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viewing 1 To 14 of 14 items
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CD
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ND 025CD
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Five years in, with two acclaimed albums and dozens of international performances, Mark Ernestus' Ndagga Rhythm Force announces Yermande, a new phase for this Dakar‐Berlin collaboration. "This time around I was better able to specify what I wanted right from the initial recording sessions in Dakar," says Ernestus, "... I took more freedom in reducing and editing audio tracks, changing MIDI data, replacing synth sounds and introducing electronic drum samples." Rather than submitting to the routine, discrete gradations of recording, producing and mixing, the music is tangibly permeated with deadly intent from the start. Lethally it plays a clipped, percussive venom and thumping bass against the soaring, open‐ throated spirituality of Mbene Seck's singing. The drumming is unpredictable, exclamatory, zinging with life. Likewise the production: intuitive and fresh but utterly attentive, limber but hefty. Six chunks of nextlevel mbalax - funky as anything. "Lamb Ji" is traditional wrestling, the most popular sport in Senegal, always introduced by hours of drumming, gris-gris magic and dancing (led by the fighters themselves). Born into the Momori griot clan in Tivaouane, Mbene moved to Pikine on the outskirts of Dakar, where Ndongo Lo was first to invite her to sing at lamb events. Here she pays homage to all the popular fighters of recent times. Evoking the ancient legacy of the griots, "Walo Walo" is also the name of the sabar rhythm underlying this track, which features Ibou Mbaye's percussive synthwork, Mangone Ndiaye Dieng's kit-drumming, and Bada Seck's jolts of lower-pitched thiol drum. "Simb" ("Lion") refers to traditional drumming and dancing events, at which a cavorting "faux lion" frightens the audience members. "Jigeen" means "Woman": "Man should know every woman is your mother. Cherish a woman. Respect a woman's dignity. Look after the people who were there when you had nothing." A tribute to the Baye Fall leader, "Ndiguel" is the most traditional cut, showcasing Assane Ndoye Cisse's insinuating guitar lines, Laye Lo's super‐elasticated snare‐drumming, and Bada Seck playing the khine drums associated with the Baye Fall. "Yermande" takes a former associate to task: "Stop prompting the witchdoctor to curse us. Leave people alone and let them go their own way. Take yours; leave ours to us" Like "Lamb Ji" and "Simb", featuring all four sabar players: Bada Seck, Serigne Mamoune Seck, Abou Salla Seck and Alioune Seck.
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LP
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ND 025LP
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LP version. Five years in, with two acclaimed albums and dozens of international performances, Mark Ernestus' Ndagga Rhythm Force announces Yermande, a new phase for this Dakar‐Berlin collaboration. "This time around I was better able to specify what I wanted right from the initial recording sessions in Dakar," says Ernestus, "... I took more freedom in reducing and editing audio tracks, changing MIDI data, replacing synth sounds and introducing electronic drum samples." Rather than submitting to the routine, discrete gradations of recording, producing and mixing, the music is tangibly permeated with deadly intent from the start. Lethally it plays a clipped, percussive venom and thumping bass against the soaring, open-throated spirituality of Mbene Seck's singing. The drumming is unpredictable, exclamatory, zinging with life. Likewise the production: intuitive and fresh but utterly attentive, limber but hefty. Six chunks of nextlevel mbalax - funky as anything. "Lamb Ji" is traditional wrestling, the most popular sport in Senegal, always introduced by hours of drumming, gris-gris magic and dancing (led by the fighters themselves). Born into the Momori griot clan in Tivaouane, Mbene moved to Pikine on the outskirts of Dakar, where Ndongo Lo was first to invite her to sing at lamb events. Here she pays homage to all the popular fighters of recent times. Evoking the ancient legacy of the griots, "Walo Walo" is also the name of the sabar rhythm underlying this track, which features Ibou Mbaye's percussive synthwork, Mangone Ndiaye Dieng's kit-drumming, and Bada Seck's jolts of lower-pitched thiol drum. "Simb" ("Lion") refers to traditional drumming and dancing events, at which a cavorting "faux lion" frightens the audience members. "Jigeen" means "Woman": "Man should know every woman is your mother. Cherish a woman. Respect a woman's dignity. Look after the people who were there when you had nothing." A tribute to the Baye Fall leader, "Ndiguel" is the most traditional cut, showcasing Assane Ndoye Cisse's insinuating guitar lines, Laye Lo's super‐elasticated snare‐drumming, and Bada Seck playing the khine drums associated with the Baye Fall. "Yermande" takes a former associate to task: "Stop prompting the witchdoctor to curse us. Leave people alone and let them go their own way. Take yours; leave ours to us" Like "Lamb Ji" and "Simb", featuring all four sabar players: Bada Seck, Serigne Mamoune Seck, Abou Salla Seck and Alioune Seck.
