Friday, May 15, 2015
Vinelo
Benediction
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 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)
with
Cheikh O. Diabaté
guitar and arrangements
Dia N'gnano,Bintu Bombeté,Tenén Kouyaté
chorus
Modibo Diabaté
guitar
Oumar Diabaté "Dagnon"
bass
Gaoussou Diabaté
ngoni
Lassana Diabaté
balafon
Madou Koné
tamani
Adama Diarra
djembe
Fela Lamine Camara
keyboard
Zoumana Treta
sokuThursday, 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 something.in 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
Tuesday, March 31, 2015
Antoninho Travadinha
“I heard the sound of the violin and I began searching who was playing it .
It was there in the font , a small man, almost hidden, but his music was fantastic”.
from João Freire's memories
Antoninho Travadinha was one of the greatest violinists that ever came out of Cabo Verde
and his name is still revered among the next generations of musicians at home and in diaspora.
Travadinha was born on the island of Santo Antão to a music family:
father violinist and seven brothers who played the violin.He was participating to the local balls with his rabeca since he was nine, despite the objections of his father.
Besides the violin he played wonderfully well the viola(12 string guitar) the cavaquinho and violão;
his interpretations and improvisations on the traditional mornas ,coladeiras and mazurkas had a unique style
Due to his humble social status the recognition of his talent was not easy:
Travadinha had to wait until he was 40 to start becoming little known as a musician,
particularly after 1981 and this thanks to a visit to Portugal
where he was "discovered" and promoted by João Freire .
With the help of Associação De Amizade Portugal - Cabo Verde
his only record whille living,Feiticeira De Cor Morena was released in Portugal in 1986 and was welcomed enthusiastically by the press and music lovers.of the time....
Travadinha died few months later, in 1987....
for the record:
Antonio Travadinha: violono,viola de dez cordas,cavaquinho
Armando Tito:violão solo,viola dez dez cordas,cavaquinho,baixo electrico,chocalho,reco-reco,voz
Ildo Ramos:violão
Micau:bongos,reco-reco,chocalho
Ana Firmino :voz
Friday, March 27, 2015
Spring Waterfall
time for
Foday Musa Suso-Pharoah Sanders-Eberhard Weber
Spring Waterfall
Foday Musa Suso Kora Music from the Gambia
Saturday, February 28, 2015
Yarona
today was (another) revisiting Abdullah Ibrahim day for me
it's been (already)20 earth years since this marvel came out
plus
wonders enough to last an eternity
Friday, February 27, 2015
Monday, February 2, 2015
Rakotozafy-Valiha Malaza
in short
we play valiha like in heaven...you cannot compete......"Lekatseka"
Rakotozafy (pronounced Rakoutzaf)-b.1933-d.1974,is the founding father of modern Madagascan music.
His origins were in the Sihanaka tribe from the Lake Alaotra region.
He was called the "Robert Johnson of Madagascar" and like Johnson, he was one of the best players on his instrument,
in this case a variation of the national stringed instrument known as the valiha,
called the marovany.
His instrument featured a total of 24 strings in the two sets, each set tuned to a different scale.
.Rakotozafy made his first recordings on singles and 45 EPs in the '60s for DiscoMad
and was frequently accompanied by Freddy Renarison and Rakotofra,the sodina player
in live performances,
often supported by his son on percussion and vocals, that he really excelled.
He performed before the president Philibert Tsiranana in 1962 as well as thousands of his country people.
Reports suggest that he actually visited U.K. in the early 60s as a member of Sylvestre Randafison's group,
Ny Antsaly.
That so much confusing and conflicting information surrounds his life simply adds
to his reputation with numerous African musicians.
The circumstances of his death have never been established, although there are plenty of theories,
one of which maintains that he accidentally killed his son while performing by hitting him after he made an error,and died in prison a broken man.
Another suggests he received six years' back-dated royalties from Discomad and drank himself to death.
Neither theory appears to hold much in the way of truth.
Tao Ravao and Justin Vali created an extended musical work in honor of Rakotozafy,
entitled "Valiha Malaza,"which was first performed at the 2001 Festival Africolor.
like in heaven :)
*****
Sunday, January 18, 2015
Tuesday, December 30, 2014
Friday, October 17, 2014
Douga
art by Tony Markis the vulture
Nanou Coul & Salia Sanogo-Douga koro
Mah Kouyaté Nº2 & Madou Camara -Douga
for the many transformations of the song you may read here
for the many transformations of the vultures look around you
Wednesday, August 13, 2014
Saturday, July 19, 2014
Mamar Kassey
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
Taboussizé
Thursday, July 3, 2014
songs from the kingdom of N’Gabu
next a request
songs from the past to the future
songs from the past to the future
Monday, June 23, 2014
eclipse
Now that my heart has been at
peace for so long,
Why do you reawaken our love
again?
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
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
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
as. its worth (and I guess it will be relatively easy) to find a physical copy out there
Saturday, May 31, 2014
Nyarela

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.
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
with
Dimba Tamboura, Hamadou Guindo, Hamadou Tienta & Naouma Danbélé
Tuesday, May 6, 2014
Ndèye Marie Ndiaye Gawlo
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
Tuesday, April 29, 2014
Air Afrique
rumba,boogaloo and rock & roll was the sound
of the young (rich & proud) independent West Africa
that was flying exclusively with Air Afrique of course
Africa (Mon Afrique)-Air Afrique
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