fR316 PAGES 54-71 (11 Pgs) 1/9/09 12:59 Page 6
61 f
EII
Between times we are witness to the
KANDIA KOUYATE
gradual infusion of indigenous influences –
Edward II: The Definitive Collection E2
via balafon and flute and the adaptation of
Ngara Syllart 10000374
Music E2CD1001
folkloric styles and songs – into the ever-pre-
There’s no more befit-
Currently back in the
sent Latin and jazz influences. The first CD –
ting a description than
old routine – for one
covering the period from 1968 to 1970 – has a
ngara, ‘master Jeli’,
year only folks! – EII
strong Cuban edge, with horns, percussion
for the force of musi-
shrewdly provide a
and vocals to the fore, and electric guitar very
cal presence that is
comprehensive
much buried in the mix (frustratingly at
Kandia Kouyate, although her rich, booming
update of their illustrious history as a refresh-
times, it has to be said). But the guitar came
voice and domineering position as one of
er course for fans old and new. Two CDs, 19
out from under the covers as production val-
Mali’s leading griots suffered a setback five
tracks, nearly two decades covered, lots of
ues improved in the early ‘70s to influence
years ago when she suffered a stroke. This re-
smiles as their two distinct eras of jiggery
the swinging, ringing sound of compatriots
release of some of her older recordings under-
skanking are separated by the titles The Polka
Bembeya Jazz amongst others.
lines the impact she made prior to her unfortu-
Years and Wicked Men And Ting… Keletigui employed some good singers, nate bout of ill health.
The dividing line is important. They
amongst them Manfila Kante with his high,
The first five of the seven tracks here
sound like two entirely different bands and
slightly nasal vocal; Papa Kouyate’s cool com-
were recorded in Paris in 1999 and presaged
effectively they are: the reggae-fuelled
manding tone; and Keletigui himself. But it
her remarkable Biriko album (released three
warmth of latter-day EII on their deliciously
was the soloists who place the ensemble in the
years later) in their stripped-back configura-
impudent version of Curtis Mayfield’s People
top division. The man himself led the way on
tion of balafon, ngoni, percussion and vocals.
Get Ready – Simon Care’s melodeon, on over-
alto sax and fluttering flute (and, latterly,
Two of the tracks – Douwawou and Doninke
load intercepted by a glorious rap – is a far cry
organ), with fellow saxophonists Bigné
– originally appeared on the singer’s Kita Kan
from the Stradling-fuelled, Mekons-populat-
Doumbia and Momo ‘Wandel’ Soumah lend-
album, standing out as enduring pearls on an
ed dance band with the edgy John Gill bass
ing meaty and melodic support. Kerfala Cama-
uneven album containing a number of over-
lines that give us Sophie Bourbon’s Hornpipe
ra’s colourful trumpet solos stand out too, and
ambitious arrangements.
from the early days. There have been many
the two Condés – Linké and Sekou – con-
Kandia never sounded better than on
incarnations since. If serving in Fairport Con- tribute ringing guitar licks, while the liquid
these less cluttered recordings – her voice is
vention and the Albion Band is the folk musi- babble of balafon player Lansana Diabate is a
expressive, steeped in history and lightly
cian’s equivalent of National Service, then EII key driver on the tracks from the early ‘70s.
sanded by experience and emotion but with
is the Territorial Army, but you can just about
Amongst many highlights are the a strong sense of melody when set against a
detect the blood lines that link the two equal-
punchy, conga-led Cubanismo tracks such as sweetened, uplifting choir of female back-
ly adventurous eras of gung-ho enterprise.
La Bicycletta, the zestful guitar and saxo- ing vocals (an arrangement pioneered by
It’s surprising how well the very early phone sway of Bébé, the reinterpretation of Kandia, and taken for granted now). And
stuff stands up. Even the initial demo cassette traditional hunting song Donsoké, and Kadia there’s lots of space for the exemplary musi-
tracks Johnny Mickey Barry’s and 79th High- Blues, a snaking jazz-blues instrumental that cians (Moriba Keita on ngoni is in supreme
lander’s Farewell To Gibraltar sound fabu- begs for a sultry female vocal. All of which – form) in the sparse, echoing chamber-style
lously bright and upbeat and once the Mad with the usual excellent sleeve notes by arrangements. Hypnotic stuff.
