Hello, it's the first post coming from the heart of Africa ........N'joy
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The ethnicities of Cameroon include an estimated 250 distinct ethnic groups in five regional-cultural divisions. An estimated 38% of the population are Western highlanders–Semi-Bantu or grassfielders including the Bamileke, Bamum, and many smaller Tikar groups in the northwest. 12% are coastal tropical forest peoples, including the Bassa, Duala, and many smaller groups in the southwest. The southern tropical forest peoples (18%) include the Beti-Pahuin and their sub-groups the Bulu and Fang, the Maka and Njem, as well as, the Baka pygmies. In the semi-arid northern regions (the Sahel) and central highlands the Fulani (French: Peul or Peuhl; Fula: Fulɓe) form an estimated 14% of Cameroonians, while the Kirdi (unbelievers) are a general category, comprising 18% of the population, of various mainly Chadic and Adamawa speakers.
The Beti, or Ewondo, live in the area around Yaoundé and south into Equatorial Guinea. They are best known for bikutsi music, which has been popularized and become a rival for the more urban and accessible makossa of Douala. The name can be loosely translated as beating the ground continuously. Bikutsi, characterized by an intense 6/8 rhythm, is played at Beti gatherings including parties, funerals, and weddings. The middle of the 20th century saw the popularization of a native folk music called bikutsi. Bikutsi is based on a war rhythm played with various rattles and drums and xylophone. Sung by women, bikutsi featured sexually explicit lyrics and songs about everyday problems.
Later in the 1960s, modern makossa developed and became the most popular genre in Cameroon. Makossa is a type of funky dance music, best known outside Africa for Manu Dibango, whose 1972 single "Soul Makossa" was an international hit. Outside of Africa, Dibango and makossa were only briefly popular, but the genre has produced several pan-African superstars through the 70s, 80s and 90s. Following Dibango, a wave of musicians electrified makossa in an attempt at making it more accessible outside of Cameroon. The following decade, however, saw Les Tetes Brulées surpass previous artists in international popularity though their reaction at home was mixed. Many listeners did not like their mellow, almost easy listening-styled bikutsi. Cameroonian audiences preferred more roots-based performers like Jimmy Mvondo Mvelé and Uta Bella, both from Yaoundé.
Jean-Marie Ahanda became the most influential bikutsi performer of the late 80s, and he revolutionized the genre in 1987 after forming Les Têtes Brulées, whose success changed the Cameroonian music industry. The band played an extremely popular form of bikutsi that allowed for greater depth and diversity. Guitarist Zanzibar added foam rubber to the bridge of his guitar, which made the instrument sound more like a balafon than before, and was more aggressive and innovative than previous musicians. In the 1990s, both makossa and bikutsi declined in popularity as a new wave of genres entered mainstream audiences. These included Congolese-influenced new rumba and makossa-soukous, as well as more native forms like bantowbol, northern Cameroonian nganja (which had gained some popularity in the United Kingdom in the mid-80s), and an urban street music called bend-skin.
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First of all, the costume on the person on the front cover of this album is the coolest thing in the world, period. That said, onto the music, which should send any fan of world music, particularly the authentic African goods, into fits of near ecstasy. Some of the best releases on this fine label are the ones that feature music by various types of professional or semi-professional performers, as opposed to excerpts of rituals recorded in villages. Since these projects were undertaken on the behalf of the national French radio, the producers often had access to good-quality equipment and were set up well to make great recordings. Practically every different track on this collection of Bakweri, Bamileke, Bamoun, and Beti music is by a different ensemble. The fact that the leaders of these groups are identified by name is not only a step in the right direction, but indicates that the producer regarded these groups as professionals of some sort. Simply listing all the different instrumental combinations in these ensembles would be an essay in itself. But to pick a few, there are xylophone groups, a chorus who creates their own percussion section by having the members wear metallic bells around their ankles, a band of various bells and drums, and a group who combines an ensemble of drums, xylophones, and a horn called a fok with a female chorus. One of the most remarkable tracks is at the end of the first side, by the Mouansie Ahmadou group, featuring a solo singer, a chorus, subtle percussion, and the delicate sound of the mvet, a combination harp and zither with four strings and calabash resonators. Resonating, buzzing, and scraping -- it is all here for one's enjoyment. The intricate vocal part on this piece would send most barbershop quartets scurrying off to find their mouthwash. The record is literally a showcase of unusual instruments as well. Besides the ones already mentioned, there are enormous drums that will rattle speakers as they are pounded. There are piercing bamboo whistles, a xylophone made out of a banana tree, and rattles made with seeds of the same plant. It all adds up to a really beautiful album, and one wonders if the producers had other material recorded during this trip that was never released. Some of these groups could certainly carry an entire release on their own.
