At first they were known as the ‘Orchestre du Jardin de Guinée’, their regular venue and one of Conakry’s best for “bar dancing”. But gradually this changed to ‘Balla’ - after their leader Balla Onivogui – ‘et ses Balladins’. Then a spat with a government minister saw Balla sacked and replaced by his friend, Pivi. And so they became ‘Pivi et les Balladins’. But when Sékou Touré, the President, heard about it his reaction was an indignant “Since when?”, and Balla was quickly reinstated ... not that he’d ever really left.Such are the perils of state employment for musicians. But what music! Guinea’s policy of authenticité, with musicians looking to their own African roots, saw a glorious flowering of African music, and ‘Balla et ses Balladins’ were one of the very best. Truly inventive, these 2CDs contain sounds that helped change the course of African music. --------Balla et ses BalladinsIn the post-independence era of the 1960s and 1970s Guinean music was at the centre of Africa's cultural renaissance. Governments throughout the continent were actively seeking ways to rejuvenate their culture and develop a national identity after long periods of colonial rule. Guinea led this movement through a cultural policy called authenticité, whereby artists were instructed to “look at the past” for inspiration and incorporate local traditional styles and practices into their art.Every village and town in Guinea was part of the authenticité program, and each region of Guinea, all 34, were represented by an artistic troupe consisting of an orchestra, a traditional music and dance ensemble, a choir, and a theatrical group. These were the best artists from the region, chosen from local competitions, and each year the regional troupes competed against each other in government sponsored arts festivals, known as the Quinzaine de la Jeunesse. For the regional orchestras, those which attained a 1st place in multiple festivals could earn the title of Orchestre National. The national orchestras were Guinea’s best and were given residence in the capital and featured on discs produced by the national recording company, Syliphone. Some Guinean orchestras, however, were so brimming with talent that they were given the title of Orchestre National without having to compete once. These orchestras contained the nation's elite musicians – artists whose careers were already established at independence and who were recognised by the government for their outstanding talent. They were to be the guiding lights of Guinean music, forging a direction for Guinean music and creating a unique style. Balla et ses Balladins were one such orchestra, and their influence on Guinean and African music was immeasurable. Balla Onivogui was born in 1938 in Macenta, a small town in Guinea's south-east near the border with Liberia. As a child he played the banjo and sometime in the early 1950s he took up the trumpet. His interest in music was formalised at the conservatory in Dakar, but while on a break from his studies he was swept up by Guinea's independence celebrations and, as a trained musician, was asked by the government to contribute to Guinea's cultural regeneration.The newly elected President, Sékou Touré, was resolute in his determination to revitalise Guinean culture, and set about introducing the radical cultural policy of authenticité. Touré ordered that the government radio station cease playing all “foreign” music and that all orchestras throughout the nation be disbanded. Prior to his decrees, Guinean bands played French and Cuban music only, but Sékou Touré told them that if they couldn’t play the music of their own country then they should stop playing altogether. “Our music should rise up from a world which once degraded it through the practice of colonial domination", he stated. Under the authenticité program, Guinea’s musicians were instructed to create a new and modern musical style, and to draw their inspiration from the nation's rich cultural heritage.On January 15 1959, just a few weeks after independence, the Guinean government created the Syli Orchestre National, an orchestra which contained the best instrumentalists and which was led by “dedicated musicologists who were prepared to research and advance Guinea’s musical cultural heritage”. The orchestra were placed at the forefront of the authenticité program and among its founding members were Balla Onivogui, Pivi Moriba and Keletigui Traoré. The government assigned the orchestra's personnel the crucial task of training young musicians throughout the country in the basics of composition and technique. The Syli National Orchestre taught many of the groups who would go on to form the basis of Guinea's network of regional orchestras, and were thus fundamental in the creation of a West African modern orchestra style.By the early 1960s the authenticité program was in full swing. The government’s commitment which began with the Syli Orchestre National had quickly expanded, and Balla Onivogui was flown to Italy