Seby Ntege

14.10.18

Green Notes (Camden)

Walking into the small an intimate Green Notes venue in Camden, a wave of heat is the first thing to greet you, but second to that was a wall of incredible energy and sound bursting from the stage, that just managed to hold Seby Ntege and his four piece band. 

The groove reminded me of surfing waves, although played on a kora and accompanied by Angel Motoka on vocal harmonies, Seby Ntege, a multi-instrumentalist from Uganda swaps his 22 stringed West-African lute: the kora, for a African drum: the djembe.

The stamina of the band exceeded expectation, Seby himself is one of the most jolly characters in music, with a cheeky smile and a laugh that cracks out during every moment: a contagious laugh that kept the audience in high spirits, chuckling in between each song, the guitarist Sherratt was also funny, cracking jokes and adding to the positive vibes. 

During the set Seby played many instruments from his home in Uganda, including a Akogo, a type of kalimba: which is a small thumb piano. He also played a smaller version of a kora, an adungu, as well as engalabi and djembe percussion. 

When playing the akogo during one song, it sounded as though it was possessed through a wah wah pedal, which I’d never heard on a thumb piano. Sebys album ‘5 Notes’ of which the concert was promoting as part of their tour: is about in London for the past 15 years, and how he misses the 5 note pentatonic music from his home town, whilst still enjoying London. In this way, I think you could feel the message of fusion between the two lands for Seby in some noticeably western musicalities, such as the wah wah on the akogo.

Seby code switched between his home languages and English, all lyrics delivered passionately and elaborately, emotions etched completely in Sebys expressions and delivery. 

The songs were mostly upbeat, happy, prompting ‘whoops’ and encouraging cries from the audience at times, as well as musical clapping, singing along and even during a couple of tunes sporadic dancing erupted throughout the hole space.

The electric guitar was a treat, seeming that Sherratt had fully embodied the music Seby plays as they trill off one another cyclically in characteristic guitar styles of West Africa. Bass player Lucas also completely dissolved in the music is actually credited with producing ‘5 Notes’. 

The rapport between band members was happy and fun, and thus between band and audience. 

Seby brought the carnivorous tone down to do an emotional song about his mothers passing. The audience sat down to listen intently. The song was so beautiful, there were tears to be seen, I myself even found myself thinking lovingly after my own mother… promoting a shake back into reality when the song ended.  

The evening with Seby and his band was notable by endless smiles and laughter, music that makes you dance and musicians that are professional and happy, all punctuated regularly by Seby’s authentic and contagious chuckling. 

Vieux Farka Touré

Vieux Farka Touré @ Nells Jazz & Blues

15.01.18

Photo: Sophie Darling 

15.01.18 

Nells jazz & Blues (South Kensington)  

When I was faced with the opportunity to go to Vieux Farka Touré’s show in the South of London I was ecstatic. For me, the musical legacy of Vieux’s pioneering father; Ali Farka Touré would have been enough in itself, however the beautiful albums that have preceded Vieux Farka Tourés musical career make it clear that Vieux is expressing an innovative and personal style, differing from his fathers, but still remaining within the legacy.

A quick note on the legacy of Ali Farka Touré (1939-2006). Touré is one of Africa’s most internationally renowned artists. Ali Farka Touré took the electric guitar, so far belonging to the American blues, and innovated an eclectic genre combining West African musical traditions with the blues. All the while arguing that the blues is historically derived from African musical traditions anyway. In this sense, by playing the African blues and being one of the first Malian musicians to take his music out of Mali and take it global, out of Africa,  Ali Farka Touré managed to attain some African ownership over blues music, that had previously been incorrectly and wholly associated globally within a purely American context. This thus changed the face and historical make-up of North West African music from an outsiders perspective, and from an insiders, created a new platform of music making. 

Ali Farka Touré was born into a family of warriors, not musicians. In Mali and much of North/West African traditions, musicians are born into their musical families, and thus learn hereditarily, these families and musicians are called ‘griots’ or ‘jeli’ and they become the leading authoritative on all things to do with their instruments, be it a Kora or a Balafon, or percussion such as a calabash. Neither Ali nor Vieux were born into this griot family, and so it was quite strange at first to have an non-jeli learn the musical ways. However, after some convincing Ali Farka Touré allowed Vieux to learn to be a musician after family friend Toumani Diabaté convinced Ali. Diabaté being a famous Malian griot family learned in the Kora. 

