- Wed Jun 14, 2017 5:11 pm #37633
there's some old cassette recordings of Fams from the 80s (maybe early 90s) where he plays more notes and fills up the melody. it's actually really nice cause his feeling and timing are all there, but there's just more of it.boromir76 wrote:Could not agree more here. Famodou is a poet expressing himself through the djembe instead through words. It isn't about the speed, versatility or power when it comes to his playing, it is all about the feeling, timing and expression... Also his style of playing diverses from many especially joung generation players, where I often get the sense that they are trying to squeeze as many notes in one bar ass possible. He uses opositte aproach, where "less is more". He is probably the best at using silence and pauses as integral part of music. When it comes to sound, not so crancked up djembe with ritch sound and longer sustain is probably best suited for this aproach in contrast to super poppy and short cut sounding djembes tuned for lightning fast and dense soloing...michi wrote:....The Famoudou Konate workshops I attended drove that point home. He isn't the fastest or most technically skilled player by a long shot. His djembes are tuned high, but only moderately high. (His slaps don't sound like small explosions going off…) He can't play many of the more advanced riffs that modern players have come up with.
But, man, just sit there for a while and listen when he plays. He works the instrument. He is a master at playing with the overtone spectrum of the drum. His expressiveness and sensitivity are almost without equal. He likes to play quietly a lot of the time…
I never get bored when listening to Famoudou. He keeps surprising me, and he keeps putting a smile on my face. I do get bored listening to some of the younger hotshot djembefolas who leave Famoudou for dead in terms of speed and technique. But those players don't have Famoudou's artistic sense and sensitivity.
should i shave my moustache?