Browse by Label: SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)

Artist:	VA
Title:	Afro Latin Via Dakar
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2CD
Price:	$20.00
Catalog #:	SYLLART 3237562

In the first half of the 20th century, European powers drew rough chalk lines to reorganize African borders and force development throughout the continent. Cities and ports bustled with new energy as electricity made its timid entrance. With the development of sea transport, 78s from America brought over by Latin American sailors, Cubans particularly, made a lasting influence on a new musical orientation all along the African coastlines. From town to town and port to port, Syllart's Via collection aims to explain the different musical fusions that happened between Cuban and African styles of music. From Dakar to Kinshasa, Conakry to Abidjan, Bamako, Cotonou and Brazzaville, Via speaks of permanently-evolving musical scenes, touched by candor, depth and spontaneity. This volume details the evolution of the Cuban influence in Dakar. Following their success as part of Dakar's Star Band, the Nigerian saxophonist Dexter Johnson and the Gambian singer Laba Sosseh developed their own repertoire. In 1965, they quit the orchestra and would eventually create the Super International Band, a historic orchestra composed of Senegalese musicians such as the percussionist Aziz, singer Pape Fall, guitarists Cheikhna Ndiaye and Laye Salla, singer Sada Ly and several Ivorian musicians. Unbridled and full of life, the Super International Band's version of "El Guanguanco," interpreted by Laba Sosseh, is without a doubt one of the freshest ever recorded. Raymond Fernandez, a Cape Verdean like his guitarist friend José Ramos, belonged to Dakar's first Afro-Cuban movement and was a faithful companion of Amara Touré, Laba Sosseh and the Star Band and formed Raymond & The Negro Orchestra. His haunting guitar chords, his magnificently present voice, a bed of hypnotic percussions and lyrics make his songs absolutely captivating. This first formation of Xalam was composed of lovers of Afro-Cuban rhythms such as Skhir Thiam who founded it, and Bassirou Lô and Cheikh Tidiane Tall who directed it. The second formation of Xalam laid the foundations of the mbalax, reviving the traditional Wolof sounds with the tama armpit drums. Idy Diop, a veteran of the Rio Band Of Dakar and Xalam, had strong Latino influences and established himself in Abidjan for a while. The deeply moving "Dioubo" appears on his first solo album released in 1974. The arpeggios evoke the best of Latin jazz, with a smooth saxophone and his voice seemingly suspended throughout this refined track. Pioneers of modern Gambian music, the Super Eagles were among the first orchestras to record in Europe. They made a beautiful album in London in 1969, with subtle pop, soul, Afro-Cuban and Wolof influences. Of all the great Senegalese orchestras, the Orchestre Baobab remains the one with the largest body of work with over 20 albums figuring prominently in the pantheon of Senegalese music. An offshoot of the Star Band, their many influences from Guinea-Bissau to Mali, Morocco and Togo, were due to its member's different origins, but the main influence remained Afro-Cuban. Produced by Ibrahima Sylla. Includes a 24-page booklet with full-color photos and notes in French and English by Florent Mazzoleni.

Artist:	VA
Title:	Afro Latin Via Kinshasa
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2CD
Price:	$20.00
Catalog #:	SYLLART 3237582

