Music And Arts Scene
African Records Review
By Kwabena Asamoah
SOMA DIABATE: Sons De La Savane (SLP 77).
'Hafia' 'Kinikiniko'/'Kele' 'Mama Nyepou
(Lannaya)' 'Yekeke.
Sister of virtuoso guitarist Sékou "Diamond Fingers" Diabaté of Guinea's Bemeya Jazz and one-time back-up singer for Miriam Makeba's Guinean Quintette, Sona Diabaté, has already made a mark with Les Amazones - the 16-piece all-female group who will entertain London with superb music at the Shaw Theatre, 100 Euston Road, London, on 26, 27, 28 February and 1 March 1986. Born into a family of traditional musicians, Sona Diabaté started playing guitar and balafon long before picking up singing which she does with ease in different languages Maninka, Bambara and Kouranko.On this debut solo album which was recorded in Paris during the French tour of Les Amazones in 1983, Sona Diabaté graces some traditional tunes with her superb voice calling on fellow Les Amazones co-singer M'Mah Sylla and Condette Kouyaté to back her up at the studio. Here again Maitre Mamadou Barry takes care of the flute, soprana, alto and tenor saxes while the talented Demba Camara of Super Lion adds his contribu- tion on the guitar and balafon.
The opening 'Hafia' dedicated to the famous Hafia Football Club of Guinea, thrice champion club of Africa, clearly defines the direction of Sona Diabaté who mixes the old and the new to achieve a surprising affect. The guitars sound almost like Kanté Manfla of Les Ambassaduers, yet come out with the individuality of Demba Camara. While Condette Kouyaté takes the lead vocals in 'Kinkiniko', Sona Diabeté returns to real action in all the tracks on the B-side.
From a country where women are highly politicised, it is no wonder that Sona Diabaté reminds the world of the 22 November, 1970, Portuguese invasion of Conakry in 'Kele' - a song which, like the rest, relies on the melodious balafon, marimba and saxes to achieve universal appeal. 'Mama Nyepou (Lannaya)' is dedicated to the guitarist/leader of Les Amazones who enjoys the confidence of the tnire group while the concluding "Yekeke' stamps out the personal treatment by Sona Diabaté of a familiar tune. The full extent of her voice is in the opening 'Samba' on Les Ambazones' Au Coeur De Paris album; the rest is only an amazing list of beautiful songs for your listening pleasure.
MANDY: Breakthrough (F2 001)
'Working Girl' 'Breakthrough' 'Greatest Love Of All' 'Making Love'/'Taxi Driver- Answer To Touch Me' 'Man Hunting' 'She's A Picture!
Listening to this great album I couldn't help casting my mind back at 1983 when George Darko's Highlife Time first appeared on the market. In its characteristic style, London received it with mixed reaction; while some hailed it as superb music others thought it was not African enough. My stand is if Herbie Hancock can play Mandingo music of Africa why can't George Darko or Mandy play funk or a mixture of funk and Afro pop.Undaunted by criticisms which might emanate from Europe, Nigeria's Mandy Brown Ojugbana has by all standards made a bold venture into the funk/disco world with this debut solo album which matches with any American or European produc- tion. Recorded in Nigeria and mixed in London, Breakthrough is an extraordinary assembly of soul, funk, ballads and Afro pop which stand on their own with Mandy's beautiful voice meandering from all corners. It might have taken quite a long time to finish the album, but the result is certainly convincing.
With the help of synthesizers, claps, lynn drums and other studio make-ups, Mandy sounds like a happy girl right from the opening 'Working Girl', which is my favourite on the A-side. Except 'Greatest Love Of All', Mandy wrote all the songs barring Taxi Driver' which confirms the strength of Mandy who has benefitted from the black and white blood in her.
The key to Mandy's music is more likely to be 'Taxi Driver', a tune which will bring memories of the good old days of highlife by the late Bobby Benson. Nigerians and Ghanaians who tuned up to this great music would normally jump to this tune ably modernised by Mandy. The rest of the songs on the B-side account for the funk side of this new Nigerian singer.
An excellent production and a predictable dance floor favourite on the strength of 'Taxi Driver' - a possible breakthrough.
