Matadi, Famoudou Konate

[boumalicious]

Hi everyone, can anyone help me with a name for the rhythm to which Famoudou Konate sings Matadi, on 'Percussions et Chants de Guinee 2'? I learnt it from him a few years back in Bamberg, but have no note of the actual rhythm... A couple of years later, I was singing it to myself in a batik factory in Senegal (the song is about an older woman who was once a great dancer), when a fantastic old woman grabbed me, demanded to know why I knew the song, and then made me sing it for her while she danced to it. From Guinea to Germany to UK to Senegal... magic

Thanks

Amanda

[dleufer]

I think the rhythm is also called Matadi and as far as I remember it's related to the Djaa family of rhythms.

[boumalicious]

Thank you!

[bubudi]

this would be a topic for daniel preissler!

it's a rhythm that is played in djaa fetes in only a few villages in hamana (sangbarala, kumana), but is musically quite different to what we know as the djaa rhythm.

[boumalicious]

Damn, now you're making me homesick for sanankoro! Thanks for the info.

[dleufer]

Yeah as far as I know Matadi is a 4/4 (or binary) rhythm whereas Djaa is 6/8 (or ternary).

One of my friends learned it from Famoudou in Bamberg too and another friend learned it from Seckou Keita and both of them called the rhythm Matadi. But for sure, the other Daniel can give the definitive answer.

[Afoba]

hello guys!
Daniel, which Seku are you talking about, the one from Sanankörö?
I saw him playing once for a Dyaa demanded by japanese guests in Sangbarala - including Matadio, as I call it (just because Namory Keita calls it so). The original word will be Matadi, the "o" just added for singing reasons, so both names are fine.
Yes, Bubudi, it's a Dyaa rhythm, but it's another one: binary-double-length, the girls turn around themselves in the middle of the circle one by one (most turn left, some turn right) during the "first" part of the rhythm, which often is completely filled by the solo player. It's not the ideal rhythm (at least the traditonal form) to present it on a stage in western countries (too "poor", only functional for the girls who want to dance exactly that way). But a very nice groove IMO.
The clear separation "full part"/"empty part" (4 beats each) in Sangbarala is broken in Kumana, where the music (Sangban and Dundunba) "goes on" in the empty part. Djembé and dance remain the same, as far as I remember.
Have a nice time,
Daniel P