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Amazon Renewed Like-new products you can trust. Amazon Second Chance Pass it on, trade it in, give it a second life. The band reformed in the late s. In they were featured in the documentary film Sur les traces du Bembeya Jazz. From Wikipedia, the free encyclopedia. Sterns Music. Archived from the original on Voice of America.
Voice of America News. Nož Za Bostan - Hari - Krvnik Od Ilinchice players listened to contemporary Cuban rumbas as well as Motown and funk, and drew from both, adding the rumba rhythms and funky orchestrations to a stew of subregional traditional music that featured long vocal lines, call-and-response techniques, and eloquent lyrics that drew from a long tradition of using music for moral instruction.
But to describe Bembeya Jazz National in those dry terms hardly gets to the meat of the situation. This music swings like Count Basie in his prime, and takes all the tricks out of James Brown's bag and applies them to I Califfi - Così Ti Amo NLanyo - Bembeya Jazz National - Défi & Continuité.
It's a beautiful sound. Demba Camara, the amazing vocalist, starts singing the verses, with the horns answering each line, and the guitarist dropping in obligatos everywhere. You can just imagine a crowd of sweaty, dapper Guineans bopping away at one of those open-air nightclubs in Conakry, the Paris of West Africa.
As the guitar sets the rhythm with a hypnotic Foreigner - Double Vision repeating over and over again, the trumpet, then tenor sax take tasty solos. That bleeds into the whole horn section playing in unison, then Demba Camara starts singing again in NLanyo - Bembeya Jazz National - Défi & Continuité amazing, hortatory call-and-response with the backup singers and the horn section, like Fela Anikulapo-Kuti in Mandeng language.
It keeps brewing, until a sudden disco-type break, then the djembe drum leaps in for a mind-blowing solo, with the vocalist shouting alongside and the trap drums keeping time with the brushes. At the climactic moment, the horns hop back in and restate the theme, with the guitar lick in the background. Of course, that's not enough! Demba Camara comes back in and starts singing again, while the guitar and drums settle down into a kind of sedate rumba.
He takes a break while the guitar unleashes a soulful, keening single-note solo, while the rhythm guitar comps behind. It ends on a sudden shout, then silence, as the dancers wipe their brows NLanyo - Bembeya Jazz National - Défi & Continuité go NLanyo - Bembeya Jazz National - Défi & Continuité a lemonade. A lot of the best tracks on this record, such as "Armee Guineenne," "N'Borin," and "Moussogbe" are also featured on Bembeya Jazz's "Hommage A Demba Camara" and the compilation "Syliphone 40eme Anniversaire," so if you have either one of those amazing records, you may have some duplication.
This one is worth the additional purchase, however, because it comes with a discography and nice explanation of where the group came from and NLanyo - Bembeya Jazz National - Défi & Continuité it fit into the overall politico-cultural situation at the time. For those of you just starting your collections, however, this 2-cd set includes enough booty-moving, earth-rattling music to get you hooked.
Guinea's Bembeya Jazz is, by any calculation, one of the greatest African bands of all time. They also are among the most influential, at least in Africa, since their popularity spread far beyond their Guinean borders.
This collection documents their greatest period during the s and s when they enjoyed the lavish if capricious patronage of the Guinean Dephosphorus, Haapoja - Collaboration Lp. Like the wonderful Congolese bands of the same period, they had it all -- amazing, really amazing, guitar playing; mesmerizing singers; a scorching if not always in tune brass section.
Their sound is hypnotic, funky, swinging - Africa meets Cuba meets U. While this set is of great historic interest, it also is a complete pleasure to hear.
The music still sounds fresh and creative and the tinny recording quality evokes tropical nights, sea breezes, and perhaps one too many beers at an open-air bar. You know our laws. I am capable of obliging you to come. With Sekou's help, the band would not be confined to Beyla for long.
The musicians took their name from the Bembeya River, which runs through Beyla, and they went to work. Soon, they were winning regional and national contests, and by the mids they were certified as a national band and moved to the capital, Conakry.
There, alongside Keletigui et ses Tambourinis, Balla et ses Balladins and Horoya Band, Bembeya Jazz played as often as six nights a week, each band competing for the favour of an eager public. Insingers and friends Demba Camara and Salifou Kaba had joined Bembeya Jazz, and Salifou recalls that with the move to the capital, the pressure was on to develop exciting new repertoire.
That's how it was. In the early '70s, Bembeya introduced dancing girls and began putting on a spectacular stage show. All these innovations were widely imitated. It took time to regroup, but before long Bembeya Jazz was back in the game. Sekou says that each of the national bands had its own arranger and arranging style, and that the competition was fierce, but friendly.
But we also competed. One would say, 'I'm going to be number one.
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