Thanks to Pape down in Dakar for helping me brush-up on my Wolof this morning. Man, it’s amazing how quickly I’ve forgotten my grammar. Anyway, the title above translates into “use two hands to drum”.

Miki N’Doye was a well-known musicians originally from a Wolof-speaking village in The Gambia who was chosen to represent his country’s music abroad after independence in 1965. He toured around Europe during the 70s before eventually settling in Norway in the late 70s. His West African drumming skill led him to several successful collaborations with Norwegian jazz artists.

I would say more but I can’t read Norwegian. Feel free to fill my knowledge gaps, Nordic listeners..

And hey, does anyone have any Super Ballet Afric recordings?

Miki N’Doye Orchestra – Ousu Lion N’Jie

On my bike ride back from work every day I pass the Hotel Costes, Café Marly and other Costes brothers creations, filled with Americans and Gulf Arabs anxiously scanning the tables for Kate Moss over their oversized glasses of kir royales. Those who live in Paris regard the Costes thing with a (typically French) mix of disdain and mild amusement but let’s face it, I’ve met for more than a few apéro inside. Say what you want about the brothers, but they have singlehandedly revived Parisian boutique chic, for better or for worse.

So while you’re far more likely to catch me at the bar at the Sattelit Café or the New Morning, everyone has their velvet moments… even Africa. Over the last few years I’ve noticed a lot of “Africa chic” musical compilations and art exhibits in both Africa and the West. The Pompidou’s Africa Remix exhibit was a prime example of showing contemporary Africa as something trendy, really doing its own thing in a modern way. DJ’s are increasingly mixing African music, and African DJs themselves are getting wider recognition in mainstream chic culture. Look at the sucess of Konomo No. 1, or Tsotsi’s Zola or any number of the remix compilations like the multiple-volume Africa, C’est Chic and Frikyiwa.

I could easily imagine today’s track playing in a Costes establishment lounge. You know, the kind with lithe bright red-lipped 18-year-olds draped over the overstuffed sofas and angry looking bouncers with bad haircuts. In fact, the DJ who remixes today’s track is French. Llorca is a producer who was part of that whole late-90s French deep house scene à la Laurent Garnier.. that, I’ll admit, was great. His mixing skills combined with Malian Abdulaye Diabate’s rhythmic singing produces a great, soothing track.

Sit back, relax, and grab a martini. If you want more, grab this track and others on the Frikyiwa 2 compilation over at Six Degrees Records.

Abdulaye Diabate – Foronto (Llorca mix)

I’m not exactly sure how or when Charlotte Dada became the Benn loxo inside joke. It could have been when a particularly scratch-happy cat was named after her, or how I often use her cover of Don’t Let Me Down as a way to get people interested in that “other” side of 60s and 70s West African music… or how it has come to represent an important part of my life- that last year in Senegal and a transition to Paris.

The original Charlotte Dada post, way back in 2004, got some attention on other web sites, too. The result of those new hits was a bunch of new friends, some help from Quannum records, a gig at MTV and big media coverage. Much to my surprise, Charlotte and Benn loxo have brought me many good things over the years.

That said, it’s with great pleasure that I thank Miles from Soundway Records for bringing a little more Charlotte into our lives. The people at Soundway are responsible for bringing us many of Benn loxo’s favourites such as the Ghana Soundz compilations, TP Orchestre Poly-Rythmo re-releases and Benn loxo listener Natural Self’s Ghana Soundz remixes, one of which we heard a few weeks back.

The Cool Blaze Band feat. Charlotte Dada – Everything Cool

The last five seconds of the song featured in today’s post sounds a lot like Axel Rose’s unforgettable cry at the end of Sweet Child o’ Mine. And that guitar solo halfway through? Pure Slash. I wonder if Malouma used to have Appetite For Destruction on heavy rotation back home in Mederdra, Mauritania. You know, back when bike shorts were cool.

Probably not, but Malouma has nonetheless challenged the musical traditions in her native country. Originally she was scorned for introducing blues, pop and other outside influences into her music but now she’s considered Mauritania’s greatest musical success. She pretty much single handedly gave birth to contemporary Mauritanian music.

..with great results. Listen to the way today’s tune suddenly starts modulating halfway through, moving through a standard blues progression. It immediately perks the ears- a great blend of traditional instruments and style with a Western feel.

Today’s track comes off Malouma’s 2004 Marabi release, Dunya. Go grab some over at Calabash.

Malouma – Mreimida
Guns N’ Roses – Sweet Child O’ Mine

Chérif Mbaw has the voice of a young Youssou, the guitar of Pape & Cheikh and the feel of Cheikh Lô. In other words, he sounds like everything I like about contemporary Senegalese music.

You might have heard him already Benn loxo. If you didn’t here’s another chance with a track from his first album, Kham Kham, released in 2000 on Erato Disques.

Mbaw come a long way over the years. Born in Ziguinchor then raised in Dakar, he fought his way to the top. After working on his singing for years he earned a spot training with Youssou N’Dour. This led to a grant to go study in Paris but apparently it took him several years to get permission to go to France. Once he finally made it to Paris he had to busk in the metros to pay the bills. These bumps along the road didn’t seem to discourage him: after two successful releases Chérif is now touring with the likes of Amadou & Mariam and Tracy Chapman.

I love these kinds of stories and really I’m looking forward to his next release.

Chérif Mbaw – Kham Kham