VA - Musiques du Cameroon (flac 210mb)
01 Francois-Marie Ngoa Group (Beti) - Obama Ondoua Ebini 5:13
02 Josepha Kombo Group (Bamileke) - Yeya Naya 2:53
03 Unknown (Bamileke) - Kufo 2:27
04 Peter Group (Bamileke-Bafang) - Yaya Kam 1:53
05 Ndam Moussa Group (Bamoun) - Ndanjé 3:03
06 Mouansie Ahmadou Group (Bamoun) - Mendou Mbwana 2:47
07 Unknown (Bamileke) - Nekian 1:45
08 Christina N'gantchan Group (Bamileke-Bafoussam) - Chembanla 4:30
09 Sasankou Group (Bamileke-Bangoulap) - Nkiuvu Popandoum 3:43
10 Ezadjas M'Bole Group (Bakweri) - Malé 3:30
11 Souop Foko Group (Bamileke-Bandjoun) - N'doung-Sim 2:58
12 Menné Group (Bamileke-Bamengoum) - Lali 2:33
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This album is much more listenable and more interesting than you might expect from a bare description of what it is. Martin Craddick and his wife went to the home of the Baka pygmies in the rain forest of Cameroon, recorded their music, and then used that music as the inspiration for, and the backing tracks of, a fusion album called "Spirit of the Forest". This album, "Heart of the Forest", was later also released, and is the original field recordings. Part of this cd's appeal comes from its status as a field recording. At times it reminds me of one of those 'ambient sounds' albums. We are listening to music recorded in an encampment in a rain forest, and so in addition to the tunes, we also hear animal sounds, insects, the wind, the laughter and chattering of children. I find this aspect both charming, especially the interplay between adults and children, and soothing.
The music of the baka pygmys is hypnotic, melodic, soothing, you've never heard anything quite like it. these are beautifuly done field recordings, the sounds of the musicians are crystal clear, and you can hear the other sounds of the forests (crickets, birds and animals) in the background, putting the music in it's proper setting - at times it sounds like the forest is accompanyiing the pygmies, or maybe vice versa? In its emphasis on compelling grooves and disarmingly simple melodies, much of what appears here sounds distinctly contemporary even as it arises from a netherworld of jungle birds and insects. Recorded in the forest of Southeast Cameroon in 1990 and between Jan-Mar 1992. This is a wonderful recording from a very special place on Earth.