where he purchased instruments for no less than 60 orchestras. The Syli Orchestre National had also expanded, to the extent that the government split the group into smaller formations. For many years to come, however, the orchestra would be reformed for significant events, notably for the First Panafrican Cultural Festival held in Algiers in 1969, where they won the silver medal.The split resulted in two new groups: Balla was nominated as the chef d'orchestre of one, while Kélétigui Traoré was assigned control of the other. Balla's orchestra took their name from one of Conakry’s best “bar dancing” venues, the Jardin de Guinée, a venue which still exists today. As the Orchestre du Jardin de Guinée they held a residency for 20 years, and it was here they honed their skills and competed with Keletigui's orchestra, their local rivals at the Bar de la Paillote. In later years both orchestras took the names of their band leaders, and were thus known as Balla et ses Balladins and Keletigui et ses Tambourinis.Both groups commenced recording at the Voix de la Revolution studio in Conakry in the mid 1960s, and when the Syliphone label was launched in May 1968 in the midst of a cultural revolution, their early recordings featured among the first releases. Known as the “intellectuals of Guinean music”, due to their "obsessive approach to musical research and performance", Balla et ses Balladins were a major force in Guinean music. Their range of material was vast, and incorporated elements from local Malinké and Fula traditions, Cuban music, and jazz. They toured widely, both in Africa and abroad, and were an orchestra to which others aspired. Under President Sékou Touré Guinea was a socialist state and its musicians, like its police, postal workers, and teachers, were public servants. All orchestras were paid salaries and were under the control of the state. The government, via the Ministry of Youth, had the final say on an orchestra's line up. In 1970 a new group was formed, the Quintette Guinéenne, and were assigned to Miriam Makeba (who lived in Guinea from 1969 to 1986). All of the Quintette Guinéenne’s personnel (Sékou "Le Docteur" Diabaté, Kemo Kouyaté, Famoro Kouyaté, Amadou Thiam and Abdou Camara) were taken from Balla et ses Balladins, and they accompanied Miriam's concerts and recordings for the next two years. 1970 also saw Balla's orchestra being assigned a new lead singer, Emile "Benny" Soumah, who originally performed with Bafing Jazz, the Orchestre Federeaux of Mamou. Perhaps it was this interference and lack of artistic control which caused Balla Onivogui to rebuke a senior government minister, an act which led to Balla’s sacking as the chef d’orchestre. His old friend, Pivi Moriba, the group's trombonist, was assigned the leadership of the orchestra, and they were re-named Pivi et les Balladins. Several discs were released under the Pivi banner, though the name did not last long. During a performance at the Palais de la Peuple in Conakry, where President Sékou Touré was in attendance, the orchestra were introduced as Pivi et les Balladins. "Since when?", remarked an indignant Sékou Touré, who then made it clear that he never wanted to hear the group called that again. Balla was re-assigned the leadership and the orchestra’s name reverted. In the early 1970s Guinean music was at its peak. As the decade progressed, however, Sékou Touré’s rule grew increasingly despotic. His measures to silence opponents were both bloody and lawless, and coup after coup, both real and alleged, beset the nation. Attempts to regain control by closing borders and banning all private trade failed, and by the 1980s Guinea had become a pariah state. The nation’s dire economic situation forced a re-think of government policy. State monopolies and socialism gave way to a gradual privatisation of government enterprises, and in 1983 President Touré offered the national orchestras the choice of continuing as state-sponsored groups or being self-funded. The orchestras chose the latter, and so after 25 years of performing as civil servants with full sponsorship they were set free to follow their own course. The following year, however, Guinea’s liberalisation came crashing down. On March 26 1984 President Sékou Touré died quite suddenly following a heart operation. A few days after his death a military coup led by Col. Lansana Conté successfully installed a new government. Conté’s régime dismantled Guinea’s policy of authenticité and funding for the arts was slashed. Most of the orchestras and arts troupes never performed again. Balla et ses Balladins disbanded and the musicians pursued their own careers. Guinea's golden era of musical production, an era which saw Guinean orchestras tour the world and Syliphone release over 700 songs, had come to a close. The legacy of Sékou Touré, if one can possibly ignore the gross human rights violations, is one whereby Africans regained pride in their culture after decades of neglect under colonial rule. The songs which constitute the Syliphone catalogue are a remarkable testament of a nation which proclaimed its voice and the rights of its people through the policy of authenticité. Balla et ses Balladins were at the forefront of this cultural revolution, and their music continues to inspire audiences around the world.