In the first half of the 20th century, the carving up of much of Africa by the European powers imposed modernity across the continent. In its cities and ports, Africa bristled with a newfound hustle and bustle, while electricity began to make a slow appearance. With the boom in maritime transport, the American 78s brought back by Latin-American and in particular Cuban sailors had a lasting influence on new musical trends along Africa's coastlines. As early as the 1940s in coastal cities like Saint-Louis, Dakar, Conakry, Abidjan, Cotonou, Porto Novo, Lagos, Douala or Luanda, local bands picked up by ear the 78s that Cuban sailors played on their gramophones in small cafés in exchange for a coin or two. Ports, capitals and cities began to resound with guajiras, boleros, pachangas, biguines, merengues, cha-cha-chas and the like. All of these tempos shaped the new dances in fashion in many African towns. In the Congo, those dances became a must under the generic heading of "rumba." Over time, Cuban but also Caribbean music, jazz and rhythm'n'blues were given a new take. Many dances and rhythms drawn from African traditions evolved as they came into contact with cities, but also with modern instruments -- especially saxophones and trumpets in particular -- and amplified guitar from the late 1940s onwards. Joseph "Grand Kallé" Kabasele's African Jazz (which evolved into African Fiesta and African Team) -- the heroic ensemble livening up the Leopoldville nights -- perfectly synthesised the fusion of African and Cuban music, while laying the foundations of much of modern Congolese music, known as rumba. The influence of African Jazz and the number of careers it inspired is quite simply incalculable. Guitarist Nico Kasanda gradually established himself as a key player in Congolese music. He became a leading influence in the modernist trend by assimilating foreign playing techniques. In Brussels, in 1960, a radio journalist nicknamed him "docteur" because of his guitar skills. He was to use the nickname for the rest of his career. Even more imposing than African Jazz or African Fiesta, OK Jazz epitomised modern Congolese and African music, with the orchestra recording hundreds of songs between 1956 and 1989. Former African Jazz member Rochereau was inspired by a visit from James Brown to Kinshasa and formed the Rocherettes, and in 1970, he became the first black African artist to play at prestigious Parisian venue the Olympia. From town to town and port to port, this Via collection aims to give an account of the grandiose musical fusions that occurred between Cuban and African music, reflecting constantly shifting musical scenes, characterized by performances steeped in candor, depth of feeling and sincerity. Includes a 24-page booklet with full-color photos and notes in French and English by Florent Mazzoleni. Produced by Ibrahima Sylla.

Artist:	VA
Title:	Afro Latin Via Conakry
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2CD
Price:	$20.00
Catalog #:	SYLLART 3246972

Syllart presents another chapter in their Via compilation series, celebrating African music from '60s and '70s West Africa. This edition focuses on Conakry, the capital of Guinea. In the first half of the 20th century, the carving up of much of Africa by the European powers imposed modernity across the continent. With the boom in maritime transport, the American 78s brought back by Latin-American and in particular Cuban sailors, as well as by soldiers and the European settlers, had a lasting influence on new musical trends along Africa's coastlines. With the notable exception of Mali and Ethiopia, most coastal countries were experiencing deep changes where music was concerned, while inland countries -- owing perhaps to a lack of flagship artists, the absence of any (even embryonic) structured record industry, a sparse population, a lesser cultural influence or the combination of several or all of these factors -- favored other forms of expression. The impact of Cuban music -- one of the first non-Western genres to have been disseminated throughout the world thanks to records -- has been crucial in the emergence of popular forms of African music. Because of the exodus of African slaves to the Caribbean and America, strong linkages exist between the Afro-Cuban population and culture and African countries on the Atlantic coast, especially in West Africa. From town to town and port to port, Syllart's Via collection aims to explain the different musical fusions that happened between Cuban and African styles of music. From Dakar to Kinshasa, Conakry to Abidjan, Bamako, Cotonou and Brazzaville, Via speaks of permanently-evolving musical scenes, touched by candor, depth and spontaneity. Following Guinea's declaration of independence in 1958, President Sékou Touré banned the previously-popular French chanson and set up a national music school, headed up by Honoré Coppet, a behind-the-scenes musician who had a lasting influence on the spread of West Indian and Afro-Cuban rhythms in Guinea. As is clear from the covers depicting the type of clothing the artists wore, Guinean bands -- like most African ensembles -- were heavily influenced by Afro-Cuban music in all its forms, be it rumbas, cha-cha-chas, boleros, sons, guajiras, but also West Indian biguines, Trinidad calypsos or Haitian/Dominican merengues. Claves, maracas and vocals in pidgin Spanish formed the basis of many bands' repertoire. However, by 1971, as previously for French chanson, Sékou Touré prohibited Syliphone from releasing Cuban-style songs, on the grounds of national pride and an evident distrust of the Castro regime. So Cuban-style instruments were gradually replaced by rhythmic guitars, brass instruments and rhythm'n'blues tones whereas the balafon and the kora were reminders of the Mandingo culture to which most Guinean musicians belonged. Featuring artists such as Keletigui Et Ses Tambourinis, Bembeya Jazz, Jardin De Guinée, Kebendo Jazz and many more. Includes a booklet with liner notes in English and French by Florent Mazzoleni. Produced by Ibrahima Sylla.

