On 16 October 2001, Kanté was nominated Goodwill Ambassador of the Food and Agriculture Organization of the United Nations (FAO). Kanté received unexpected fame again in 1994 when the German techno duo Hardfloor created a dance remix of "Yéké Yéké." He also appeared in 2006 as vocalist on British DJ Darren Tate's release, "Narama". The album also featured the song "Tama", which inspired two Indian Bollywood songs, "Tamma Tamma" in Thanedaar (1990) and "Jumma Chumma" in Hum (1991), the latter film also featuring another song "Ek Doosre Se" which was inspired by "Inch Allah". The album also featured an Islamic song, "Inch Allah", alongside the pop hit "Yé ké yé ké". The album it came from, Akwaba Beach, became the best-selling African record of its time.
In 1987, he released the song " Yé ké yé ké", which was one of Africa's best-ever selling hits as well as being a European number-one in 1988, making it the first ever African single to sell over one million copies. Keïta left the band in 1973, leaving Kanté as the singer. In 1971 Kanté became a member of the Rail Band, in which Salif Keita was a singer. As a Muslim, he integrated aspects of Islamic music in his work. After being brought up in the Mandinka griot tradition in Guinea, he was sent to Mali at the age of seven years – where he learned to play the kora, as well as important voice traditions, some of which are necessary to become a griot. He was of mixed Malian and Guinean descent.
They were one of Guinea's best known families of griot (hereditary) musicians. His father was El Hadj Djeli Fodé Kanté and his mother, Fatouma Kamissoko, was a singer. You can't listen without smiling, nor can you resist the joy as these two artists craft a beguiling mesh of instruments untrammeled by any studio technology beyond what it takes to glue their buzzing electrons onto compact disc.Kanté was born in Albadaria, French Guinea (a part of French West Africa at the time) on 29 March 1950.
Together, both men prove that plucked instruments are plucked instruments, and two contrasting styles can magnetize providing the pluckers have got the urge, oomph, and smarts to bend their strings a little. Brozman, meanwhile, toured and recorded with Hawaiian music titans, the Tau Moe Family, and most recently cut a disc with Okinawa's Takashi Hirayasu which bristles with the same acoustic fire as Ocean Blues. Diawara served for years in the legendary Cuban son-influenced Rail Band with his half-brother Mory Kante, then went on to flamenco and techno territory. Instead of a distancing effect, the sloughed-off humor comes across as a symptom of sympatico warmth.īoth artists have a long history of playing other people's music. It's a bit of a goof in the same vein as the calypso "Uncle Joe." But the crackling energy of two prodigious musicians in love with their respective acoustic instruments throws a dazzling corona around these novelty numbers. Thus the melancholy "Kanun" revels in the deep string strata of Djeli Moussa's rippling kora harp offset by Bob's National steel guitar played Hawaiian slide style, only to be followed by "Maloyan Devil," a comic blues number voiced with Leon Redbone-angst by the American as the Guinean pours an astonishing number of notes per measure through the cracks. Oh, the crimes that have been committed in the name of world beat…but one merger of West African and Hawaiian styles will never be indicted, thanks to the good humor and beautiful textures of the Djeli Moussa Diawara and Bob Brozman collaboration, Ocean Blues - From Africa to Hawaii.ĭiawara and Brozman, who first met in 1999 at a musical festival on the blue ocean island of Reunion, aren't the least bit interested in carving out a world beat genre, as the pastiche approach of this off-the-cuff session proves.
0 kommentar(er)