-------------CD1“N’na soba” was the opening track to the Orchestre du Jardin de Guinée’s debut LP. Sung in Maninka, it salutes Manfila “Soba” Kanté, the group’s lead vocalist. Sékou “Le Docteur” Diabaté’s two guitar solos, particularly the second with its daring runs, demonstrate why the orchestra’s “national” status was so deserved. Fodé Ndiaye provides the solo on tenor sax. “Bandian” is a praise song performed in the manner of a griot (in Maninka – djely), the hereditary singer-historians in West Africa. Balla's orchestra featured many griots among its personnel and here Manfila Kanté sings the praises of Bandian Sidimé, a local mansa, or king, during the time of the colonial era. The lyrics acknowledge the griot’s role as the retainers of local histories, and include the expression “saya te jon to la k’i togo banna” - “nobody escapes death but your name may continue”. The interplay between the brass and Sekou “Le Docteur” Diabaté’s lead guitar is a defining characteristic of Guinean music of the era.“Touré” is another praise song, this time to the Touré clan, of which President Sékou Touré was a member. Praise songs to the President, who in later years went under the title Le Secrétaire Général et Responsable Suprême de la Révolution, are ubiquitous throughout the Syliphone catalogue, and are one example of how music and politics in Guinea were fused together. Miriam Makeba recorded a similar version a few years later for Syliphone (“Toure barika”, or "Thank you Touré"), while other groups, such as Keletigui et ses Tambourinis, also paid homage through performances of “Mandjou”, the traditional song in honour of the Touré lineage.The opening lyric to “Bélébélé” states: “Ah bélébélé sira fanfan, i na le bolo” – “Ah, wherever the important person passes the night, you are in the hands of your mother” and relates to a Mandé proverb. If a mother is dutiful and raises her children well, it is thought, this will protect them from danger, even when they should pass the night in the bush. A neglectful mother, however, can make a thief or a rambler of her children for “whether a child becomes successful or whether a child will be spoiled, you have to ask their mother”. Balla et ses Balladins’ arrangement encapsulates the respectful tone of the topic, and the elegant melody unfolds superbly. “J.R.D.A.”, is an acronym for the Jeunesse de la Révolution Démocratique Africaine (JRDA), the youth wing of the Parti Démocratique de Guinée, the ruling party under Sékou Touré during his presidency (1958-1984). Guinea's cultural policy of authenticité was focused on the youth – the arts festivals, the troupes, the orchestras, were all geared towards the young, and Guinea's vast network of JRDA committees were responsible for galvanising the youth and ensuring that the main tenet's of Guinea's cultural revolution were understood and adhered to. The organisation’s responsibilities vis à vis Guinea's youth was highly respected, and there are many recorded examples of praise songs to the JRDA.In the late 1960s Syliphone began releasing 45 rpm singles to compliment its LPs. Balla et ses Balladins first was “Diaraby”, with a B side of “Yo te contres Maria”, which reveals the powerful influence of Cuban music on Guinean orchestras. Cuban music had been popular throughout the region for many years, though it increased as Fidel Castro and Sékou Touré developed stronger ties. Guinean orchestras toured Cuba as part of cultural exchange programmes. Sung in Spanish, a language that few West African musicians were fluent in, the title of the song translates loosely as "I found you, Maria". An early track by the group, it nevertheless shows the clout which Balla's brass section could muster.The group’s next single was “Bedianamo“, which continued in the Cuban vein, though was sung on this occasion in Maninka, one of the main languages of Guinea. Of particular interest is the presence of a piano, an unusual accompaniment for Guinean orchestras. The song’s title refers to a term for a ‘clever person’ and in the lyrics Manfila “Soba” Kanté addresses this person as his "cheri duman ye", or his sweet love, asking that they not reflect on things too much. “Don’t you see the women of Guinea?”, he asks, the point being that they are hard at work, while just thinking about life doesn’t achieve very much. “Soumbouyaya“ is a mythical figure in West African culture. Aided by djinns (supernatural spirits) who gave him extraordinary powers, Soumbouyaya could eat huge quantities of food, and in this song he is used as a symbol for the nation’s wealth. “Since the world has been created, I have not seen a country like Guinea”, sings Manfila “Soba” Kanté, who adds later - “My people, the country flourishes thanks to commerce”. West African mythology provides many sources for traditional and popular songs and in this up-tempo dance number the talents of the group's musicians are highlighted.