|
Photo courtesy of Sasa Music Cheikh Lo was born in 1955, to Senegalese parents in the small town of Bobo
Dioulasso in Burkina Faso not far from the border with Mali, where he grew up
speaking Bambara (language of Mali), Wolof (language of Senegal) and French. His
father was from a long line of marabouts (Muslim spiritual leaders). From an
early age Cheikh Lo was only interested in music, running away from school to
teach himself drums and guitar on borrowed instruments.
During his teens Cheikh listened to all kinds of music, especially the Congolese
Rumba which was popular throughout Africa. Cuban music was all the rage in West
Africa in the 1950s, so when his older brothers started up their 78s and danced
to "El Pancho Bravo", Cheikh, without understanding a word, would mime exactly
to the Spanish lyrics.
At 21, Cheikh started playing percussion with Orchestra Volta Jazz in Bobo
Dioulasso. They played all kinds of music and cover versions of other African
tunes, like Ernesto Djedje"s hits from Ivory Coast.
Cheikh moved to Dakar (Senegal) in 1970. He started out playing drum-kit for the
renowned and progressive singer, Ouza, and then in 1984 he joined the house band
at the Hotel Savana, drumming and singing an international repertoire.
In 1985 he moved to France, where he was immersed as a session drummer in the
Parisian recording scene. Cheikh recalls: "Studio - sleep - studio for two
years. I love Congolese and Cameroonian music and I absorbed a lot of it during
this period. Maybe you can hear a bit of
Papa
Wemba in my singing."
On his return to Senegal he tried to return to his former job at the Savana
but found that with his (now very long) dreadlocks he was no longer entirely
welcome; so he started looking for someone to produce his own music.
Youssou N'Dour first encountered Cheikh Lo as a session musician in 1989 when
he was doing the chorus and drums on an album Youssou was producing by N"diaga
M"baye (a traditional Wolof griot singer). "Whenever he sang the choruses I
was overwhelmed by his voice," explains
N'Dour "but I really got to know him from his album "Doxandeme", I heard his voice and said
"wow" - I found
something in his voice that"s like a voyage through Burkina, Niger, Mali".
Cheikh's first cassette "Doxandeme" ("Immigrants") came out in 1990, where he
sang about the experience of being Senegalese abroad: "It was difficult and I
needed to have a strong faith in my religion," he explains. ""Doxandeme"
was a local production on a small label, the cassette sold well and got my name
around but from my own point of view, it wasn't at all professional."
Despite his reservations about the production, in December of that year Cheikh
won the "Nouveau Talent" award in Dakar. The following year he started to work
on the compositions for
Ne La Thiass.
Cheikh held onto his new compositions whilst looking for the best recording
conditions, and would ultimately give his demo to N"Dour. On hearing the songs,
N"Dour was immediately interested in producing and, although his success with
"Seven Seconds" held up recording, he kept his word and in August 1995 they went
to work in
N'Dour"s Xippi Studio in Dakar.
On
Ne La Thiass , Lo is joined by
Youssou N'Dour ("Guiss Guiss" and "Set") and
by musicians from the Super Etoile de Dakar; Oumar Sow (guitarist and arranger),
Babacor Faye (percussion) and Assane Thiam (talking drum).
Ne La Thiass was
released domestically on Youssou"s Jololi label and was an instant success.
"Set" - a plea to clean up the streets during a Dakar municipal strike, was
broadcast on loudspeakers throughout the country in a campaign by the Ministry
of Health.
Ne La Thiass was released internationally on World Circuit Records, in
November 1996 and in April 1997 Cheikh Lo made his debut tour in Europe with his
own band. His early performances prompted rave reviews.
In 1997 Cheikh Lo was awarded Best Newcomer at the Kora All-African Awards in
South Africa. In 1998 he went out on the road in the US, as part of the
Africa-Fete line-up that included
Salif
Keita and
Papa
Wemba. In 1999 he received the prestigious Ordre National de Merite de Loon by the president of
Senegal.
Cheikh's second album for World Circuit
Bambay Gueej was released in 1999, the
tracks were co-produced by Nick Gold and Youssou N'Dour and once again recorded
at
N'Dour's Xippi studio, with additional recording in Havana and London. Adding
to the energy and emotional intensity of his previous album, Cheikh Lo drew on
sounds from Burkina Faso, Mali, Congo, and added influences from Cuba, subtle
reggae and blasting African funk to the mix.
Bambay Gueej saw Cheikh's voice sounding sweeter than ever, and although he
played a variety of instruments on the album he did retain the core musicians
from his first record. This album features a selection of very special guests
including Cheikh's musical hero, Cuba's legendary Richard Egües on flute and
Aswad's Bigga Morrison on Hammond organ. Former James Brown and Horny Horns horn
arranger and saxophonist Pee Wee Ellis appeared on the title track and fellow
World Circuit artist, Malian diva
Oumou
Sangare brought her amazing vocal talents to the atmospheric duet Bobo-Dioulasso.
In 2002 Cheikh Lo played various festivals across America followed by some dates
in the UK. At the beginning of 2003 Cheikh played several Spanish dates and
appeared at WOMAD in Australia and New Zealand to much acclaim. He also
contributed 2 tracks to the
Red Hot + Rio album, which featured many
influential world music artists covering Fela Kuti songs. The album is part of a
series of compilations that have raised the profile of, and funds for, AIDS
related charities.
2004 was a productive year for Cheikh, not only did he play a selection of
European summer festivals, but he began work on his third album for World
Circuit. Following the music that was influencing him at the time, Cheikh laid
the foundations of the album in Dakar, moved on to London to add more
percussion, and once again the horns of Pee Wee Ellis; and having being suitably
inspired by his discovery of Brazilian sounds and rhythms, Cheikh travelled to
Bahia, Brazil to work with acclaimed producer ALo Siqueira (Tribalistas,
Omara
Portuondo).
Lo dedicates both his music and his life to Baye Fall, a specifically Senegalese
form of Islam and part of the larger Islamic brotherhood of Mouridism.
Established by Bamba (Cheikh Ahmadou Bamba M'Becke) at the end of the 19th
century, Mouridism emerged from the nationalist struggles between the Senegalese
and their French colonizers, and many fabulous stories are told of Bamba's
struggles with the authorities who feared that the rapid spread of Mouridism
would inspire armed insurrection. Bamba's closest disciple Cheikh Ibra Fall
(also known as Lamp Fall) established the Baye Fall movement, who take their
name from him, and was the first to wear the patchwork clothes and long dreads
that are the Baye Fall trademarks. Cheikh Lo's own marabout Massamba (Maame
Massamba N'Diaye) is said to be over 100 years old, and was a disciple of Cheikh
Ibra Fall; Cheikh Lo wears his picture in a pendant around his neck.
Lamp Fall was released in 2006. It retains the deeply spiritual message of the Baye Fall, while
incorporating upbeat Brazilian rhythms, and a Senegalese groove. |
