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Showing posts with label Mbalax. Show all posts
Showing posts with label Mbalax. Show all posts

14 May 2015

Thione Seck - a 'gewel' for Senegal

Now ready for download and streaming, six crucial albums from Thione Seck.


Thione Seck is a gewel — a griot of the Wolof people of Senegal; by family legacy one who must remember Wolof history and wisdom and stand ready when called upon to intone them for grandees, visitors and the general public. He is also one of Senegal’s greatest singers and there’s a strong, clear connection between the two. 

Thione Seck: visting Sterns, London circa 1999
Thione Seck was born to sing, and in this case the phrase is not a cliché. His great-grandfather was a gewel in the court of King Lat Dior of Cayor, his grandfather was a famous itinerant gewel, and his father was anointed a singer of the psalms of Cheikh Amadou Bamba, the Muslim mystic and Senegalese national hero. Singing is in Thione’s genes. Naturally, his brother, Mapenda Seck, is also a gewel and a popular singer.


So Thione (pronounced chōn) was raised and tutored in the gewel repertoire. But in Dakar, the city of his birth in 1955, he grew up with lots more to absorb: the muezzin’s call to prayer, the Arabic pop picked up on shortwave radio from across the Sahara, the Bollywood musicals everyone went to see in downtown cinemas, the Latin records he could buy in a shop on the funky side of the city, and the live sounds of hometown celebrities, especially the Star Band de Dakar. When he was 16 years old he started an amateur group with Mapenda and friends who played the indigenous xalam lute and sabaar and tama drums but did not restrict themselves to traditional Wolof music. Within two years he was singing with a Star Band offshoot called Orchestre Baobab. 

Orchestre Baobab circa 1982, Seck in the middle
Baobab blended a variety of local and foreign styles into something like Senegalese salsa, in which the voice of the Muslim Wolof gewel was as elemental as that of the Santería santero in Afro-Cuban music, and so young Thione Seck was brought in to understudy Laye M’boup, the gewel among the group’s three original singers. A year later, 1974, M’boup died in a car crash and Seck was promoted to the band’s frontline. He immediately made a strong impression on audiences, not only with his marvellously supple voice, which could be soft and intimate one moment and plangent and soaring the next, but also with his words, which were admired for their poetry, pith, and moral integrity. These qualities did not impede his popularity; he wrote and sang some of Baobab’s biggest hits in the years when it was the hottest band in Dakar.

Musician credits for the 'Bamba' album as released by Sterns in 1980
Even so, after recording half the tracks that would be released in the Sterns album 'Bamba', Thione Seck left in 1979 to revive his first group, which would henceforth be called Raam Daan and would home in on a neo-traditional Wolof style, keeping the ancient drums and lutes but adding electric guitars, bass and keyboards. This energetic dance style was called mbalax, and along with Youssou N’Dour and El Hadji Faye of Étoile de Dakar and Omar Pene of Super Diamono, Thione Seck was one of its inventors and early stars.



Thione Seck & Raam Daan released a series of increasingly successful cassettes in Senegal, culminating in 'Dieuleul!', which led to the album 'Le Pouvoir d’un Coeur Pur' being recorded in Paris and released internationally by Sterns in 1988. After more Senegalese cassettes, Seck and his band returned to Paris for the two Ibrahima Sylla productions that Sterns issued on one CD, 'Daaly', in 1997. Seck continued this pattern of recording for local labels in Dakar and for Syllart and Sterns in Paris, where Raam Daan was sometimes augmented by studio musicians. The two excellent 'Demb' cassettes released by KSF in 1998 exemplify the spare but powerful Dakar sound, propelled by percussion and dominated by Thione’s thrilling voice. 'Orientation', the album begun the following year in Dakar and developed over the next three years in Paris, Cairo and Madras, has a richer, more ornate sound that evinces Seck’s love of Arabic and Indian music.

From the back cover of 'Le Pouvoir D'Un Coeur Pur' released by Sterns in 1988
But wherever and however it is made, Thione Seck’s art is grounded in his heritage as a griot — one whose role in society is to teach, entertain and inspire. We need not understand Wolof to hear in the exquisite nuances of his voice that he is a griot par excellence. 

