Before a nation can become real, it must first be imagined. It seems appropriate that Super Mama Djombo, the band that became a primary expression of Guinea-Bissau's identity after independence, was born in the fertile imagination of children. Four young friends (the youngest was only six) came together to play at boy scout camp, and got their first taste of success. Soon they were playing weddings and parties around Bissau. This young band was serious, and voted out any members who they thought weren't keeping pace with the group as they became more skilled.
Though the group was too young and politically unaware to know it at the time, they were growing up amidst revolution. The revolutionary Party for the Independence of Guinea-Bissau and Cape Verde (P.A.I.G.C.) had been engaged in rural mobilization and clandestine urban agitation since 1959. Hidden under the dense forest canopy in the south of the country, guerillas and villagers struggled to set up a revolutionary society. Mama Djombo was the name of the spirit most appealed to for the protection of these independence fighters.
Independence was won in 1974, and that year brought the final formative elements to the band: freedom, euphoria, and bandleader Atchutchi. Atchutchi had been mobilized and politically aware for longer than the other members, and his contribution completed the project. The band would become politically charged. It would imagine a new, unified national identity that was neither Portuguese nor divided by indigenous ethnicity. It would help re-invent Kriol, the synthesis of Portuguese and African languages spoken in the cities, that the revolution had transformed into a common language of national unity. The success of the new orchestra was almost immediate.
Ok its 30th of November and all these flacs have been re-upped with a 'cured' machine
In early 1980, the group went for its only recording sessions in Lisbon. People at home in Guinea-Bissau already knew the songs by heart, but their release on LP extended the reach of the band and opened new opportunities-particularly the track "Pamparida." Adapted from a children's play song, this infectious track made the band a West African sensation. DJs would often make sure they had two copies of the album, so they could play the song over and over without stopping. It is said that when "Pamparida" came on the radio during lunch, people would get up and dance the song, then return to their meal. It was "Pamparida" that filled a stadium in Senegal to capacity, where a then-unknown Youssou N'Dour opened for the Orchestra. When the music started, the crowds outside literally broke down the doors to hear them play.
.. ... N'joy
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Super Mama Djombo is a band from Guinea Bissau who sing in Guinea-Bissau Creole. The band was formed in the mid-1960s, at a Boy Scout camp, when the members were only children (the youngest was six years old).  Mama Djombo is the name of a spirit that many fighters appealed to for protection during Guinea-Bissau's War of Independence.
In 1974, the politically conscious band leader Adriano Atchutchi joined. The group became immensely popular in the young country, which had gained its independence the same year. They would often play at President Luís Cabral's public speeches, and their concerts were broadcast live on radio.
In 1978 group traveled to Cuba and appeared on the eleventh youth music festival in Havana. Early in 1980, they went to Lisbon and recorded six hours of material. The first album Na cambança was released the same year, and the song Pamparida, which was based on a children's song, became a huge hit throughout West Africa. In 1980 Cabral was overthrown, and the new regime under João Bernardo Vieira no longer supported the band. They had fewer opportunities to perform, and broke up in 1986. However, the soundtrack to Flora Gomes' film Udju Azul di Yonta (The blue eyes of Yonta) (1993) was recorded by Adriano Atchutchi and other members of the original band under the name of Super Mama Djombo.
In 2012, Super Mama Djombo toured Europe. The band included several of the original members, drummer Zé Manel, guitarist Miguelinho N'Simba, percussionist Armando Vaz Pereira and Djon Motta, together with new members such as solo guitarist Fernando Correia from the band Freaky Sound. Although Adriano Atchutchi, the original lead composer and bandleader, is not part of the current line up, the military coup in April resulted in him having to leave his post as a provincial governor when the military took over the functions of the government, so he was able to attend rehearsals to help the band prepare for the tour. The band said they hoped the tour would "show people that Guinea-Bissau's loudest sound is not that of gunfire, but that of music."
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Here's a wonderful little slice of history from the tiny country of Guinea-Bissau. From its beginnings in a boy scout camp, Super Mama Djombo emerged to become one of the country's leading bands during the late '70s and into the earliest part of the '80s. The 14 tracks here are the product of their only recording session, in 1980, six glorious hours that produced some amazing music, including the West African hit "Pamparida," based on a children's song, a track that made them into regional stars. But it's only one of the great things here. There's some searing music, some beautiful singing, and a very electric atmosphere throughout. There are also some unusual details, like the strange whistling on "Pansau Na Isna," for example; it's jarring and completely unexpected, but it works. Across the whole album there's plenty of driving percussion, always understated, and the guitars offer a mesh of sound that happily owes little to Congolese rhumba -- the fretwork is harder. Inevitably, there are Cuban elements in the music, as in the opener, "Faibe Guiné," but the African element is always highly evident -- "Ordem Do Dia" couldn't be from anywhere else, with its gorgeous guitar arpeggios and ineffable harmonies. Six of these tracks have never been released before, making this a vital document of one of the most important African bands of the late '70s.