Since Vieux began a debut album, of which his father Ali features as well as Toumani Diabaté. Vieux’s father sadly died in 2006 before the completion of the album, however was noted to have been proud, and listened to the self titled album ‘Vieux Farka Touré’ whilst waiting peacefully to pass. Vieux also decided to continue his fathers charitable legacy by donating 10% of all proceeds from his debut to the Modiba’s “Fight Malaria” campaign in Niafunké. 

Vieux has since has a lustrous career touring and playing all manor of festivals and releasing over 5 studio albums, and plenty of live renditions as well as opening the FIFA World Cup in South African in 2010 as well as many other honourable appearances and collaborations.

It is on this Saturday night in lovely South London however, that in an intimate 200 capacity venue, Vieux Farka Touré has travelled from Mali to play his first ever solo show. Having never played without fellow musicians, Vieux reflected on stage:

“I remember when I was in school, very young, and my father comes to get me out of school and says ‘you are coming with me, do you want to come with me to play around the world” to which I replied… of course” Vieux spoke with a clear conviction, drawing the entire audience into his stories and pauses at comically pleasing moments, creating a reaction of laughs. He smiles cheekily and continues, enjoying the rapport. 

“When we got to the stage, we look out at 500 people, and he says ‘Ok, you go on stage now. Play three songs and you open for me’”

Vieux jokes about how nervous he was, and how his three songs must have lasted 4 minutes in total.. 

“My point is, is that that was my first time I played in front of people, and here I am about to play for the first time by self, here in London, or ever. Thank you for being a part of this”. 

From this introduction, the evening was set to be something special. Another way in which the energy of the evening was mapped out by our host, is in his unusual request the audience sit on the floor. 

Nells Jazz & Blues is a intimate venue, with a small but special 200 capacity, a slight raised level from the entrance and with the bar and some seating tables on the outskirts and with a small standing pit hugging around the stage. Vieux’s request we sit on the floor came as the audience, whilst waiting, were perched on the floor. Upon standing for Vieux’s appearance on stage, he quickly suggested we all sat again so that the entire audience would have a chance at a descent view and in order for “everyone to feel like we are at home together”. This was met with rounds of applause and support, and thus, the entire audience found a seat on the floor, ensuring a sacred view for all. 

The stage at Nells is set for serious music. With home made signs everywhere saying “shhhhhhh when the music is playing” and with no fancy back drops, no crazy light show, very little, if not anything to distract from the artist and their music. This set up must be regular for the venue as it is held in very high respect, thus is known for attracting a serious music lovers demographic. Not a venue to go and listen to background music, nor a venue to go and chat throughout. This in mind, as Vieux started to play, the audience obeyed and sat in near silence whilst the distinct saharan blues guitar sounds resonated throughout the small intimate room.  

Vieux and his guitar. 

From 8:30pm- 10:30pm we were treated to beautiful original compositions, songs for his wife, songs of travelling, but also dedications and odes to his father Ali Farka Touré. Vieux played the his electric acoustic guitar in the ways that are distinctive to the legacy of him and his father. The sounds of playing kora pieces on a 6 string guitar, such as playing the bass consistently throughout with the thumb on the bass strings, and thus adding the cyclical melodic variants on the higher three strings. Playing in slight variations of the pentatonic scale lends the blues to the tonality. 

He told us that all of his family where here at the gig to hear him play his first solo gig, perhaps they could be noticed as one of those unable to stop dancing and smiling for one single beat throughout the show. 

What struck me was the crips sound of Vieux’s guitar. With such clear character, almost metallic, perhaps likening to the West African tradition of adding a ‘buzz’ aesthetic to their instruments, the effect definitely lends favour to the long instrumental pulsating guitar lines. All while singing in his deep, almost husky voice with lyrics in his native tongue.

Whilst Vieux’s easy flowing chat and laughters made for an easy and pleasant ride between songs, he also light heartedly brought up the issue of visas, and how increasingly difficult it is for Malian (and world wide) musicians to attain these days, thus threatening performances.