Artist:	VA
Title:	Afro Latin Via Cotonou
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2CD
Price:	$20.00
Catalog #:	SYLLART 3246982

This edition in the Via series focuses on Cotonou, the largest city in Benin. The impact of Cuban music -- one of the first non-Western genres to have been disseminated throughout the world thanks to records -- has been crucial in the emergence of popular forms of African music. Because of the exodus of African slaves to the Caribbean and America, strong linkages exist between the Afro-Cuban population and culture and African countries on the Atlantic coast, especially in West Africa. Known as "the baobab of Beninese music," the greatest Beninese star went by the name of Gnonnas Pedro. During the 1970s, he was accompanied by the Dadjès Band, with whom he recorded some fifteen albums released in Benin, Nigeria, France and Ghana. On "Bonne Année," accompanied by the Black Santiago orchestra with whom he had started out, Honoré Avolonto explores the same style as his colleague, Pedro. Pierre Avohou, another legend and pillar of modern Beninese music, pays homage to his mother on "Naye Tché." Even more Cuban-sounding, "Zoum Ma Ve Mà Sé" benefits from the presence of the Black Santiago orchestra, with whom he recorded a superb album in 1979. Like their colleagues from Poly-Rythmo, Black Santiago backed many Beninese artists. This prolific band was just as much at ease with the Afro-Cuban repertoire as with Afro-beat. A standard among standards, "El Manisero" has been a major source of income for a number of orchestras in West Africa and well beyond. Pablo Medetadji's version, recorded in 1980, benefits from his solemn vocal tones and faultless phrasing, reflecting the time he spent developing this repertoire in the straw-hut bars around the Gulf of Benin. Along the coast, from Nigeria to the Ivory Coast, many orchestras livened up the evenings by playing at elegant hotels and dance clubs. In Lomé, Togo, with two albums, the band As Du Bénin established itself as one of the greatest dance acts in the region. Other influential groups and orchestras include Dynharmonie, Supermen de Cotonou, Negro Jazz de Cotonou, Nérose Rhythm and Volcans du Bénin. Includes a booklet with liner notes in English and French by Florent Mazzoleni. Produced by Ibrahima Sylla.

Artist:	VA
Title:	African Pearls 1: Congo: Rumba On The River
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2CD
Price:	$20.00
Catalog #:	SYLLART 6129042

2006 release. Syllart Productions releases the first volume in their African Pearls series of compilations -- an essential 2CD collection of Congolese rumba circa 1954-1967. Congolese music is like the heartbeat of the African continent. The twin capitals of Kinshasa and Brazzaville on the banks of the River Congo supply the international music scene with a non-stop flow of creativity. Rejuvenated by four generations of artists, Congolese music has remained true to the spirit of its founders. These two volumes devoted to second generation groups like African Jazz, OK Jazz, Rock A Mambo, African Fiesta, Bantous de la Capitale, and Festival Maquisard are an invitation to discover, or enjoy again, a music that is anchored in the history and culture of its people, but that has lost none of its freshness over the years. Includes a 16-page booklet with full-color photos and notes in English and French.

