Suso has probably done more than any other musician to promote the kora/jali tradition outside of Africa. He was a competent kora player by age eight; at 16, a fall cost him a leg, rendering him unable to follow the normal jali existence of traveling around and performing at various ceremonies. He started recording for the radio in 1956 and was... [+] Read More

Suso has probably done more than any other musician to promote the kora/jali tradition outside of Africa. He was a competent kora player by age eight; at 16, a fall cost him a leg, rendering him unable to follow the normal jali existence of traveling around and performing at various ceremonies. He started recording for the radio in 1956 and was a national star by the mid-'60s, even being hired to arrange the national anthem. He worked with American musicologists, leading to a teaching job in the U.S., where he was featured on the Roots soundtrack. In the late '70s, he traveled around Sweden, performing for devoted fans. He contracted tuberculosis in 1986, which eventually led to his death in 1991. ~ Steve Huey, All Music Guide [-] Hide

In 1990, Wassoulou singer Sangare became a superstar in West Africa with Moussolou, which sold an astonishing 250,000 copies (many more were likely pirated). She received much of her attention for writing and singing lyrics that specifically addressed concerns of women in modern West African society, such as the conflict between marriage and... [+] Read More

In 1990, Wassoulou singer Sangare became a superstar in West Africa with Moussolou, which sold an astonishing 250,000 copies (many more were likely pirated). She received much of her attention for writing and singing lyrics that specifically addressed concerns of women in modern West African society, such as the conflict between marriage and personal freedom; not a shocking subject in the Western world, perhaps, but a pioneering one for the popular music of the region. Western listeners who can't understand the lyrics will be drawn in by her mellifluous vocals and smooth, circular compositions, which use full arrangements without sounding over-produced. Both traditional instruments and electric guitars/basses are prominently used (without getting in each other's way) on her 1993 release Ko Sira, her most widely available recording in the U.S. ~ Richie Unterberger, All Music Guide [-] Hide

With his dynamic vocals and flamboyant personality, Papa Wemba (born Jules Shungu Wembadio Pene Kikumba) played an essential role in the evolution of Central African music. Respectfully known as "the King of Rhumba," Wemba successfully fused African traditions with Western pop and rock influences. A co-founder of Zaiko Langa Langa in 1970, he... [+] Read More

