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, 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
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
BLAIN AFRO LP MANU DIBANGO FRANCIS BEBEY hear" src="http://www.popsike.com/pix/20080606/310056882871.jpg" border=0>
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
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.
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 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 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. 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 Ismaila Oussou Njie : Best of Faateleku" src="http://cdbaby.name/i/s/ismaila.jpg">
OUSSOU NJIE Solo Almum
THE CULTURAL REVOLUTION in THE GAMBIAN MUSIC
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. Ifang Bondi Mantra" src="http://ring.cdandlp.com/diaspora/photo_grande/32535817.jpg" width=200>
MANTRA The Album
MISSION ACCOMPLISHED
The Honourable
BADOU JOBE/ BANDLEADER OF IFANGBONDI
Guitar, Kora, Bass Guitar, Composer & Arranger
KORA-AWARD WINNER & The Last Soldier Standing.
Respect !
LAYE NGUM
All Music Guide ReviewDanceable 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 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 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
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 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
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 joined with West African vocalist Abdel Kabirr to record an album of songs and instrumentals, Gumbay Dance, in 1991. ~ Craig Harris, All Music Guide NEW AGE MUSIC Of GAMBIA
To be Continued !
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