“In the old days, my father would say… Here you come with me, and he ring would up his friends say “me and my son need passports” and within ten minutes they come over with a passport and visas for me and my father *laughter*…. But now…It is so hard, this is a BIG ISSUE”. 

Vieux also shared some personal stories about how he started to become a musician. Telling of how originally his father didn’t like the idea due to the struggles he had faced, however later agreed and enrolled him in music school. It was here that originally Vieux started to learn the calabash before moving onto kora, then guitar. He told us how his grandfather had always encouraged him musically and had once brought him “a very big hat… and a very big calabash”. At this moment I look at the navy blue porkpie hat sat cool-y on the neck of his Fender electric guitar and I wonder if this hat was similar to the one his grandfather gave him. 

Vieux played and smiled and laughed with the audience for over two hours. Nothing but a man, his voice and the unbelievable guitar playing of the ‘Farka Tourés. As the last song started Vieux decided that everyone could stand up for the final tune in order to dance together, happily the audience obliged. 

I thoroughly loved the concert, for me it felt like a vey special evening. An opportunity to see live an original performance that might never be replicated, and musically and historically, such an important and imperative figure in the changing face of African music. Such innovative and noticeable guitar playing that his father pioneered, to see Vieux Farka Touré play his repertoire so soulfully was an honour. Furthermore the venue: Nells Jazz & Blues is a wonderful venue to host such superior and important music. 

Vieux Farka Touré @ Nells Jazz & Blues 

15.01.18 

Photo: Sophie Darling 

Orchestra Baobab

31.10.17

KoKo (Camden) 

The setting of this beautiful decadent theatre is decorated with a lush dark velvet red throughout, modern, sleek lights combined with traditional glimmers from fancy chandeliers. The aesthetic of the venue truly shines a romantic hew on the musical exchange ahead. Orchestra Baobab themselves, as any listener of African or Cuban music will know, are mavericks of performance which is so deeply ingrained in Afro-Cuban music, spanning back to the 1960’s. Their stamp on the world music scene as a whole, but in particular of an afro-cuban genre, is undeniably permanent and fundamental to the popularity of the genre and/or related genres. 

Within the band we have strong influences from the Western African traditional music of the Kora  which traditionally is only learnt as a hereditary instrument, taught from father to son, and passed down as an aural historical account within the family. Orchestra Baobab have a West African griot (oral historian of music) in the band playing the Kora. As well as this, a percussive section of the ensemble use the traditional Cuban rhythm of Son throughout much of their repertoire. Son itself is embedded eternally within the foundations of Cuban music, with its roots deep within the Afro-centric influences on Cuba dating back in the early 1900s from the afro movements of the Atlantic slave trade. For these reasons, it seems to me that seeing Orchestra Baobab is an opportunity to see a stamp in history; to bear witness to the foundations of much consequential music. Having recently played at the prestigious world music festival WOMAD 2017, Orchestra Baobab have been on a world-wide tour and are playing this evening in Camden’s luxury Koko,  a venue which is fully up to the challenge of hosting our legendary guests.

So the evening begins: the stage is filled literally with ten band members for the first piece and likewise the atmosphere is immediately filled to the brim as they embark on playing a taster of their tunes. The group were all wearing traditional cloths of varying colours: Ndiouga Dieng (lead vocals) took to the centre stage with a mini drum set up of two floor drums and a high hat. He wore a contrasting pitch black hat with his pure white tunic; meanwhile the Kora player wore beige, the lead guitar wore a light blue tunic with a white hat, and so on….until we reach the saxophonist who broke away from the tradition and wore an elaborately rainbow-esc suit, complete with a purple velvet jacket and a larger than life, oversized red top hat. A most fitting of outfits for the theatrics of our setting. The music kicked off an immediate appreciation throughout the crowd who began to dance and sway to the irresistibly movable music. 