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12"
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ND 023EP
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"Three killers heralding the next phase of this dazzling expression of a dream Dakar-Berlin nexus. All instrumental -- though the opener has snatches of singing -- with the vocal versions held back for the new album, out in the Autumn. The music just gets deadlier and deadlier -- harder-boiled and deeper; more focused, confident and dub-wise. Evoking the ancient cultural legacy of the griots, 'Walo Walo' is also the name of the sabar rhythm underlying the opener, which features Ibou Mbaye's percussive synth-work, Mangone Ndiaye Dieng's kit-drumming, and Bada Seck's rigorous jolts of lower-pitched Thiol drum. The 'Groove' version is tough as nails; well and truly gnarly. A tribute to the Baye Fall leader, 'Ndiguel Groove' is a sparse, mellow interpretation of the most traditional cut on the album, showcasing Assane Ndoye Cisse's insinuating guitar lines, Laye Lo's super-elasticated snare-drumming, and Bada Seck playing the khine drums associated with the Baye Fall. (Short and wide; lightweight but low-pitched.) Pretty awesome."
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12"
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ND 022EP
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"Lamb Ji" features Mbene Diatta Seck. "Further into Mbalax derived, rhythm focused territory b/w drums scape in dub-mode." --Hard Wax
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12"
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ND 021EP
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"Smart bomb alert! Senegalese Mbalax derivatives in approved Dub mode."
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CD
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ND 006CD
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Jeri-Jeri is the stunning, spectacular collaboration between the renowned Berlin-based producer Mark Ernestus (Basic Channel) and a griot clan of Sabar drummers from Kaolack in Senegal, led by Bakane Seck, along with guest Mbalax musicians and vocalists -- including mainstays of the bands of Baaba Maal, Youssou N'Dour and other top Senegalese artists. Aficionados of cutting-edge world music and underground dance will have noted Ernestus' remixes of Afrobeat legend Tony Allen and Kinshasa rockers Konono No. 1, and his co-compilation (with Honest Jon's) of the critically-acclaimed Shangaan Electro showcase. On the quiet, though, he has become increasingly hooked on Mbalax with its hyper-vivid Sabar and talking-drum workouts, and ultra-repetitive, sick, sequencer-like marimba synths. In early 2011 he travelled to Senegal and Gambia, in search of original recordings. Through an unlikely set of coincidences, he ended up working in the legendary Dakar studio former known as Xippi, with more than 20 of the finest musicians in the country. The music here is a swingingly masterful style of Mbalax, heady and hard-grooving, with highly complex, fiercely succinct polyrhythms; an ancient-futuristic music, mesmeric but sharp as nails, super-charged with drama. Get ready to be knocked out.
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LP
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ND 006LP
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2015 restock; LP version. Jeri-Jeri is the stunning, spectacular collaboration between the renowned Berlin-based producer Mark Ernestus (Basic Channel) and a griot clan of Sabar drummers from Kaolack in Senegal, led by Bakane Seck, along with guest Mbalax musicians and vocalists -- including mainstays of the bands of Baaba Maal, Youssou N'Dour and other top Senegalese artists. On the quiet he has become increasingly hooked on Mbalax with its hyper-vivid Sabar and talking-drum workouts, and ultra-repetitive, sick, sequencer-like marimba synths. In early 2011 he travelled to Senegal and Gambia, in search of original recordings. Through an unlikely set of coincidences, he ended up working in the legendary Dakar studio former known as Xippi, with more than 20 of the finest musicians in the country. The music here is a swingingly masterful style of Mbalax, heady and hard-grooving, with highly complex, fiercely succinct polyrhythms; an ancient-futuristic music, mesmeric but sharp as nails, super-charged with drama. Get ready to be knocked out.
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CD
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ND 007CD
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Instrumental versions. Jeri-Jeri is the stunning, spectacular collaboration between the renowned Berlin-based producer Mark Ernestus and a griot clan of Sabar drummers from Kaolack in Senegal, led by Bakane Seck, along with guest Mbalax musicians and vocalists -- including mainstays of the bands of Baaba Maal, Youssou N'Dour and other top Senegalese artists. Aficionados of cutting-edge world music and underground dance will have noted Ernestus' remixes of Afrobeat legend Tony Allen and Kinshasa rockers Konono No. 1, and his co-compilation (with Honest Jon's) of the critically-acclaimed Shangaan Electro showcase. On the quiet, though, he has become increasingly hooked on Mbalax with its hyper-vivid Sabar and talking-drum workouts, and ultra-repetitive, sick, sequencer-like marimba synths. In early 2011 he travelled to Senegal and Gambia, in search of original recordings. Through an unlikely set of coincidences, he ended up working in the legendary Dakar studio former known as Xippi, with more than 20 of the finest musicians in the country. Ndagga Versions present the results, presenting instrumentals in a swingingly masterful style of Mbalax, heady and hard-grooving, with highly complex, fiercely succinct polyrhythms; an ancient-futuristic music, mesmeric but sharp as nails, super-charged with drama. Get ready to be knocked out.
