This wonderful music did not just appear out of thin air. The high standard of the production is no accident and neither is the shimmering quality of the musicianship.
By the time this LP was recorded in the Syliphone studios in Conakry in 1967, Guinea’s artists had spent almost a decade reaping the benefits of an official policy that sought to modernise the arts while still being faithful to the traditional roots.
The music-loving Ahmed Sékou Touré became the country’s first president after independence from France in 1958 and he immediately set about instigating cultural revolution. The policy was called ‘Authenticité’ and music was its prime focus.
Under the policy each region in the country were represented by artistic troupes. Instruments were sent to the regions accompanied by master musicians designated to teach them. Studios were built and engineers and producers trained. Musical endeavour was encouraged and fostered in every way. Creative aspiration became an official currency. It was dream time for the makers of song and sound.
A system of regional competitions were organised to decide which orchestra should represent the area and ultimately the nation. Bembeya Jazz National had won the overall competition two years running in 1965 and 1966. They entered the studio to record this LP on something of a roll. In the land where music ruled these were the undisputed high kings.
Specialising in modern arrangements of traditional Mandingo tunes, the band were technically adept at incorporating elements of jazz and latin rhythms into their sound. They had served their apprenticeship as a dance band and their recorded output maintained that tight connection to dancing feet.
They already had an ace in their pack in the shape of Sekou ‘Diamond Fingers’ Diabate on guitar, but for this LP their arsenal of talent was further bolstered by the addition of Aboubacar Demba Camara on vocals. The coming together of these two on this recording was a significant collision of stars. Their mellifluous conversation would go on to grace all subsequent Bembeya albums, but here it’s only beginning and its freshness is captivating.
The bass player Diaoune Hamidou was at the controls and he had an intuitive feel for how best to arrange their talents. There were no shortage of jewels in their crown and all the elements were given ample room to shine.