The sound was impeccable. With each instrument tuned perfectly, with the fullest richest texture coming through the sound system, their sound technician must be incredibly familiar with very minute personal details to achieve such a full crisp sound. Each tonality of each instrument strung warmth into the audience. Of course needless to say, what would a workman be without his tools; each musician, in their own right are mavericks with their instruments. Not one member of the ten musicians on stage shied away from epic solos and playful improvised exchanges in the form of call and response between one another. Such as a joust occurs between electric guitar and saxophone as they repeat phrases to each other, or between congas and a full drum kit, or vocals and saxophone. On top if this, we see the drummers within themselves swapping kits for different songs, whilst the lead guitar might crank it up for “shredding” guitar solos to be followed by a lively jousting with the Kora. The Kora itself is a 21 stringed West African harp, and can make the most beautiful sounds, and also keep upbeat dancing rhythms. At times the two saxophonists would play immensely groovy licks in perfect sync with one another, to the amazement of the crowd who were lavished with every musical flourish. The evening had a friendly atmosphere as everyone danced, feeling almost transported to the times when Orchestra Baobab were quite literally the ‘orchestra’ of club Baobab, previously famously known as the ‘Star Club’ of Senegal. 

On a personal level, I perhaps had one of my most favourite evenings watching Orchestra Baobab in Koko. On an otherwise weary Monday evening, they brought their eclectic fusion of warm afro-cuban rhythms to breathe an Africa wind into our hearts and our dancing hips. Couples everywhere were dancing the rumba, and people of all ages, be it long term fans from the original 60’s line-up of Orchestra Baobab, or perhaps youngsters who may have been swept up in the vinyl revolution that so helped this band reunite in 2011 and continue to play their music to a new larger demographic. Everyone was dancing smiling, and laughing, it seems the energy of the evening was to be as happy as possible, whilst experiencing impeccable music, played to perfection.

Ata Kak

19.04.17

The Jazz Cafe (Camden) 

This was a concert that I was particularly excited for. Having been sent an email with a link to Ata Kak’s famous ‘Obaa Sima’ album, more than two, three years ago, it’s safe to say I jumped at the opportunity to see such a guy play live. 

Upon venturing to Ata Kak’s ‘Obaa Sima’ album, you will find low-fi, high life, Ghanian rap, dance and hip-hop. A world of confusing excellence. With one of the most unique voices, it takes a while to visualise the musicians behind such tracks. The album was initially self-recorded in the mid 90’s in Ontario, Canada. The album and it’s subsequent tapes had minimal circulation. Over a decade later Brian Shimkovitz, of whom you may know as the sole curator of the small-time label ‘Awesome Tapes From Africa’, found himself purchasing Obaa Sima off a market stall deep within Cape Coast, Ghana in 2002. After listening to the tape, Brian then made it his mission to find the genius behind the ridiculously infectious album. With absolutely relentless rhymes bursting throughout each song, over repeated synth loops, each song sounds somewhat familiar to the last, and leaves a seed growing internally constantly. So it’s no wonder that Shimkovitz traveled to Germany and Ghana and finally Canada, where the album was recorded, where he then found the elusive Ata Kak, and with his permission remastered the album, speeding up the famous ‘Obaa Sima’ which I think really gave it it’s character. Both slow and faster versions can be found when purchasing the vinyl. Then in 2014 together they released the album. 

Since Ata Kak has been travelling around with ‘Esa’ playing the Obaa Sima album to all those who’ll listen. Esa is Ata Kak's band leader and conductor. On the evening at the Jazz Cafe Esa warmed up the audience spinning some reggae, dance-hall tracks on the decks. There was an infectious groove already circulating the world renowned cafe. The demographic somewhat surprised me a little, being that the audience was mainly made up from young 20- somethings with friends all seemingly looking for an up-beat dance-filled night. Esa led the decks and walked on stage, where he was joined by the band members. They then proceeded to play an instrumental funk filled piece, that gained everyone's excited attention. I hadn’t entirely foreseen the audience demographic, however it seems that they all knew what they were doing. When Ata Kak came out, the applaud was raucous, and he himself - Ata he seemed as excited as the audience, coming out, jumping up and down and ‘woop woop’-ing. Esa, who clearly was the organiser of this chaos could be seen organising the band, directing them as to when to play and to not whilst Ata ran around the stage almost like an excited little kid. They launched immediately into ‘Moma Yendodo’ the second track off the album. The songs are filled with such catchy little segments that the audience were all imitating the sounds created by Ata Kak rapping. I found myself even “singing along” repeated the sounds of the words. 

