Music And Arts Scene
African Records Review
By Kwabena Asamoah
LES AMBASSADEURS: 'Tounkan' (CEL 6717) 'Tounkan' 'Djata' / 'Kenlelenti' 'Toubaka 81'
Another re-release by Celluloid Records to re-create interest in a group that could have also been eligible to contest for the position of Africa's super group, Tounkan exhibits some of the typical gentle but poignant styles of Ambassadeurs, Mali's best Ambassadors.The A-side begins with the full horns blast in 'Tounkan' which is a gentle ballad with plenty of jazz leanings. The 'domingo of African song' Salif Keita (the yellow man of Mali) achieves the full dimension of his vocal ability half- way through the tack when he wails. The emotional warmth attached to his voice is a unique experience to watch live but he gives listeners the opportunity to take part even on record. Kante Manfila's mandingue guitar picks blending beautifully with the jazzy keyboards completes the full cycle of the music in the song. The sax solo leans towards delight.
'Djata' is certainly more traditional than the rest of the tracks on the album but stamps across as a nice tune utilising punch and interplay of guitars and keyboards.
Side B kicks off with 'Kanlelenti' which stands out as the best track. The chord changes on the instruments give memorable support to Salif Keita's sweet voice without losing their individuality. The balladry in the song 'Mandjou', reminds me of Ambassadeurs' classic hit. Kante Manfila is not only a group leader but a virtuoso on the mandingue guitar as you would detect from his style of play. It is not my fault if I locked my turntable to 'repeat' the track.
The gentle and skilful change of rhythm at the beginning of 'Toubaka 81' sticks in my mind to the extent that I keep thinking about it all day. Added to this delight is gentle guitar picks. I dare say that Tounkan can be added onto the good repertoire of les Ambassadeurs.
TSHALA MUANA: 'M'Pokolo' (SAS 057) 'M'Pokolo' 'Ebi Cruel Mari' 'Combat Loyal' / 'Wanime' 'Honnete Femme''Deception'
Tshala Muana, another of the female Zairean artists managed to convince the public along Francophone Africa not with her songs but with her sexy "mutuashi" dance. She was one of the queens in Abidjan (Ivory Coast) until the scandalous and imagined marriage with Francois Lougah rebounced back on her so badly that she had to leave Abidjan for Paris.Undaunted as she is, 'M'Pokolo' might help push her beyond African boundaries especially 'Ebi Cruel Mari' which is a much more assertive but 'natural' track. The title track - 'M'Pokolo' - is a swift one, obviously aimed at the dance floor. It possesses some pleasant portions including beautiful guitar and synthesizer touches but lacks the depth of some Zairean tracks I have heard.
'Combat Loyal' is much more gentle with some beautiful instrumental touches but my preference would go for 'Ebi Cruel Mari' on the A-side which has more qualities of a typical Zairean beat and touch. The aggressive guitars and full blast of the horns inject both frenzy and action into the song which Tshala Muana may be using to attack men. I can imagine her doing one of her sexy waist dances on stage.
'Wanime' begins the B-side with attack and seriousness mixed with wicked guitars from Rigo Bamudele and Geo Bilongo that make dancing inevitable. Tshala Muana's voice comes out better here even though I am not generally sure about it all.
AFRO HOT CHART
1. KEYNA Mbilia Bel (GENIDIA) Zaire2. ELECTRIC AFRICA Manu Dibangu (CELLULOID) Cameroon
3. OBI DOBA African Brothers (A.B.) Ghana
4. NA WA FOR YOU Hi-Life International (STERNS) Ghana
5. DOUBLE DOUBLE Nyboma (CELLULOID) Zaire
6. BEHYE ME MA New Life Gospel (PMA) Ghana
7. ENFANT BAMILEKE 4 Stars (SYLLART) Zaire
8. ARMY ARRANGEMENT Fela Anikulapo Kuti (CELLULOID) Nigeria
9. NEW AFRICA Various Artists (STREETSOUNDS) Inter-African
10. NDE YEN DA A.K. Yeboah (ASONA) Ghana
11. WAITING FOR THE RAIN Hugh Masekela (JIVE AFRICA) South Africa
12. PLAYS BROADWAY & UHURU Redcap James (AFROBOOM) Ghana
13. BINAM Andre-Marie Tala (ANDY'S) Cameroon
14. MO DUPE (GRATITUDE) Sunny Ade (SALPS) Nigeria
15. OYE ODO Pat Thomas/Ebo Taylor (DAN) Ghana
Chart courtesy of AFROBOOM RECORDS, 135 Clarence Road, London E5 8EE (Mail Order & Distribution only).
History of the Benin Bronzes
The Africa Centre Gallery will exhibit prints and drawings by Tony Phillips which reveal the tragedies of the cultural plunder of the Benin bronzes from Tuesday 30 July to Friday 30 August. The Gallery is open between 10.00am and 5.30pm and admission is free.In 1897 a British punitive force was sent to Benin City where they deposed and exiled the Oba, ransacked the city and carried off countless bronze and ivory sculptures centuries-old works, indispensable to the routine and beliefs of Benin life. These were distributed throughout Europe and America in private collections and galleries, where they have since acquired world outstanding examples of 'primitive' renown as bronze and ivory craft, revered upon the pedestals of Western culture, in stark contrast to the original meaningful functions for which they had been created and masking the irony of their brutal acquisition.
(An added irony is that in the late 19th century, the building which is now the Africa Centre was Stevens Auction Room and a number of Benin bronzes were sold on these premises!)
The subject matter is to highlight the violence which formed the basis of colonial power. His group of prints tells the story of the meaning of Benin sculpture, the ransacking by the punitive expedition, and the distribution of the pieces throughout the world. There will also be a number of individual drawings based on different elements of this subject.