With his dynamic vocals and flamboyant personality, Papa Wemba (born Jules Shungu Wembadio Pene Kikumba) played an essential role in the evolution of Central African music. Respectfully known as "the King of Rhumba," Wemba successfully fused African traditions with Western pop and rock influences. A co-founder of Zaiko Langa Langa in 1970, he went on to international attention as the leader of Isife Lokole in 1974, and Viva La Musica since 1976. According to publicity materials for the Womadelaide festival, Wemba "creates wonderfully infectious music, combining the sophistication of a Paris nightclub with the vibe of an African open-air concert." While www.fyiucalgary.com proclaimed that "his voice is gold and his music makes you want to dance," www.afropop.com declared that he offered "just the right balance between traditional African music and Western pop." Born in the Kinshasa region of what was then the Belgian Congo and now the Democratic Republic of the Congo, Wemba was taught that he was descended from a long line of BaTetela warrior chieftains. His mother, a professional mourner who sang at funeral wakes, had a profound influence on his singing. He recalled in a late-'90s interview, "If mother was still alive, I would be rich in words and rich in melodies. She was my first teacher and my first audience." Wemba didn't begin singing until joining the choir of a Roman Catholic Church after the death of his father, a chief of customs, in 1966. The experience sharpened his abilities to sing in minor keys. Helping to form Zaiko Langa Langa in 1969, Wemba remained with the group for four years. During that time, the group went from playing American R&B to focusing on traditional Zairian dance music. Their hits included several Wemba-penned tunes, such as "Pauline," "C'est la Vérité," "Chouchouna," and "Liwa Ya Somo." Leaving Zaiko Langa Langa in 1974, Wemba formed the first bands of his own, Isife Lokole and Yoka Lokole. Both groups used the lokole, a hollow tree trunk played with two sticks, as a rhythmic foundation. Moving to the village of Molokai in the center of Kinshasa's Matonge district in 1977, Wemba formed his most successful group, Viva la Musica. Their music continued to reflect an authenticity campaign launched by President Mobutu. Wemba appeared frequently on state-sponsored television, talking about the influence of traditional Zairian music and the importance of the authenticity campaign. From the beginning, Viva La Musica's reputation was built as much on their passion for designer clothes as their music. www.afropop.org described the band's garb as "baggy, pleated trousers, hemmed above shiny brogues, and hair clipped close at the sides." Fans inspired by the band's style of dress began dressing similarly and were known as "La Sape," taken from the expression, "La Société des Ambienceus et ces Personnes D'Élégance." Viva la Musica was extremely popular among the Congo's youth. Their first year climaxed with the Kinshasa newspaper Elima naming the band best orchestra, Wemba best singer, and their single, "Mère Supérieure," best song. Over the next three years, the group continued to record hit singles, including "Moku Nyon Nyon," "Nyekesse Migue'l," and "Cou Cou Dindon." Determined to capture a European following, Wemba and Viva La Musica vocalist Rigo Star took a six-month sabbatical from the band in 1979 to join Tabu Ley Rochereau's group, Afrisa International. Relocating to Paris in the early '80s, Wemba formed a second version of Viva la Musica. While this group took a more Westernized approach, the original band continued to perform indigenous-based music. Wemba explained, "My original group is there for me Zairian fans who come to hear typical African sounds but when I decided to be a singer with an international name, I formed another group to appeal to a different public." Wemba appeared in the late-'80s musical revue Africa Oye!, and toured as the opening act for Peter Gabriel's Secret World tour in 1993. He received a best artist Kora award at the first All-African music awards ceremony three years later. Wemba has continued to fuse the musical traditions of his homeland and Western pop. His 1995 album Emotion was produced by Stephen Hague of Pet Shop Boys, Erasure, and New Order fame. ~ Craig Harris, All Music Guide [-] Hide

Mbilia Bel's career took off in the mid-'80s when she sang alongside Tabu Ley on a number of recordings and tours, also recording solo albums at the same time. After her first child was born, she took some time off and decided to part company with Ley, making one last album with him in 1987. She moved to Paris and hooked up with guitarist Rigo... [+] Read More

Mbilia Bel's career took off in the mid-'80s when she sang alongside Tabu Ley on a number of recordings and tours, also recording solo albums at the same time. After her first child was born, she took some time off and decided to part company with Ley, making one last album with him in 1987. She moved to Paris and hooked up with guitarist Rigo Star, who composed and arranged much of her material. Most of her lyrics revolve around themes of adult love, which has proven controversial on some occasions. She toured the U.S., U.K., and West Africa from 1989 to 1990, drawing enthusiastic crowds. More recently, she has taken to experimenting within the traditional rumba/soukous framework, mixing in rap and other elements, with mixed results. ~ Steve Huey, All Music Guide [-] Hide

Gentle, fingerpicked, acoustic guitar melodies and smooth-as-silk baritone, vocals were combined via the palm wine music of Sooliman E. Rogie. While remaining rooted in the high life music of his birth place, Sierra Leone, Rogie incorporated influences of western pop and folk music to create his unique, heartfelt, music. As a youngster, Rogie... [+] Read More

