Kassak" circles because of his mastery of the songs and his melodious voice and in the event built quite a name for himself whilst developing his vocal abilities.
Musa then joined a group called Sangamarr in the late sixties. He became the group's lead singer. He played together at Sangamarr with the likes of Sam Jarju, Cheks, Pa Alieu Njie, Mbye Jasseh, Pa Ngum and Manka Susso, who was the group's guitarist. The group specialised in playing famous traditional songs with Western instruments.
After a while with Sangamarr, Musa was asked by his bigger brother, Lie Ngum, who was then a member of a group called Gelewarr to be their lead singer. Musa then joined Gelewarr. A popular misconception is that Musa Ngum founded Gelewarr due to his strong presence in the group and the fact that Gelewarr is synonymous with Musa Ngum. Musa played together at Gelewarr with the late Oussou Lion Njie, the late Njok Malick Njie, the late Adama Sarr, Musa Njie, Koto Ngum and others. During his Gelewarr days, Musa Ngum recorded songs such as "Tesito", "Bala Jigi Musa", "Yam Soda" and many more which gained cult status and made him a legend in the Senegambia region. Gelewarr toured The Gambia, Senegal, Mauritania and other West African countries.
Musa left The Gambia in 1981 and moved to Senegal. He was assiduously courted by Super Diamono, one of the then premier Senegalese bands and he finally joined the group in 1985. He teamed up with Omar Pene, Maiga, Lamin Faye (Lemso) - the legendary Senegalese guitarist and they released "Borom Daaru" and "Partef" which became Senegambian classics. One of the biggest hits during Musa Ngum's stint at Super Diamono is the combination song he did with Omar Pene which is popularly known as "Omaro, Bamba sa mam la".
When Super Diamono disbanded three years later, Musa joined the short-lived group Ndaply and then went solo with his "Banjul Banjul" cassette and has since released a total of six cassettes. His last three cassettes (Gal Gui, Allahou and Manoré) were all played without Western electric instruments which to many is hard to believe. He used only traditional Senegambian instruments. One feature a lot find it hard to believe is that the bass line is not an electric base guitar but a traditional instrument known as the "Balafong". He was awarded one of the highest honours in Senegal, Chevalier of the National Order of The Lion, by the then Senegalese President Abdou Diouf. Musa was invited by the Gambian president to come back home in 1997 and he has since lived in The Gambia. Musa is currently recording a cassette in Stockholm, Sweden that he strongly believes will top the Senegambian charts and bring him the international recognition he truly deserves.
BYE JANHA has been further developing the afro-manding sound of Ifang Bondi during a short period in the late 1970s and early 1980s. With strong percussion, a psychedelic tinge, prominent keyboards and saxophones, Guelewar's music is an "Aha-Erlebnis", but surprisingly enough, not a single album has ever been reissued on CD, whereas their LPs are sometimes offered at horrendous prices. Not much is written on the group apparently lead by Laye N'gom since the 1970s. Youssou N'Dour considers Guelewar as a main inspirational influence, partly because of the use of lyrics in a noble wolof as opposed to "street" wolof, and partly because Guelewar had resolutely moved forward from latin and highlife. Lead singer Moussa N'Gom has had a strong imprint on Guelewar's music with his expressive voice. He later left to join Omar Pene's Super Diamono before starting a solo career. Moussa also made a cassette with the Ensemble Lyrique Traditionnel du Senegal (1995)
and he has recorded with Thione Seck. His current band is called le Groupe Talibe.
Although none of Orchestre Guelewar's albums have been released on CD thusfar, there are a few songs available on compilations, such as « Warteef Jiggeen » on the first volume of the Golden Afrique compilation series, « Wallou! » on the African Pearls vol.4: The Teranga Spirit, and « Relen te contan » on the African Pearls Senegal 70 compilation.