“Tara” was the group’s fourth consecutive single. As ‘oral historians’, a major part of a griot’s repertoire are epic narratives, accounts which tell of the lives and deeds of famous and worthy individuals. Some epics can take many hours to complete, and their narrations are accompanied by instruments such as the kora and balafon. Under Sékou Touré, musicians were encouraged to modernise their cultural traditions, so we find numerous recorded examples of orchestras and groups performing new versions of ancient epics, for example "Famadenke", "Bakari dian", and "Soundiata". As one such modernised epic "Tara", sometimes spelt "Taara", is a praise song to El Hadj Omar Tall, the 19th century imam who established Islam in the Fouta Djallon region. Syliphone LP number 15 celebrated Guinea’s 11th year of independence and featured classic tracks by the nation’s national orchestras. Two tracks by Balla et ses Balladins are featured here. “Limania” is dedicated to the women of Guinea, who played a very important role in promoting Sékou Touré and the PDG in the prelude to independence in 1958. The PDG's election platform was announced throughout the country largely thanks to the efforts of working-class women who popularised the party’s message through their songs. The liner notes to the original LP inform us "that in the rain, under the overpowering sun, in Parliament or in factories, the women of Guinea are fervent militants". A rumba, it features some excellent guitar work. “Sara ‘70” heralded a turning point for the orchestra, foreshadowing the classic sound of Guinean music in the 1970s. At just under 10 minutes in length, it reveals that the orchestra was no longer restrained to the three minute formula, and had begun to incorporate diverse elements from traditional musical sources in their compositions. Kemo Kouyaté's rhythm guitar introduces the song, and its cyclical structure imitates the role assumed by traditional West African instruments such as the balafon and kora. Kouyaté was a griot by birth and his knowledge of local music traditions provided a rich source of material. He was widely acknowledged in Guinea as being one of the innovators who transformed the orchestral style. Adapted from a traditional song, "Sara ‘70” was first recorded by the group in the late 1960s. This 1970 version is much longer, and emphasizes the orchestra’s instrumentalists. It is performed in honour of “Sara”, a young woman who pledges her love to a poor peasant, even though there are other wealthier suitors trying to win her heart, and was a big hit for the group. Moussa Konaté, the sound engineer for Syliphone, is in great form. 1970 saw Balla’s orchestra release two classic singles for Syliphone. When I spoke with Balla Onivogui a few years ago I made a special note to discuss "Moi ça ma fout” with him at length, for I had never heard anything quite like it from Guinea, Africa, or anywhere else. It's hard to describe this song, which I sometimes think of as the closest thing to African punk rock. The tempo of the song is frenetic, the mood angry. The percussion is simply formidable, the brass searing, and on top of all this is the interplay between the rhythm and lead guitars. The second stanza of the guitar solo, where the rhythm is explored, ground out, and re-invented, takes on a life of its own. Balla explained that the song was written by the group's rhythm guitarist, Kemo Kouyaté, and was based on a true story. The title translates as "I don't care" and concerns a youth who was arrested and taken to the local police station, where he remained defiant. A stunning work, with the orchestra at their peak. They followed up with one of their strongest singles, “Kaïra”, also spelt "Kayra", which was written in 1946 and was popularised by the Malian musician Sidiki Diabaté, who performed it widely. First recorded in 1957, “Kaïra” is regarded as an anthem of the independence movement in West Africa. The title translates as "happiness", and the song was linked to youth associations which formed in many towns in the region. After World War II these youth groups developed into a political movement and were eventually incorporated into the Rassemblement Démocratique Africain, West Africa's regional independence party. "Sakhodougou" was the B side to “Kaïra” and is based upon "Duga", a traditional West African song sung for warriors. Literally "Duga" means "vulture", for the vulture is regarded as a symbol of bravery. Manfila Kanté's vocals pay homage to the nation's bravest, in particular the Sakho clan, and he delivers one of his finest efforts, inspiring Sékou "Le Docteur" Diabaté to perform one of his best solos. The two musicians share a great musical understanding and ensure that the song has a grace and power that is beyond reproach – it