Sherrifo Konteh is the son of Alhaji Bai Konte and the brother of Dembo Konte, Sherrifo learned from both and has become an outstanding musician in his own right.
He was born in Brikama, the Gambia, where he still lives. Sherrifo comes from one the most famous of the jali families from a town that is the home of many jalis families. As most jalis, he was introduced to music at an early age. His father taught him how to play the kora at the age of six.
Sherrifo went from playing traditional songs to composing his own pieces with a traditional feel. In his early twenties he joined a band called Kangbeng that got relevant radio airplay, but he was never paid for his work. He now makes a living the traditional jali way, by playing at naming ceremonies, weddings, birthday parties, and other celebrations.
All his life Sherrifo has been steeped in this rich tradition. As most jalis, he makes his own instruments. He has a highly developed and inventive technique playing the kora which scintillates and sparkles and compliments his commanding singing. Some of his songs reflect the long tradition that he is a continuing part of others comment on contemporary social mores. He performs them all with a passion and commitment that make them truly engaging listening.
Seikou was born in 1964 in Sukuta Nanie in The Gambia. He is directly descended from a long line of jalis. As a boy he followed his father Jaliba Denbo Susso in the family tradition of learning to sing and play Kora as a jali. As a small boy Seikou would accompany his father on all his jali outings performing music and poetry.
His early musical training was learned sitting beside his father. Seikou was encouraged to keep time with the music by tapping on the calabash – the gourd which makes up the back body of the instrument. His mother is also from a jali family the “Kuyatehs. Her name is Hagar Jal-fill Kuyateh. Seikou has a brother and sister. His sister Debar Susso, is a well known singer in West Africa.
As a young man Seiko’s skill as a performer took him to many places. He performed in tourist hotels, gatherings of elders and community events such as marriages and naming ceremonies. Seiko represented his country at festivals and to promote tourism for his country in Helsinki and in Vienna.
In 1991, he arrived to England and has worked with musicians of many other cultures. Seikou finds this experience very stimulating. He’s adapted his music to play with other instruments such as piano, violins, harp, cello and keyboard.
Seikou teaches workshops, including kora workshops one to one or group sessions, solo kora performance, kora and bass guitar duo, and children’s storytelling with Kora.
Papa Susso is a master kora (African harp/lute) player and jali (oral historian, also known as griot) from The Gambia, West Africa. He hails from a long line of jalis from the Mandinka people.
Taught by his father, he has played kora since the age of five. The kora, a 21 stringed harp-lute, evolved from earlier hunter harps used by the Mandinka people. It is said that the Susso family invented the kora.
Today, Papa Susso, based both in the Bronx (New York City) and Gambia, is considered a goodwill ambassador, traveling throughout the world to share his culture with others.
Malamini Jobarteh was a jali and one of Gambia’s greatest musical and cultural icons. In the late 1970s Alhaji Bai Konte and Malamini Jobarteh toured Europe and North America. Malamini Jobarteh later recorded with Dembo Konte, Alhaji Bai’s son.
Malamini Jobarteh resided in Jobarteh Kunda, the Jobarteh family compound. There, he ran the Teramang Traditional Music School.
Malamini Jobarteh died July 31 in Brikama, Gambia.
For more than twenty years the Gambian roots band Ifang Bondi (‘be yourself’) had a leading role within West African popular music. It was one of the first groups that decided to return to its African roots by playing traditional Manding music.
To talk about an influential band such as Ifang Bondi, one needs to know how its origins came about. It was the year 1970. The auditorium of Legon University in Accra (Ghana) was filled to capacity. There was an environment of restless expectation awaiting the arrival on stage of the Super Eagles of The Gambia. The devastating performance of highlife, soul, Cuban music, reggae and western pop songs which followed, faultlessly delivered by the men in sharp suits, revealed why this band from The Gambia had become West Africa’s number one superstar attraction. West Africa had just completed its first decade of independence and was in the throes of anticolonialist sentiment, pan-Africanism and ‘Say it loud, I am Black and Proud’. This was to be the last time most people saw the Super Eagles, leaving only the legacy of their all-time classic album ‘Viva Super Eagles’.
Unknown to their thousands of fans, this was not the end of the story, but just the end of the first chapter in one of the longest-running sagas in African musical history. The truth is that the founders of the band, leader Badou Jobe and vocalist Paps Touray had taken a deliberate decision to end Super Eagles at the height of their popularity. Being true revolutionary pan Africanists and musical pioneers, they had become increasingly disturbed by the music they were playing and the image they presented. Despite the greater fame and fortune that was theirs for the taking. They radically gave it all up to go back to square one, back to the roots, to create something African for Africans, to challenge the cultural imperialism of the west which still gripped the continent. They went into the rural areas to sit at the feet of the jelis – the master drummers and the old maestros of the kora, xalam, and bala – the guardians of a thousand years of culture and tradition.
