I mentioned a couple posts ago about how I’ve been feelin the accordian sounds from the Indian Ocean islands off south-eastern Africa. You thought I was joking? René Lacaille plays a seriously mean accordian, and the musicians of the tiny Île Rodrigues bust it like today is their last.

Lacaille is a talented artist from the island of Réunion who has helped to spread the séga sound outside of the region. He sings and plays accordian, guitar and other instruments. I picked-up his 2004 release, Mapou, last week. Mapou translates into sugarcane, the most important crop on La Réunion.

The other two tracks on today’s post come from Rodrigues musicians who are featured on the Takamba compilation, Île Rodrigues Vol. 2. The recordings and tunes may be a bit primitive, but just imagine these guys sitting around in the sweaty heat, stomping their feet and working their accordians. I picture a cute Rodrigues local lifting her skirt just a touch as she pounds out a dance on a dusty floor.

In case you’re wondering where Rodrigues is (I was, anyway), it’s a small island many hundreds of kilometers east of Mauritius. It’s only 18km by 9km and is officially part of Mauritius, but it’s so far off my bet is that the inhabitants pretty much do their own thing.

Spring is here so kick off your shoes, get outside and bust-out that accordian.

René Lacaille – Titep
Le Groupe Kaskavel – Laval
Benoit Samoisy – Laval

I’ve been gushing lately about Zainaba, the beautiful voice from Grande Comoros island. Today we’ll hear another talented female vocalist from the Comoros, Nawal.

Nawal, like Zainaba and most of the inhabitants of the Comoros islands, is a devout Muslim. Nawal in particular is a direct descendant of an influencial marabout, or spiritual leader, of the sufi Islam community in Comoros. This comes out in her lyrics and singing style, and in fact today’s pick translates into “The All Powerful” – I think you know who she’s referring to.

Rich rhythms, nice guitar and bass and an overall cool sound (including a nice Jacques Brel cover – that’s for you, Ben) make this album stand-out. That and the fact that, yet again, we’re hearing music by a woman who normally, at least according to strict local customs, wouldn’t be allowed to perform music in public.

Today’s track comes off her 2004 release, Kweli. Apparently she’s coming out with a new album this year or next so keep an ear out.

Nawal – Al Djalilu

Hey, you thought I was done with the islands? I’m obsessed. My friends look at me with a sympathetic but somewhat uncomprehending smile when I enthusiastically go off about the political history of Mayotte or the untold story of Chikungunya on the Île de Maurice or the wonders of the accordian playing on Île Rodrigues. But Benn loxo listeners, I know you’re into it.

I just mentioned Rodrigues but that’ll have to wait for another day. Right now we got Réunion and the bluesy maloya of Granmoun Lélé.

The maloya style originated in the cane fields of Réunion during the slave days. At that time the island was called Île Bourbon. The word “maloya” from the Malagasy maloy aho, which roughly means “say what you gotta say.” It follows then the singing maloya songs was a way for cane harvest slaves to express themselves and speak their story. Maloya music is characterized by its prominent percussion and passionate, repetitive lyrics.

Granmoun Lélé is one of the maloya masters. He plays with a troupe comprised of several members of his family. Today’s selection comes off his 2003 release, Zelvoula.

ps- To quote MF Doom, “this one goes out to You Know Who You Are…”

Granmoun Lélé – Marie Louise

If Google Analytics is to be believed, then Benn loxo du taccu attracts listeners from pretty much all over the world. The orange dots on the graphic to the left represent people who visit the site.

Predictably most listeners come from North America and Europe, though I was pleasantly surprised to find out that quite a few of you live in Asia, South America and elsewhere.

There aren’t many African listeners aside from a few in Nigeria, Senegal, Ghana, South Africa and the Great Lakes, though I think this mostly reflects that, for the most part, ex-pats like me are into different kinds of music than young, Internet-savvy Africans.

