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░ ▓█████████▓▓█▀ [ J U S T F U N . P R E S E N T S ] ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
░ ▓████▓▌ ░ Artist...: VA ▐▓▀▀
▓ ▐█████▓█ Album....: Prophet 37 - Griots de GuinΘe ▀ ░
▀█▄▓████▓▓▄█▀ Genre....: Ethnic ░▓ ▌
▄▀██▓██▓▓▀ Language.: Balante, bambara, malinkΘ & peul ░▓░▐▓
▓▓▄▀█▓▓▓▀ Label....: Universal ░▓░ █▓▌
▐█▓▓ ▀▓ Catnr....: n/a ░▓▓▓ ▐█▓▓
▓█▓▌ URL......: http://prophet-worldmusic.artistes.universalmusic.fr/uk/cd37.htm ▓[z0o]░
▐██░ ░ ░ ▄ ░▄▄▄▄▓▄▄▓████▓▓▄▄▄▄▓▄▄
▀▓█░▄ ▌ ░▓░ [ R E L E A S E . I N F O ] ▓░ ▓▀▓█████████████▓▓▓▀
░ ▀▀▓█▄▐▓ ░▓▓▓░ ░▓▓▓░ ░ ▀▓██████▓██▓▓▀ ░
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░▓▓░ ▐█▓▓ ░ ░▓▓░ source......: CDDA ░▓▓ ▐███████▓▓▌ ░
░░ ███▓▓ ▓▓░▓░ playtime....: 62:01 min ░▓▓░ ▓███▀ ▀▓█▓▓ ░
▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ rip.date....: 26-01-2005 ▓ ▐█▓▀ ░ ░▀█▓▌
▀▓█████████████▓▓▓▀ str.date....: 10-05-2004 ░▓░ █▀ ░░▓▓▓ ▀▓
░ ▀▓██████▓██▓▓▀ ▓░ ripper......: ..::Just4Fun::.. ▓▓ ▀░ ░ ░ ░▓░ ░▀
▀▓█████▓▓▓ ░░▓ grabber.....: EAC v.0.95 prebeta 4 ░▓▓░▓▓▓▓ ▓▓▓░
░ ▐███████▓▓▌░▓▓▓░ encoder.....: LAME v.3.90.3 Modified ░▓▓▓▓▓ ▓░▓▓░░ ░
▓███▀ ▀▓█▓▓ ▓░░ size........: 77,2 MB ░▒░ ░▓░ ░
▐█▓▀ ░░ ▀█▓▌░ quality.....: VBR/44,1Hz/Joint-Stereo ░ ▒
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░ ▄█▒████████▓▓▀ ▀▓██▓███▓▄
▄▓██░██████▓▓█▀ [ T R A C K . L I S T I N G ] ▀▀▀▓██▓▌
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▐███▓██▀▀▓▀░ ██▓▓█▀▀
▓████▓▌ ░ track title time ▐▓▀▀
▓████▓▌ ▀ ░▌
▓████▓▌ 01. Ali KonΘ & Amadou ZourΘ - Balafon et Tambour 05:03 ▓▌
▓████▓▌ bambara ▓▌
▓████▓▌ 02. Dially Mamadou KouyatΘ & Alpha KabinΘ 04:10 ▓▌
▓████▓▌ KouyatΘ - Balafaons malinkΘ ▓▌
▓████▓▌ 03. Diara Sadiako - Chant et bolon malinkΘ 05:32 ▓▌
▓████▓▌ 04. Famara Kamara - Chant et simbing malinkΘ 04:31 ▓▌
▓████▓▌ 05. Kadiali DramΘ - Chant et kora malinkΘ 16:21 ▓▌
▓████▓▌ 06. Mimoly Diao & shepherds-musicians - Chant 04:38 ▓▌
▓████▓▌ peul avec fl√te & percussion ▓▌
▓████▓▌ 07. Moussa SondΘ - Solo de bobal peul 06:18 ▓▌
▓████▓▌ 08. Bourama Sadio - Balafon balante 15:28 ▓▌
▓████▓▌ ▓▌
▓████▓▌ [ A B O U T . T H i S . R E L E A S E ] ▓▌
▓████▓▌ ▓▌
▓████▓▌ The musicians in this album were recorded in the ▓▌
▓████▓▌ various West African countries that comprised what ▓▌
▓████▓▌ was once called simply Guinea: Senegal, Guinea, ▓▌
▓████▓▌ Guinea Bissau, Burkina Faso, there where those ▓▌
▓████▓▌ great professionals commonly called griots live. ▓▌
▓████▓▌ These are mainly jeli (griots) of the MalinkΘ ▓▌
▓████▓▌ (Bambara, MalinkΘ, Mandinka, etc.) and such is the ▓▌
▓████▓▌ current celebrity of many of them, their musical ▓▌
▓████▓▌ artistry no longer requires any words of praise. ▓▌
▓████▓▌ ▓▌
▓████▓▌ The kora (track 05), that superb bridged harp that ▓▌
▓████▓▌ has already had an entire album devoted to it (Kora ▓▌
▓████▓▌ MalinkΘ, Prophet 11), is heard here in the hands of ▓▌
▓████▓▌ a jeli from Sedhiou (Senegal) who sings of the ▓▌
▓████▓▌ exploits of great figures from the world of the ▓▌
▓████▓▌ Mandingue. The instrument had been noted in the ▓▌
▓████▓▌ late eighteenth century by Mungo Park, the Scottish ▓▌
▓████▓▌ explorer, as had the simbing, the small bowed harp ▓▌
▓████▓▌ of hunters (track 04). ▓▌
▓████▓▌ ▓▌
▓████▓▌ The balafon, most likely a still more ancient ▓▌
▓████▓▌ instrument, is a xylophone with calabash ▓▌
▓████▓▌ resonators, and had previously been mentioned by ▓▌
▓████▓▌ the great Arab traveller Ibn Batuta in the course ▓▌
▓████▓▌ of his stay in the region in 1353. Three versions ▓▌