After two years of exhaustive research and hard practice, Badou Jobe and the few musicians like Paps Touray and Ali Harb, who had felt inspired to join, came back with unique new music, born from their amazingly rich heritage. To their modern electric outfit, including the novelty of an electric organ, they had added traditional drums, which, next to the drum kit’s chromium sheen and the fancy sunburst of the guitars, looked like alien objects from another planet. The new repertoire, painstakingly composed according to the rules of the jali teachers, had meant a struggle with unfamiliar scales and mind-boggling rhythm structures. They proudly coined their music the Afro Manding Sound after the legendary Manding empire, cradle of their West African culture.
By 1973 the group reappeared as Ifang Bondi (‘Be yourself). The band’s first public performances were greeted with dismay and disbelief by their devoted fans, who were outraged by the ‘bush’ sound of mbalax and jambadongo rhythms, although the musicians had been careful to hide the sabar (drums) under the British flag. At that time this type of music was considered to be played only at weddings and family-gatherings and not for big audiences. But bandleader Badou Jobe, veteran of an earlier bade against caste taboos to become a musician in the first place, was firmly committed. The only support at this time came from fellow musicians, later to form Toure Kunda and Super Diamono, who appreciated the Afro Manding Sound for the momentum it was bound to give African music. Gradually, their revolutionary ideas got accepted, and this was the birth of the popular West African modern music that has since catapulted Toure Kunda, Youssou N’dour, Mory Kante, and Baaba Maal onto the world stage.
The role of Ifang Bondi was essential by rehabilitating the traditional musicians they made people aware of their own heritage, and they offered new dimensions to African artists in search of an authentic sound. To rigorously deprive a devoted public of their pop idols, the ultimate symbol of modern western culture to induce them to set their own cultural values and to get rid of the inferiority complex, a lingering legacy of colonialism, had not been a venture for the faint-hearted. But in the end the effort proved to be worthwhile. Ifang Bondi have achieved their goal: to create something African for Africans, beyond expectations.
Badou Jobe’s innovative ideas, based on a vast musical knowledge, crystallized into a comprehensive artistic concept that created also the inimitable sound, Ifang Bondi’s trademark. Throughout the years, Ifang Bondi continued to develop its unique music which reflects the enormous variety and richness of authentic styles, be it Wolof, Manding, Fula, Jola or other. The band’s line-up showed a similar ethnic diversity. They put fresh blood into musical traditions, not only by a prolific output of original material but also by organizing festivals in which they invited pop, jazz and reggae musicians from as far as the US and Jamaica to play with traditional performers.
From the beginning, Ifang Bondi acted as a true academy of music from which many great artists have graduated. Outside West Africa Ifang Bondi has always had a solid cult following. The infrequency of record releases, all sought after collector’s items, plus the enigmatic personality of its bandleader, who seems quite happy to stay out of the limelight, “I once opened the door to the hell of stardom, had a good look around, and slammed it shut again“, has only enhanced the mystique surrounding this group. Badou Jobe received the prestigious Kora All Africa Music Award, also known as the African Grammy Award, in 1989.
Dembo Jobarteh was a member of a well know jeli family (known as Jobarteh in Gambia and Diabate in Mali). His father played the kora and his mother was a griot [jali] singer. Dembo was born in 1976 in Niani Kayai, The Gambia.
From an early age on he was taught to sing and play the kora, a harp lute. Later he also learned to drum and play bala. He spent a few years as a musician in Dakar, Senegal.
In 2001 he became the manager of Gambian Griot School of Music and Dance at Serekunda, The Gambia.
Dembo Jobarteh said. “For generations my family has held this profession. I myself started reciting stories when I was 9 years old. At that time I came to live with a marabu, a very wise and well-respected man. There I studied the Koran, music and worked in the groundnut and rice paddies. After three years I moved to another village and another job. Later I worked at a bakery. But no matter what I was doing, my musical training continued. I learned hundreds of songs and also studied the drums, balafon [bala] and singing.
Many people can learn to play the kora. But to play like a griot [jali] is a gift from God and, as we say in West Africa, also a gift from the devils. If they like you, they will teach you.