A strange tech spec for the opening few songs, being that there were four keyboards on stage and a bass guitar. Nothing else. One could be seen looping syths, another playing the repeated riffs, and I can only assume there was another keys for chords and such. The woman on the keys also had two microphones that together created slightly distorted double harmonies. All the while Ata Kak seamlessly raps throughout each and every song. The liquidity of his words swam through the air in a poetic way, almost as though I were listening to spoken word. It made the act of clapping along with the beat almost seem soulful. After a few introducing tracks, they brought out the big guns, swapping one set of keys for an electric guitar they proceeded to play the title track ‘Obaa Sima’. The audience really truly erupted, jumping hectically and singing along incredibly loud, so much so that the audience created an almost chorus to the performance. I had never seen the audience quite as excitable in the Jazz Cafe as they were that night. The energy truly became infectious as Ata Kak danced so ferociously from each available space on the stage, laughing and cheering with the audience. It was almost as though it were his first concert, he seemed utterly thrilled. They played Obaa Sima to perfection it must be said. The set was then continued, playing more from the album. 

The Ata Kak announced that he would be playing a new song, to which the audience responded with upmost pleasure and excitement cheering hard. Ata asked us to participate, but repeatedly singing a motif, once we had the hang of it, Ata then attempted an extremely fast passed rap over the top, beaconing the band to not play; “just them, just the audience”. So we in the crowd became Ata Kaks back up singers/chorus. Although the process was great fun, and we made an astonishingly loud surprisingly ‘in-tune’ chorus, so professional perhaps that Ata Kak himself found he couldn’t complete the rap he was trying to do, and after three or four attempts he laughed with Esa in the band prompting him to continue. He announced “You sing so well, it;’s distracting, I have to rap”, so with an applause and a laugh, the audience stopped his requested singing in order to allow him to Finnish his rap. I must say, it was really rather funny. As well as warming, to see a real musician overcome with excitement and happiness. 

The set ended the same way it started, with soaring energy, infectious laughs and absolutely crazy brilliant songs. 

I nearly forgot to mention, Ata Kak himself has to be one of the smoothest movers I’v seen, dancing across the stage with the grooviest of moves and funkiest of grooves, he truly put anyone under the age of his impressive 78 to shame. I can only hope I’m moving with such a swag when I am his age. 

Kadialy Kouyate and Fred Thomas

05.04.17 

SandsFilms Studios (Rotherhithe) 

The need to take the overground to any given location is always a welcomed treat compared to the monotonous repeated visions of the un-inspiring underground. I was actually previously oblivious to an area called ‘ Rotherhithe’ existing in London; therefore an air of mystery surrounded the non-too long overground journey. Leaving the tube station upon arrival at  Rotherhithe I was happy to see that the venue was a mere two minute walk away; and what a walk it was. In my home city we have an ‘Old Town’ where the pavements are cobbled, the buildings are ancient and the general everyday life takes a relaxed step back from the every day hustle and bustle of modern life. It seemed that I had arrived at Londons solution to the ‘Old Town’; cobbled pavements and all.  

It was a pleasure to walk trough these quaint streets, and upon immediately turning from the station, one could walk up a path and begin to see the River Thames immediately in front. Surely not I thought, having completely misunderstood my personal geography of the area. However the closer I came, sure enough there it was, a beautiful little area, with a bench or two looking out over the Thames from an angle I hadn’t yet seen. The Shard stood far in the distance; a shining reminder of the hectic business of London Town that seemed somewhat unattached to this peaceful area. A little to the left there stood an old-school pub, similar to so many that we see disappearing these days, complete with what appeared as “locals” enjoying conversation with one another outside, in what must be said was a beautifully sunny day. After taking a moment to breath in the immense beauty of the river and it’s views, I took a small walk, less than a minute left down the cobbled path to the SandsFIlmsStudios.

Seen as I had no idea of the locations existents, it would be a fair deduction to assume I had never been to the venue. This assumption would be correct. I entered through a side green wooden door, and found myself  immediately greeted by a fully equipped table of tea and coffee; complete with a homely set of mugs to choose from. Choosing a mug depicting a wondering Puffin Bird and making myself a pipping hot tea, I took a moment to look around. Seemingly a cosy place, with sofas and cushions, it had a community vibe. Walking through the arch way I entered into an archive room full of slim shelves from ceiling to floor each. These supposedly made up some of the Rotherhithe Picture Research Library, which is a free resource providing visual references to all designers and researchers.(whatever they were). The most intrigued guests for the concert were encouraged to have a browse through the archives whilst sipping on tea before following the mysterious winding pathway to where the evenings entertainment was to take place. 

