Favourite djembe player

[Dugafola]

I have to agree with Famoudou, definitely my all-time favourite. Although it's so hard to pick just one - Soungalo Coulibaly is pretty amazing, and the more I listen to his recordings, the more I appreciate his subtlety.

I also think Amara Kante is an incredible live performer - he is like a force of nature, and I mean literally. I saw him one time at a drum festival here in Toronto, and about 3 minutes into the set, the wind started picking up, the clouds gathered, trees were going crazy and then the clouds just opened up and dumped a tropical downpour on the audience. Nobody left - we stayed in that torrential downpour for the entire set, which just got more and more electric.

A big factor for me is how the djembefola comes across in his (I wish I could say "or her") personal energy. There are a lot of really amazing drummers from the younger generation, who are technically brilliant, but something about their energy and presence leaves me somewhat cold. I think that has to do how deeply they have integrated the culture - a lot of these younger guys seem to be more in it for the money and stardom, while a lot of the older generation tend to speak more about the bringing of joy and harmony to the community. I think that really comes across in the playing, especially when you see them live.

unfortunately we're reaching a point where the old timers are getting really old and starting to pass on. who is going to be the next "Famoudou/Mamady/Soungalo/Adama/Fadouba/Sega insert old school fave here"?

[archetypo]

Heh, that's the million dollar question of the decade. Not that any one of those guys could ever be replaced or imitated - they're each unique in their own style. So those that follow in their footsteps will of course be equally unique and probably different in their own way.

I think Amara Kante has a good chance of attaining that kind of status, although he doesn't have much recorded material out there yet. He's an amazing teacher and player though, and has a real presence and love for the culture, plus he's definitely a 'unique' character!

Of course, my husband has said many times that he would like to become like these greats, to attain that status and level of skill and knowledge. Whether he will or not, only time will tell, but I bet there are quite a few djembefolas out there who would wish for the same thing. There are so many amazingly talented drummers just in Guinea alone!

It'll probably be some young whippersnapper who has ridiculous skills that we've never heard of, like this guy for example, who is like, maybe 19 years old (his name escapes me at the moment):

[davidognomo]

Maybe that question would have its answer if Boka was alive...
For what I can grasp, his style influenced a lot of young folas in Conacry.

I think that maybe the next "master" will be someone who doesn't leave his country to go and live abroad in quest for a better life. I don't know... I think that a djembefola who hasn't been acclaimed in his homeland will difficulty achieve some kind of global status, while established in western countries. Maybe I'm wrong... I know life is hard in African countries, I'm not judging those who emigrate.

Mamady became a world star, after he was a master (didn't he?). I mean, when he started his quest, mission, or whatever one may call it, he already was seen as an astonishing djembefola at his time in Guinea.

The doors are open. They were opened by the ballets period during Sékou Touré's presidency. This movement started the djembe star system - the ballets' tours.

But I sense that this thing of going to Europe or the States is an already tired path. And the world, in a general sense, doesn't care much for djembe. The west africain music thing is kind of specific. I mean, most of the people I know don't know who Mamady Keita is, and for them, djembe is something you see africains sell on fairs, or that some weed head long haired guys make noise with in campings and summer music festivals (well, I live in Portugal, don't know if it is much different on other countries).

I think that young djembefolas could resist a bit more to the longing of stardom and work instead on the path of mastery and art. And try to develop the formats in wich the djembe and duns opperate instead of simply trying to play as well as they can in the canons that already exist. And I don't mean that the formats should try to be "westernized". Genuine and original projects must draw the world's attention to themselves through their creativity and consistency (and to be consistent, they must reflect its roots, I think).

I see Babara Bangoura with his band Bolokan, performing in suits and dark glasses. What is that? Is it funny? Is that the way? The way to what? I don't mean to offend those who like it or think it's a good idea. I respect it, but I don't like it, at all. Other great djembefolas work with their typical ensembles, that we see over and over. I don't know the way, but these formats are somehow worn out.

I believe that someone who takes this somehow to a next level will write his name on the wall. But it will have to be through love for the art, and not for recognition, I think. And maybe I'm wrong.

[bops]

I don't think you're wrong, David... you are very right. Well put.

[Dugafola]

Maybe that question would have its answer if Boka was alive...
For what I can grasp, his style influenced a lot of young folas in Conacry.

it's very possible. the part of influencing all the young 'folas in conakry is definitely true. even his contemporaries: bangourake, fode bangoura, fode lavia camara, jack sylla etc.

I think that maybe the next "master" will be someone who doesn't leave his country to go and live abroad in quest for a better life. I don't know... I think that a djembefola who hasn't been acclaimed in his homeland will difficulty achieve some kind of global status, while established in western countries. Maybe I'm wrong... I know life is hard in African countries, I'm not judging those who emigrate.

i agree. there are djembefolas all over the world now. everywhere. right down your street...there's a master djembefola! but they are getting exposed for what they are all the time. students aren't stupid.

Mamady became a world star, after he was a master (didn't he?). I mean, when he started his quest, mission, or whatever one may call it, he already was seen as an astonishing djembefola at his time in Guinea.

yes. his impact was huge. some older generation artists say he's the one that brought speed to the djembe. Kemoko Sano told stories of how he would make him work after rehearsals on his speed using 2 djembes. also, he was also one of the first djembefolas in guinea to use a lot of ternary techniques over binary rhythms.

I think that young djembefolas could resist a bit more to the longing of stardom and work instead on the path of mastery and art. And try to develop the formats in wich the djembe and duns opperate instead of simply trying to play as well as they can in the canons that already exist. And I don't mean that the formats should try to be "westernized". Genuine and original projects must draw the world's attention to themselves through their creativity and consistency (and to be consistent, they must reflect its roots, I think).

i agree again but this is the tough one. louder and faster and more technical seems to be the ticket out of africa these days. it's the 'wow' factor.