When I am alone at night I play this instrument especially for them. Life is there to enjoy. But to do so you need to be healthy. Therefore I advise people to take good care of their body and their mind and to forget about self-interest. If you share what you’ve got, you’ll improve your own life and that of others. Then you will truly enjoy life.
Yes, I like to tell people what is important in life. It is a family tradition. If I did not live according to tradition, I would miss the life that was meant for me.”
Dembo Jobarteh died on March 15, 2008 in Serekunda.
Amadu Bansang Jobarteh (kora, voice) was a jali: an oral historian and hereditary praise singer from among the Mandinka people of Gambia, West Africa. Amadu’s family background clearly illustrates the hereditary nature of jalis in West African society. In the late 1800s, and at the request of a Gambian chief, Amadu’s father Jali Fili Jobarteh emigrated from Mali and settled with his family in the town of Bansang. Although the father played koni, his children learned the kora, which was the favored instrument in that area of Gambia.
Amadu first learned kora from his elder brother Bala, whose son Sidiki Diabate is one of the most accomplished jalis in all of Mali. Sidiki’s son, Toumani Diabate, is well known in the West, and has numerous recordings to his credit. Amadu Bansang Jobarteh embodied the wisdom and maturity of a grand master. He performed around the world and taught in Europe and the United States.
Amadu Jobarteh passed away in April of 2001.
Master of the Kora (Eavadisc, 1978) Tabara (Music of the World, 1994)
Gambia for the People (The Orchard, 2001)
All too often kora music evokes the image of lacy traditional African tunes that fall into the elegant or quaint category, but Gambian kora player and composer Dawda Jobarteh firmly pulls out the rug under that notion on his second release on the Sterns Music label entitled Transitional Times, following up on his 2011 release of Northern Light Gambian Night.
Continuing the esteemed Gambian musical tradition of his grandfather Alhaji Bai Konte and father Amadou Basang, Mr. Jobarteh has stepped up and out to conjure up a first class recording by way of Transitional Times by incorporating his traditional roots to mold and bend the boundaries of the kora.
Often sleek and sophisticated, Mr. Jobarteh’s compositions and kora work dip into subtle jazz sensibilities or the sharp edges found in expressive jams that leave the listener breathless, but still returns and immerses music fans into that wonderful kaleidoscope of lacy notes of traditional kora, a pleasing diversion for both old and new fans.
Opening with the solo kora track “Winter Trees Stand Sleeping,” Mr. Jobarteh dazzles listeners with this artful, neat composition. But Transitional Times doesn’t waste any time before turning the mood with the stylishly expressive “Our Time in Tanjeh” with fellow musicians Preben Carlsen on guitar and Salieu Dibba on percussion.
The recording just gets better with the addition of the sadly soulful “Efo” with Mr. Jobarteh on kora, electric kora, vocals and tama drum backed by Mr. Carlsen on acoustic guitar, Nana Osibio on bass and Niclas Campagnol on drums. Transitional Times throws in the infectiously pleasing traditional tune “Kaira,” arranged by Mr. Jobarteh.
Wonderful things happen on the John Coltrane composition “Transition” as Mr. Jobarteh is joined by Etienne M’Bappe on bass, Jakob Dinesen on saxophone and Mr. Campagnol on drums. Equally wonderful sounds are evoked in a track about the perils of discrimination called “All One,” where joined by Alain Perez on bass, Mr. Campagnol on drums and Mr. Dibba on percussion, Mr. Jobarteh’s composition and vocals come out as almost a hymn like prayer surrounded by subtle jazz edges.
“Jamming in the Fifth Dimension” is explosively keen edged with just electric kora and percussion. Add into the mix the sweetly jazzy “Lullaby Med Jullie” with vocals provided by Julie Hjetland Jensen and Transitional Times is everything its title promises to be.
Mr. Jobarteh continues to dazzle with rich tracks like the traditional “Mama Sawo,” the percussive wonder “Kanoo” and the graceful tracks “Presenting the King” and “Dalua.”
Listening to Transitional Times find its depth of vision by way of Mr. Jobarteh’s willingness to step into other genres and across traditional paths is a delight. Transitional Times is one of those must have kora CDs.
Foday Musa Suso is an internationally recognized musician and a Manding griot from the West African nation of Gambia. Griots are the oral historians and musicians of the Manding people, who live in several West African nations.
Griots are a living library for the community, providing history, entertainment, and wisdom while playing and singing their songs. The history of empires and kingdoms, tribal conflicts, cultural heroes, and family lineage are all part of a griot’s traditional repertoire.