Gentle, fingerpicked, acoustic guitar melodies and smooth-as-silk baritone, vocals were combined via the palm wine music of Sooliman E. Rogie. While remaining rooted in the high life music of his birth place, Sierra Leone, Rogie incorporated influences of western pop and folk music to create his unique, heartfelt, music. As a youngster, Rogie was heavily influenced by the country music and yodeling of Jimmie Rodgers. Emigrating to England, in 1973, he worked frequently in schools as a cultural ambassador, introducing eager students to the art and music of Sierra Leone. Forming his own label, Rogiephone, he released his debut album, African Lady, in 1975. Rogie's self-produced 1986 album, The Sixties Sounds of S.E. Rogie, was reissued by Cooking Vinyl the same year. Rogie was featured in the 1990 film Acoustic Sounds from Africa, performing his songs "Please Go Easy with Me," "Clua Koonde," "Don't Touch Me Tomato," and his best-known tune, "My Lovely Elizabeth." Rogie's final album, Dead Men Don't Smoke Marijuana, released in 1994, was recorded in London with upright bassist Danny Thompson and lead guitar player Alfred Bannerman. The album also featured Rogie's band featuring Simon Clarke (keyboards), Zozo Shuaibu (percussion, electric bass, background vocals) and Emile Ogoo (guitar, background vocals). Shortly after the album's release, Rogie passed away at the age of 68 in June 1994. ~ Craig Harris, All Music Guide [-] Hide

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Rather than compile a greatest-hits disc to celebrate 35 years in the music business, Tabu Ley Rochereau and his International Afrisa Orchestra re-recorded songs from his remarkable career for this release. Rochereau is the king of soukous music, an infectious dance music from Zaire, and this disc finds him in strong voice with a tight as a drum... [+] Read More

Rather than compile a greatest-hits disc to celebrate 35 years in the music business, Tabu Ley Rochereau and his International Afrisa Orchestra re-recorded songs from his remarkable career for this release. Rochereau is the king of soukous music, an infectious dance music from Zaire, and this disc finds him in strong voice with a tight as a drum band. Each successive track is a more joyous experience as Huit-Kilos' fluid guitar lines thread through some of the finest dance music ever made. For an instant party, throw it on. ~ Tim Sheridan, All Music Guide [-] Hide

The packaging gurus at the normally canny Ellipsis Arts were half asleep when they concocted this boxed set containing a lone CD swimming in cardboard plus a National Geographic-size accompanying soft-cover book. Too bad, because the material clearly warrants two discs, one of traditional material, one of experimental, as Mandingo Griot... [+] Read More

The packaging gurus at the normally canny Ellipsis Arts were half asleep when they concocted this boxed set containing a lone CD swimming in cardboard plus a National Geographic-size accompanying soft-cover book. Too bad, because the material clearly warrants two discs, one of traditional material, one of experimental, as Mandingo Griot Society-founder Foday Musa Suso traces his roots in Senegambia. The tracks with Suso's family members performing traditional pieces are amazingly strong. But the collaborations with Pharoah Sanders, Bill Laswell, and other westerners seem tentative and out of place. Only "Spring Waterfall" stands on its own as Phillip Glass' trademark repetitive piano figures achieve a hypnotic force almost equal to that of the West African jalis. ~ Bob Tarte, All Music Guide [-] Hide

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So influential and beloved was juju godfather I. K. Dairo in his home country of Nigeria, that in observance of the four-day wake following his February 1996 death, the government-run Nigerian broadcasting network played only songs by Dairo, and professional musicians agreed not to perform in public. This disc partly explains the reasons why in... [+] Read More

So influential and beloved was juju godfather I. K. Dairo in his home country of Nigeria, that in observance of the four-day wake following his February 1996 death, the government-run Nigerian broadcasting network played only songs by Dairo, and professional musicians agreed not to perform in public. This disc partly explains the reasons why in an unusual collection of shorter Dairo pieces clocking in at under 8:00, which is a mere eye-blink by juju standards. The radio-friendly lengths reveal lots of hooks, strong melodies, and catchy vocal parts along with arrangements that pack the maximum amount of variations into a limited space. It's A+ juju from start to finish from one of the greatest innovators in African music. ~ Bob Tarte, All Music Guide [-] Hide