Friday, June 12, 2015

Monday, June 1, 2015


two (of the infinite) aspects of freedom

Guitar  Lucky Ranku
Piano Cecil Barnard
Bass  Steve Sgodini Scipio, Victor Ntoni
Malombo Drums  Julian Sebothane Bahula -and here 
Drums, Percussion  Babafumi Akunyun
Flute, Alto Saxophone Mike Mathome Rose 
Vocals Pinise Saul, Samora Hlatshwayo, Selaelo Maredi, 
Seth Sibanda, Sipo Mzimela, Thembi Mtshali 
Recorded live at Konserthuset, Stockholm, 18/2/1979

Leader ,Drums (1st Repeater) & vocals Ras Michael (Testa Zion)
Bass  Paul Drysdale (Paulie)
Bass Drum  Ras Martin (I Marts)
Drums (1st Founder)  Alvin Hewitt (I Jack)
Guitar(Lead)  Chinna
Guitar (Solo)  Bro Clarence
Guitar (2nd Guitar) Bro Rupert Mc Farlane
Harmony Voices  Brother Leroy, Brother Thomas (Jat)

Saturday, May 30, 2015

Sunday, May 17, 2015


Forward Kwenda was born in the rural Buhera area of Zimbabwe, and as a boy excelled in traditional dance and recitation of ancient poetry. At the age of 10, he began to play ngoma (drums) and hosho (gourd rattles) for his mother's gombwe (rain-making) spirit. He was given the name "Forward" because of his curiosity about many subjects, enthusiastic involvement in many activities, and his singing for liberation war freedom fighters.

At an early age, Forward borrowed an mbira and, with no teacher other than occasional radio programs, began to play on his own. In 1984, Kwenda moved to Zimbabwe's capital city of Harare and began to play mbira with other musicians. Within a year, he had formed his own mbira group and was making records and performing on national radio, as well as performing constantly at mapira ceremonies. During this period, he was informed by powerful rain-making spirits that he was to devote his life to playing mbira for their ceremonies. He was particularly known as the teenager for bringing the desired spirits to a ceremony by the end of the first song .
In 1985, Forward began playing in a unique complex style - much to the amazement of master mbira players two and three generations his senior. This style, considered in Shona culture to be "more ancient" because spirits prefer it


Friday, May 15, 2015



This is an opening segment for a tromba ceremony,
 in which ancestral spirits are alerted to the need for them to appear in the present moment.
 Specific spirits have particular powers, so a different spirit will be called
 depending on the needs of the particular participants at each tromba ceremony.
 Some spirits for instance are adept at curing particular illnesses;
 others resolve disputes; others give good advice, etc. 
Each spirit has a particular melodic motive, played on maro tady, to which she or he will respond.
 As this is the musical introduction to a tromba ceremony, 
Vinelo is performing much chanting in this segment
 in which he is communicating to and about the razana,
 the collective of revered Malagasy ancestral spirits.
 At approximately 4'30" Vinelo begins a deep breathy mode of singing called ndrimotra,
 a term which comes from the verb "to heal". 
At approximately 11'20" Vinelo moves into a different melodic motive.
 Here he would be beginning to invite a particular ancestral spirit into the present
 to affect treatment of an ill patient. 

Monday, April 6, 2015

Nafi Diabaté dite Marimar

I ended previous post with a video of Marimar
it's her  time again,enjoy 

Je m'appelle Nafissatou Diabaté, dite Nafi mais surtout Marimar.
Je suis native de Ségou. Mon père s'appelle Oumar Koné dit Baroublen et ma mère Tata Koné.
J'ai reçu la chanson du côté de ma mère, car, du côté de mon père, il n'y a pas de chanteurs.
C'est à l'âge de douze ans que j'ai commencé à chanter. Ma carrière solo a véritablement débuté en 1998, tout juste après mon mariage. A l'époque, je faisais des sumu. J'ai fait mon premier album en 2000, avec pour titre phare « Aye Deme », et le second « Kouma madi « . Je prépare mon 3ème et 4ème albums. Tous les deux comptent 10 titres chacun. Et la sortie officielle c'est pour très bientôt, Inchallah.
Un mot sur les thématiques développées dans vos chansons.
Je parle de l'amour, de la patience, de la paix et surtout des conseils, car une griotte qui ne peut pas donner des conseils ne remplit pas sa mission
Au début, mon père était catégoriquement opposé à mon choix de mener une carrière artistique. Mais, le croyant qu`il est a fini par comprendre que je ne suivais que mon destin. Il m`a alors donné sa bénédiction.
La jeune sœur de lait de ma mère est la maman de Cheick et Modibo Diabaté. J'ai passé mon enfance auprès d'elle et comme elle est cantatrice, j'ai suivi ses traces.

first and best record so far from year 2000 (I think)

Cheikh O. Diabaté
guitar  and arrangements
Dia N'gnano,Bintu Bombeté,Tenén Kouyaté
Modibo Diabaté
Oumar Diabaté "Dagnon"
Gaoussou Diabaté
Lassana Diabaté
Madou Koné
Adama Diarra
Fela Lamine Camara
Zoumana Treta

Thursday, April 2, 2015

where do the ancient statues go,after ISIS demolishes them?

It was yesterday evening that I realized that the youtube channel of my friend Ngoniba ,is no more.Gone..
He didn't inform me and I was too busy to follow what was happening around.
The truth remains like a bad joke:1600 videos of (mainly)Malian and West African music treasures,many of them of unique historical value  have vanished since 2 months from youtube due to Africacable claims of copyright infringement for some of their videos .
I was  shocked  though very familiar with the new (web  or  out of the web) practices.
It was like bombing a whole city for hosting 3 terrorists,or a very similar tactic to what those criminals of ISIS do in Iraq.I wasn't missing my picture no!
Years of work and research have vanished with no good reason ,or I'm free to suspect   for a very good reason:
Real African culture (and Third World culture in general )is unwanted in a business system ( I won't call it a civilization,civilizations even the most barbaric have at least principles )  that promotes (scientifically and backed up with tons of money ) racism,sexism, materialism and their variations as their basic everyday drag .
there is no future for the human race in such a system.
but there is plenty of future out of it
I'm really sorry for them.

....and  I'm sorry for me too
for not protecting enough our heritage of those ancient statues