Saturday, July 19, 2014

Mamar Kassey

In 1976 Yacouba Moumouni was a 10-year-old shepherd living on the fringe of the Sahara desert in Niger.
Moumouni's father had died, leaving his older brother in charge of the family and the flock.
The young Moumouni fought often with his brother,
so he left home for the capital of Niamey, 125 miles away. On foot. alone. 
The rest is history, or at least it is in Niger. Moumouni spent two homeless years on Niamey's streets before taken in as the singer's Absatou Danté apprentice.

He learned the seyse, the flute of the Peul, and after seven years of training,
joined the Ballet National du Niger.
In 1990, he became one of the singers of Orchestre Takeda, the house orchestra
of the newly opened musical academy Centre de formation et de promotion musicale in Niamey.
At the CFPM, he met Abdoulaye Alassane,guitarist, and band leader of Super Kassey and  Orchestre Takeda.
They formed together in 1995 Mamar Kassey named after a legendary warrior who extended the Songhai Empire into the Sahara..
and soon became the most popular musical group to emerge from that dry west African country...

 Mamar Kassey Live 
 unknown date and place ,probably early zero's

+ bonus track from their latest Taboussizé-Niger


Thursday, July 3, 2014

songs from the kingdom of N’Gabu

The Kaabu Empire (also spelt N’Gabu / Gabu) started as a westward extension of the Manding Empire. Its rulers were ordained into office by the king of Mali (Manding) but as Mali declined during the 15th century the Kaabu became autonomous. Among the western Mandinka who inhabit Senegambia, Kaabu was second only to Manding in importance and its ruling dynasty, who bore the title of Nyanchos, were better known, more respected and more jealous of their heritage than any other of the Western Mandinka dynasties. ......continue to an essential history lesson

next  a  request
songs from the past to the future

Monday, June 23, 2014


Now that my heart has been at 
peace for so long, 
Why do you reawaken our love 
This is sinful of you; leave my heart 
at peace, undisturbed. 
When we were still close, had you 
rejected me, 
It would then have been easy for 
us to be reconciled, 
But the span of time made my 
heart deprived, 
Inured to suffering for want of you. 
Now It is as though your heart 
is longing, 
Feeling the pain In my heart for you 
You will flame the fire of anticipation, 
Which you extinguished before by 
your own hand. 
If I could forget the past 
And If I could bear the price of 
recapturing time, 
I would discover another lifetime 
to relive the past. 
When we are together, you are 
accusing and I accepting 
It is hard for me to speak as if our 
love is past. 
Since It exists as it was, and now 
even more strongly 
I remind you of the nights past. 
Describing and imagining how 
heavenly they were. 
You are the joy and ecstasy, 
And you are the pain and agony, 
And what is love, except these all? 
As time passes by, year after year, 
Your love is ever young. 
I could forget the past joys which 
have scarred my heart. 
I will be awake nights whirling over 
memories of our past. 
I would that I could forget the past 
And its pain which left its burn in 
my tear
If this is memory, tears will 
stream down 
From the overwhelming joy of 
your memory, 
You to whom I have devoted my life, 
Yearning for your devotion In return, 
You are the joy and ecstasy, 
And you are the pain and agony, 
And what IS love, except these all? 
As time passes by, year after year, 
Your love is ever young, 
Oh, you That your love lives in 
my heart. 
Within the shadow of unity 
You are Imagination; you are 
the spirit; 
You are the companion of 
all wishes, 
Time will come and go, and you 
remain the eternal love, 
How can I say how It was in 
the past? 
In the past. tomorrow was In 
the future, 
And the present will pass before 
we notice it. 
When I am with you in a trance In 
your sea of love, 
I do not notice what is passing from 
my life 
Whether you accept or reject me, 
You alone will be In my mind 
As the one I shall always love, 
As I have loved In the past 
You are the joy and ecstasy, 
And you are the pain and agony, 
And what is love, except these all? 
As time passes by, year after year, 
Your love is ever young

Ahmed Rami poetry
Riadh As'soombati music

no,I didn't abandon this blog
how could I?
Just another eclipse.....