Super Mama Djombo - Id (flac 478mb) re re-up
01 Faibe Guiné 4:57
02 Dissan Na M'Bera 5:14
03 Gardessi 6:33
04 Júlia 6:54
05 Seiango 4:05
06 Seya 4:42
07 Pamparida 5:52
08 Aboku Boku Bandi 4:31
09 Ordem Do Dia 4:28
10 Assalariado 6:04
11 Guiné-Cabral 6:09
12 Djuana 6:54
13 Pansau Na Isna 4:57
14 Indicativo 2:29
Super Mama Djombo - Id (ogg 190mb)
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Born in 1966 in Basse, West Africa, Juldeh Camara is a Gambian griot and master musician. His blind father received the gift of music from forest spirits who took the use of his eyes in return. Playing the Ritti, a one- stringed fiddle, he participated as a griot in traditional Fula society. Camara has been recognised as the leading ritti player in the world. Camara has played with Ifang Bondi, The Blind Boys of Alabama, Batanai Marimba, Knut Reiersrud, kora player Seckou Keita and Tunde Jegede's African Classical Ensemble, where in 2009 he performed at St. Denis Cathedral in Paris which included Oumou Sangare, Toumani Diabate, Kasse Mady Diabate, Sambou Susso and the Brodsky Quartet. More recently he has establised a successful partnership with Justin Adams, releasing their collaborative albums "Soul Science", "Tell No Lies" in May 2009 and "The Trance Sessions" EP in February 2010."
Gambian musician Juldeh Camara is a virtuoso on the ritti. In his hands, this rustic, one-stringed fiddle provides a supple accompaniment to his vocals: rolling fables, wry observations and passionate declamations, all sung in the Fulani language.who has worked with the likes of Robert Plant, Jah Wobble, Tinariwen and Sinead O'Connor.
Justin Adams, was first introduced to the exuberant sounds of Juldeh Camara, a member of the griot caste of wandering minstrels, played live over the phone. Their subsequent pairing has produced two acclaimed albums.
In person, the splicing of Adams' bluesy playing with Camara's adaptable dexterity on the riti, a one-string fiddle, and his elastic vocals made for an effortless, often hypnotic hybrid. Adams would strike up an African riff, then drop in some rock'n'roll phrasing and Camara would skilfully roll with the changes, providing rapid-fire chants as well as a lightning natural facility on a number of stringed instruments. Accompanied by a drummer tapping on a tea chest, they also moved their focus eastwards, dipping into the meditative, minimalist mantras of the Saharan blues.
Soul Science was nominated for "best album" in the "Culture Crossing" category at the annual BBC World Music Awards, and was selected among the "top 100 albums of the year".
Juldeh Camara – Soul Science (flac 316mb)
01 Yerro Mama
02 Ya Ta Kaaya
06 Blue Man Returns
10 Yo Lay Lay
11 Me Wiri Bainguray Am
Juldeh Camara – Soul Science (ogg 121mb)
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It's hard not to approach an album like this with some trepidation. Guitarist Justin Adams works in tandem with Gambian griot Juldeh Camara to create grooves that consciously blend the sounds of American rock and blues with those of West African traditional music; Camara plays the riti (a one-stringed spike fiddle), and the bologo (a sort of two-stringed banjo), and sings, while Adams accompanies on guitars and occasional percussion and keyboard. The duo are on the record as being enthusiastic about the fact that so much of their music is improvised in the moment in the studio; one or the other will play a riff, the other will pick up on it, and they move forward from there. At its best, this is music that can induce a sort of trance without being boring or obnoxiously repetitive. But when it isn't at its best, it can be pretentious (notice the truly wanky guitar on "Sahara") or derivative (the Bo Diddley lick on which "Kele Kele (No Passport No Visa)" is based is entirely too literal). There are some great moments on this album, but too few of them to make it solidly recommendable to any but the most die-hard desert blues fanatics.