▓████▓▌ can be heard here: with drum accompaniment, played ▓▌
▓████▓▌ by the Bambara of Mali (track 01); a rendition by ▓▌
▓████▓▌ two performers on one balafon, with the Balante of ▓▌
▓████▓▌ Guinea Bissau (track 08); two players each on his ▓▌
▓████▓▌ own balafon, with the MalinkΘ of Guinea (track 02). ▓▌
▓████▓▌ ▓▌
▓████▓▌ The Peul, another important nation of West Africa, ▓▌
▓████▓▌ present here two facets of their pastoral music, ▓▌
▓████▓▌ one of them being a dazzling bobal solo (track 07) ▓▌
▓████▓▌ which invites comparison with saxophone solos in ▓▌
▓████▓▌ jazz. Two MalinkΘ balafons (track 02) also ▓▌
▓████▓▌ demonstrate their closeness to the finest jazz. ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ Track 1 Bambara balafon and drum ▓▌
▓████▓▌ ▓▌
▓████▓▌ Ali KonΘ and Amadou ZourΘ are Bambara farmers from ▓▌
▓████▓▌ the region of Bougouni (Mali) who, every year ▓▌
▓████▓▌ during the dry season, leave their fields and ▓▌
▓████▓▌ travel long distances with their musical ▓▌
▓████▓▌ instruments in order to practise their profession ▓▌
▓████▓▌ of griot. ▓▌
▓████▓▌ Here they are before the palace of Naba TigrΘ, a ▓▌
▓████▓▌ great Mossi dignitary, Seated alongside each other, ▓▌
▓████▓▌ Ali KonΘ plays the balafon (a xylophone with ▓▌
▓████▓▌ sixteen keys and calabash resonators) and Amadou ▓▌
▓████▓▌ ZourΘ a spherical, single-skinned drum. ▓▌
▓████▓▌ The balafon player wears about each wrist a kind of ▓▌
▓████▓▌ bracelet to which are fixed metal rings that jingle ▓▌
▓████▓▌ in the course of play. He strikes the keys with the ▓▌
▓████▓▌ aid of two mallets with latex heads. Added to the ▓▌
▓████▓▌ sound of the wooden keys are metallic jingling of ▓▌
▓████▓▌ the bracelets and the kazoo effect of the calabash ▓▌
▓████▓▌ resonators (each resonator has small orifices ▓▌
▓████▓▌ covered by fine membranes). ▓▌
▓████▓▌ With his bare hands Amadou ZourΘ strikes a ▓▌
▓████▓▌ spherical drum upon which are placed two leather ▓▌
▓████▓▌ pieces with metallic rings that vibrate during ▓▌
▓████▓▌ play. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Recorded in March 1961 in Tenkodogo (Burkina Faso) ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ Track 2 MalinkΘ balafons ▓▌
▓████▓▌ ▓▌
▓████▓▌ Chroniclers, historians, singers, praisers: such ▓▌
▓████▓▌ are some of the epithets that may be allotted to ▓▌
▓████▓▌ those professional musicians of West Africa known ▓▌
▓████▓▌ as griots. Griots traditionally constitute an ▓▌
▓████▓▌ endogamous caste within which, from generation to ▓▌
▓████▓▌ generation, a vast pool of knowledge is transmitted ▓▌
▓████▓▌ that requires the qualities of a historian no less ▓▌
▓████▓▌ than an aptitude for rhetoric, singing and ▓▌
▓████▓▌ instrumental performance. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Dially Mamadou KouyatΘ and Alpha KabinΘ KouyatΘ ▓▌
▓████▓▌ belong to one of the great lineages of the griot, ▓▌
▓████▓▌ which has the charge of the balafon relic, some ▓▌
▓████▓▌ seven centuries old in Nyagassola (Guinea). They ▓▌
▓████▓▌ perform here, on two balafons, the prelude to a ▓▌
▓████▓▌ long epic poem in song. ▓▌
▓████▓▌ The two instruments are of the same type, having ▓▌
▓████▓▌ eighteen keys and calabash resonators. The keys are ▓▌
▓████▓▌ aligned raft-like on a horizontal plane, placed ▓▌
▓████▓▌ upon the two upper, cloth-covered crossbars of the ▓▌
▓████▓▌ main frame. Beneath the keys, the calabash ▓▌
▓████▓▌ resonators comprise, as on the preceding track, ▓▌
▓████▓▌ several openings covered with fine membranes. Each ▓▌