Artist:	VA
Title:	African Pearls 2: Guinée: Cultural Revolution
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2CD
Price:	$20.00
Catalog #:	SYLLART 6129872

2006 release. Syllart Productions releases the second volume in their African Pearls series of compilations -- a unique 2CD collection of Guinean music circa 1957-1986. "Guinean music was in the vanguard of African music -- it was the musical beacon of Africa." These words by Maestro Mitoura Traoré beautifully reflect the importance and influence of the renowned Guinean bands of the 1960s and '70s. Traoré was a trailblazer as the leader of Horoya Band National, one of the first Guinean bands formed after independence. Horoya Band National, as well as other bands such as Balla et ses Balladins, Kélétigui et ses Tambourinis, and Super Boiro Band were forerunners of the "cultural revolution," whose official objective was to modernize traditional Guinean music and to restore national pride and dignity. This cultural revolution, like many other radical events in Africa during the 1950s and '60s, found its roots in the fight for independence. A diverse collection that includes Kouyaté griot Sory Kandia, female singer-in-exile Miriam Makeba, legendary Guinean saxophonist Momo Wandel, and so much more. Includes a 24-page booklet with full-color photos and notes in English and French.

Artist:	VA
Title:	African Pearls 3: Mali: One Day On Radio Mali
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2CD
Price:	$20.00
Catalog #:	SYLLART 6130132

2006 release. Syllart Productions releases the third volume in their African Pearls series of compilations -- a diverse and rich 2CD collection of songs from Mali circa 1965-1985. Assembled by Ibrahima Sylla, a prolific producer of West African music, fêted by Charlie Gillett as "The African Phil Spector." This collection of pearls covers the period 1965-1985 -- much of these tracks made long before the coining of the term "World Music," and preceding by over a decade the real discovery by Western audiences of the "Mali sound" and the desert blues phenomenon. This great set goes to show that none of this is really new; that the sound was fermenting decades ago, and that the message was already strong -- it's just that the voice did not carry far enough first time round. Includes a 24-page booklet with full-color photos and notes in English and French.

Artist:	VA
Title:	African Pearls 4: Senegal: The Teranga Spirit
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2CD
Price:	$20.00
Catalog #:	SYLLART 6131572

2006 release. Syllart Productions releases the fourth volume in their African Pearls series of compilations -- a stunning 2CD collection of music from Senegal circa 1960-1979. Highly inspired by the genius of poet, politician, and the first president of Senegal Léopol Sédar Senghor (1906-2001), who was also one of the main figures of the Négritude Movement, a literary and artistic expression of the Black Experience. In the '60s, Senegalese music took the form of rumba and African-style salsa as played by bands such as Ibra Kassé's Star Band, Papa Seck's Negro Star, Orchestra Baobab, etc. In the mid-'70s, Senegalese musicians became aware that it was necessary to give credence to the traditional rhythmical structures and instruments of their homeland, thanks to groups like Star Band, Super Diameno, and Ouza Diallo, and in the '80s, Senegalese music gained worldwide exposure thanks to artists such as Ismael Lo, Youssou N'dour, Omar Pene, and Toure Kunda -- but that is a different story. This collection features music spanning nearly 2 decades, including Mandinka Afro-jazz Ifang Bondi, modern mbalaxers Ouza, and jazz-spiritual singer Aminata Fall. Includes a 24-page booklet with full-color photos and liner notes in English and French.

Artist:	VA
Title:	African Pearls: Congo 70: Rumba Rock
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2CD
Price:	$20.00
Catalog #:	SYLLART 6139342

2008 release. Syllart Productions releases another Congo edition of their African Pearls series of compilations -- a stunning 2CD collection of '70s Congolese rumba rock. In the late 1940s, the influences of jazz, European and Cuban music met on opposite banks of the Congo River to form a new style of music -- rumba. In Leopoldville (later to become Kinshasa) and Brazzaville, rumba was to rule until the late 1950s. In terms of pure dance, no one could beat the Congolese orchestras and their audiences. Backed by a budding record industry, the first of its kind to emerge on the continent outside of South Africa, and loyal audiences, a whole new music scene was created. The birth of modern Congolese music was aided by several factors, including the introduction of electricity, better recording facilities, and the importation of records. These influences coalesced with independence in 1960 to trigger a whole new era, with people dancing to the tune of "Independence Cha Cha Cha," African Jazz's ode to the new era. Heard in the streets, bars and clubs of Leopoldville and Brazzaville, this new style of music embodied a genuine Congolese cultural identity, be it of Brazzaville Congo or the ex-Belgian Congo. In the 1970s, Congolese musicians, bandleaders and singers began to break free from the influence of Cuban music. The Congolese sound became pure rumba rock, and its powerful rhythm and ringing guitars influenced many other orchestras on the African continent. This was an era of epic competition between the pioneering orchestras of African Jazz, OK Jazz, Rochereau, Verckys and Dr. Nico. It led to a surge of creativity, aided by the frequent interactions between the musicians of the different groups. Produced by Ibrahima Sylla. Includes a 24-page booklet with full-color photos and liner notes in English and French by Florent Mazzoleni.