Wednesday, June 11, 2014

Sina Sinayoko

Originaire de Bankounmana, un village proche du fleuve Niger
Sina Sinayoko, avec son album titré Boula,
traduit l’art musical des chasseurs malinkés avec le donso simbi 

the instruments
Abdoulaye Diabaté- bolon
Djeli Moussa Kouyaté- guitar
Souleymane Doumbouyha - percussion

the voices
Sina Sinayoko - vocals
Diarra Keita
Maimouna Keita
Salimata Keita - backing vocals

a true work of love produced by Salif Keita
recorded at his Wanda  studio in Bamako
with his 3 sisters as vocalists
Boula is a  wonderful record and the only one  from this great storyteller

the  tracks that i  like most among all the  jewels 

not posting the whole record 
as.  its worth (and I guess it will be relatively easy) to find  a physical copy out there

Saturday, May 31, 2014


This song speaks of  the great men , the brave men who made useful things in
this world before they die.
We dedicate it to the fallen heroes who lie in front  . Many brave men rest in  Nyaréla .
Young girls, small children, the children who fought for  the liberation of our homeland lie in Nyaréla .
 The world is sick, it became a fresh onion without seeds.
We have to be united , this union  ensures the smooth running of things.
Talking is difficult, not  talking is difficult , keeping silent is not good , mouth is a source of trouble. . Speech is learned but  it doesn't  force you .In the past, there were kings able to plant a needle , to pray in its shadow or to steal  the saddle of a horse. These kings always exist  but their reign is over. The times of the  generous kings are over.Today there are more enemies except the  rogues.These rascals say that we, the djéli , disturb . In the name of Allah, when we disturb someone, he becomes famous.
The Stories of the sons of Bambara are becoming   more and more  rare.
 less.and less ,those  interested in them
Death is a reality and  resurrection is a lie , however, it does not destroy hope.

* Niarela is a district with a well known cemetery  in Bamako

with Mah Damba : chant.
 Mamaye Kouyaté : ngoni, djembé.
Sidi Modibo Kouyaté : ngoni. Makhan Tounkara : guitare, ngoni. Marna Sissoko : guitare, tamani.
Djeli Madi Kouyaté : balafon. Djoké Sissoko : flé, flûte bambara.
 Djeli Sékou Kouyaté, Assa Sissoko, Mamani Keita, Niama Tounkara, Sadyou Damba : choeurs.

Saturday, May 17, 2014

Dance of the fishermen

celebrating the annual  collective fishing 

Dimba Tamboura, Hamadou Guindo, Hamadou Tienta  & Naouma Danbélé

Tuesday, May 6, 2014

Ndèye Marie Ndiaye Gawlo

in memory of a great  Voice from Senegal

Née en 1962, Ndèye Marie Ndiaye Gawlo qui fêtait donc ses 49 ans cette année, est griotte de par son
père et sa mère. Aussi, comme tous les Gawlo (Géwël), elle a commencé naturellement à chanter dès son plus jeune âge, il y a plus d’une trentaine d’années. Sa voix grave, profonde, avec un timbre et une intonation qu’elle maîtrisait parfaitement, était sa marque car, à travers elle, elle attirait l’attention. En effet, sa voix ne laissait personne indifférent, tout comme d’ailleurs ses chansons. Elle avait en effet une parfaite connaissance des textes traditionnels, et savait les inscrire dans leurs contextes, tout comme elle maîtrisait l’histoire. En somme, elle était une diva, une voix assurée de la musique sénégalaise, au sens propre du terme.
Ayant démarré sa carrière par la musique traditionnelle, comme le font les griots en chantant notamment dans les cérémonies familiales, elle a, au fur et à mesure, allié la modernité et la traditionnelle. Une modernité incarnée par ses prestations aux côtés de grands artistes sénégalais pour qui elle a assuré les chœurs. Parce que nombre d’entre eux la considéraient comme l’une des meilleures voix du pays.
Sa collaboration avec Youssou Ndour qu’elle a accompagné à travers ses tournées partout à travers le monde, à Bercy, à Londres, très remarquée par le public anglais que la «Gawlo» a conquis au point que les journalistes en étaient réduits à demander au lead vocal du Super Etoile qui était cette femme, en est la preuve la plus éloquente. Viviane Ndour, Salam Diallo dans «Goana», Fatou Geweul, Thione Seck, Coumba Gawlo Seck, entre autres, ont eu à recourir à ses services.
Mais en marge de cette carrière de choriste, Marie Ndiaye Gawlo poursuivait une carrière solo. Cette grande cantatrice a d’ailleurs connu quelques succès avec son premier tube «Teranga» dans les années 90. Un album produit par Youssou Ndour qui était aussi présent dans le clip qui a été très apprécié par le public.
«Goudi amna borom», une autre de ces chansons, traditionnelle celle-là, a aussi été un titre à succès dans les années 90, bien que le clip vidéo soit resté pratiquement inconnu du public. Le dernier et non moins célèbre titre de la diva, «Alal», sorti il y a moins de 5 ans, où elle éveille les populations sur le danger qu’est l’argent, a également fait un carton. Très attachée à la famille de Youssou Ndour, elle chantait tout le temps leurs louanges. La musique sénégalaise a donc perdu une voix irremplaçable.

par Oumou Sidya DRAME

Beeta Felaa
thanks to ngoni 

Alal as extra 

thanks to Seutou Damel for the video