▓████▓▌ musician has a pair of mallets (with latex heads) ▓▌
▓████▓▌ as well as metal jingles round their wrists. The ▓▌
▓████▓▌ percussive sound of the keys is thus complemented ▓▌
▓████▓▌ by that of the resonators(with kazoo) and the ▓▌
▓████▓▌ metallic noise of the wrist jingles. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Recorded in May 1958 near Kankan (Guinea) ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ Track 3 MalinkΘ song and bolon. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Diara Sadiako sings the high deeds of KΘlΘla, a ▓▌
▓████▓▌ valiant MalinkΘ warrior, accompanying himself on a ▓▌
▓████▓▌ bolon or korro, a large, bowed, four-string harp. A ▓▌
▓████▓▌ female chorus responds and at times claps hands. ▓▌
▓████▓▌ The musician sounds the strings with his right hand ▓▌
▓████▓▌ while the left strikes the calabash resonator with ▓▌
▓████▓▌ a wooden stick. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Recorded in May 1967 in SΘma, near KΘdougou ▓▌
▓████▓▌ (Senegal). ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ Track 4 MalinkΘ song and simbing ▓▌
▓████▓▌ ▓▌
▓████▓▌ Famara Kamara is a donso jeli, a musician for ▓▌
▓████▓▌ hunters. The confraternity of hunters occupies an ▓▌
▓████▓▌ important place in MalinkΘ society. Each village, ▓▌
▓████▓▌ BatakarankΘ in this instance, has its donso jeli, a ▓▌
▓████▓▌ musician for the hunters, an official griot, the ▓▌
▓████▓▌ repository of knowledge concerning the genealogy of ▓▌
▓████▓▌ the hunters and of the art of singing and of ▓▌
▓████▓▌ playing the simbing. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Famara Kamara, himself a hunter, is the musician of ▓▌
▓████▓▌ the village hunters. He sings the praises of the ▓▌
▓████▓▌ finest among them as he plays his simbing, a small, ▓▌
▓████▓▌ bowed, seven-stringed harp. The instrument has, as ▓▌
▓████▓▌ the end of the neck, a metallic noise-maker that ▓▌
▓████▓▌ sounds in the course of play. Seated by his side, ▓▌
▓████▓▌ his companion punctuates Famara's recital, at times ▓▌
▓████▓▌ by blowing on a fele hunting whistle, at times with ▓▌
▓████▓▌ vocal interjections. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Recorded in May 1967 in BatarankΘ (Senegal) ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ Track 5. MalinkΘ song and kora ▓▌
▓████▓▌ ▓▌
▓████▓▌ The kora is today perhaps the most famous of all ▓▌
▓████▓▌ African musical instruments, ever since a few ▓▌
▓████▓▌ leading names in 'world' music established ▓▌
▓████▓▌ themselves as performers on it. It is a bridged ▓▌
▓████▓▌ harp with twenty-one strings alined in two parallel ▓▌
▓████▓▌ rows either side of a notched bridge. In playing ▓▌
▓████▓▌ position, the instrument is held almost vertically ▓▌
▓████▓▌ by wooden handles set between the skin and the ▓▌
▓████▓▌ calabash resonator. The musician plays with the ▓▌
▓████▓▌ thumb and index finger of each hand. A noise-maker ▓▌
▓████▓▌ consisting of a metal plate around which are ▓▌
▓████▓▌ inserted little iron rings is fixed to the bridge, ▓▌
▓████▓▌ giving, in the course of play, a characteristic ▓▌
▓████▓▌ metallic jingling. ▓▌
▓████▓▌ ▓▌
▓████▓▌ There are several ways of tuning the instrument ▓▌
▓████▓▌ (cf. Kora MalinkΘ, Prophet 11). In this instance ▓▌
▓████▓▌ the kora is tuned in sila ba (the great way). ▓▌
▓████▓▌ Kadiali DramΘ is, of course, a true jeli, a MalinkΘ ▓▌
▓████▓▌ griot. He sings and plays the kora at the same ▓▌
▓████▓▌ time. He performs several airs in succession ▓▌
▓████▓▌ featuring various heroes or personalities whose ▓▌
