Oumou Sangare: Mogoya

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African Folk
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Wydawnicto Audiofilskie

kontynent: Afryka
kraj: Mali
opakowanie: digipackowe etui
Urodzona w 1968 w Bamako jest niekwestionowaną gwiazdą muzyki afrykańskiej. W swojej twórczości wykorzystuje tradycje muzyczne regionu Wassoulu (Mali południowe) a inspirację czerpie ze współczesnych problemów społeczeństw afrykańskich.
Swoją muzyczną karierę rozpoczęła już w wieku 5 lat debiutując przy boku swojej matki pieśniarki Aminati Diakhite. Podczas jednego z występów dostrzeżony został jej naturalny talent wokalny. 16-letnia Oumou została zaproszona do zespołu Djoliba Percussions, z którym koncertowała także w Europie. W 1989 roku, już ze swoim własnym zespołem, nagrała pierwszą płytę "Mossolou" (co w języku regionu Wassoulou znaczy kobieta), która odniosła w Afryce bezprecedensowy sukces. Oumou Sangare korzysta z tradycji muzycznej regionu Wassoulou, która charakteryzuje się silnym, hipnotycznym tanecznym rytmem wygrywanym na sześciostrunowej harfie - ngoni.
W swoich tekstach artystka komentuje problemy dzisiejszego Mali, ale przede wszystkim śpiewa o prawach kobiet, porusza tematy tabu takie jak poligamia, kobieca zmysłowość, dokonywanie wolnych wyborów.

Jej najnowsza płyta ukazuje się własniu na CD i na Vinylu. Oumou Sangare wspomaga między innymi Tony Allen, legendarny perkusista, kompozytor i songwriter, współzałożyciel i wieloletni współpracownik orkiestry Fela Kuti`ego.
Copyright © 1996-2017 Multikulti Project. All rights reserved

Editor's info:
The wait is finally over. The greatest living female voice in African music, Oumou Sangare releases a new album "Mogoya" (meaning "people today") on a new record label with an all-new production team and a wonderful new set of songs.

The power of Oumou's voice and the potency of her message remain as strong as ever and, while her sound is rooted deep in the continuity of Malian tradition, Mogoya has a strong new sound. Co-produced by Andreas Unge in Stockholm and by the French production collective A.l.b.e.r.t. (who have worked with among others Air, Tony Allen, Charlotte Gainsbourg, Beck, Franz Ferdinand) in Paris, it draws on a rich musical heritage whilst also looking to the future.

"We wanted to emphasise the raw power of Oumou's voice and songs. We wanted to find a new modernity" says co-producer Ludovic Bruni, one of the three members of A.l.b.e.r.t. with Vincent Taurelle and Vincent Taeger.

On the album, traditional African instruments - the kamele n'goni (harp), karignan (metal scraper) and calabash percussion - are augmented by electric guitar, bass, keyboards and synths with Tony Allen on drums. As Oumou puts it, "This time round I wanted to go for more of a modern sound, to satisfy young people in Mali but being careful, all the while, to respect my culture and tradition".

The songs describe what Oumou knows best – human relationships. She addresses difficult topics with incredible frankness - jealousy, ingratitude and betrayal – never afraid to sing about the day-to-day problems faced by African society, particularly women.

Oumou has a high international profile, touring all over the world, collaborating with artists such as Alicia Keys, Tracy Chapman, Bela Fleck and Dee Dee Bridgewater and featuring on the soundtrack of Toni Morrison's Beloved. She is a Goodwill Ambassador for the United Nations Food and Agricultural Organisation and has three businesses in Mali – a range of SUVs called 'Oum-Sang', a hotel in Bamako and 'Oumou Sangare 769; Rice', grown in her own fields.

She has released six albums on the World Circuit label: Moussolou, meaning "women"(1990), Ko Sira (1993), Worotan (1996), Oumou (2003), Seya (2009) and Kounadi (2012).