The rumours were true; the seating for the audience was completely made up of comfortable sofas and armchairs side by side creating multiple rows of seats for each person to choose from. Feeling almost spoiled, cuppa in hand, I tucked a little in on the fourth row centre stage, I sank comfortably into a large oversized armchair, complete with extra cushions. The decoration on the walls was somewhat reminiscent of various manner country estates I had visited, perhaps crossed with a warped “haunted house”. Particularly what comes to mind, is their vast collection of (in my opinion) creepy 3D paintings, or framed dolls that look liked they had been rescued from WW2. I read the accompanying leaflet, and learned that SandsFilms Studios, although having been a film company at some point, was mainly now a place that theatres and films would come to make/use/borrow costumes, and by all means, I assumed props. This somewhat explained an amount of period obscurities adorning each available space. Saying this however, the space seemed utterly perfect for an intimate evening. 

After getting everyone settled in, the evening ahead was introduced, then with no further adue Kadialy Kouyate took to the stage with his kora accompanied by Fred Thomas on double bass.

The instrument of the kora is a wonderful West African guitar harp. Somewhat recognisable visually, the kora has a standard 21 strings; or if you’re from the highly prestigious elite griot family of the Kouyates, then perhaps you have an extra 22nd string providing an additional lower octave. The kora is played by using the thumb and for-finger to pluck at the 21/22 strings. The resulting sound is irreplaceably beautiful. 

The kora is an instrument primarily played by members of griot families from Mali, Africa. A griot family is a tradition of story telling and singing that is passed on hereditarily through ancestral family members. It is a skill that is not widely taught nor learned and therefore makes the art well sought after, and something always worth going out of ones way to see. We have very few ‘in house’ griots here in London, however Kadialy Kouyate coming from Senegal and the ancient old line of the ‘Kouyate’ griots, Kadialy moved to London with the aim of teaching and playing the Kora. He now teaches select students at the University of SOAS London the basic techniques and teachings of the kora. As well as this Kadialy has been playing in a multitude of fusions and collaborations, including success in his own original works. 

I personally arrived at the gig already a huge fan of the kora and of Kadialy himself. The demographic of the intimate small audience said that perhaps everyone in the room had previous knowledge of the kora, it’s story and perhaps of Kadialy Koyate. As the lights went out, I felt dangerously comfortable and snug, and found myself thankful for the energy emanating from my tea. However one should never have feared, because the second Kadialy started to play the Kora, the audience silently gave in to the music completely. In intrigue, or awe perhaps the room fell silent and stayed so for the majority of the performance, aside the bursts of applause. Each song far longer than that we’re used to in the West, they start instrumental kora and Double Bass, then at some point in all the songs Kadialy would start to sing in his soft smooth voice. The voice carried over, and works in perfect harmony with the melodies of the music. 

A dark blue velvet sheet sparkling with like a dark night sky made for a perfect backdrop for the artists and their musical story telling. The overall aesthetic of the evening is enough for review in itself. The venue really added to a sense that the audience were hidden away, tucked away from society listening to this special rare music. It really was rather magical. 

Kadialy sung songs from his album Na Kitabo; of which you can buy on all media platforms, with themes of love and family. The performance was broken into two sections by a fitting interval. One could replenish their coffee’s and tea’s, and have a chance to ‘break-bread’ with Kadialy Kouyate himself. After a short break the evening continued, and Kadialy finished the evening with songs about ancestry, the griots travelling, humanity and traditions. Along side all this, it must be noted that Fred Thomas played most admirably, the addition of the double bass added a very distinctive drive, that would have been sorely missed had it not been there. As well as the bass, Fred also during one song played a little percussion adding versatility to the overall sound. 

This step back in time allowed for one evening to forget about the business of the world, the hectic rings of our phones and of our constant communications. Far away on the overground, following a quaint cobbled street, beneath an archive library, tucked away in a comfortable sofa with a hot beverage; I highly recommend the SandsFilms location to anyone, and furthermore the wonderful music of Kadialy Kouyate accompanied by the multi-talented Fred Thomas.