can send shivers down the spine. The lyrics typify griot praise singing and contain words of advice and codes of conduct. The opening line “kuma te kunan ceba min kono” – “a great man should keep the words inside” – refers to the wisdom that people who cannot keep secrets should not hear important words. Other lines reflect “if great men speak words of truth the words won’t be plenty”. The song also contains references to the RDA, the Rassemblement Démocratique Africain, West Africa’s formative political group, thus linking traditional concepts of honesty, bravery and nobility with the independence movement. The Syliphone single from which “Bi diamana möo” is taken was sub-titled "Escale au Wassoulou", or "Stopover in Wassoulou”. The Wassoulou region, which straddles the Malian border in north-eastern Guinea, has produced many important contemporary artists, notably Oumou Sangaré, Nahawa Doumbia, and Sali Sidibé, and the Balladins performed two tracks in the local musical style. Abdou Camara's work on the high-hat imitates the sound of the cowrie-shell laden calabashes which are used extensively in Wassoulou music. A song of un-requited love and sleepless nights, it is sung in the Maninka language.--------CD2 1973 was a pivotal year in Guinean music. It saw Bembeya Jazz National release their masterpiece, “Authenticité 73. Parade Africain”, only to suffer a major blow shortly after with the death of the group’s lead singer, Demba Camara. Balla et ses Balladins had returned to the Voix de la Revolution recording studio after an absence of nearly 18 months with a new lead singer, Emile Soumah. "Kognö koura” was the A side to the first single released by the orchestra under their new name of Pivi et les Balladins. It was a big hit for the group, thanks largely to Emile's mellifluous vocals. The lyrics refer to the West African classic "Djanfa magni", and are concerned with a lover's betrayal. "You told me to buy a Honda, and I bought it. You told me to buy a gown, and I bought it. You told me to sew a dress, and I did. You told me to buy a watch, and I did. Everything a man has to do I did all that my child, so what else can I do now? Please forgive me...".The group’s next single was “Manta Lokoka”, named after Orchestre Manta Lokoka, a popular group in Brazzaville, Congo. Congolese groups had a big influence on Guinean bands and here the Balladins pay homage. Played in the "kiri kiri" rhythm which Dr Nico popularized in the 1960s, Sékou Diabaté's long guitar solo provides plenty of space for melodic and rhythmic experimentation. The soprano, alto and tenor saxes of the brass section – with Pivi Moriba on alto – provide a fitting finalé. Excellent vocals by Emile Soumah and rhythm guitar par excellence by Kemo Kouyaté. In 1973 the Balladins released their 2nd LP. “Yahadi géré” was the opening track and a revolutionary anthem whose aim was to promote the "invincibility" of the PDG. Manfila "Soba" Kanté returns to the lead vocals and all the classic elements of the orchestra are here: a strong brass arrangement, great percussion, and a dazzling guitar solo. “Keba mirima” is a praise song to President Sékou Touré, performed in the boléro style and sung in the Susu language. It was also recorded later by Les Virtuoses Diabaté. The Balladins were highly respected for the thoroughness of their approach to the modernisation of folkloric material and in “Sankaran ka", a traditional song set to a rumba rhythm, we can clearly hear how Sékou "Le Docteur" Diabaté is imitating the kora, the West African harp-lute. The Sankara region in Guinea is well known for producing high calibre musicians, and here the Balladins pay their respects. A favourite of the orchestra, they re-recorded the song for their next LP and again it was also covered by Les Virtuoses Diabaté.“Ka noutea” translates as "loved one" in Maninka, and this chanson d'amour, which appears here for the first time on compact disc, displays all the technical brilliance of one of Guinea's foremost orchestras. The song is performed in the yankadi dance rhythm, a perfect backdrop for the lyrics which warn that rumours can destroy love: "If you seriously love your sweetheart, do not listen to gossip", they advise.In 1975 the group released their 11th single for Syliphone, and from the A side comes “Ancien combatant”. The song was originally recorded in 1969 by Idrissa Soumaoro, a Malian musician, and in an interview Soumaoro recounts that he wrote the song after witnessing an angry exchange between a father and daughter. In the lyrics, the father, a retired soldier, warns the girl that he was a rifleman who fought in the second world war, and that he killed Germans, Portuguese, and other imperialists. He warns his daughter that she’d better beware of his temper. The Balladins orchestra renders this unusual tale with a military / Mariachi-like flavour in the brass section.