Anyway, I thought that those of you who visit this site might be curious to see who else is listening to the same tunes. For me, stats like this make Benn loxo feel alive and motivate me to keep on posting.

Benn loxo listener, Henri, sent me a video clip from the Ethiopian concert we both attended in Bobigny last week. We exchanged a couple e-mails on our thoughts about the show.. here’s what I think:

Overall I was quite disappointed. The first group, led by blind Ethiopian singer Jimmy Mohammad, was ruined by a Dutch drummer who acted like he was on peyote and played like he was the batteur for Megadeth. It was a real shame that his drumming and antics were distracting everyone from the good singing, Ethiopian percussionist and interestingly electric krar.

The second group featured classic Ethiopian saxophonist, Getatchew Mekuria, alongside the Dutch rock band, The Ex. I had read in Benn loxo comments and elsewhere that this seemingly strange pairing was actually really cool. It’s not. I have nothing against rock from The Netherlands or elsewhere. I listen to a lot of it. However, this mix just didn’t work. For starters I don’t think I’d listen to The Ex on their own and their style didn’t blend at all with Getatchew Mekuria’s sax. It sounded like a classic case of When World Music Goes Wrong.

After the second set many people started to leave, mostly because they had run out of beer and water at the bar and the metro was going to close. Let’s pause here to say that the venue and concert organization was pretty sub-standard. Luckily I hung in there for Mahmoud Ahmed, Tsèdènia Gèbrè-Marqos and the Either/Orchestra.

Slumped in our chairs, dreading the metro-less trek home, I think that I speak for most people there when I say we were not ready to like the Either/Orchestra, especially when they played sans-singer for the first few songs. Amazingly they were refreshingly talented, tight and creative. When Tsèdènia Gèbrè-Marqos finally did make it on stage the crowd had woken up and thus reacted well to her beautiful singing. Mahmoud Ahmed came out a few songs later and wowed the crowd with singing, dancing and amazing audience engagement. What a performer.

Remember what I said a few posts ago about African performers almost always being amazing showmen? This was yet another example.

Today’s selection comes from the Mahmoud Ahmed album, Live in Paris, released by Long Distance in 1998. I’ve also included the video of Getatchew Mekuria playing sax at the Bobigny show that Henri sent me – thanks!

Mahmoud Ahmed – Gourague Song
Getatchew Mekuria live in Bobigny on April 6th, 2006

I don’t know about you, but I was really taken by the voice of Zainaba, the female vocalist featured in my post a few days ago. I’ve had that track, Yowa, on near-repeat on my stereo for over a week. The last time I was so affected by a female African singer was when I first listened to Rasha’s Sundaniyat.

Zainaba’s voice reminds me of the pure tones I used to generate in acoustics class back in university. The microtonal changes of pitch between notes give her singing a lovely near-East Islamic feel, while the southern African influence adds some soul. Whatever Zainaba is up to it really pleases my ear.

I went out to find some more of her music and was pleased to see that the folks at Buda Musique were equally intrigued by females vocalists from the Comoros. In 2004 they released a second Comoros compilation, Comores: Chants de Femmes, this time devoted entirely to Zainaba.

I can’t recommend this and the first Comoros compilation enough. Beautiful singing, interesting rhythms and for me, a great introduction to a previously undiscovered part of Africa.

Zainaba – Yowa Moina
Zainaba – Miandi

When I was growing up my father would sometimes reach deep into his record cabinet and pull out some gem or another that he wanted me to hear. I remember lying there in the living room on many occasions, between the speakers, lights off, feeling the bass ripple over me as I soaked-up classics of jazz, prog rock, folk, classical, and more.

I owe him big-time for fostering a deep-rooted passion for music of all kinds. Our listening sessions taught me very early in life that you should keep your ear open to any good sound, and that there’s a context for almost any well-performed, creative or passion-driven form of music.

