Men. This Oko is like Owens. A veritable reservoir of knowledge. Surely
this must not be allowed to lie eternally in incubation. I intend to do
something about that. Men. I'm impressed. And he says there's more. Mams, if
ever there was a good time to die, .....I'm red to NOT go.
Haruna.
In a message dated 2/28/2010 6:38:56 P.M. Eastern Standard Time,
[log in to unmask] writes:
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_ (http://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
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.
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_ (http://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 Mandingos and they make
up around 36 per cent of the country's population. The region of Brikama
has 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 Glass and 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_ (http://www.last.fm/music/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
(http://labasosseh.calabashmusic.com/)
Laba Sosseh, R.I.P! -
the undisputed master of Salsa/ Inventor of African Salsa Mbalax
_African Music _ (http://music.calabashmusic.com/world/africa) 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_
(http://music.calabashmusic.com/world/north_america/cuba) 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
(http://www.encyclopedisque.fr/disque/21723.html#)
Gambia's first singing superster worldwide
Voir : _Vicky BLAIN _ (http://www.encyclopedisque.fr/artiste/7726.html)
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.
(http://radiodiffusionontheradio.wordpress.com/)
_Super Eagles Band_
(http://radiodiffusion.wordpress.com/2008/06/23/super-eagles/)
Malang Gassama/ Malando
Percussionist for:
ABBA,
ROLLING STONES &
Al JERREAU
_Sock It To Me_ (http://www.radiodiffusion.net/audio/066SockItToMe.mp3)
_Tribute To Otis Redding_
(http://www.radiodiffusion.net/audio/067TributeToOtisRedding.mp3)
Anyone who has heard the song Love’s A Real Thing from _Luaka Bop_
(http://www.luakabop.com/) ’s _World Psychedelic Classics volume 3: Love’s A Real
Thing_ (http://www.luakabop.com/africa/cmp/album.html) will know why that
song’s title was selected for the title of the compilation.
Here are the liner notes from the _RetroAfric_
(http://www.retroafric.com/index.html) disc _Senegambian Sensation_
(http://www.retroafric.com/html/catalogue/017cd_1.html) (which for some reason, these two songs were left
off):
The _Gambian_ (http://en.wikipedia.org/wiki/Gambia) band Super Eagles
were pioneers of popular music in the _Senegambian region_
(http://en.wikipedia.org/wiki/Senegambia_(geography)) at the end of the 1960s / start of the
70s, delivering a progressive blend of _afrocuban_
(http://en.wikipedia.org/wiki/Afro-Cuban_music) , _pop_ (http://en.wikipedia.org/wiki/Pop_music) ,
_soul_ (http://en.wikipedia.org/wiki/Soul_music) , _bluebeat_
(http://en.wikipedia.org/wiki/Bluebeat) , _Congolese rumba_
(http://en.wikipedia.org/wiki/Congolese_rumba) , _highlife_ (http://en.wikipedia.org/wiki/Highlife) and
ndagga music. Using _Wolof_ (http://en.wikipedia.org/wiki/Wolof) lyrics and
rhythms, ndagga is the basis of what was to become ‘_mbalax_
(http://en.wikipedia.org/wiki/Mbalax) ’. During their five year existence, the Super
Eagles became one of the best travelled bands in _West Africa_
(http://en.wikipedia.org/wiki/West_Africa) .
In Bathurst (now _Banjul_ (http://en.wikipedia.org/wiki/Banjul) ), the
capital of this ex-_British colony_
(http://en.wikipedia.org/wiki/British_Crown_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_
(http://en.wikipedia.org/wiki/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_ (http://en.wikipedia.org/wiki/European) & _Latin_
(http://en.wikipedia.org/wiki/Hispanic) _ballroom music_
(http://en.wikipedia.org/wiki/Ballroom_dancing) , light _classical_
(http://en.wikipedia.org/wiki/Classical_music) , old _jazz_ (http://en.wikipedia.org/wiki/Jazz) and
the hugely popular ‘_morna_ (http://en.wikipedia.org/wiki/Morna_(music)) ’
from _Cape Verde_ (http://en.wikipedia.org/wiki/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_ (http://en.wikipedia.org/wiki/Griot) .
