The djembe magazine: Mandenfoli

There is a new percussion magazine on the market. It writes about Mandinka music with special regards to percussion and the djembe. It is in French and available only in French bookstores, and it doesn't look like it will get translated any time soon. However, you can order a copy on the website of Mandenfoli.


Judging from the index, the first issue seems like a rough guide to the djembe. It introduces the old and the young djembefolas, writes about history and culture of the Mandinka empire, and there is also a section dedicated to the notations of the rhythms (in this issue the Soli). Finally, what was actually needed in this market, it lists the upcomming events and new albums, videos, etc.

Abdoulaye hits again

I always liked Abdoulaye Diabate's balafon playing, but now he is really becoming awesome. He impresses me every time I see a video of him. That musicality... Unbeatable. An older video was mentioned in this post, but check out these new ones.

Reversed hand order

I learned from the accompaniments of rhythms like Madan and Djansa that sometimes you have to reverse the hand  order if you want to play at a very high speed AND preserve the swing. 

The most typical example is for the 4/4 accompaniment. Notation + handorder:

S

.

.

S

S

.

T

T

S

.

.

S

S

.

T

T

r

.

.

r

l

.

r

l

r

.

.

r

l

.

r

l

Notice that the pairs marked with the red color become flams when you go fast enough preserving the swing.

Pluznick's Didadi videos

Michael Pluznick keeps adding lots of quality material to the West African drumming  community. Here goes the newest video of the Didadi, a very popular rhythm in Mali.

And some older ones with the same piece:

A film about Fadouba Oularé

This seems a nice documentary. It's a pity I missed the projections at the film festivals. Anyway, it is still possible to buy the DVD.

SYNOPSIS :

“The right man in the right place”   Sekou Toure

When the  first president of the independent Guinea-Conakry, pronounced those words, little did he know they would become a catch phrase, a gimmick, a signature. Often, in not always quoted by Fadouba Oulare in the everyday speeches he gives on such various duties as funerals or births, or to simply ease the understanding of his message to the troop of dancers and musicians.

Fadouba Oulare is a complex character who accumulates responsibilities, functions and social statuses. At the same time, he is the father of a family of 34 children, a former soldier for the French and later Guinean armies, a head hunter or percussionist of international fame, Fadouba Oulare is above all a “chieftain”.

He is that charismatic person to whom people come to, asking for advice, this man who will know how to clinch the argument in the most delicate situations, this man who is respected because he knew, throughout his life, how to lead his family, his village, his country towards new and better horizons.

The story of Fadouba, from Faranah to Conakry, progressively draws itself, from the narration by the Griot or by his friends, to his representation on the mural paintings of the People’s Palace.

A powerful, surprising and sometimes tragic tale that however never overtakes this man of action always on the move. An action that he leads within a complex reality where traditional music, military dictatorship, precariousness and animism coexist...

Source: 

The right man at the right place.A film by Matthieu Imbert-Bouchard and Cédric Dupire