Professor gets involved, dubbing away with Graeme Counsel – makes The Syliphone Years
In addition to those five entrancing
the smoothing iron on the Two Step To Heav-
a fitting tribute to a recently-departed great.
tracks, there are two lo-fi recordings presum-
en tracks, things really begin to motor. Listen-
www.sternsmusic.com
ably taken straight off two of the many cas-
ing to this stuff now brings it home just how
sette tapes Kandia Kouyate has recorded over
innovative their mix of English dance music
Con Murphy
the years. Sarama is a grainy recording made
with imported West Indian and African influ-
in Abidjan back in 1984 that’s nevertheless
ences really was as a representation of a new
multicultural country. YASMIN LEVY
full of charged emotion, despite the slightly
incongruous passages of saxophone that
What the two bands have always had in
Sentir World Village 450010
weave in and out of balafon, ngoni and some
common is their lack of self-seriousness, and girlish backing harmonies. We are taken back
sense of fun about it all. We can spout on for Levy’s last album, 2007’s Mano Suave, was further to Bamako circa 1981 for the 14-
hours about its cultural significance and rele- the one where she found her voice as an minute closing track, Yo Lele, where Kandia’s
vance to the folk process but hey, it’s music, artist, the combination of traditional Ladino voice is high, bold, more improvisatory and
it’s for dancing and it makes you feel good. and flamenco influences really clicking into less compromising than on later recordings.
That’s certainly the philosophy of the later EII, place. So my expectations for Sentir were
It is said by some that you really need to
cheerfully diving into cheesier waters on
high and my first reaction when I stuck it into
understand Kandia Kouyate’s words to fully
Dashing Away and Wild Mountain Thyme,
the player (as ever, ignoring the sleevenotes, appreciate her power, as they carry a reso-
joyously colliding with a sacred cow on
bumph and blurb that came with it) was a nance and message like no other. Maybe so,
Plough The Speed and getting into serious
confused shrug and a raised eyebrow. The but the voice at its best – as it was in this peri-
lovers’ rock territory with the T & Latouche
voice was still full of emotional depth, but od – speaks volumes enough to this listener.
post EII-track Let A Thousand Blossoms
what the hell was that tinkly piano all
Bloom. Kellie While offers a mellow counter-
Via Stern’s: www.sternsmusic.com
about? Why did the arrangements make me
point on the other post-EII track, on Chance
think of cocktail lounges rather than Yas-
Con Murphy
Melody from E2K’s Topic album If Not Now.
min’s mum’s kitchen (where she learnt many
So conditioned are we now to getting of the trad Ladino songs she sings). The Yasmin Levy
detailed notes about everything, the packag- answer I discovered was Javier Limon, the
ing seems primitive and the info is more than album’s producer who’s previously worked
a tad sketchy. But then again, EII always did with Mariza, Buika and any other world
let the music do the talking.
music diva who fancies a bit of smooth.
www.myspace.com/edwardiiofficial
But as the CD progressed I found things
Colin Irwin
to like, mainly the bits where Mr Cocktail
Piano rests his tinkling fingers and Levy gets
on with the business of singing Mediter-
KELETIGUI ET SES
ranean roots music. A duet with Greece’s
TAMBOURINIS
Eleni Vitali goes down a treat and she does
the expected excellent job on Ladino heart-
The Syliphone Years Stern’s STCD03031-32
string tuggers such as Jaco. She even just
about manages to pull off a duet with a
Saxophone player, flautist and band leader recording of her late father (the Sephardic
Keletigui Traore died in November 2008 aged Natalie Cole anyone?) But oh there are points
74, so the fourth release in Stern’s series when it all gets a little too treacly for its own
anthologising Guinea’s tradition-rooted
good, not least a Spanish-language version of
authenticité orchestras of the 1960s and 1970s
Leonard Cohen’s much covered Hallelujah.
arrives with poignant timing. The (as ever)
Levy is a true artist, a rare talent and
attractively-packaged and informative double-
Photo: Ali T
there are many moments here where this
CD release covers Keletigui Et Ses Tambourinis’
shines through. I just wish that she’d found
most creative and popular period, beginning
someone more interesting to work with.
in 1968 shortly after they’d changed their
name from Orchestre De La Paillote and finish-
www.worldvillagemusic.com, distributed askiran
ing in 1976 as the strains of soukous start to
by Harmonia Mundi.
peep through the band’s Guinean groove.
Jamie Renton
Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92