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_
(http://en.wikipedia.org/wiki/Patron) Malick Seck took them on international tours to _Senegal_
(http://en.wikipedia.org/wiki/Senegal) and _Sierra Leone_
(http://en.wikipedia.org/wiki/Sierra_Leone) . After Sammy Ndami left, Badou Jobe took over as
_bandleader_ (http://en.wikipedia.org/wiki/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_ (http://en.wikipedia.org/wiki/Diamond)
dealer Solo Darboe, they ordered instruments, _amps_
(http://en.wikipedia.org/wiki/Instrument_amplifier) and a _PA_
(http://en.wikipedia.org/wiki/Public_address) from _England_ (http://en.wikipedia.org/wiki/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 _
(http://en.wikipedia.org/wiki/Guitarist) / bandleader Badou Jobe, lead vocalists Paps
Touray (seen in this photo) and Datida Njie (a.k.a. Edu Haffner) and guitar /
_keyboard_ (http://en.wikipedia.org/wiki/Musical_keyboard) wizard Francis
‘Senami’ Taylor. Other members were Modou Cham (_tenor sax_
(http://en.wikipedia.org/wiki/Tenor_sax) and _congas_
(http://en.wikipedia.org/wiki/Congas) ), Oussou Njie (singer and _lyricist_
(http://en.wikipedia.org/wiki/Lyricist) ), Charles Valentine (_bass_
(http://en.wikipedia.org/wiki/Bass_guitar) ) and Malan Gassama (_drums_ (http://en.wikipedia.org/wiki/Drum_kit) ,
_percussion_ (http://en.wikipedia.org/wiki/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_ (http://en.wikipedia.org/wiki/English_language) with Touray providing
some belting vocals in the style of _Otis Redding_
(http://en.wikipedia.org/wiki/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_
(http://en.wikipedia.org/wiki/Mandinka_language) .
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_ (http://en.wikipedia.org/wiki/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 album Viva 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_
(http://www.commonwealth.sas.ac.uk/) the band was joined by Teddy Osei and Mac Tontoh, founders
of _Osibisa_ (http://en.wikipedia.org/wiki/Osibisa) . The album was a hit
throughout West Africa but, typically the musicians claim never to have seen
a penny of the _royalties_ (http://en.wikipedia.org/wiki/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_
(http://home3.inet.tele.dk/mcamara/bands/ifang.html) (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_
(http://www.koraawards.co.za/) – the African equivalent of the _Grammy_
(http://en.wikipedia.org/wiki/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 _
(http://en.wikipedia.org/wiki/Dahomey) (now _Benin_ (http://en.wikipedia.org/wiki/Benin) ), which
was the first hit for the label.
Catalog number FN28 Ghana Films Label FNS, manufactured and distributed by
_Decca_ (http://en.wikipedia.org/wiki/Decca_Records) .
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.
(http://www.facebook.com/photo.php?pid=2856523&id=111559613178)
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, pa
tron, 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 BONDI_
(http://www.groovecollector.com/groove_guide_artist/2/1491/ifang-bondi.html) BAND
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_
(http://musiques-afrique.com/frames/art_baobab.html) , (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
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_ (http://worldmusiccentral.org/artists/youssoundour.htm) ,
_Mory Kante_ (http://worldmusiccentral.org/artists/mory_kante.htm) , and
_Baaba Maal_ (http://worldmusiccentral.org/artists/baabamaal.htm) 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
& The Last Soldier Standing.
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 Kabirr_
(http://www.artistdirect.com/nad/music/artist/card/0,,451157,00.html) who 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_ (http://musiques-afrique.com/frames/art_ifan.html) 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_ (http://musiques-afrique.com/frames/art_you.html)
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_
(http://musiques-afrique.com/frames/art_diamono.html) 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_
(http://musiques-afrique.com/frames/art_thione.html) . 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_
(http://musiques-afrique.com/frames/compilation_golden.html) compilation series, « Wallou! » on
the _African Pearls_
(http://musiques-afrique.com/frames/compilation_africanpearls.html) vol.4: The Teranga Spirit, and « Relen te contan » on the
_African Pearls_
(http://musiques-afrique.com/frames/compilation_africanpearls.html) 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] (mailto:[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._ (http://www.gambia.dk/gam.html)
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_
(http://www.mp3.com//artist/the-soto-koto-band/summary/)
Genre: New Age Africa
The Soto Koto Band Discography
Artist: Paps Touray
(http://worldmusic.kazaa.com/album/Mandingo_Beat/24511/)
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_
(http://www.mp3.com/albums/150615/summary.html#)
Artist: _The Soto Koto Band_
(http://www.mp3.com//artist/the-soto-koto-band/summary/)
(http://worldmusic.kazaa.com/album/The_Soto_Koto_Band/24508/)
Album: The Soto Koto Band
Documentation of Ifangbondi
Artist: Jaliba Kuyateh
Album: Night of the Griots CD
Documentation of Jaliba
Artsit: Abdel Kabir
(http://worldmusic.kazaa.com/album/Gumbay_Dance!/24507/)
_Gumbay Dance!_ (http://worldmusic.kazaa.com/album/Gumbay_Dance!/24507/)
Documentation of Gelewarr
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 Band_
(http://www.artistdirect.com/nad/music/artist/card/0,,495524,00.html) joined with West African vocalist _Abdel Kabirr_
(http://www.artistdirect.com/nad/music/artist/card/0,,451157,00.html) to 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
(http://www.ukgambians.net/index.html) (http://worldmusic.kazaa.com/)
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 _
(http://worldmusic.kazaa.com/artist/The_Soto_Koto_Band/32732/)
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_ (http://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 Band_
(http://www.answers.com/topic/the-soto-koto-band) is hardly an example of
outright new age music. Under the direction of producer _M. Oko Drammeh_
(http://www.answers.com/topic/m-oko-drammeh) , who grew up in Gambia but later
moved to Europe, _The Soto Koto Band_
(http://www.answers.com/topic/the-soto-koto-band) plays 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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