Baka Forest People - Heart Of The Forest (flac 314mb)
01 Yelli 1 1:22
02 Yelli 2 2:22
03 Yelli 3 2:33
04 Water Drums 1 1:54
05 Water Drums 2 0:55
06 Nursery Rhyme 1:29
07 Venolouma 4:22
08 Leta 4:29
09 Aiya (Ngombi Na Péké 1) 4:38
10 Limbindi And Voices 1:38
11 An G'Bendi (Earth Bow) 1:30
12 Limbindi 2:00
13 Water Drums 3 0:36
14 Abale 5:21
15 Solo Voice 1:10
16 Ngonnalati (Ngombi Na Péké 2) 5:59
17 Naboma (Ngombi Na Péké 3) 2:24
18 A Capella 3:19
19 Toji Playing The Ngombi Na Péké 6:19
20 Forest Party 2:25
21 Distant Yelli 2:23
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Cameroonian, Kareyce Fotso, is a talented singer and guitarist to emerge out of west-central Africa. "So'A" is a guitar and vocal song that begins the album. The song possesses a heartfelt, yearning quality throughout. "Peu Be" adds a little more instrumentation with the berimbau, calabash, and sikko creating a more robust sound quality, while still remaining traditional. The lack of rock guitar additions or electronic musical mixtures is not necessary to create outstanding, African music. In this case, Kareyce creates emotive songs using nothing more than simple percussion and a guitar. Kareyce's voice is a thing of beauty. In a similar manner, Kareyce's voice is not too far off from Mali's Rokia Traore. Overall, Kwegne is a great, contemporary Cameroonian release of auditory happiness.
Kareyce Fotso - Kwegne (flac 288mb)
01 Tiers Monde - Tiers Monde
02 Biatondi - African Fiesta
03 Bholen Mwana - Orchestre Negro Succes
04 Marceline - Franco et le TP OK Jazz
05 N'dia - Verckys
06 Bowao - Tiers Monde
07 L'age Et L'amour - Rumbanella Band
08 Khahagwe - Camille Feruzi
09 Kinsiona - Franco et le TP OK Jazz
10 Cha Cha Cha Bay - Camille Feruzi
11 Georgette Eckins - Sam Mangwana
12 Boya Ye - Mbilia Bel
13 Yaka Mamma - Lucie Eyenga
14 Revolver - Franco et le TP OK Jazz
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The ethnicities of Cameroon include an estimated 250 distinct ethnic groups in five regional-cultural divisions. An estimated 38% of the population are Western highlanders–Semi-Bantu or grassfielders including the Bamileke, Bamum, and many smaller Tikar groups in the northwest. 12% are coastal tropical forest peoples, including the Bassa, Duala, and many smaller groups in the southwest. The southern tropical forest peoples (18%) include the Beti-Pahuin and their sub-groups the Bulu and Fang, the Maka and Njem, as well as, the Baka pygmies. In the semi-arid northern regions (the Sahel) and central highlands the Fulani (French: Peul or Peuhl; Fula: Fulɓe) form an estimated 14% of Cameroonians, while the Kirdi (unbelievers) are a general category, comprising 18% of the population, of various mainly Chadic and Adamawa speakers.
The Beti, or Ewondo, live in the area around Yaoundé and south into Equatorial Guinea. They are best known for bikutsi music, which has been popularized and become a rival for the more urban and accessible makossa of Douala. The name can be loosely translated as beating the ground continuously. Bikutsi, characterized by an intense 6/8 rhythm, is played at Beti gatherings including parties, funerals, and weddings. The middle of the 20th century saw the popularization of a native folk music called bikutsi. Bikutsi is based on a war rhythm played with various rattles and drums and xylophone. Sung by women, bikutsi featured sexually explicit lyrics and songs about everyday problems.
Later in the 1960s, modern makossa developed and became the most popular genre in Cameroon. Makossa is a type of funky dance music, best known outside Africa for Manu Dibango, whose 1972 single "Soul Makossa" was an international hit. Outside of Africa, Dibango and makossa were only briefly popular, but the genre has produced several pan-African superstars through the 70s, 80s and 90s. Following Dibango, a wave of musicians electrified makossa in an attempt at making it more accessible outside of Cameroon. The following decade, however, saw Les Tetes Brulées surpass previous artists in international popularity though their reaction at home was mixed. Many listeners did not like their mellow, almost easy listening-styled bikutsi. Cameroonian audiences preferred more roots-based performers like Jimmy Mvondo Mvelé and Uta Bella, both from Yaoundé.