“Nyo” was the B side. In the 1940s musicians such as Facelli Kanté and Sidikiba Diabaté forged a new acoustic style of guitar playing. Kanté performed in Les Ballet Africains for many years, while Diabaté played in Philharmonie Jazz (1936-1945), one of the very early Guinean orchestras. In 1960 he helped create Guinea's first national ensemble, L’Ensemble Instrumental et Choral de la Radio-Diffusion Nationale, whose focus was on traditional musical repertoires. His son, Kerfala "Papa" Diabaté played in the Syli Orchestre National, thus the role of the guitar continued to be a focal point for the modern orchestra sound in Guinea. "Nyo" is typical of the era, as it settles into a classic guitar-driven groove. ”Wilikabo” was the B side to the Balladins last single and is previously unreleased on compact disc. Balla described "Wilikabo" as an "interesting love song", and his orchestra are in excellent form. Stylistically, the influence of James Brown's funk and Fela Kuti's afrobeat are apparent. Kemo Kouyaté's rhythm guitar provides the basic structure, and the rhythm section locks in behind him and creates space for excellent solos, notably by Sékou "Le Docteur" Diabaté on lead guitar.The Balladins 3rd LP was the first to be released under the title of Balla et ses Balladins. From this release comes “Fadakudu”, a song that is more widely known as "Farakuru". The title comes form the Maninka term for "great rock", and refers specifically to blacksmithing, and the smiths' ability to create tools from iron ore. In Maninka society blacksmiths, like griots, belong to a class of artisans known as the nyamakala, a group which also includes leatherworkers and weavers. All of these artisans have the power to transform raw materials, with griots, for example, able to create musical instruments from gourds, leather, wood, etc. As “wordsmiths” they are also able to transform meaning via their use of words. In "Fadakudu", the lyrics refer to this transformation process. "Wouldn’t you create a little knife, a hoe, a sword, an axe, a sickle, a small jar?", the smith is asked. Then, imitating the sound of hammering ("ta-ta ta-ta ta-ta") the vocalists sing in a capella style "Ce fan fe fou fan fan fou fou fan", a reference to working the forge. Then "gold is transformed, silver is transformed", and a commitment to the nation pledged:We have the farmland – we will work.We have the hoe to farm – we will work.We have the place to extract nickel – we will work.We have the place to extract iron – we will work.We have good musical instruments – we will work.We have a good government – we will work.To the people of the RDA, to the people of the RDA – we will work."RDA" refers to the Rassemblement Démocratique Africain, West Africa’s formative independence party of the colonial era. The orchestra are thus speaking to all supporters of the independence / anti-imperialist movement. This theme is continued in “Lumumba”, the second track presented here from the LP. Patrice Lumumba became the first President of the Congo (now the Democratic Republic of the Congo) in 1960. Just 10 weeks into his rule he was deposed by a military coup, endorsed by the CIA and organised by Mobutu Sese Seko, a tyrant who would later rule the nation for over 30 years. Lumumba was regarded throughout Africa as a hero of the independence movement, and his downfall and murder was seen as an act of revenge by Belgium, the former colonial ruler. Many Guinean songs of the era refer to Lumumba, and in this example the leader is eulogised by Emile Soumah.In 1980 Balla et ses Balladins recorded "Objectif perfection”, their last LP for Syliphone. It was an apt name, for during their long careers the musicians of the orchestra had striven for nothing less. The band was in superb form on the LP and new personnel had been recruited to the orchestra, including Ibrahima Kouyaté on lead guitar and Morciré Camara on the congas. "Bambo" was originally recorded by Les Ballet Africains, and it features a Pivi Moriba solo on the trombone, followed by solos on the sax and lead guitar. A strong vocal performance by Emile Soumah and Manfila Kanté completes this great track. ”Paulette” is one of the group’s greatest recordings. A vocal duet by Manfila “Soba” Kanté and Emile Soumah, it tells the poignant love story of a relationship where trust and confidence have disappeared. It’s hard to fault this song, the solos by tenor sax and lead guitar are first rate, the tempo is perfect, and the understated brass arrangement encapsulates the solemn mood. A fitting finale to this compilation of classic recordings.After “Objectif perfection” only a further three LPs were released by Syliphone. By the early 1980s the label was in serious decline, and with President Touré’s death in 1984 Syliphone was closed down. Its demise proved a disaster for Guinea's music industry, a situation from which it has yet to fully recover. Interest in the Syliphone catalogue, however, remained strong and continues to this day with this seminal collection of music.© Copyright 2008 Graeme CounselTranslations from Maninka by Nienke Muurling and Boubakar Diabaté