Njok Malick Mike Njie bass;
Oussou Ndiaye drums;
Moussa Njobdi Njie guitar;
Laaye N'Gom keyboards, backing vocals;
Adu Salla percussion;
Alive Badara Cham N'Gom percussion;
Koto Suno Icoto N'Gom percussion;
Bas Lo Fara Biram saxophone [Alto];
Laaye Sallah Ombor saxophone [Tenor];
Moussa N'Gom vocals
Style: Mblaax funk
Jaliba Kuyateh & The Soto Koto Band
Music Project
Kora Dance CD
The Album Played by the World's Top Artists as:
THE SOTO KOTO BAND
Don Grusin (keyboard/ Miles Davis),
Bill Summers (percussion/ Micheal Jackson & Quincy Jones),
Gary Herbig (Sax/ Stevie Wonder, Beyonce ),
Gary Meek(Sax Alphonse Mouzon/ Airto & Florin Purin)
Jeff Elliot(Trumpet/ Eddie Harris & Les Macann),
Bill Reickenbach (Trombone/ Elton John/ Ray Charles),
Toshi Yanagi(Guitar/ Jimmy Kimmel Live),
Karin Patterson (Backing Vocals, Tina Turner),
Lean Ware (Backing vocals/ Micheal Jackson & Marvin Gaye),
Armand Sabal lecco (Bass/ Celin Dion, Sting, Seal & Paul Simon),
Jimmy Earl (Bass/Chic Corea & Jimmy Kimmet Live),
Al Mcknight (MiDi/ Soundtrack Wesley Snipes movie Blade),
Larry Williams-Seawind(Sax/ Micheal Jackson- History & Thriller, George Benson & Al Jerreau)
Alaine Eskanasi(MiDi/ Third Force),
Engineer: Jun Murakawa( Sound Engineer -Titanic)
PRODUCED BY OKO DRAMMEH [log in to unmask]
ALL THESE ARTISTS HAVE A NAME WEBSITE !
JALIBA
Jaliba on stage live with The Kumareh Band
New DVD/ coming soon
New CD UNPLUGGED/ Coming soon!
The Griot
Jaliba Kuyateh is a recognized Gambian artist in the area of performing arts who contributed greatly to the promotion of Gambian culture and the development of African and Gambian music in particular. He composed many songs conveying messages to the people on social issues and rendered services free of charge to build schools, religious centers and health centers.
As a child during the ages of five to seven years, Jaliba was trained on the Kora - a twenty-one stringed musical instrument, mainly found in countries along the west coast of Africa. This happened through his father who was also a player of the Kora.
At this time, if he did anything wrong, his father was using the kora as a form of punishment by giving him a tune to play on the Kora before he was allowed to go out and play with friends. Through this, he was able to acquire the basic skills on the instrument since the time he was very young.
Because of his school career, he almost left the Kora completely, apart from during leisure time. Only when he entered the Gambia Teachers Training College, he became interested in the instrument again. During the college course, he was with the Kora constantly, and rapidly became known by all Gambians as well as in other West African countries because of his performances and interviews in the national radio.
Interested students came and formed a group with him. The group became famous and started touring the country, especially during school holidays. This development went ahead to date.
Jaliba and the group has since then in a very characteristical way been able to blend traditional and modern musical instruments in their repertoire, thus making it possible for them to produce music that is appealing to both the young and older generation of Gambians as well as visitors to The Gambia.
Now, they have a Kora, a Balafon, a drum set, percussions, a trumpet, bass guitar, tama and talking drums, and a set of four local drums.
(c) jaliba kuyateh music
Artist: The Soto Koto Band
Genre: New Age Africa
The Soto Koto Band Discography
Artist: Paps Touray
Album: Mandingo Beat
Documentation of Paps Touray
Mandingo Beat is the polished and moving creation of The Soto Koto Band and Paps Tourney, the leading lyricist, composer and singer in Africa. They play Gumbay music, or music from West Africa. The music is hot and rhythmic, featuring a strong West African-Cuban sound. Tourney's voice is rich and mellow. His lyrics delicately probe a common human thread of love and respect. This is African jazz played at its best on synthesizers, guitar, African percussion and a small orchestra of brass.
~ MusD, All Music Guide [-] Collapse
The vision of Gambian-born and United States-based world music deejay and festival promoter Oko Drammeh, the Soto Koto Band combined the rhythms of Africa, the musical sensibility of modern European dance music, and the intensity of big band jazz. www.themusicmagazine.com described a performance by the Soto Koto Band as "a tinkling instrument plays the lead on a track of African drums and leads on to African voices and trumpets in the big band jazz style," while www.taobooks.com claimed that the band's "spectacular percussion and exotic rhythms generate an irresistible urge to dance." The Soto Koto Bandjoined with West African vocalist Abdel Kabirrto record an album of songs and instrumentals, Gumbay Dance, in 1991. ~ Craig Harris, All Music Guide
NEW AGE MUSIC Of GAMBIA
THE SOTO KOTO BAND - preeminent musicians from Africa and Europe bring the powerful vibration of Africa throughout the world with exciting live performances. THE SOTO KOTO BAND, emerged on the contemporary music scene with "Gumby Dance!" Sounds emanating from Gambia ...the roots of blues and jazz.