Jean-Marie Ahanda became the most influential bikutsi performer of the late 80s, and he revolutionized the genre in 1987 after forming Les Têtes Brulées, whose success changed the Cameroonian music industry. The band played an extremely popular form of bikutsi that allowed for greater depth and diversity. Guitarist Zanzibar added foam rubber to the bridge of his guitar, which made the instrument sound more like a balafon than before, and was more aggressive and innovative than previous musicians. In the 1990s, both makossa and bikutsi declined in popularity as a new wave of genres entered mainstream audiences. These included Congolese-influenced new rumba and makossa-soukous, as well as more native forms like bantowbol, northern Cameroonian nganja (which had gained some popularity in the United Kingdom in the mid-80s), and an urban street music called bend-skin.
xxxxx xxxxx xxxxx xxxxx xxxxx
First of all, the costume on the person on the front cover of this album is the coolest thing in the world, period. That said, onto the music, which should send any fan of world music, particularly the authentic African goods, into fits of near ecstasy. Some of the best releases on this fine label are the ones that feature music by various types of professional or semi-professional performers, as opposed to excerpts of rituals recorded in villages. Since these projects were undertaken on the behalf of the national French radio, the producers often had access to good-quality equipment and were set up well to make great recordings. Practically every different track on this collection of Bakweri, Bamileke, Bamoun, and Beti music is by a different ensemble. The fact that the leaders of these groups are identified by name is not only a step in the right direction, but indicates that the producer regarded these groups as professionals of some sort. Simply listing all the different instrumental combinations in these ensembles would be an essay in itself. But to pick a few, there are xylophone groups, a chorus who creates their own percussion section by having the members wear metallic bells around their ankles, a band of various bells and drums, and a group who combines an ensemble of drums, xylophones, and a horn called a fok with a female chorus. One of the most remarkable tracks is at the end of the first side, by the Mouansie Ahmadou group, featuring a solo singer, a chorus, subtle percussion, and the delicate sound of the mvet, a combination harp and zither with four strings and calabash resonators. Resonating, buzzing, and scraping -- it is all here for one's enjoyment. The intricate vocal part on this piece would send most barbershop quartets scurrying off to find their mouthwash. The record is literally a showcase of unusual instruments as well. Besides the ones already mentioned, there are enormous drums that will rattle speakers as they are pounded. There are piercing bamboo whistles, a xylophone made out of a banana tree, and rattles made with seeds of the same plant. It all adds up to a really beautiful album, and one wonders if the producers had other material recorded during this trip that was never released. Some of these groups could certainly carry an entire release on their own.
VA - Musiques du Cameroon (flac 210mb)
01 Francois-Marie Ngoa Group (Beti) - Obama Ondoua Ebini 5:13
02 Josepha Kombo Group (Bamileke) - Yeya Naya 2:53
03 Unknown (Bamileke) - Kufo 2:27
04 Peter Group (Bamileke-Bafang) - Yaya Kam 1:53
05 Ndam Moussa Group (Bamoun) - Ndanjé 3:03
06 Mouansie Ahmadou Group (Bamoun) - Mendou Mbwana 2:47
07 Unknown (Bamileke) - Nekian 1:45
08 Christina N'gantchan Group (Bamileke-Bafoussam) - Chembanla 4:30
09 Sasankou Group (Bamileke-Bangoulap) - Nkiuvu Popandoum 3:43
10 Ezadjas M'Bole Group (Bakweri) - Malé 3:30
11 Souop Foko Group (Bamileke-Bandjoun) - N'doung-Sim 2:58
12 Menné Group (Bamileke-Bamengoum) - Lali 2:33
xxxxx xxxxx xxxxx xxxxx xxxxx
This album is much more listenable and more interesting than you might expect from a bare description of what it is. Martin Craddick and his wife went to the home of the Baka pygmies in the rain forest of Cameroon, recorded their music, and then used that music as the inspiration for, and the backing tracks of, a fusion album called "Spirit of the Forest". This album, "Heart of the Forest", was later also released, and is the original field recordings. Part of this cd's appeal comes from its status as a field recording. At times it reminds me of one of those 'ambient sounds' albums. We are listening to music recorded in an encampment in a rain forest, and so in addition to the tunes, we also hear animal sounds, insects, the wind, the laughter and chattering of children. I find this aspect both charming, especially the interplay between adults and children, and soothing.