Music is at the absolute centre of Oumou's life: "without it I'm nothing and nothing can take it from me" and Mogoya represents an exciting new chapter in her career – something which she approaches with a mixture of boldness, humility and confidence."It was new for me because my music has never had this kind of arrangement and sound before. I've been totally in the tradition for years now so to get out of that and have a look around elsewhere was a total pleasure," Oumou Sangare.

mojo * * * *
The queen of Wassoulou soul has got a (slightly) brand new bag.

IN THE 1980S, AFRICAN acts would turn up to record their international albums lugging the synthesizers and drum machines they used for home crowds. Ever so subtly, they’d be disabused of the notion that Europe and North America were looking for a new Peter Gabriel or Sting. “If you want to sell anything,” their labels would advise, “you’ve got to sound more like you.”

The best, and Mali’s Oumou Sangaré is one of the very best, would find a way to sound rootsy while avoiding the demands of a section of their new fanbase to stick to what their grandparents did: who cares if Hammond, electric bass or Spanish guitar aren’t strictly part of your tradition, call Pee Wee Ellis and Nitin Sawhney, let’s see if anybody complains. The results, naturally, were impressive.

In the eight years since Sangaré’s fourth album, Seya, a lot has changed, and with the carrot of significant sales no longer dangling in front of them, the talent can turn to the accountants and say: “Sod it, I’m going to do exactly what I want.” Or, as she puts it, somewhat disingenuously: “I’ve been totally in the tradition for years, so to have a look around elsewhere was a total pleasure.”

Two years ago World Circuit, Sangaré’s former label, released Mbongwana Star’s debut; this year Real World issued Les Amazones D’Afrique – two labels with histories of breaking traditional-sounding acts now delivering raucous, electronic blasts of African punk.

“Authenticity” be damned. And it is right at this very moment that Sangaré decided to change her tune and to team up with a French label whose most notable successes have come pairing a Malian kora player and a French cellist.

Fortunately, you have to work a little to detect the changes her music has undergone. the songs remain the same: the feminist who made her name with declarations of disenchantment about the way women were marginalised in Mali – the property of men who could buy them for a handful of nuts – remains focused on the resilience and courage of African women.

Musically, the key track here may be Kamelemba, with keyboard washes beneath the hunter’s harp, the kamele n’goni, and subtle phasing added. Tony Allen adds a terrific beat to Yere Faga; there’s an almost McCartney-like melody from the bass on Mali Niale. Sangaré’s backing singers, meanwhile, seem to be having the most fun.

Wisely not handing over the reins completely to the makeover crew, the new Sangaré is not so very different from the old one – and when you have a voice like hers, it really doesn’t make a lot of difference what knobs are being twiddled in the studio. Sangaré rocks in her own way, and nothing is ever going to change that.

Financial Times * * * * *
Oumou Sangare returns from taking a long break from music to spend more time with her business interests.

Mogoya is an object lesson in how to update the West African sound with subtly accretive electronica: it gets right, in fact, everything that Les Amazones D’Afrique got wrong.

Sangare rails against ingratitude, injustice and malicious gossip to a background of funk beats, effortless drumming from Tony Allen on “Yere Faga”, chattering, metallic ngoni and calabash, with the tiniest of touches from the dual production team A.L.B.E.R.T. and Andreas Unge.
by David Honigmann

Oumou Sangaré: vocal
Tony Allen: vocal on track 2
Ludovic Bruni: bass
Vincent Taeger: Drums, Marimba, Percussion
Vincent Taurelle: piano, producer

1. Bena bena 4:54
2. Yere faga (feat. Tony Allen) 5:11
3. Fadjamou 4:35
4. Mali niale 5:17
5. Kamelemba 4:13
6. Djoukourou 4:09
7. Kounkoun 4:46
8. Minata waraba 4:47
9. Mogoya 3:30

wydano: 2017-05-18
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