I believe that someone who takes this somehow to a next level will write his name on the wall. But it will have to be through love for the art, and not for recognition, I think. And maybe I'm wrong.

agreed again.

[michi]

i agree again but this is the tough one. louder and faster and more technical seems to be the ticket out of africa these days. it's the 'wow' factor.

The problem with that is that it lasts all of five or ten minutes. A great djembefola needs to make great music, first and foremost. Technical wizardry and great music are not mutually exclusive, but the former is not a sufficient (let alone a necessary) precondition for the latter.

Michi.

[davidognomo]

Dugafola:
right down your street...there's a master djembefola!

Man... I wish I lived in your block.

[bkidd]

Dugafola wrote:
i agree again but this is the tough one. louder and faster and more technical seems to be the ticket out of africa these days. it's the 'wow' factor.

Michi wrote:
The problem with that is that it lasts all of five or ten minutes. A great djembefola needs to make great music, first and foremost. Technical wizardry and great music are not mutually exclusive, but the former is not a sufficient (let alone a necessary) precondition for the latter.

Agreed on both accounts.
I wonder if louder, faster, and more technical is the way out or simply a way of 'beating down' standing out from competition? It does 'wow' initially, but quickly becomes difficult to listen to IMO. Actually, I wonder if technical wizardry is in any way an impediment for good music? Sure one needs to have a certain level of technical chops, but if that's the only game, then it lacks depth and musicality.

[Michel]

Agreed with bkidd! and what about knowledge of tradition? So many great djembefola's have a vague idea about how village style djembe playing sounds like! And for commercial reasons it's none of their concern. I can't blame them, but for me a great djembefola is someone who knows about his traditional background, still able to play on traditional ceremonies and with a base like this developed his own style..... No surprise for the most of you: Sidiki Camara

[atam]

I think the more technical wizardry makes the whole music more sport than music. It is becoming a competition. (Though there is also an important aspect of competition is some traditional w-african dances and celebrations as far as I know). But in general, if the speed is becoming most important, than the music is definitely loosing its original purpose, though I dont say that this way is bad or wrong. It is simply something else. For me it is very similar to what was happening in guitar scene for decades. Usually, the best musicians are not the fastest ones, despite it is definitely the sportsmen and wizards who are getting most of attention from the wide public, which is in general lacking taste for deeper things. Simply, if you are a really good musician, the average people will not understand you, for you dont vibrate on their level. But this is somehow "normal" and it is happening to many real artists throughout history.

[djembefeeling]

I do completely agree with atam. The high speed music of the young guns is more sports than music and sounds hysteric to me. It might have its own right and beauty, perhaps one has to get used to the speed in order to appreciate it, like I had to get used to dununba music so as to finally like it very much, while in the beginning I couldn't hear anything in it.
Alas, the older I become, the more I appreciate the calm and easeful style of doing more with less. My soul has to be given time to adopt, then it can be moved and indulge in the many variations of a pattern. So lately, I like Matche Traorés style the most.

[archetypo]

i agree again but this is the tough one. louder and faster and more technical seems to be the ticket out of africa these days. it's the 'wow' factor.

The problem with that is that it lasts all of five or ten minutes. A great djembefola needs to make great music, first and foremost. Technical wizardry and great music are not mutually exclusive, but the former is not a sufficient (let alone a necessary) precondition for the latter.

This makes me think of Famoudou's facial expression regarding loud/fast/technical drumming (usually followed by the dismissive hand-wave, the shaking of the head, and walking away muttering about how youth just don't understand the traditions any more). He's not the only one who feels that way - sure that style of drumming can be mind-blowing the first few times you see it, but there's a fatigue that sets in after a while, and there's only so much you can take. It's become more like an extreme sport than anything else, and there is very little musicality left in it. It's kind of like speed metal or thrash music. In that sense, perhaps it's an expression of the level of rage and despair of an entire generation of musicians whose future has been stolen by corrupt politicians and western imperialist looting of their countries.

When I listen to recordings, I listen to the old masters, the traditional style recordings, and I enjoy the musical flow, the peacefulness, the sense of joy in the music. I have very little patience for listening to the machine-gun fast drumming that has become the urban measure of skill. It sets my teeth on edge, and there is an energy of aggression and anger embedded in it that I don't think has much relationship to the original purpose of the drum in village culture. While it shows an amazing level of skill, there is no 'mastery' by any spiritual definition - and I believe that when it comes to the djembe, the spiritual aspect of mastery is at least as important as the command of the instrument and music.

Or maybe I'm just showing my age

[atam]

Perhaps let´s leave the youngsters play their superfast rolls. It is still much better if they use their energy in this way than in something more dangerous... But still, it is the demand of audience which is driving them in this way. And, after all, it is not only youngsters playing like that, but also some very experienced musicians who IMO reached their fame first of all thanx to the speed. And, thanx to the interest of public. So, it is now the task of those who can see behind the speed to educate enough players to real musicality.

Or maybe I am just envious

[bkidd]

The parallels between the current young guns and speed metal or thrash seem appropriate. I will also add the parallels to how acrobatic and gymnastic-like competition dance in the US has become -- focusing on neat technical tricks, flips, or stunts, rather than interesting artistic movement that is moving.

That said, music is always borrowing from a number of sources. The current vibe in Conakry may be to play as fast as possible with machine gun chops. Not everyone is doing this though and West African music will continue to evolve.

[Dugafola]

It'll probably be some young whippersnapper who has ridiculous skills that we've never heard of, like this guy for example, who is like, maybe 19 years old (his name escapes me at the moment):

for me, this seems more in line with the 'sport' drumming that has been mentioned earlier in this thread.