Artist:	VA
Title:	African Pearls: Guinée 70: The Discotheque Years
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2CD
Price:	$20.00
Catalog #:	SYLLART 6140252

2008 release. Syllart presents a 2CD collection in their mighty African Pearls series dedicated to the funky sounds of '70s Guinea, when '70s groove turned electric and took West African coast clubs by storm. By the late 1960s to the mid-1970s, Guinea's music came to the forefront of a global Pan-African culture, even being called "The lighthouse of African culture." Genuine mandingo musical explosion, the sound of 1970s Guinea, with its stunning horns, spellbinding vocals, mesmerizing guitars and formidable rhythms has yet to be duplicated in Africa or anywhere else in the world. Includes a full color 20-page booklet in French and English by Florent Mazzoleni. Artists include: 22 Band Kankan, Horoya Band National, Kaloum Star, Pivi et Les Balladins, Super Boiro Band, Bembeya Jazz National, Keletigui et ses Tambourinis, Camayenne Sofa, Tele Jazz de Teleme, Sory Kandia Kouyate, Sorsornet Rythme, Babaniko, "22 Novembre" Band, Syli Authentic, and Bafing Jazz Manou.

Artist:	VA
Title:	African Pearls: Mali 70: Electric Mali
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2CD
Price:	$20.00
Catalog #:	SYLLART 6141132

2008 release. Syllart presents a 2CD collection in their African Pearls series dedicated to the frenzied and hypnotic sounds of '70s Mali. Mali Electric is a loving tribute to this unprecedented Malian golden age, a decade of electric experimentations and terrific musical adventures. In the '70s Mali was thirsty for musical modernity, listening to James Brown, drinking Coca-Cola and getting away from both its parents and the former colonial power. Less radical in its revolution, Mali always stayed closer to France and the Western world than neighboring Guinea. Malian music sounds more lyrical and elegiac, sometimes even more solemn than Guinean music. Griots play a significant role in the emergence of Mali's modern music. They establish the link between the old Mande empire and the new independent state since 1960. Griots became the people's voice and in the regional orchestras, the instruments underwent a terrific electric revolution. Malian musical modernity lay not only in the Mande tradition, but also in the Bambara language with its pentatonic scales -- more hypnotic and frenetic than Malinké's lyricism. Produced by Ibrahima Sylla. Includes a 24-page full-color booklet with liner notes in French and English. Artists include: Orchestre Régional de Kayes, Orchestre Régional de Sikasso, Rail Band, Super Djata Band, Kanaga de Mopti, Sid de Kayes, Le Super Biton National de Ségou, Les Ambassadeurs du Motel de Bamako, Le Mystère Jazz de Tombouctou, Idrissa Soumaoro, Le Kene Star de Sikasso, Ciwara Band, Orchestre Régional du Mopti, National Badema, Le Super Biton National de Ségou, and L'Orchestre National "A" de la République du Mali.