THE ALBUMS: 

Orchestra Baobab – Bamba (1980 (1993))  

Thione Seck et Le Raam Daan - ...Dieulleul! (1988)

Thione Seck - Le Pouvoir D'un Coeur Pur (1988) 

https://itunes.apple.com/gb/album/le-pouvoir-dun-coeur-pur/id925026063

Thione Seck – Demb (1995) 

https://itunes.apple.com/gb/album/demb/id536434305 

Thione Seck – Daaly (1997)

Thione Ballago Seck - Demb II (1998)


 
 

18 Apr 2012

Moussa Ngom and KSF Productions - Senegal

Moussa Ngom on iTunes US Moussa N'Gom UK Moussa N'Gom

With the international success of Youssou N'Dour, Senegal is well-known as a source for some of the most exciting and creative music that Africa can offer. But beyond the awareness of established stars such as Youssou, Baaba Maal, Ismaël Lô or Thione Seck, what's perhaps less well-understood is just how important to the internal economy and identity of the entire Sene-Gambian region, is its music as a commercial enterprise.

But while Senegal is hailed as one of the most stable nations in Africa, this stability has not meant that its music is immune from the very same problems that beset the industry globally. Producers have flourished and more recently wilted with alarming regularity as they try to keep pace with changing trends and technologies. One of the important record labels which emerged from Senegal’s home-grown music industry was KSF Productions.

The high-point of KSF Productions was probably during the 1990s and in that time they were responsible for some classic and influential recordings that helped forge a unique and proud West African sound. Recordings that, to date and despite their manifest success within the region, have had very little exposure outside.

A perfect example are the two releases from Moussa Ngom, 'Circulation Lamp Fall' and 'Gal Gui’ with which we kick off our exposure of this deep catalogue.

Born in The Gambia, Moussa was already a member of the group Sangamarr in the late 1960s when he was invited by his older brother Laye Ngom, to join Guelewar in the late 70s. Guelawar had picked up the torch of success from Gambia’s Ifang Bondi and with a psychedelic tinge to their music and the scarcity of original legitimate releases, have been ensured cult status amongst today's bloggers and crate-diggers.

But Moussa moved on and the mid-1980s found him in the company of fellow vocalists Momodou Maiga and the magnificent Omar Pene as a member of Super Diamono during perhaps their most dynamic and successful period. History is hindsight and in those days, based on the music alone, it would have been a brave bet that chose between Youssou's Etoile and Omar Pene's Diamono for future international recognition.   



Moussa left Super Diamano in 1988 and courtesy of an anonymous commentator on YouTube we pick up the story around 1995 when:


“Moussa made an historic decision to link up with the Ensemble Lyrique Traditionnel du Senegal. These musicians were the resident traditional orchestra at the National Theatre Daniel Sorano in central Dakar.

The recording featured high resolution digital recordings of some of the best players of traditional instruments in Senegal. No one had heard the bass balafon sounding like this before. It simply blew the whole of Senegal away. Everywhere you went by taxi with the radio on you heard the track Circulation Lamp Fall as you attempted to navigate the 'emboutilage' of the Dakar traffic.

It started a trend for other modern musicians to record in the same traditional style that continues up to the present day as an acoustic counterpoint to the modern electric 'marimbalax' style."





Moussa had begun his career singing the 'kassak' songs performed at traditional male circumcision ceremonies and he once remarked that it was only after returning to this traditional style that he had his first hit, 'Circulation Lamp Fall', on his own ticket.

Today Moussa Ngom's status in Senegal is assured and he has been awarded one of the highest honours in the country, the 'Chevalier of the National Order of The Lion'. Like the more well-known, at least in the West, singer Cheikh Lô, Moussa is also a Mouride or more specifically a 'Baye Fall', a follower of Ibra Fall a.k.a. Lamp Fall ('the light of Mouridism').

Les Baye Fall huile sur toile (c) Mary Baird-Smith
The Mouride are a Sufi brotherhood with their headquarters in Touba a couple of hundred kilometres inland from Dakar, although devoutly Muslim the Baye Fall sect smoke marijuana and can abstain from work just so long as they walk the hot dusty streets chanting praise to Lamp Fall while collecting money for the cause. With their long Rasta-like locks or 'strong hair', wooden bowls for donations and wearing a patchwork of multicoloured cloth known as N'diaxas, they are a visible presence on the streets in Senegal and Moussa reputedly adds to this patchwork by wearing odd shoes. Always the same style, but in contrasting colours.

In another parallel, intentionally or otherwise, of Rastafarianism, Moussa is regarded as a spiritually-inspired musician but with a strong political consciousness. Perhaps there is no equivalent in our popular music of the West, but what is clear is that Moussa Ngom's music is deeply felt, deeply rooted and immensely popular.

Iain Scott with thanks to Paul Hayward & Mark Hudson