SOTO KOTO RECORDING BAND
PAPS TOURAY
Mandingo Beat" features the powerful, distinctive voice of Paps Touray, one of Africa's greatest vocalists, which is complemented by the Soto Koto Band's vibrant performance. Paps Touray is a pioneer. He was the first musician to use the african drums in Western pop music, first using the sabarr drums to create the "Mbalax sound". He also pioneered the Afro-Manding sound and became an inspiring role model for many musicians all over Africa
The Immortal Paps Touray
Singer/Songwriter/
African Jazz Band / Super Eagles/ Ifangbondi Band &
The Soto Koto Band
"The Soto Koto Band" features the instrumental compositions of the master composer Paps Touray performed by the Soto Koto Band, a group of pre-eminent musicians from Afr ica, Europ and the Americas unifying a diverse range of ancient and modern influences. the album received great reviews and was used as background music on television and cable programs. the mission of the Soto Koto band is to enrich the culture of the world by fusing the energy and excitement of the Gambian music with the world beats of the 90s.
Artist
The Soto Koto Band
Label
EMI
The debut Soto Koto release "Gumbay Dance!" re-itroduced the Gumbay sound to the world. the traditional sounds of west african imbued with fiery, new energy blending the powerfull rhythms of african drums with indigeneous instruments like the kora and the balafon along with synthesizers and brash horn lines. this album delighted listeners from Alaska to Tokyo, from Montreal to Minnasota
The rich musical vibration of Gambia (The West Africa nation immortalized in Alex Hailey's roots) is presented in this exciting new collection of Gum bay (Goom-bay) music.
Gumbay means " to swing". The roots of the blues and jazz can be traced to the original Gumbay sound which emanated from Gambia.
Sotokoto means "under the tree" and represents the great roots from which numerous branches of music throughout the world have grown.
Soto Koto band is a group of pre-eminent musician from Africa, Europe and the Americas unifying a diverse range of ancient and modern influences. The Kora, a traditional 12 stringed instrument and the balafong, which evolved into the xylophone, are among the exotic elements integrated into the full contemporary sound. Special guests include Bill Summers (Michael Jackson, Herboie Haricock, Sting, Salifu Keita) on percussion, Gary Meek on sax, Sourakata Koite on the kora and higher Octave recording artists William Aura on bass.
The mission of the Soto Koto Band is to enrich the musical culture of Gambia with the global sound of the 90's.
Produced by Mr Oko Drammeh , the driving force behind the band is also the creator of the African Music festival in Delft, Holland, one of Europe's largest African event.
In this capacity, he has been a major influences in rising awareness of the way introduced in his debut higher Octave production, gumbay Dance featuring Gambian vocalist Abdul Kabirr.
Higher Octave continues its commitment to bring you the first music from around the world with this album "Soto Koto Band" featuring the instrument compositions of Pap Touray.
Pap is a pioneer of contemporary African music as well as one of The Gambia's most accomplished masters of traditional sounds. For more information log on www.okodrammeh.com.
"The Soto Koto Band" features the instrumental compositions of the master composer Paps Touray performed by the Soto Koto Band, a group of pre-eminent musicians from Africa, Europ and the Americas unifying a diverse range of ancient and modern influences. the album received great reviews and was used as background music on television and cable programs. the mission of the Soto Koto band is to enrich the culture of the world by fusing the energy and excitement of the Gambian music with the world beats of the 90s.
PRODUCER: Oko Drammeh
HigherOctaveMusic has often been thought of as a new age label that also gets into smooth jazz. But this self-titled CD by the Soto Koto Bandis hardly an example of outright new age music. Under the direction of producer M. Oko Drammeh, who grew up in Gambia but later moved to Europe, The Soto Koto Bandplays what is essentially instrumental West African pop. Selections like "Mariama," "Let's Gumbay" and "Korajulo" are far from traditional West African music. Rather, the band mixes contemporary Afro-pop with funk, R&B and jazz as well as a variety of Latin styles (everything from Afro-Cuban salsa and Brazilian samba to South African Indian music). On this CD, synthesizers, horns and guitars interact nicely with African percussion and the kora (a traditional instrument that is still embraced by rural tribes in Gambia). This is very creative and risk-taking music that lovers of modern African pop should be aware of.
~ Alex Henderson, All Music Guide~
To be Continued !
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www.sotokoto.tv
Artist: The Soto Koto Band
Album: The Soto Koto Band
Documentation of Ifangbondi
Artist: Jaliba Kuyateh
Album: Night of the Griots CD
Documentation of Jaliba
Artsit: Abdel Kabir
Gumbay Dance!
Documentation of Gelewarr
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Bro. Oko,
Thanks for this compilation of Gambian music and our cultural icons already forgotten or unknown, even though some of them are still alive. It is a good attempt and I hope you do your best to bring out something in our cultural field as part of the broader African cultural renaissance or revival.
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