Artist:	VA
Title:	African Pearls: Sénégal 70: Musical Effervescence
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2CD
Price:	$20.00
Catalog #:	SYLLART 6142032

2008 release. Syllart's mighty African Pearls collection strikes back with an essential volume dedicated to the funky sounds of '70s Sénégal. More than any other countries in West Africa, Sénégal was strongly influenced by Cuban music largely played by the ORTS (Radio Sénégal). Widely circulated, this Afro-Cuban repertoire stands at the bottom of modern Senegalese music. Links between Dakar and Habana seem natural as evidenced by recordings of orchestras such as Star Band de Dakar or Orchestra Baobab and many bands within this musical constellation. The impact of Star Band is pivotal as well as the monikers "stars" and "étoiles" in the history of modern Senegalese music with bands such as Youssou N'Dour's Super Etoile, Star Number One, etc. James Brown's 1975 Dakar visit set the country on fire, and opened a new era in music. As a result, "Kelen ati leen," a Wolof folk tale, shows the Orchestra Baobab's mighty funk vision driven by Cissoko's horn arrangements. Released on the wonderful Visage Du Sénégal, part of a series of 5 LPs released in 1975 thru Buur Records, it epitomizes a perfect Senegalese groove and stands as Dakar's ultimate funk statement. Includes a 24-page booklet in English and French. Produced by Ibrahima Sylla, liner notes by Florent Mazzoleni. Other artists include: Xalam, Super Diamono de Dakar, Guelawar, Watto Siita, N'Guewel, Ifang Bondi, Ouza, Etoile 2000, and Diarama de St Louis.

Artist:	VA
Title:	African Pearls 5: Côte D'Ivoire: West African Crossroads
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2CD
Price:	$20.00
Catalog #:	SYLLART 6145482

2009 release. Here is the fifth release in Syllart Productions' African Pearls series of compilations, this time coming from Côte d'Ivoire. A natural West African crossroads, the Ivory Coast has always been at the forefront of musical trends, be it black American music, Cuban rhythms, French pop, Mandingo lyricism, Ghanese high-life or Congolese fusions. With its 72 ethnicities, their dances and music, Côte d'Ivoire possesses a strong cultural heritage -- and since 1975, all the West-African music seems to gather in the capital of the Ivory Coast, to give birth to a timeless, exceptional music. Explore this double CD that will make you travel through Africa, and discover universes of gifted artists.

Artist:	DAGNON, BAKO
Title:	Sidiba
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	CD
Price:	$15.50
Catalog #:	SYLLART 6146642

Bako Dagnon is one of Mali's premier Mande musicians, as well as a respected female griot. This is the follow-up to her highly-acclaimed international debut, 2007's Titati. The West African oral griot tradition of singer/storytellers evolved in the 13th century out of the heartland of the Mali empire, and has since produced many stars, but none quite like Bako Dagnon. She is a singer's singer. Her clear, soaring voice and rolling melodies mirror the savannah landscape where she was born, in the west of Mali. Bako sings with the authority, passion and wisdom born of having learned her craft the old way: not from recordings, as many young singers do nowadays, but at the feet of masters, deep in the countryside. As such, she may be one of the last griots to live according to the old ways of griotism, though she carries her message for the current age with a knowledge base that ranges from her native Biriko style, to the more lyrical Maninka music from Guinea to the Bambara style from Segou. Her songs sound deceptively simple; yet they are informed by a prodigious knowledge of Mande history and culture, with even Ali Farka Touré often consulting her and Banzoumana Sissoko, "the old lion" inviting her regularly to his house in the 1980s to sing famous old songs like "Janjon." She has the gift of bringing the old stories to life, making them sound utterly contemporary. She is the bridge between the old and the new. On Sidiba, the special character of her voice finds a new expressive freedom, with a subtle production that brings out the best in her voice and music. When Bako says something, you are compelled to listen.