Foday is a direct descendant of Jali Madi Wlen Suso, the griot who invented the kora over four centuries ago. In 1977, he moved to Chicago and became the first kora player to establish himself in the United States. He formed The Mandingo Griot Society with 3 American musicians, playing a fusion of traditional and jazz that is now known as “world music”. Since 1977, he has performed as a soloist and with other musicians throughout Africa, Asia, Europe, North and South America.
Interested in both traditional and cutting-edge music, he has also written many original compositions, toured and recorded with many prominent musicians. Foday Musa Suso’s collaboration with Herbie Hancock began in 1984, when Bill Laswell introduced them and they co-wrote a composition for the Los Angeles Olympics entitled ‘Junku’ (‘Let’s Do It’). This song was included on the official Olympic album and on Herbie’s ‘Sound System‘ album. Herbie then invited Foday to join his band for a tour of the United States and Japan, where they co-wrote and recorded a duet album entitled ‘Village Life’.
In 1987, both Herbie’s and Foday’s bands joined forces to record ‘Jazz Africa’, a live concert which was released as a CD and video.
Foday also has a long history of collaboration and performance with renowned composer Philip Glass. In 1985 they co-wrote the soundtrack for the movie ‘Powaqqatsi’, and in 1990 co-wrote the music for a revival of the Jean Genet play ‘The Screens’.
In 2004 they collaborated on the music for ‘Orion’, a concert work commissioned by the Cultural Oympiad which premiered in Athens Greece preceding the Olympic Games. Since the early 1990’s, Foday and Philip have performed in concerts together at venues all over the world, including Carnegie Hall, and Metropolitan Museum of Art in New York, the Barbican Center in London, and the Melbourne Arts Centre.
In addition, Foday has worked closely with the Kronos Quartet, an ensemble who commissioned him to compose five works. ‘Tillyboyo’ (Sunset) was released on their 1992 CD ‘Pieces of Africa‘. Foday and Kronos have performed together at venues such as Lincoln Center in New York, Staatsoper Opera House in Vienna, and the Royal Festival Hall in London.
In 2008, Paul Simon invited Foday to perform with him in ‘American Songs’, a weeklong musical retrospective at the Brooklyn Academy of Music. Also in 2008, Foday composed music for the acclaimed Susan Cohn Rockefeller documentary about Dr. Rick Hodes work in Ethiopia, titled ‘Making the Crooked Straight’, due to be released on HBO in 2010.
Kora Music from Gambia (Folkways, 1970)
Mandingo Griot Society (Flying Fish, 1979)
Mighty Rhythm (Flying Fish, 1982)
Hand Power (Flying Fish, 1984)
Mandingo Featuring Foday Musa Suso – Watto Sitta (Celluloid, 1984)
Sound-System, with Herbie Hancock (Columbia, 1984)
Village Life, with Herbie Hancock (Columbia, 1985)
Mansa Bendung (Flying Fish, 1986)
The Dreamtime (CMP, 1988)
Jazz Africa, with Herbie Hancock (Verve, 1985) Music from “The Screens”, with Philip Glass (Point Music, 1992)
Off World One, with Possession & African Dub (Sub Meta, 1995) Jali Kunda: Griots of West Africa & Beyond (Ellipsis Arts, 1996) Music from the Hearts of the Masters, with Jack DeJohnette (Golden Beams, 2005)
Hybrids, with Jack DeJohnette’s The Ripple Effect (Golden Beams, 2005) The Two Worlds (Orange Mountain Music, 2008)
Koralations: Heart to Heart, with Gretchen Rowe (2012)
Juldeh Camara is a master musician from Gambia. He was born in 1966 in Basse, Gambia. Camara is a virtuoso of the ritti, a one-stringed fiddle, and renowned griot (a West African poet and praise singer) in traditional Fula society. Juldeh has the drive and effortless flow of a great bluesman. While his instrument brings to mind Mississippi Delta players like Big Joe Williams, as well as Ali Farka Toure – one minute it’s Blues harp, the next a Celtic fiddle, then a Saharan herdsman’s flute.
Juldeh and British musician Justin Adams have been playing together since 2007, following the release of the critically acclaimed “Soul Science” in 2007 (winner of the BBC Radio 3 World Music Award in the Crossing Continents category), touring at festivals in Siberia, Mexico City, Morocco and WOMAD. The touring experience has clearly brought them closer together as musicians and added to the unique nature of their musical style.
“Tell No Lies” (2009) is another collaboration between Justin Adams & Juldeh Camara.