I’m returning the favour these days, keeping my dad up to date on the best sounds out of Africa and elsewhere. When I first listened to Xalam’s first release, Adé, it brought me straight back to my old Toronto living room. My dad would dig this sound. I can picture him dropping the needle on this album before cleaning dishes after a dinner party, or while chilling out with a glass of scotch.

Xalam are a Senegalese band who orginally formed in Dakar in 1969 before moving to Europe in the mid-70s. Their tight funk-rock-traditional fusion sound brought them great success abroad. They toured for 15 years all over Africa, Europe and North Africa, playing with the likes of Dizzy Gillespie, Crosby, Stills, And Nash, and The Rolling Stones along the way. The original group disbanded in ‘89 when their founding member, Prosper Niang, passed away. Some members of group continue to record music and should have a new album out soon.

The group’s name comes from the word for a traditional stringed instrument played by griots of all many ethnicities across West Africa. It looks a bit like a cross between an acoustic Spanish guitar and a kora and has a raw, woody sound when strummed.

No xalams in today’s track, however. Today’s selections are off their first studio recording, 1979’s Adé. Big thanks to Benn loxo listener, Professor Babacar, for the contribution.

Xalam – Njare

Guest post today by Benn loxo listener, CC Smith, editor/publisher of The Beat Magazine in Los Angeles, CA:

“Last month I traveled to England to attend several concerts by Samba Mapangala and Orch. Virunga, meeting up with Ethan Bloomberg of Boston, (Samba’s U.S. representative and advisor and East African music connoisseur), and Martin Sinnock, one of the world’s leading experts and collectors of Congolese music, and columnist for my magazine, The Beat. Samba has just put out a new album called Song and Dance, and the short tour of England was to support the release. As an extra added attraction, Orch. Virunga this time included guitarists Syran Mbenza and Bopol Mansiamina, who came in from Paris to assist their longtime friend and colleague.

I first heard Samba’s music in London in 1984 and was instantly a fan. The stunning, pitch-perfect a cappella intro to “Malako Disco” still knocks me out, and the song is as fresh as ever, blending Congo dance music with distinctive Kenyan elements, like the skittering hi-hat cymbal riding atop the flowing music.

Samba is Congolese but made his reputation in Kenya. He had a good deal of success in Europe, America and throughout East Africa in the ’80s and ’90s, but since relocating to the States 9 years ago, his music was put on hold while he established a life for himself and his family. His last newly recorded album was Ujumbe in 2001, so the new disc is a long-overdue treat, and I dearly hope presages the renaissance of his career. We need him back!

The first night I saw them, at the Amersham Arms in SE London on Mar. 21, was a bit rough: the sound was bad, the audience sparse, and the 9-member band, having only played together for a week, still trying to gel. Still, it was an enjoyable performance: Samba still has his magnificent voice, and with two backup singer/dancers, put on a lively show. The next evening, in Brighton, was even better: better attended, better sound, better ambience, but it was the third show, in Graffham, East Sussex, a tiny country town, when the group actually became a band. Two hundred people filled the rustic hall and were dancing from the first note. Syran, who had put down his Kekele-acoustic guitar to pick up his electric again for this tour, was conducting the orchestral maneuvers with guitar cues and glances, and ripping off mind-blowing leads.

The highlight for me came when they trotted out the old warhorse, “Malaika” — I’m thinking, oh, geez, do we have to hear this again? — but Samba, reaching deep down in his soul, brought out such intense emotion that the song was completely transformed, and Syran responded with one of the most profound, heartfelt solos I’ve ever heard him play.

For more information on Samba Mapangala and the new album Song and Dance: www.virungarecords.com. Martin Sinnock and Ethan Bloomberg have recorded an Internet radio broadcast on Samba that will be available April 7.”

Thanks for the great music, cc. It’s great that so many guest posts have been coming in lately. Keep it up! Even if you don’t want to write but have a song you’d like to share, let me know.

Samba Mapangala – Adija

I’ll stick to popular music from south-eastern African islands for one more post.