Artist:	VA
Title:	African Pearls: Congo: Pont Sur Le Congo
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2CD
Price:	$20.00
Catalog #:	SYLLART 6147472

2008 release. Syllart Productions presents a 2CD collection of Congolese music from the '60s and '70s. In the late 1940s, the combined influences of jazz and European and Cuban music resonated on both sides of the Congo River. Brazzaville and Leopoldville, now Kinshasa, vibrated with a newfound electric modernity. In 1960, the two Congos, Belgian and French, became independent and forged a common Congolese cultural identity, which first expressed itself through music. Western productions like American rhythm'n'blues, British rock, and French pop also infiltrated the local musical customs. The natural fluidity of the Lingala language, a common Bantu language used on both banks of the Congo since the 19th century, allowed many artists to reach out to the largest possible number of people, Lingala being mainly an oral language. Kikongo, French and Spanish were also widely used in popular songs. During the 1960s, both Congos experienced outrageous economic growth, resulting in a pleasure-seeking society. The epic competition between the African Jazz Orchestra and its different off-shoots, such as Docteur Nico, Grand Kallé and Tabu Ley, but also between Franco's OK Jazz Orchestra and Verckys' productions, stimulated local creativity. Every one of these Congolese orchestras, from the popular to the most obscure, were absolute dance machines. Interactions between musicians of the big orchestras of Kinshasa and Brazzaville were constant and almost impossible to keep track of. From the beginning of the African Jazz movement at the start of the '60s, orchestras made a habit of breaking-up after their first hit or at the slightest sign that egos were getting too big. With this competitiveness also came mutual respect. Each side could count on their supporters, like a football team, and every recording or a musician's replacement was a topic of serious discussion in the local media and in daily conversations. Here is a sampling of music from the region's most influential acts during a fertile era of cross-cultural pollination. Produced by Ibrahima Sylla. Includes 20-page booklet with full-color photos and liner notes in French and English by Florent Mazzoleni.

Artist:	VA
Title:	African Pearls: Sénégal: Echo Musical
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2CD
Price:	$20.00
Catalog #:	SYLLART 6147482

Syllart Productions presents a 2CD collection of music from '70s Senegal. More than any other country in West Africa, Senegal has been strongly influenced by Cuban music coming to Dakar through Cuban sailors. Widely broadcast, the Afro-Cuban repertoire stands at the bottom of modern Senegalese music. Mornas and coladeras from Cabo Verde are also to be heard along Dakar streets. Luis Vera Da Fonseca is one of the unsung pioneers of this musical melting pot. Under the name Fonseca & Ses Anges Noirs, he recorded quite a number of records in France and Belgium, starting in the late '50s. Links between Dakar and Habana seem natural as evidenced by recordings of orchestras such as Star Band de Dakar or Orchestra Baobab and many bands within this musical constellation. The impact of Star Band is pivotal in the history of modern Senegalese music. So are the names "stars" and "étoiles" with bands such as Youssou Ndour's Super Etoile, Star Number One, Etoile de Dakar and Etoile 2000 studding the musical landscape of the region. The Star Band orchestra was set up by entrepreneur Ibrahima Kassé, one of the founding fathers of Senegalese music and owner of the Miami Club, located in the effervescent Médina neighborhood. The orchestra consisted of musicians of various origins such as Guinean percussion player and singer Amara Touré, Gambian singer Laba Sosseh and Nigerian saxophone player Dexter Johnson. Under Kassé's aegis, the Star Band turned into a terrific dancing machine, with electric instruments and a powerful horn section. At first, its repertoire was largely based on rumbas, merengué, pachangas and other cha-cha-cha, but wolof, mandingo and peul folk songs slowly made their way into the band's repertoire as a way to embrace the local musical traditions. As famous as the Star Band outside of Dakar, the Diarama de Saint-Louis was one of the regional province's better-known orchestras, possessing a strong jazz and Cuban musical culture. Super Diamono was influenced by Ifang Bondi and Guelewar mandingo beat from Gambia, while Xalam was named after a Wolof instrument, restoring traditional sounds such as tama drums. The Senegalese music of this era was a mélange of various influences, musical fusions and explosive new combinations. Includes a 16-page booklet with full-color photos and notes in French and English by Florent Mazzoleni. Produced by Ibrahima Sylla.

