Central African CD Reviews

 SOGO marked a departure for the great Celtic/Pygmy music band Baka Beyond: the addition of a full-time West African percussionist playing the sogo drum (plus other instruments) of Ghana. For some reason Baka Beyond's American record label chose not to release this cd in the USA (it came out in 1999): the band was naturally disappointed but undaunted, choosing to continue with the sound they pioneered with SOGO.

 When we saw the band live in 2004, the line-up had changed yet again; but the overall sound was nearly identical to the sound heard on SOGO.

 For American Baka Beyond fans, SOGO is an essential missing link.

 If you're not yet familiar with Baka Beyond, you have my sympathy: no other band has taken the sound of the African pygmy peoples, the Baka, and done so much with and contributed so much back to the Baka people.

 Several years ago there was a fad for mixing Baka pygmy music with Western elements such as electronic disco, new age, etc. Only the folks of Baka Beyond had actually gone to Africa, lived, and played music with the Baka; and only then started recording their experiments rather than just remixing field recordings.

 Baka Beyond has been at this for more than ten years, now. They continue to make trips to Africa to play with the Baka, building the Baka a music hall to showcase Baka music, which has some of the most original and wonderful vocal qualities ever heard on Earth.

 SOGO won't be easy to find without going online; but is available at Baka Beyond's own site - and will be well worth the effort: quite simply, a 'must'.

1. Origins of Guitar Music in Southern Congo & Northern Zambia 1950-58 by Various Artists
2. At the Court of the Mwami, Avanda, Rwanda 1952 by Various Artists

  South African musicologist Hugh Tracy (1903-1977) traveled throughout black Africa recording many types of music, both strictly folkloric and commercial, for decades.  Some of the musicians he discovered became recording stars and had influence on fellow musicians and singers worldwide. As his reputation spread, Tracy found it easier to get musicians to co-operate.

 Unlike many folklorists who do field recordings, Tracy was very interested in the emerging new styles of music in black Africa: however, he didn't like the trend of Africans playing Western - particularly American - music.   The guitar, for instance, was from Europe, but many African musicians embraced it and helped create new styles by using it. These early guitar styles evolved into many of the African styles we know today.

 Many of us who have tried so hard for decades to collect these now-rare recordings are completely delighted to find that these pioneer recordings are now becoming available on cd.

 Those familiar with the folk music scene of the 1950s and 1960s in the USA may recognize some of the tunes on ORIGINS OF GUITAR MUSIC, which became 'underground' hits during that time by singer/guitarists like Mwenda Jean Bosco and George Sibanda. 

 The liner notes booklet has extensive notes, historic photos, and a map showing the economic migrations to the mining areas which fueled the growth of the music.

 The quality of the recordings is quite remarkable when you realize these are all field recordings mostly done outdoors!

 Unlike most folklorists doing field recordings, Tracy constantly moved his microphones to get the best sound, and like a studio engineer or producer, would move people around to further the sound. This was of course not always possible when recording large groups of drummers, singers, and dancers like the performers found on AT THE COURT OF THE MWAMI, AVANDA IN RWANDA in 1952.

 Yet even here, Tracy's recordings stand out over similar recordings.

 After eight tracks of drumming we get two praise songs done a cappella, then four Twa (Pygmy) praise songs accompanied by hand claps: clapper percussion.

 Cut 15 is a bow song vocal plus mouth bow: it's sad that the mouth bow, an instrument found among different cultures around the world, is disappearing, though the South African group Juluka has used it.

 We then switch to Intore music: haunting, strange music using horns, the tone of which may remind some listeners of African-American harmonica players; then another praise song by a small group of male singers, and a love song followed by Abiru drum rhythms.

 Most of the music on AT THE COURT OF THE MWAMI was created to honor royal families that no longer exist.

 If Hugh Tracy hadn't recorded it this music would have been lost forever, and in the future musicians can refer to these recordings for inspiration.

 In that way, the music will never truly die - thanks to the efforts of historian Tracy.

  Zap Mama started out as a group led by Marie Daulne that combined traditional African sounds, especially pygmy music with electric band - then began adding other elements such as eastern European and Indian sounds to the mix.

 As their sound kept changing, it became more and more modern. Members left and now Zap mama is Marie Daulne and whomever she chooses to work with.

 Strangely, as the sound gets more modern, bringing in soul, r&b and hip hop elements it returns to Marie's personal roots, as that was the music she listened to growing up in Belgium. Her mother was Zairian (Congo) and from her she heard of African music and the sounds of the pygmies, elements of which are still in her music today.

 The young folk around the office love the later Zap Mama cds; the older folks prefer the earlier recordings.

 A number of guest artists appear on ANCESTRY IN PROGRESS, the latest Zap Mama release - folks like Eryka Badu, Common, Talib Kweli, Bahamadia, Lady Alma and Scratch.

 Cut 14, 'Wadidusay', with Scratch features only voices and a beatbox, echoing the old Zap Mama sound. A lovely, diverse presentation.