When I was at the 2003 All Africa Games in Abuja, Nigeria, one of my most memorable spectator moments was at a long-distance men’s swimming event. This guy from Seychelles had made it to the final round against all odds. He was competing against Olympic-class swimmers from South Africa, Egypt and other swimming powerhouses. Needless to say he was, excuse the pun, blown out of the water. He was at least two full lengths behind every other swimmer by the end of the race.

Despite his obvious super-loss the Seychelles swimmer picked-up speed during his two last solo lengths, giving it his all right until the end. The crowd initially found this funny but then started to cheer like crazy as they realized that this guy didn’t care that he’d been badly beaten. By the time he finished everyone was cheering and chanting. In a fittingly classy move he got out of the pool, smiled and raised his hands to the crowd as if he had just won.

The Seychelles is a collection of 115 little islands north-east of Madagascar. While it’s not in as much trouble as the Comoros, it holds the rather depressing title of “world’s most highly indebted country” according to the World Bank. At least they have a somewhat democratically elected president, good health care and a growing economy. ..and some beautiful beaches. Must inspire those swimmers.

The Seychelles also has some fun pop music from the 50s and 60s. You probably know by now that there’s nothing I love more than early, Africanised pop rock. Especially when they use whacked-out organs like in today’s first track. And check-out the title of that second track.. they just don’t name songs and bands like they used to.

I grabbed these two tracks off the 2002 Buda Musique compilation, Musique Populaires des Îles Seychelles. The photo on today’s post was taken by Heribert Hufnagl of www.foto-traum.de.

Thomas Alexie – Mon Dorina
Georgie “Pye” Romain – Tir sa Lanmour dan mon lecoeur

When I used to live in Dakar and travelled abroad I often heard, “Senegal? Where the hell is that?” or, “Senegal? Oh yeah, man, that’s in South America, right?” Yeah, right. Well, you think Senegal’s got the bad-geography bug, you should try the Islamic Federal Republic of the Comoros. When I think of a really well-known African country…

I admit to only having a rough idea where the Comoros are on a map until today. I knew they were somewhere off the south-east coast of Africa, but that’s about it. Well, hey. Let’s educate. The Comoros are a series of islands squished between the island of Madagascar on one side and Mozambique on the other. This is appropriate given this week’s posts.

Interestingly, Comoros is comprised of four islands but the fourth island, Mayotte, has repeatedly voted to not declare independence from France. So wait, do they use the Euro there? Can you get a good macaron? More importantly, has anyone been to Mayotte who can enlighten us? Better yet, does anyone have any music from Mayotte? Suddenly the ambiguous fourth island of the Comoros has skyrocketed to the top of my travel list!

Politically, the place is a bit of a mess. You have one island whose residents claim to be still part of France and another two, Anjouan and Mohéli, that declared their own independence in 1997. This essentially leaves one island, Grade Comoros (Ngazija) that is ruled by military strongman, Azali Assoumani, who secured authoritarian rule in the confusion following the mysterious death of elected president Mohamed Taki Abdoulkarim.

When it comes to music I’m once again amazed that a country such as Comoros, with it’s political structure and economy in tatters, can produce such amazingly cool music. The other day I picked-up Sambe-Comoros, Modern Traditions from Grande Comoros, and have been nothing short of blown-away by the music. Interesting rhythms, wonderful Arab-African fusion vocals and creative composition.

You’ll hear two tracks from Grande Comoros today. The first track, Sambe, is a twarab tune named after a popular dance in Grande Comoros. The sambe is danced on the night of a wedding, always on a Friday. The men dance in a circle, following the rhythm as it increases and decreases in speed. The women then choose their favourite dancers and give them their kanga – shawls that the men then wear on their necks as trophies. The second track is by Grande Comoros’ most successful female vocalist, Zainaba Ahmed. What a voice. Just beautiful.

Sambeco – Sambe
Zainaba – Yowa