The music of the baka pygmys is hypnotic, melodic, soothing, you've never heard anything quite like it. these are beautifuly done field recordings, the sounds of the musicians are crystal clear, and you can hear the other sounds of the forests (crickets, birds and animals) in the background, putting the music in it's proper setting - at times it sounds like the forest is accompanyiing the pygmies, or maybe vice versa? In its emphasis on compelling grooves and disarmingly simple melodies, much of what appears here sounds distinctly contemporary even as it arises from a netherworld of jungle birds and insects. Recorded in the forest of Southeast Cameroon in 1990 and between Jan-Mar 1992. This is a wonderful recording from a very special place on Earth.
Baka Forest People - Heart Of The Forest (flac 314mb)
01 Yelli 1 1:22
02 Yelli 2 2:22
03 Yelli 3 2:33
04 Water Drums 1 1:54
05 Water Drums 2 0:55
06 Nursery Rhyme 1:29
07 Venolouma 4:22
08 Leta 4:29
09 Aiya (Ngombi Na Péké 1) 4:38
10 Limbindi And Voices 1:38
11 An G'Bendi (Earth Bow) 1:30
12 Limbindi 2:00
13 Water Drums 3 0:36
14 Abale 5:21
15 Solo Voice 1:10
16 Ngonnalati (Ngombi Na Péké 2) 5:59
17 Naboma (Ngombi Na Péké 3) 2:24
18 A Capella 3:19
19 Toji Playing The Ngombi Na Péké 6:19
20 Forest Party 2:25
21 Distant Yelli 2:23
xxxxx xxxxx xxxxx xxxxx xxxxx
Cameroonian, Kareyce Fotso, is a talented singer and guitarist to emerge out of west-central Africa. "So'A" is a guitar and vocal song that begins the album. The song possesses a heartfelt, yearning quality throughout. "Peu Be" adds a little more instrumentation with the berimbau, calabash, and sikko creating a more robust sound quality, while still remaining traditional. The lack of rock guitar additions or electronic musical mixtures is not necessary to create outstanding, African music. In this case, Kareyce creates emotive songs using nothing more than simple percussion and a guitar. Kareyce's voice is a thing of beauty. In a similar manner, Kareyce's voice is not too far off from Mali's Rokia Traore. Overall, Kwegne is a great, contemporary Cameroonian release of auditory happiness.
Kareyce Fotso - Kwegne (flac 288mb)
01 Tiers Monde - Tiers Monde
02 Biatondi - African Fiesta
03 Bholen Mwana - Orchestre Negro Succes
04 Marceline - Franco et le TP OK Jazz
05 N'dia - Verckys
06 Bowao - Tiers Monde
07 L'age Et L'amour - Rumbanella Band
08 Khahagwe - Camille Feruzi
09 Kinsiona - Franco et le TP OK Jazz
10 Cha Cha Cha Bay - Camille Feruzi
11 Georgette Eckins - Sam Mangwana
12 Boya Ye - Mbilia Bel
13 Yaka Mamma - Lucie Eyenga
14 Revolver - Franco et le TP OK Jazz
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Hi, any chance you can re-up Heart of the Forest (in FLAC)? All links are dead. Many thanks!
ReplyDeleteCan do Anon, it's a trippy work, N'Joy
ReplyDeleteThanks for the quick repost, Rho! Much appreciated.
ReplyDeleteHello. Thanks for all great the tunes. Are you able to kindly re-up the VA - Musiques du Cameroon in FLAC please? Thanks.
ReplyDelete