Juldeh Camara - Tells No Lies (flac 363mb)
02 Tonio Yima
03 Kele Kele (No Passport No Visa)
04 Fulani Coochie Man
06 Madam Mariama
08 Nangu Sabeh
09 Banjul Girl
10 Chukaloy Dayoy
11 Futa Jalo
Juldeh Camara-Tells No Lies (ogg 145mb)
I sing for the Sahara, a land of sand and beauty, a land of camels and great people. As the evening falls the sand cools from the rays of the sun and it feels like magic. People of Sahara I greet you, for you have kept your culture and traditions against all odds. If you travel to Mali or Timbuktu you will know what I mean for you will meet the great men and find the history of their nation which has long been preserved.
2. Tonio Yima
Pardon me, my friend, we are in a big gathering and there are many people, I might step on you but it is not my intention to do so. Someone might spit on you but do not be rude to them, just put your point across without spoiling the fun for the rest.
Pardon me, my dear, pardon me, I might push you while I make my way through the crowd but I do not mean to hurt you. The gathering will soon be over and we will all go our separate ways, so spare me the insults, I just want to have fun. Sorry if I have done anything wrong but I just want to enjoy myself.
3. Kele Kele (No Passport No Visa)
Hear my cry, the cry of my people for a passport and visa. They go to and from visa offices, pay huge application fees just to end up with no refund and no visa. So they pay a captain and board an unsafe ship hoping to enter Europe, the land of their dreams. Listen my friend, think carefully before you start this journey of pain and suffering which can lead to your untimely death. You may be going through a hard time, but Africa our motherland has a lot to offer, so be patient in your search for treasures. Visa authorities, allow me to bring the plight of my people in sweet melody, although you cannot grant everyone a visa there must be a way to ease the pain, suffering and loss.
4. Fulani Coochie Man
Aid for the poor countries, donated for the poor and needy because they have nothing. Lets make sure this aid is distributed evenly to the ones who need it. Do not sit on a lump sum and keep it for your own use, neither must you use the aid to enjoy a lavish lifestyle while the real owners of this aid still live in anguish. Others have more than they need because of greed, the rich get richer and the poor get poorer. Let us refuse injustice to the poor.
Listen, O listen, listen to me with your minds and listen carefully.
6. Madam Mariama
Mariama you are kind, Mariama you are jolly, Mariama you are wealthy and your riches you freely give. Your company is always filled with fun and laughter, praise singers proclaim your kindness in various tunes. Let me also sing a song for Mariama the woman of my dreams. Marie, some of them call you, Marie, your skin glows, you are wonderful, I will never stop singing of your beauty.
I dedicate this song to the youths, for I want them to know the importance of knowing their roots. Find out about your ancestors - the things they did, the things they talked about, their traditions and what they believed in, for all this will lead you in the right direction. As for me, I can't stop reflecting on my heritage for it inspires me and gives me joy. That's why I want to honour the scholars of Medina Gunasi, whom God has blessed with wisdom and knowledge. They never cease from shepherding the flock entrusted to them, their prayers never fail and that is why I urge you all to seek their blessing at all times.
8. Nangu Sobeh
Head of house, it's you I am talking to, for I want to remind you that you need to show a bright example to your family. Hard work is the key to success so let's not be lazy, nothing good comes easy therefore we have to be ready and willing to work. When the rains are here get up and till the soil, show the children what they can reap from the farms so that they will learn from you. If you steal, the children will do the same and if you beg, they will, so work hard head of house there are many eyes watching every move you make.
9. Banjul Girl
Banjul girl, you are born beautiful, I am in love with you. Come and talk to me my dear, let's talk about love. You are full of tact, you are so wonderful I cannot stop loving you. Talk to me Banjul girl, beauty is in your nature. Come on and dance with me Banjul girl, come on and talk to me for I am in love with you beautiful Banjul girl.
10. Chukaloy Dayoy
Teenage girls of this generation I challenge you to seek knowledge and you will not regret it. Let the parents support the young minds of our nations so that the dumping of newborn babies will cease. Babies need care, bringing them up means a lot of spending, so think about it teenage girl for you need support yourself. Do not engage in ways that will cause you regrets, stop now and save a life.
11. Futa Jalo
History tells us about our past for we should not forget our heritage as it makes us who we are. I call on the nation to preserve the culture as it is the only thing that defines people. Let us not replace our traditional praise singers, neither should we find an alternative to the fiddle, kora or flutes because they tell our story. I will not forget my origin, I am born from parents of a tradition I am proud of, my grandfather is from Cumbria in Futa Jalo and my mother is from Benani near Dallaba.
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