Teranga Beat
Guelewar : halleli N'Dakarou -2LP/CD- (GH,1982,re.2011)****°
It is amazing how some people in the last few years are really starting to make some efforts to dig musical treasures out from different parts of Africa. Not too long ago it seems like we only could hear the globalised afro sound like some dull-made repetition everywhere except for some stints of funk because that was what people wanted to hear, pre-digested beforehand. According to the researcher for this album, Adamantios Kafetzis, Gambia, a country almost swallowed by Senegal, only knew two main groups called Ifang Bondi and Guelewar. Super Eagles had made one LP until they became Ifang Bondi with two more LP’s, Guelewar did four LPs.
The guitarist from Ifang Bondi called Bai Janha (or “Sweet Fingers”) was described in the booklet as the most important guitarist from Ghana, because "he had been involved in nearly every Gambian band". Black Star had been his first band in the 60s, followed by the Whales band, then the Fabulous Eagles that became Supreme Eagles and later Super Eagles. Then he knew the bands called Gambia Police, Lords Band and in the 70s, Alligators, which became the Super Alligators, until in 1972 they finally became Guelewar. After Guelewar still came Karantamba (with one unreleased recording), a band with a few other different formats and names, something that will be mentioned more in a next reissue, an unreleased recording by this band.
Guelewar had existed for 5 years until 1975. A second version of the band made a few more recordings. These were published over a few LP's without permission of the band. In 1982 they decided to do their own, final recording, live in a club in Senegal which they later released as two volumes of cassettes. The recording was done with 4 mikes on a multi-track reel-to-reel machine. The original tape reel, the liner notes say, was in terrible condition, but “the remastering could still take out all the music”. In fact the sound is rather excellent.
On the net you can see how Guelewar often is named as the Guelewar Band of Banjul, while the band in the later version was named as the Orchestre Guelewar II Dance Band. One of the sites (-music afrique-) also says about Guelewar : “Youssou N'Dour considers Guelewar as a main inspirational influence, partly because of the use of lyrics in a noble wolof* as opposed to "street" wolof, and partly because Guelewar had resolutely moved forward from latin and highlife.” *(=the language from the region)
The biographical story by Moussa N’Gom is interesting. He explained how the band suddenly became big after an appearance on Senegalese television. Funny also to hea in his notes is that Moussa explained how rock’n roll, his earliest influence, in those days was called “jerk”. He further also explained how he was in a band called Super Diamono after Guelewar, when staying in Senegal. He still feels sad about the fact that through some manipulation they let him sign a paper in French, which he didn’t understand, to leave the band. Even though he was half Senegalese some people didn’t want any Gambian influence participating in a band of influence. Moussa himself having two parts in his turn said he personally really loved the idea of “unification”, Guelewar had used rhythms being used in Senegal and Gambia without distinction. Not mentioned is that Moussa also had joined Ndaply after that and had released about 6 cassettes after that, played with only traditional “Senegambian” instruments.
Especially the early tracks on this compilation/record are amazing. The music on the first track, “Yaye Ramoutoulaye” is a mixture of psychedelic guitars and improvised organ (which seems to be a mini-Moog) with atypical African rhythms. It has a long organ led melodic intro. The rhythms are soft and the guitar is only a secondary instrument. The second track, “Balla Jigi”, with more singing, becomes more danceable with its rhythms but still is mixed in a way that the organ melody is just a little bit louder pushing the band towards a more psychedelic touch. Even though the rhythms are African, this is an unknown African rhythm to me. Electric guitar solos are improvised over this. The third track, “President Jawara - Abdou Diouf” has a very complex rhythm, played softly and double arranged with organ and guitar, mixed with some African group singing theme. Also here, the main leading rhythmic explorations are highly unusual and almost mind confusing. The rhythms change a bit during the song, with attractive result. I have never heard something like this before. This follows further in a more danceable rhythm and band approach, still with that same attractive and rather complex musical touch, in a slightly groovier and for the repetitions a more recognisable accessible touch. Since the fifth track the rhythms are less complex and easier to follow. “Halleli N'Dakarou N'Diaye” follows a groovy rhythm, has some group singing and response, and is led by organ. The sixth track, “Ouvareyea” starts with a song lead for a change. After a while the band speeds it up with rhythm repetitions and guitar solos on top, before the vocals lead again, the band then quickly speeds up once more.
The three following tracks have elements of highlife, with danceable and easier rhythms. Only the last track surprises again for a small heavier rockier intro with guitar and organ, then changing again to a more highlife inspired rhythm. For 2/3rd this album is highly unique, the other tracks are still very enjoyable. A great discovery putting Africa and its musical history once more a bit more detailed on the map.
Overview of some Sengalese music with Gualewar involved :
Discography of Gambian recordings :