▓████▓▌ virtues and in particular whose bravery he praises: ▓▌
▓████▓▌ Mali Sadio (Le Lamentin), TiΘdo (about the great ▓▌
▓████▓▌ DiankΘ Wali), Bakary Niomo, Malang Marang, Alfa ▓▌
▓████▓▌ Yaya, Diara DinkΘ, Anssou Massy. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Recorded in April 1967 in SΘdhiou (Senegal). ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ Track 6 Peul song with flute and percussion ▓▌
▓████▓▌ ▓▌
▓████▓▌ Performed in front of the palace of Naba TigrΘ, ▓▌
▓████▓▌ chief of the Mossi of Tenkodogo, this music is ▓▌
▓████▓▌ played by shepherd-musicians. ▓▌
▓████▓▌ ▓▌
▓████▓▌ The singer Mimoly Diao evokes the high deeds and ▓▌
▓████▓▌ praises the virtues of Naba Kiba, Naba TigrΘ's ▓▌
▓████▓▌ father. Seated by his side, a player of the serendu ▓▌
▓████▓▌ transverse flute together with two percussionists ▓▌
▓████▓▌ accompany him. The two kakol, hemispherical ▓▌
▓████▓▌ calabash resonators, are struck with the bare hand ▓▌
▓████▓▌ (one of them being held on its edge). ▓▌
▓████▓▌ ▓▌
▓████▓▌ Recorded in March 1961 in Tenkodogo (Burkina Faso). ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ Track 7 Peul Bobal solo ▓▌
▓████▓▌ ▓▌
▓████▓▌ Moussa SondΘ is a Peul shepherd who plays the ▓▌
▓████▓▌ bobal, a kind of clarinet made of a single millet ▓▌
▓████▓▌ stem, part of which forms the vibrating reed. He ▓▌
▓████▓▌ practises and often plays the bobal when he is ▓▌
▓████▓▌ looking after his flock. Here he is calling his ▓▌
▓████▓▌ flock, inviting it to come and drink. One cannot ▓▌
▓████▓▌ fail to be impressed by his virtuosity on such an ▓▌
▓████▓▌ extremely rustic instrument. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Recorded in March 1961 near Tenkodogo (Burkina ▓▌
▓████▓▌ Faso) ▓▌
▓████▓▌ ▓▌
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▓████▓▌ Track 8 Balante balafon ▓▌
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▓████▓▌ The Balante live mainly in Guinea Bissau where ▓▌
▓████▓▌ numerically they form the most important ethnic ▓▌
▓████▓▌ group. ▓▌
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▓████▓▌ Bourama Sadio is a Balante griot who gained his ▓▌
▓████▓▌ knowledge from his master Malan Konsian, who taught ▓▌
▓████▓▌ him the art of playing the balafon. His instrument ▓▌
▓████▓▌ was made by a certain Koreto Danfa. ▓▌
▓████▓▌ ▓▌
▓████▓▌ This is a balo with twenty-six keys and calabash ▓▌
▓████▓▌ resonators played by two musicians. Bourama Sadio, ▓▌
▓████▓▌ the leading musician, strikes the keys of the ▓▌
▓████▓▌ medium and high registers (from the eleventh to the ▓▌
▓████▓▌ twenty-sixth) while Demba ManΘ sounds the keys of ▓▌
▓████▓▌ the lower register (from the first to the tenth). ▓▌
▓████▓▌ The lower part of each hardwood key is hollowed out ▓▌
▓████▓▌ to a greater or less extent in order to adjust the ▓▌
▓████▓▌ tuning. Calabash resonators of graduated sizes (the ▓▌
▓████▓▌ largest for the low notes, the smallest for the ▓▌
▓████▓▌ high), are set out beneath the keys. The musicians ▓▌
▓████▓▌ strike the latter, each having a pair of sticks ▓▌
▓████▓▌ with latex heads. ▓▌
▓████▓▌ ▓▌
▓████▓▌ The balo may be played by a single musician when ▓▌
▓████▓▌ singing the high deeds and the bravery of a ▓▌
▓████▓▌ warrior. When played simultaneously by two ▓▌
▓████▓▌ musicians, as here, it serves to accompany the ▓▌
▓████▓▌ dancing of women. ▓▌
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▓████▓▌ Recorded in May 1967 near Bissora (Guinea Bissau). ▓▌
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