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LP
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ND 007LP
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2015 repress. LP version. Instrumental versions. Jeri-Jeri is the stunning, spectacular collaboration between the renowned Berlin-based producer Mark Ernestus and a griot clan of Sabar drummers from Kaolack in Senegal, led by Bakane Seck, along with guest Mbalax musicians and vocalists -- including mainstays of the bands of Baaba Maal, Youssou N'Dour and other top Senegalese artists. Aficionados of cutting-edge world music and underground dance will have noted Ernestus' remixes of Afrobeat legend Tony Allen and Kinshasa rockers Konono No. 1, and his co-compilation (with Honest Jon's) of the critically-acclaimed Shangaan Electro showcase. On the quiet, though, he has become increasingly hooked on Mbalax with its hyper-vivid Sabar and talking-drum workouts, and ultra-repetitive, sick, sequencer-like marimba synths. In early 2011 he travelled to Senegal and Gambia, in search of original recordings. Through an unlikely set of coincidences, he ended up working in the legendary Dakar studio former known as Xippi, with more than 20 of the finest musicians in the country. Ndagga Versions present the results, presenting instrumentals in a swingingly masterful style of Mbalax, heady and hard-grooving, with highly complex, fiercely succinct polyrhythms; an ancient-futuristic music, mesmeric but sharp as nails, super-charged with drama. Get ready to be knocked out.
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12"
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ND 004EP
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"The centre-piece of a Jeri-Jeri live performance, 'Bamba,' is its tribute to the Senegalese anti-colonialist and spiritual leader. The groove is rock-steady, slow-burning, hard funk, a kind of fatback Mbalax, in no mood to be messed with. The pulse is easier to follow than usual, like writing on the wall. Backed by the full band, Mbene's singing is devoutly heartfelt, with affirmative responses from the Mboup brothers. Near-eight-minutes; twinned here with its full instrumental version. Plus two sketches, with talking-drums to the fore, no sabar drums three players, with Yatma's solo overdubs. On the first, Assane's electric guitar affects a game of catch-up; on 'Leumbeul' the talking-drums play three beats to the bar (so to speak), the full drum-kit plays four, and different keyboard overdubs switch allegiance back and forth."
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12"
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ND 005EP
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"'Gawlo' is a rolling, resplendent tribute to griot life. 'Gawlo' is Fula for 'griot.' Spear-headed by none other than Baaba Maal. Superbly expressive interjections by a trio of talking drums are especially lucid on the instrumental version. On the flip, 'Lignou Mome' is an exhilarating straight-no-chaser of galloping drums, bad-minded bass and layered guitar; before 'Ndeye Gueye' wraps up proceedings with a third instrumental, propelled by terse, hypnotic figures on guitar and marimba synth. With the drum-kit unattended, octogenarian legend Doudou Ndiaye Rose features on lead sabar."
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12"
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ND 003EP
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Limited 2022 restock. "Berlin versus Kaolack, round three. A traditional Jola rhythm, fast and energetic, with tuned, talking and kit drums swarming across a skeletal down-home guitar somewhere between blues and disco and the Mboup brothers' impassioned plea for an end to division and bloodshed in their Casamance homeland. Then a more deeply dug-in, spaced-out funk, edgily spun from a Serer rhythm, underpinning Mbene's reflective song about parental selflessness. 'Sama Yaye', 'My Mother.' Both with full instrumental versions. Sound-wise peas in a pod with the intricate, soaring barrage of Ornette's Prime Time in full flight, when it had two of everything in the lineup, and Jamaaladeen Tacuma was on bass, Denardo on electronic drums. "
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12"
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ND 002EP
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2021 restock. "A sophomore three-tracker: singer Mbene Diatta Seck in sombre consideration of street-kids and parental neglect, buoyed by propulsive drumming and trenchant bass; a second version without vocals, laying bare the poly-rhythmic interplay between marimba and percussion; and a mesmeric six-minute instrumental, with bassist Thierno Sarr grooving out on the top string of his instrument, bringing an elusive Manding flavor to the deep Mbalax mix."
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12"
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ND 001EP
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"A stunning new production by Mark Ernestus, drawn from his recordings with some of Senegal's greatest musicians: a griot clan of Sabar drummers from Kaolack in Senegal, led by Bakane Seck, with guest players and vocalists. Jeri-Jeri's style of Mbalax is swingingly masterful heady and hard-grooving, with highly complex, fiercely succinct poly-rhythms an ancient-futuristic music, mesmeric but sharp as nails, super-charged with drama. Featuring the lovelorn vocals of guest Mbene Diatta Seck, Sabar traditions are fused with furious Afro-Cubanismo, hard funk-rock, and shards of high-life. Ernestus' nasty, hypnotic, stripped dub a first in Mbalax edges in the bass, profiles the talmbat and tungun drums, and scoops the sense out of the vocal."
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