I feel compelled to write again about Mariem Hassan. She’s really amazing.

I posted her song, La Tumchi Anni, when I featured the Rough Guide to African Blues a little while back. I’ve since bought her 2002 release, Mariem Hassan con Leyoad.

She’s one of the principal musical voices of the Sahrwai people from Western Sahara, or the Saharawi Democratic Arab Republic, as they and 76 other nations call/recognize it.

When she’s not belting out tunes, Hassan works as a nurse in the “occupied Sahara”.

This quote from World Music Central sort of sums things up: “Before the war, we did songs of love and beautiful things but the war and the lack of our land made us talk of more important thingsabout the kids, the martyrs, the war.”

You can learn more and buy this album at Calabash, National Geographic and Stern’s. There’s even a fan blog about her here.

Mariem Hassan – ID Chab

Today we’ll hear a couple tracks off Original Music’s compilation of Zambian miners’ songs, From The Copperbelt. The recordings were all made by the amazing Hugh Tracey.

I’ve always had a thing for southern African, mid-20th century music. George Sibanda and The Forgotten Guitars of Mozambique compilation were early favourites.

From The Copperbelt covers a range of styles present in the Zambian mines in 1957, all based around the European acoustic guitar. Most of the musicians are bards who traveled from mine to mine, entertaining the miners. Others are by the miners themselves. All are great, if you’re into this kind of thing.

Zambia occupies an interesting part of the continent. Its geography influenced its inhabitants’ music, especially at this early stage of “modern” African musical development, such that some music sounds distinctly South African, while much of the rest sounds very Congolese.

You might have already heard some John Lushi, who appears on this compilation, on Original Music’s Africa Dances release.

Isaac Matafwani – Eko Bali Mukanina Bamayo
William Siwale – Mayo Mayo
Four Pals – Nifwe Ba Four Pals

Two songs today. They have nothing in common.

First, I don’t know what made me think of Letta Mbulu this morning. Maybe it’s the below-zero morning temperatures that make me long for warm climates, or the blue skies outside, or the transport union strife in France. Who knows. Point is, Kube is what I need this morning.

Second, those of you who keep up with the Africanambiance forum may already have it, or you might have heard them on Soul Sides or Matsuli, but Wganda Kenya is also what I need this morning.

Ah, the mid-week playlist.

Letta Mbulu – Kube
Wganda Kenya – El Evangelio Calypso

The Rail Band’s Belle Epoque Vol. 1 is another compilation that arrived in the Stern’s box last week.

Mali’s famous Rail Band is the name given to the many groups who worked at the Buffet Hotel in Bamako, Mali, situated in an old colonial building just off the railway. The band was initially made famous by the singing of Salif Keita, but over the years included other great Malian musicians like Mory Kanté, Tidiani Koné and Djelimady Tounkara.

The track you’ll hear today is from the Rail Band’s “second period” in the mid-70s. At this stage Salif Keita had left the band and one of my favourite Malian musicians, guitarist Djelimady Tounkara, had just joined. Magan Ganessy was the new singer. The track also features some great drumming by Pacheco.

The lyrics translate to, “Mali, our dear country, is now independent. We have to enforce democracy, power cannot rest in the hands of a single party.”

Rail Band – Fankanté Dankélé

Today we’ll hear a few songs from Original Music’s CD re-issue of their 1983 release, Songs The Swahili Sing.

Initially I wasn’t so into it, but this morning I was really taken by the music.. particularly the music by Yaseen Mohamed and Juma.

The compilation explores the world of Swahili “taarabu” music, particularly its difference from Arab music.

I like this compilation because in a short span of time you get to hear a variety of major musical influences that shaped music from this area. The first track, Watetao, has hints of Cuba. The second, Egyptian pop. (The liner notes claim that Egyptian is a Swahili term for Arab-sound.) The third, Indian.

The last track I’ll post, Lala Mpenzi, is easily my favourite of the bunch. You can also find it on the Mississippi Records compilation, Lipa Kodi Ya City Counci.

O.I. Bampini and the Jauharah Orchestra – Watetao
Abbas Haji and the Egyptian Musical Club – Mahaba, Jamani, Yanaitilie
Juma Bhalo – Kem Kem
Yaseen Mohamed and Saada – Lala Mpenzi