Artist:	DAGNON, BAKO
Title:	Sidiba
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2LP
Price:	$23.50
Catalog #:	SYLLART 6156076

2LP version. Bako Dagnon is one of Mali's premier Mande musicians, as well as a respected female griot. Bako sings with the authority, passion and wisdom born of having learned her craft the old way: not from recordings, as many young singers do nowadays, but at the feet of masters, deep in the countryside. As such, she may be one of the last griots to live according to the old ways of griotism, though she carries her message for the current age with a knowledge base that ranges from her native Biriko style, to the more lyrical Maninka music from Guinea to the Bambara style from Segou. She has the gift of bringing the old stories to life, making them sound utterly contemporary. On Sidiba, the special character of her voice finds a new expressive freedom, with a subtle production that brings out the best in her voice and music.

Artist:	DAGNON, BAKO
Title:	Le Guide De La Révolution - Simbad & Frankie Francis Reworks
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	12"
Price:	$12.50
Catalog #:	SYLLART 6156796

"Le Guide de la Révolution" is a huge, groovy track from Bako Dagnon's album Sidiba (SYLLART 6146642/6146076). Fat bass, pure traditional guitar sounds, soaring vocals -- over 5 minutes of Afro-funk ! On A2 comes a Latin-flavored & more acoustic tuned re-edit by the one-and-only Frankie Francis. On the B-side, the French DJ/producer Simbad delivers one of his best reworks so far. Fat beats, psychedelic voices -- what a massive track! Check the dub version out: Africa on acid.

Artist:	VA
Title:	African Pearls: Guinée 70: The Discotheque Years
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2LP
Price:	$25.50
Catalog #:	SYLLART 6157386

Syllart presents a gatefold 2LP edition of the mighty African Pearls collection dedicated to the funky sounds of '70s Guinea, when '70s groove turned electric and took West African coast clubs by storm. By the late 1960s to the mid-1970s, Guinea's music came to the forefront of a global Pan-African culture, even being called "The lighthouse of African culture." Genuine mandingo musical explosion, the sound of 1970s Guinea, with its stunning horns, spellbinding vocals, mesmerizing guitars and formidable rhythms has yet to be duplicated in Africa or anywhere else in the world. Limited vinyl pressing of 1,000 copies worldwide. Artists include: 22 Band Kankan, Horoya Band National, Kaloum Star, Pivi et Les Balladins, Super Boiro Band, Bembeya Jazz National, 22 Band Kankan, Keletigui et ses Tambourinis, Camayenne Sofa, Sory Kandia Kouyate, Super Boiro Band, Camayenne Sofa, and "22 Novembre" Band.

Artist:	VA
Title:	African Pearls: Sénégal 70: Musical Effervescence
Label:	SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)
Format:	2LP
Price:	$25.50
Catalog #:	SYLLART 6157396

Syllart presents a deluxe gatefold 2LP edition of the mighty African Pearls collection dedicated to the funky sounds of '70s Sénégal. More than any other country in West Africa, Sénégal was strongly influenced by Cuban music largely played by the ORTS (Radio Sénégal). Widely circulated, this Afro-Cuban repertoire stands at the bottom of modern Senegalese music. Links between Dakar and Habana seem natural as evidenced by recordings of orchestras such as Star Band de Dakar or Orchestra Baobab and many bands within this musical constellation. The impact of Star Band is pivotal as well as the monikers "stars" and "étoiles" in the history of modern Senegalese music with bands such as Youssou N'Dour's Super Etoile, Star Number One, etc. James Brown's 1975 Dakar visit set the country on fire, and opened a new era in music. As a result, "Kelen ati leen," a Wolof folk tale, shows the Orchestra Baobab's mighty funk vision driven by Cissoko's horn arrangements. Released on the wonderful Visage Du Sénégal, part of a series of 5 LPs released in 1975 thru Buur Records, it epitomizes a perfect Senegalese groove and stands as Dakar's ultimate funk statement. Produced by Ibrahima Sylla. Limited vinyl pressing of 1,000 copies worldwide. Other artists include: Xalam, Super Diamono de Dakar, Guelawar, Ifang Bondi, and Etoile 2000.

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